Initiation Oath

I come from the fire at the center of worlds,
Where the burning stars fall from the heavens to the seas.
Mists to open. Mists to bind.
Where the oak tree stands upon the mound.
Mists to open. Mists to bind.
Where the fire rages amongst the storm of lights and rain.
Mists to open. Mists to bind.
Where the stranger in the darkness stands as guide.
Mists to open. Mists to bind.
Where the heartbeat of the Mother ignites the fire within.
Mists to open. Mists to bind.
With these tools I shall lead others to the flame.

Trance 2

  1. Describe your regular method of entering basic trance. (min. 300 words)

There are two main methods that I use, and it depends almost entirely if I am entering trance in a ritual setting or not.  Both methods include an aspect of controlled breathing as well as an auditory cue if possible.

My preferred method is to use some form of sonic driving to enter a trance state, and to maintain it throughout the duration of trance.  When doing this, I choose one of the auditory tracks I’ve used for this purpose in order to maintain continuity of the auditory cues my brain is used to.  The three types of tracks I use most often are either one of Harner’s 30 minutes drumming tracks at 240 beats per minute, or a complex drum track that is of a similar tempo (Fierce Tibetan Gods, of part of an African Percussion compilation), or an atmospheric type recording by Sigur Ros.  I’ve found that the straight up drumming tracks are the ones I’m the most successful with, especially if I’m in an area with a lot of distractions.  This is partly because I will have the sound continually playing to help maintain the trance (unlike the other recordings which may end after 5-7 minutes), as well as the fact that they include a callback beat to signal when the trance should end (Harner).  As the recording begins I begin focusing on my breathing and slowing it down to a comfortable and regular tempo.  As I progress deeper into the trance my awareness of my breathing fades and by brain locks into the sounds of the drumming, which will then seem to echo and morph, and eventually fade if a deep trance state is attained.  The drumming will remain in my subconscious if I’ve entered a lighter trance state.

While sonic driving is my preferred method of entering trance, it is not often the method that is used during a ritual setting.  During ritual, I again control my breathing and slow it down to a comfortable and regular tempo. Most often in ritual this is enough to put me in a light trance, which is all that is needed to complete the magical workings of a ritual.  There is the slightly woozy and disconnected from the world, yet connected to everything feeling that helps signify to me that I’ve entered a light trance.  Normally within ritual the only time I enter a deeper trance is when I’ve doing the work of the Seer.  In this case I’ve built in an auditory and olfactory cue to help me enter the state that makes interpreting the omens easier.  I take a deep breath to center myself and then call out to Apollo Mantikos, crushing an offering of bay leaves, using the same prayer I use every time I pull omens: 

Apollo Mantikos, guide my hand.

See with my eyes. Hear with my ears.  Speak with my voice.

I crush the bay leaves in order to offer them because it is both a sounds and a smell that happens every time.  This resonates with the idea that the Pythia had a whole series of steps that she would do the same every time in order to prepare her to speak with Apollo and enter that trance state where that was possible.  The Pythia is the name given to the Oracle who dwells at Delphi and speaks for Apollo (Johnston 33-50).  As I use them in a similar way to put myself into a light trance in order to make that call to Apollo Mantikos and be able to hear and interpret his words, I feel it is an apt way of doing things.

 

  1. Explain the use of trance in group ritual, including trance techniques including the Neurolinguistic Programming techniques of “anchoring” and “leading” in trance induction. Give an example of how you would script this use in ritual. (min. 500 words for the essay, 200 words fro the script)

Trance in group ritual can be a very powerful tool to engage the folk on the same page, and help to bring them all together in the same mindset, and thus allowing any energy that has been building to align.  This alignment of energies and purposes will help make the ritual flow more smoothly and make any magical acts that will occur more powerful.  Trance work in ADF ritual is most commonly seen during the Two Powers meditation, where the folk are connected to the powers of the realms, as well as to each other.  In this instance, trance is used to establish the group mind.

One of the ways group mind can be established through trance involves including aspects of Neurolinguistic Programming, such as anchoring and leading.  Anchors are some sort of stimulus that invokes a certain mindset.  The anchor will first need to be created and reinforced in order for it to be successful.  A successful anchor is something that is a unique stimulus and can be linked to a specific state and repeated (Ellerton). In the script below, the initial anchor is the body posture, specifically the part of the body posture that includes the cradling of the belly around the baby with the hands in the specific position described.  Other more subtle anchors are added in the initial step to continue to reaffirm the connection to the desired state.  For example, the instructions to “feel your palms on your belly” as a kinesthetic stimuli, and the feel and sound of breathing as well as the phrasing “take a deep breath, hold it for a moment, then exhale” continues to act as an auditory stimuli for this state.  As a visual stimulus, the script below includes phrasing such as “feel your roots extend into the earth, growing into your Mother.”  I think it’s important to include all three types of stimuli (kinesthetic, visual, and auditory) if possible, especially when you’re leading group trance experience.  You don’t necessarily know who is going to respond to what kind of stimuli, and so it because very important to make sure you’re reaching as many people as possible.

So other instances of anchoring lines that I have experienced included phrases such as “And now, Children of Earth, see in your mind’s eye…” which for me is a very strong auditory anchor that ritual work is about to begin, and that I will be entering some sort of magical or religious state of mind.  There is also the common visualization of during the Two Powers of send your roots down into the Earth, and your branches up into the Sky.

Once you have established an anchor, the next part of a successful trance induction is establishing rapport throughout the trance so that the folk will be more likely to let their barriers down and follow the progression of instances that you are leading them towards.  This is most often done by allowing your voice to mimic the way they should be feelings as you establish their anchor.  Most of our trance work in ADF public ritual involves making sure that the folk feel comfortable, relaxed, and secure as they engage their minds to interact with the liminal state.  So, to lead them into this, you would modulate your own voice to mimic this relaxed and calm feeling.  Other methods include “mirroring techniques to match the person in terms of tone, word choice, volume, breathing tempo, and body language to form a rapid bond” (Knight).  This is most often done by speaking in calm, smooth tones, with frequent pauses to allow their mind to slow down as your words slow down, and by allowing the slow breathing patterns that you are requesting of them to also be the slow breathing patterns that you yourself are using.  In the script below this is reflected both where there are commas (which I placed to indicate a short pause for breath), and where the word “pause” is included (to indicate a longer pauses, about 3 seconds or so).

*** Script ***

(note: this script is intended to be used by pregnant women engaging in the Birthing Posture (Goodman), and is designed to allow them to begin to connect with their baby in the womb)

Sit or stand with your feet parallel and firmly planted in the Earth, about six inches apart.  Keep your knees slightly bent. Looking straight ahead, close your eyes, and relax. Rest your hands on your belly with the fingers and thumbs held close together.  Your index fingers are about two inches apart, pointing towards your navel, gently cradling your baby.  Hold your arms away from your body, elbows sticking out, with your shoulders back. Your posture is good.  You’re comfortable, smiling inside, and cradling your baby.  Let a feeling of calm wash over you.

*pause*

Focus on your breath.  Take a deep breath in, hold it for a moment, and then exhale.  Again, breathe in deeply, pause for a moment, and then exhale.  Once more, breathe in deeply, pause for a moment, and then exhale.

Feel your body begin to relax.  Begin with your cradle.  Take a breath and feel your palms on your belly.  Exhale as you let the tension release from your hands and wrists. Take a breath and feel your arms extending out from your body.  Exhale and release the tension in your shoulders.

Now feel your spine extend from the base of your skull all the way down to your tailbone.  Take a breath and feel roots extend into the earth, growing into your Mother.  Now exhale and release the tension in your back.  Let it flow down into the Earth.  Focus once again on your breathing and feel with each inhale your connection to the Earth grow.  Feel with each exhale your tension flowing away.

*pause*

As your tension flows away feel this release also in your womb.  Feel your baby as she is given more freedom to move, as less pressure is placed on her.   Feel her tension lessen as well.

*pause*

Focus now on your heartbeat.  Feel as your pulse beats within your fingertips.  Feel as your pulse beats  within your belly.  Feel as your pulse beats within your chest.  Feel as your pulse beats with the Earth Mother.

Let your breathing relax as you focus on your heartbeat.  Listen to the faint beating within your ears.  Listen as this beating becomes louder.  This is how your baby hears your heart.  This is her connection to you.  She is soothed within your womb as you are soothed by the Earth around you.  Listen to the steady thump-thump, and feel that connection between the Earth, and you, and your baby.

*pause*

You tensions now eased, and a connection established, think now on the joy of your baby.  Think on the joy in her creation.  Think on the joy of her inside you now.  Think on the joy that she will bring into the world with her.  Think on the joy of raising her from infant to child to teen to adult.  Think on the joy that she will bring to all the lives she touches.

*pause*

With these joys in mind, feel them as a warmth growing between your hands.  Let this warmth pulse with your heartbeat, and with each breath grow stronger.  Let the warmth fill the space between your hands, spreading across your belly.

Now, let that warmth begin to seep down into your womb.  Let your joys fall across your baby so that she too can feel the ecstasy that she encompasses.  Let the warmth of outrun joys pulse through her as easily as your heartbeat does.

Feel the love, and joy, and warmth as it fills you and your baby together.  Spend some time focusing on these thoughts.  How do they make you feel?  How do they make your baby feel?

*210 bpm drumming for 15-30 min*

Begin to once again concentrate on your body.  Listen for your heartbeat, pulsing through you and your baby with love and joy.

*pause*

Feel your fingertips, warm now with that joy pulsing through them, as they gently rest on your belly.  Feel your arms as they extend out from your body.  Let your posture relax as you wiggle your fingers and toes.  Perhaps you roll your shoulders or neck, bringing yourself back to your body.

Take a deep breath and let this breath of the Mother rejuvenate you.  Exhale, and let the energy you’ve pooled within yourself seep back into the Earth.  Again, breathe in deeply, pause for a moment, and then exhale, coming back into yourself.  Once more, breathe in deeply, pause for a moment, and then exhale.  Let the last of the excess energy flow back into the Earth.

*pause*

Open your eyes and let your arms fall to your sides as you come firmly back to your body.

 

  1. Describe three experiences of trance. These trances must come from three different methods chosen from the list below: (min. 600 words for each experience)

b) Sonic Driving

Sonic driving is probably one of the most reliable ways I’ve been able to attain trance.  It is especially useful for me because not only does it align everything in my brain, but it also blocks out distracting noises that can pull me out of trance.  That being said, it is also one of the methods that I feel much more comfortable with when whatever it is I’m listening to has a callback beat, because it does hold me in trance so well.

For this trance experience I used Harner’s 30 minute double-drumming track.  I was slightly depressed going into the trance work, my husband was having a very moody day, and the baby had been cranky all day.  Needless to say, there were a lot of distractions vying for my attention.  It took me longer than normal to drop into trance. I stayed aware of what was around me longer.  As I listened longer, I began to hear bits of music or songs overlaid on top of the drums, with colors accompanying the sounds. This is not terribly unusual, but normally when it happens it feels more coherent.  This was more like if I were sitting in a closet with 4 separate concerts going on in the rooms around me.  I felt like there were words for some of the strains I was hearing, but I couldn’t pick them out. Other strains of music clearly didn’t have words and were just snatches of lyrical lines, here and there.  While all of this generally falls in the category of “trance work” for me, as I often begin to see colors alongside musical lines, it also generally falls in the pre-trance work state that I get.  That place where the world gets fuzzy as your brain hyper focuses on one thing, and then, like a black hole, folds in on itself and the “real” trance work begins.  This pre- stage lasted longer this time than normal.

When I did hit what I recognize as trance journey work for me, I was on the beach, which is not terribly unusual. I put my hands in the water as the waves rushed in and my hands tingled. When I pulled them out the skin was gone and they were dripping blood. It didn’t hurt or anything, I just didn’t have skin on my hands up to the wrists anymore.   It was like I was wearing gloves made of blood. There was a fire on the beach. I stuck my hands in the sand to coat them in grit and that hurt a lot.  I suppose much like you would expect if you shoved an open wound into gritty, dirty sand. Then I stuck them in the heart of the fire and inexplicably, that didn’t hurt at all.  It tingled again and when I pulled them out I had skin again but it was metallic, hard, and impenetrable. It was flexible like skin but obviously metallic and obviously impenetrable. It looked kind of like Peter Pettigrew’s silver hand in Harry Potter, except not silver.  It was a bronze color, like deeply tanned skin, and had a slight metallic sheen.  They still felt like my hands and still felt like I could use them in exactly the same way for everything. And the new skin still felt like skin, except soft skin. Baby skin. New skin.

Then I started to drift away and there was no more journey work. I was just sitting in the nothingness with the drums pounding in my head until the call back came. And the callback was more jarring than usual. Normally I need the whole callback string of beats. This time as soon as the drumming stopped I was jerked out of trance.

I did some follow-up on this one, looking into what different symbols might mean.  Open cupped hands represent innocence and the bare essence of your being.  So, part of my interpretation of this experience is that I have been blessed with the bare essence of myself and have received the blessings of the waters.  There is also some aspect of a cleansing and purification by fire in order to be made new.  Much like the visual concentration trance discussed below, I think this indicates some type of rite of passage or initiation.

d) Chant/Mantra

One of the tasks for a Bard in ritual space is to maintain the flow of energy.  When it is begin built up, it is important not to let any escape, and when a slow point in the ritual hits, the Bard can help to keep the energy from trickling away.  One of the best ways to do this is by including music, songs, or chants that will engage the folk and keep them participating in the ritual.  There is a certain trance state that happens when a Bard needs to be able to sense the energy patterns in a ritual and help to maintain and control the flow of energy.  It’s like throwing a lasso around the folk, where the Bard focuses on holding the energy that is built during songs and invocations within the bounds of the rite so that it can be used later in the rite.

At our Grove’s Imbolc ritual, there is a portion of the rite where energy is likely to flag.  First the waters are passed and quaffed, and then the Healing blanket is passed around to be recharged.  This is a lot of down time where the individual people at the rite are not necessarily actively engaged in the action.  As the Bard for the ritual in 2012, a large part of keeping the folk engaged fell to me.  In addition to being the Bard for the ritual, I also had the role  of calling down the waters and infusing the blessings into the waters. So, I was already in the mindset of holding all the energy in, and was already in a light trance state from that.

Following the Blessings was the working where we recharged the grove healing blanket and did healing work for a grove member and her mom, who had just had a horrible accident.  The working was especially powerful for me this time because I wrote the song we were using to build energy.  It’s actually the first song I wrote with guitar accompaniment, and yet still seems like one of the most powerful.  Perhaps because I wrote it while I was in that state and with that need.  It’s simple, easy to pick up, and can be layered with echo lines, counter melodies, and harmonies.  We just used the one section, rather than the whole song, in the rite, and I let the folk riff off the basic version as they felt moved to:

Let the rain wash away all your worries.

Let the rain wash away all your fears.

Let the rain wash away all your troubles.

And let the storm come rolling in.

 

Let the waves wash away all your heartache.

Let the waves wash away all your pain.

Let the waves wash away all your anguish.

And let the tide come rolling in.

 

Let this song wash away all your sorrow.

Let this song wash away all your tears.

Let this song wash away all your despair.

And let the harmonies of friends join in.

 

As I led the song, the healing blanket was being passed around, and I could see the flows of energy coming off people and bouncing against my lasso, so they would reflect back into the blanket.  As the song continued I began to hear bits of music and harmonies that weren’t there.  This is one of my usual indications that the magic is working, when I hear the whole choir and all its parts.  The strains of melody and harmony being woven together took on shapes and colors, and wove themselves into the blanket.  It all looked a lot like the introduction to Fantasia, where the narrator is explaining the different instrumental sounds and using visual stimuli to help.  I’ve experienced synesthesia-like trances before, but this was the first time it had happened with such intent and in a public ritual space.

f) Visual Concentration

This experience was a trance stemming from staring at a flame, which led to some divinatory revelations as well. It was kind of intense.  I traveled to the deep with Poseidon like I haven’t done for quite some time.  It started at Chenille, and most folks had already gone to bed.  There had been a fire in the fire pit, but it was burnt down to the coals.  I began to restart the fire from the coals, and as it was completely dark, the liminal space was amplified. I worked on starting the flames up again by breathing on the embers and carefully adding bits of kindling and wood.  Breathing on the fire is like taking breaths when swimming. Blow out, slowly and carefully, and then turning your head to the side to take another breath.  In water it’s so you don’t breathe in the liquid, and when coaxing a fire back to life it’s so you don’t breathe in the smoke.

Poseidon is so very powerful.  He has raw power and depth, and is very big, intense, and alien feeling.  You can’t control the ocean, and you can’t understand the ocean.  I work extensively with him, specifically for trance work, so going into a trance with him, and journeying to the depths of the ocean is not in and of itself unusual.  There is a release of control when I trance journey with him that intensely.  He is big enough to wash you away without even meaning to.  And when I experience trance with hi, it is not entirely intentional, it is still somewhat scary, no matter how much I have worked with him in that capacity.  It is nearly always magical from me when the deep trance with him happens.

After the flames were coaxed back to life I sat back on my heels and staring into the flickering light.  The trance began as I felt like I was standing waist deep on the shore with the waves crashing against me. And then the spray hit my face and I was suddenly at the bottom of the ocean in the deep dark of his realm.  That is normally my signifier for entering trance.  The spray of the ocean hits my face, and I drop into wherever I need to be.  As I hit the deep ocean, streaks of living fire cycloned around me.  There was the overwhelming presence of Poseidon almost vibrating around me, pulsing, sonar-like.  The tongues of flame solidified into a lantern shape and there was a distinct and sharp difference between the heat coming off the flame and the bone deep chill of the water.  Then as the lantern shape solidified further it was very obviously Phi overlaid on Zeta. (Phi is “having done something carelessly you will hereafter blame the gods” it’s taking responsibility for your actions. And Zeta is Zeus’s symbol. “Flee the storm lest Zeus destroy you.”) And that’s kind of terrifying.  I don’t normally see symbols when I trance, and perhaps that’s because I’m only just now getting them so deeply ingrained that they can comfortably appear.  There was a distinct sense of Poseidon needing me to see these overlaid symbols and understand them. But the danger and intensity that exuded from the lantern symbol was not his and not from him, but rather was a warning passed along, like something that he was sharing behind the back of another.

The general gist of the message seems to be that forewarned is forearmed.  It is extremely confusing though.  Does it mean that you must take responsibility for your actions, but then run from the consequences?  I feel almost completely blind with this vision.  Am I going to mess things up that bad?  Perhaps there is also an indicator that the message is from Zeus, as Zeta is his symbol.  It’s possible that this is the case, however that is certainly not the primary meaning of that symbol in this sense.  It may not be an immediate threat, but it is there.  I considered that the symbols could be an either/or situation, such as “take responsibility for your actions or you’ll anger the powers that be and have to run.” That could be the most likely interpretation, except that the symbols were overlaid, so I feel that they go together.  It is unusual for me to see overlaid symbols.

It’s also possible that the symbols modify each other. The overlay blends them into something different than the individual components.  Additionally, I feel like the lantern shape was also important, and the fact that it was made of fire, living fire.  Maybe it is a portal and the overlay symbol is the key.  Part of the message could be that I must travel through the heart of the fire.  My entrance to that trance world is through the lantern; access granted with the key.  The key could be Phi since that is what be traveled through.  And taking responsibly for your actions can also mean having a personal acceptance of it.  That this is the choice you had to make, and owning up to the fact that that was the chic you had to make.  Part of the acceptance could be that my actions must involve flight, and the flight may be through the heart of the fire.  And taking responsibility means sometimes you get burned. And you can’t endure the fire. You have to flee through it.  And fleeing isn’t always “bad,” sometimes it is just necessary.

An initiation of some sort, or a rite of passage, could make sense. Lanterns light the way. And a place of transition requires you to accept your past and leave it behind.  That’s feeling more right.  There’s still the intensity and vague sense of danger though. And the feeling that who is the message actually from is not Poseidon.  He is just the messenger in this sense and the original giver of the vision didn’t necessarily want me to see it, or at least not with this timing.

 

  1. Submit an original trance induction script based in ADF symbolism (e.g. Two Powers, Fire/Well/Tree, Three Realms, etc.). (no minimum word count)

Children of Earth, take a moment to calm your mind and body. Breathe deep and close your eyes. Listen to the sound of your own breathing. Hear your heartbeat thrumming inside you. Pause for a second and just listen.

***Pause***

See in your mind‘s eye where you stand now and picture yourself walking away from where you are.

You‘re walking towards a deep and old forest. Feel the cool, damp earth on your feet. As you enter the forest feel the cool autumn breeze brush your cheek.

Notice the sounds around you. A gentle rustling of leaves, perhaps from the wind, perhaps made by a squirrel bounding by. Notice the sunlight dappling across your face. A last breath of summer caressing your face, heartening you for the colder days ahead.

As you are walking deeper and deeper into the forest you suddenly come upon a clearing. There is a small pond in the middle of the glade surrounded by trees around the water‘s edge. One of these trees calls to you and you glide over to it. Place your hands on the trunk and feel the rough bark against your palm. Feel the ancient wisdom emanating from it.

Turn and place your back against the tree. Feel yourself sinking into it, becoming part of the tree. Feel your toes mix with the roots twinning down into the earth. Allow you mind to follow those roots and tendrils as they creep ever deeper, until suddenly they plunge into the cool deep waters far below the surface of the earth. Use the knowledge of the tree to pull those waters up through your roots. Feel them approaching you, up and up, until they reach your toes.

Feel the waters pulsing up through your toes and heels, moving up your legs and pooling in your groin. Feel them surging up into your chest and down your arms. Feel your branches swelling and cool waters seeping into your fingers, your leaves. Feel the waters rush up and fountain out the crown of your head, your uppermost branches and leaves, and come cascading back down into the earth to soak back down cooling your roots again. Having taken your fill, feeling replenished, allow those cool, dark waters to bleed back down into the earth.

Again feel the wind brush through your hair, your leaves. Feel as the sunlight shines down on you, brightening and invigorating you. Allow your leaves to take in that bright, golden light. Let it convert to pure energy and infuse your head and chest with light and energy. Let it saturate your branches and flow into your finger leaves. Feel as it washes down through your groin and flows down your legs and energizes you down to your roots. Having absorbed as much light as your body will hold, let the remainder reflect back off you, back into the sky.

Feel how the combination of the cool waters and the bright light mixes within your body. Feel how it mingles and brings a new awareness to every essence of yourself. Let your attention drift over yourself from your roots, to your trunk, and on up to your leaves.

Let a breath of wind catch one of your leaves and watch as it drifts downward to land fall lightly into the pond. Watch as the water ripples outward from this light touch. Allow your awareness to follow this ripple outward and see as it collides with other, similar ripples. As you follow those to their source you see that they also come from fallen leaves.

Now seeing all these leaves in the water creating ripples that touch and rebound off your own, you notice all the other trees surrounding the pond. Reach out your awareness and sense that these trees are all part of this grove. Reach out and feel that you are not alone in this glade, but rather you are surrounded by the warmth of your kin. You are all here together.

Take a moment and allow this feeling of togetherness and oneness to soak into your mind, your heart, your bones and your soul. Listen to the breathing of those around you. Your hearts beat as one now.

***Pause***

With this new realization that you are here among family, you begin to disconnect your self from the tree, just as all those around you do. Wiggle your toes and separate them from the roots. Wiggle your fingers and feel the leaves fall away. Roll your shoulders, allowing you to step out of the tree and once again become your own self.

As you now look around you see that while before you came to this glade alone, you now are leaving among friends. It is time now to turn away from the glade and walk back out of the forest. Listen, as before to the sounds around you. You can now hear the laughter of friends, and you feel now not just the warmth of the sun, but also the warmth of companionship. As you break out of the forest and head back towards your body here keep that feeling that you are now one with the people around you.

Now, step back into your body and take deep breath to settle yourself back in. Wiggle your fingers and toes. Now begin moving your arms and legs just a little as you feel yourself come back to this place. Here, among kinfolk, we may now move on with the work we have for today.

 

  1. Submit an original trance induction script based in Indo-European Mythology. (no minimum word count)

Begin by finding a comfortable place, either sitting or standing.  Take a deep breath, and let the cares of your day to day life fade.  Take a deep breath, and let the worries of the world fade.  Take a deep breath, and feel the connection to the earth around you.  Take a deep breath, and feel the connection to the spirits around you.

See in your mind’s eye a mountain rising up beside you.  The red-gold dirt dry and powdery at your feet.  You footsteps lead you up the mountain, and as you climb the dust swirls around your feet.  The red-gold dust rises with you, and the sunlight catches it, forming shining motes in the air.

As you climb higher, you pass marble pillars.  Now there are small plants growing along the mountainside.  Laurel trees begin to take shape around you as you reach the pinnacle.  You see there is the entrance to a cave, and leading away from it, a narrow path that goes further up.

You step onto the path leading further up, and all at once you are surrounded by lush, green, growing things.  Soft grasses caress your feet, and the laurel trees shade your every step, taking in the heat of the day.  You crest the top of a hip, and find that you have come to a T-junction.  The path to you right leads down into a small valley with a pond at the center, and the path to your right leads up into a crevice in the rock face.  You head right, and make your way down in to the valley.

When you reach the pond you splash water on your face and take a few deep breathes, preparing for your work with the Pythia.  From the base of the laurel tree you take a dried leaf.  You crush the leaf, letting the scent of bay waft by you, and drop the leaf pieces into the pond.

*at this point, each person crushes a bay leaf*

You stand, and with the scent of bay growing ever heavier around you, filling you, you walk up the path again, this time heading for the crevice in the rock face.

You step up to the dark, taking a deep breath.  The Pythia awaits you, you need but enter.

 

  1. Describe the process of creating your inner locale, the challenges and aids you experienced in the creation of this locale, and (optional) its appearance. (min. 1000 words)

I already had a basic image of my inner locale when I began working on trance work. It is the calming place I created when I was going through dialectical behavior therapy, and was a place that I could visualize easily. The purpose initially was to be able to see myself somewhere calming where I could think and not be stressed out by the fast paced world, and my triggers there.

As I began trance work, I found that I was starting there, and so I began cultivating it to better meet my spiritual needs. I begin by envisioning myself pressing my back up against my tree, a cypress at the edge of the pond, complete with roots bulging up through the soil, and let myself sink into the trees awareness.  As I connect to the powers above and below my vision of the mundane area around the tree fades and a gray mist or fog fills the peripherals of my vision, eventually pulling back to reveal my inner grove.  I have set up my inner grove to be essentially a starting point, or a jumping off point for any other trance work I may do.

I stand with my tree at my back, and it acts as a portal back to my body, only needing me to sit back down there to go home.  All around me are dry, meadow grasses, becoming greener around the edges of the pond, which is surrounded by a few other cypress trees and some reeds.  Also at the edge of the pond is my tree, and also now the tree planted there from the seed Nemetona gave me (see the write-up on this from Trance 1).  Additionally, there is a small fire, that while seeming too small to maintain itself, is clearly burning hot and strong.  Occasionally there is a girl, Hestia,  sitting in the flames, or maybe made of the flames.  Behind me a forest rises up, mostly of pine and similar trees.  It appears quite spares at first, but thickens the deeper one walks into it, and rising in the distance is a mountain.   If I traveled up that way, winding my way through the deer trails, I was likely to meet with Artemis. When Artemis is my guide, we start at the edge of the forest and as we walk into it, we approach the area we need to be, and she will again guide me back to the edge of the forest at the end of our journey.  My trance journey experiences that headed this direction tended to be transformative, and have roots within the real world experience I was struggling with. I would say that the take away from these journeys was most often a strengthening of myself, and a stronger resolve to know myself, and be true to myself.

Later, as I began working with Poseidon, another addition was made to my locale. As I walk out there is a plateau covered in the dry, meadow grasses and becoming sandy and rocky near the edge, where there is a drop off a cliff face, with a barely visible path down to the shore.  There is a small, rocky beach in the cove that is formed there, with rocks out just a bit, acting a breaker for the waves.  As the waves crash against them, a spray floats across the beach.  I walk down the cliff face to the beach, and sometimes as the spray hits my face I feel swept away, and others times I walk into the waves and am pulled out by the riptide.  When I’m working with Poseidon, his pull is stronger.  He is much more vast, alien, and huge than Artemis, and it has been much more difficult reaching an understanding of how our journeys are to work.  His awesome power led me to put a bell at the edge of the beach that dangles into the water.  When it is time for me to return to my body, the bell will ring and guide me back to land.  I added this bell because I found that I was having a hard time with a call back from trance, so by including a callback mechanism within my inner locale, I am better able to respond to the callback that happens externally.

Another issue that I found was happening during guided trance journeys that other people were leading was that because of the way my inner local is set up, it was too big for me to traverse the whole length of it and “make it home again” by the time they were trying to end the trance.  This left me feeling panicked and rushed all through the journey.  So, the way that I mitigated this was to put a series of gateways and ‘fairy rings’ through my inner locale.  Each of these gateways and fairy rings connects to all the others, and they allow me to quickly jump between locations that I’ve added to my inner grove.  This has helped immensely in making my trance journeys more relaxing, more rewarding, and more successful in general.

I also work with Garanos Crane to guide me on other journeys. When I leave with him we start from the pond, and he dives into it, and it becomes a kind of portal to other worlds.  This is most often the path that I take if I’m engaging in trance work for the purpose of journeying to an unfamiliar place, and/or with an unfamiliar guide (speaker).

One of the more recent additions to my inner grove is a wall of earth with a cave inset within its face.  There is a flickering light coming from within.  This part of my inner grove has grown stronger and more present the more work I’ve done with Hekate as a Gatekeeper and Guide.  I can now call on her, and see her, torches held high, ready to use the cave as a starting point for journeys with her. This aspect of journey work tends to lead me to both the Underworld, as well as to the liminal spaces where the gods are easier to hear.  This included work done with the Pythia and various other bits of oracular work.

 

  1. Journal for five months, continuing the trance work journal you began in Trance 1. Provide an essay based on this journal detailing how your experiences have affected your practice. (min. 1000 words for the essay)

Since I was completing the journal for both Trance 2 and Magic 2 at the same time, one of the things I found is that I began using trance intentionally in my magical and divinatory work, and it has played an integral role. I’ve found that in order to be in the best mindset to achieve the results I want with my magical work, I need to enter a least a light trance. This trance may differ depending on my location, if there are other people present, if the magical working is taking place in or out of a ritual context, and how complex the magical working is.  The deepest trance states I use in conjunction with magical work are done when I am in my own home, by myself, in ritual space, with a complex working.  If I’m going to go deep into trance I need to feel safe and comfortable.  This could probably be done around a few people who I trust as well, though that opportunity has not presented itself.  I am also more likely to enter a deep trance state for more complex workings because this will minimize distraction and help me to better focus my intent.  Additionally, I’m more likely to do a complex magical working within ritual space because if it is that important or that complex, I will probably be asking the spirits for assistance.

I also use trance when I am doing divinatory work. Having practiced more with the NLP triggers one of the things I’ve changed since completing Trance 1 is adding in the crushing of the bay leaf. Initially I was just saying the prayer and making an offering of the bay leaf. But I found that by crushing it as I offered it, it not only added another auditory and olfactory cue for me, it was also a cue that was unlikely to be replicated outside of that specific instance, and will thus keep the trigger strong (Ellerton).

When I do divination the first thing I do is take a deep breath to center myself and then call out to Apollo Mantikos, crushing an offering bay leaves, using the same prayer I use every time I pull omens:

“Apollo Mantikos, guide my hand.

See with my eyes. Hear with my ears.  Speak with my voice.”

 I crush the bay leaves in order to offer them because it is both a sound and a smell that happens every time.  This resonates with the idea that the Pythia had a whole series of steps that she would do the same every time in order to prepare her to speak with Apollo and enter the trance state where that was possible.  As I use them in a similar way to put myself into a light trance in order to make that call to Apollo Mantikos and be able to hear and interpret his words, I feel it is an apt way of doing things.  This intentional use of trance has helped to augment my divinatory practice.

I also use trance for magic when I’m writing bardic pieces.  Part of the Order of Bardic Alchemy work requires you to write a bardic piece in ritual space, with the intent to use it during ritual.  The Muses are my bardic patrons, and whom I work with most frequently when I’m doing bardic work.  I call to them for inspiration before I write, and often before I play, sing, or perform.  I decided the piece I would write would honor them, and give me an alternative method to call to them, rather than with a simple invocation.

After completing the devotional and making offerings to the Muses, I sat with my bard book open, staring at a candle flame. The words seemed to come excessively quickly.  I often describe the process of this ‘gift song’ as trying to catch the Awen with your pen, and funnel it down into something coherent on the page.  This was not my first experience with a ‘gift song,’ and like the others, the whole piece was written in probably under an hour: words, chords, melody, and all.  It required very little revision following the initial writing.  “Muses, Sing Through Me” is still the main way that I call to the muses before beginning bardic work.

I also use trance when I’m doing healing work, in order to focus the intent of the energy being directed, as well as allowing me to better visual the target when I’m working from a distance.  Most recently we performed a healing at a Druid Moon for one of our Grove members.  Paul, Missy, and I led the working, which involved everyone toning and focusing the healing energy through to the grove member.  We began by breathing together and then started the toning.  The regulated breaths that are required by toning, combined with the circular motions Missy was making with incense helped to drop me into a deeper trance.  Things seemed to slow and the sounds took on a synesthetic quality, seeming to thicken and color.  I focused on wrapping the grove member in the tones.  As we continued to work, I began to hear the overtones and harmonics coming out of the toning.  That is one of the cues that I recognize as an indicator that the intent is properly focused and the magical work is taking effect.  We continued for just a bit longer past the overtones, letting them fully sink in, before completing the work.  I was surprised to note that the Folk followed me in ceasing the toning, and then Missy tied up the loose ends with pretty words.

Another powerful instance of trance that was surprising to me was one that among other people, that I didn’t lead, and that had no journey script to accompany it. At my grove’s Gaimonios druid moon we had lit the three fires of Belenos, and for the working, took turns standing within them (at the center of all three) and being blessed by the fire of inspiration, the fire of fellowship, and the fire of sacrifice/blessing. Please note that MJD says “the juju works anywhere within the circle.” What he meant was, you don’t need to stand super close to the fires and possibly get burned.  I led the toning while we each took a moment within, stating our needs, and standing there. MJD warned that some people might be trancey, what with the fire and the toning and all. I wasn’t sure that I would be, but once I stepped within the ring of stones, it hit me. I slitted my eyes partially because it felt right, and partially to help with the smoke. With the sounds buffeting against me, I got that slightly woozy feeling that trance brings on. The fires around me seemed to take up my whole vision, and began sparking and flashing. I drew my hands up, pulling the fires warmth and energy, and pressed it into myself.  I had asked for focus and perseverance.  Another note regarding this trance experience was that I don’t remember the fires feeling warm once I stepped within the ring of stones.

One of the things I’ve noticed has improved significantly since my work in Trance 1, is that I’ve begun to really learn and catalog what my “tells” for me to be able to tell that I’ve entered trance. I know that my breathing steadies, and my center of balance seems to shift. Most often I feel like gravity has moved and I’m leaning heavily to the left or right. If I am doing trance work accompanied by sound of some sort, when I’ve entered trance the sounds seem to circle around me, meaning that the location of the noise seems to be moving around me. Sometimes there will also be other layers of sounds that get added in, whether overtones, or drumbeats, or harmonies, that flesh out whatever it is that I’m listening to. Oftentimes I will get a tingly feeling that runs from the base of my neck down my spine and arms. Less often, I will get a feeling similar to the beginnings of an asthma attack, where my chest seems to be constricting and the air seems thicker.   Visually, the world will first go black and then colors will shift and sway across my vision until they clarify into an image or series of images.

I have also grown better at drawing my line in order to have more controlled trances rather than often having the experience of being horsed. Part of this I think has come with the magical work I’ve done, and learning to use my Big Voice, and part of it I think has come because now that I have a dependent, I have more reason to have that line drawn, and more conviction when I say “not right now.” One of the things I’ve done to encourage this progression fit right in line with the Trance 2 work. I set aside time, at least weekly, to open myself to the spirits and engage in trance. I found that by practicing more on my schedule allowed me to feel more confident and get more out of the trance work. Not only do I have a better memory for the trance work now, but I’m also getting better at making interpretations of what I see.

The final thing that I feel is significant from this period of time is that I’ve experimented with different methods of entering trance, and have found that certain ways of getting there are more beneficial than others depending on the circumstances and reason for going into trance. After Trance 1, there were some methods that I wanted to experiment more with once I wasn’t pregnant. I did some more work with Body Postures and found them to be extremely useful with internal work where the intention was to give me insight about myself and the way my brain operates. I especially enjoyed how using Body Postures in trance could help me to regain my center and allow me to approach things with a fresh perspective. I experimented with auditory confusion, and was surprised to find that I enjoyed it, where others I’d spoken to about it absolutely hated it. I found it soothing and mid numbing. I experienced some of the physiological effects of trance. Most notably a dizziness and a strong tingling in my spine. Like when someone just barely brushes the hairs on the back of your neck. Other than that I’m slightly sleepy. I used Sigor Ros and Fierce Tibetan Gods as my music for the auditory confusion that was most successful.

All in all, trance work has definitely enriched my practice from many different angles. I have grown more adept at everything from magical workings, to divination, to liturgical work and leading or participating in rituals.

 

  1. Describe an experience of leading a trance induction in group ritual. (min. 300 words)

 At Wellspring, the advanced study students wanted to do trance together.  We had initially hoped that we’d all be able to do this together, however, the Norse-kin broke off and decided to do their own thing with the World Tree, so I then volunteered to lead a trance for the Hellenes who wanted it.  We got the kin flame, and calling Hestia, we lit it.  We were on the stage at the main pavilion, in the darkness except for the flickering candle light.  I had some extra candles, and so lit one for each person, and gave each person a bay leaf.  I instructed them to hold on the bay until the point in the spoken guidance where they would crush it, and to focus on the flame.  We would be ascending the mountain of Delphi in order to commune with the Pythia. I also set aside a flame and leaf for myself.  Once everyone was ready, I instructed them to get comfortable, listen, and focus on their flame, saying:

“Begin by finding a comfortable place, either sitting or standing.  Take a deep breath, and let the cares of your day to day life fade.  Take a deep breath, and let the worries of the world fade.  Take a deep breath, and feel the connection to the earth around you.  Take a deep breath, and feel the connection to the spirits around you.

See in your mind’s eye a mountain rising up beside you.  The red-gold dirt dry and powdery at your feet.  You footsteps lead you up the mountain, and as you climb the dust swirls around your feet.  The red-gold dust rises with you, and the sunlight catches it, forming shining motes in the air.

As you climb higher, you pass marble pillars.  Now there are small plants growing along the mountainside.  Laurel trees begin to take shape around you as you reach the pinnacle.  You see there is the entrance to a cave, and leading away from it, a narrow path that goes further up.

You step onto the path leading further up, and all at once you are surrounded by lush, green, growing things.  Soft grasses caress your feet, and the laurel trees shade your every step, taking in the heat of the day.  You crest the top of a hip, and find that you have come to a T-junction.  The path to you right leads down into a small valley with a pond at the center, and the path to your right leads up into a crevice in the rock face.  You head right, and make your way down in to the valley.

When you reach the pond you splash water on your face and take a few deep breathes, preparing for your work with the Pythia.  From the base of the laurel tree you take a dried leaf.  You crush the leaf, letting the scent of bay waft by you, and drop the leaf pieces into the pond.

*at this point, each person crushes a bay leaf*

You stand, and with the scent of bay growing ever heavier around you, filling you, you walk up the path again, this time heading for the crevice in the rock face.

You step up to the dark, taking a deep breath.  The Pythia awaits you, you need but enter.”

At this point I said no more, and allowed myself to also enter trance.  I had had to hold myself a bit apart during the spoken guidance, and especially during the crushing of the leaves, particularly since that is one of my own NLP triggers for trance.  I’ve found that the hardest part of leading trance is holding yourself apart from the triggers and the trance work so that you can do your best to make sure that others are safely entering and exiting trance.  It’s also important I think to be able to stay conscious of the time that you’re letting people journey.

With this trance, I was fairly confident that I could allow more time for folks to journey, since they were all practiced to some degree or another at trance work.  That is also why I allowed myself to enter trance, since normally I don’t if I’m leading because I don’t know how the folks will react.

During the silent portion, there were a  decent number of distractions, including the sound of people walking across the gravel, talking from folks socializing at different fires, the cold, and the bugs.  If there had been a drum available, I probably would have been drumming, since that works nicely to cover those distracting noises and gives the brain something to dismiss all noises as.

But as things stood, each person worked using the visual concentration of the flame to guide them.  I had success personally as the flame divided out and merged again, shifting and turning into shapes made of flame and shadow.  It was like watching a play staged in a shadowbox theater.

 

Work’s Cited

Ellerton, Roger. “Basic NLP Anchoring Concepts.” Basic NLP Anchoring Concepts. Renewal Technologies Inc, 1 Jan. 2005. Web. 2 June 2014. <http://www.renewal.ca/nlp31.htm>.

Goodman, Felicitas D., and Nana Nauwald. Ecstatic Trance: A Workbook : New Ritual Body Postures. Havelte, Holland: Binkey Kok Publications, 2003. Print.

Harner, Michael J. The Way of the Shaman. San Francisco: Harper & Row, 1990. Print.

Johnston, Sarah Iles. Ancient Greek Divination. Malden, MA: Wiley-Blackwell Pub., 2008. Print.

Knight, Lee. “Establishing Rapport: Pacing and Leading (NLP 3/5).” : Establishing Rapport: Pacing and Leading (NLP 3/5). Overachievers, 28 Feb. 2008. Web. 2 June 2014. <http://overachievercoach.blogspot.com/2008/02/establishing-rapport-pacing-and-leading.html>.

 

Divination 2

  1. Describe the geographical and temporal distribution of your chosen symbol set. If the symbol set was used cross-culturally, describe how each culture used your chosen symbol set. (min. 300 words)

The primary source for the Greek Alphabet Oracle comes from an inscription found in Olympos (an ancient city in Lycia), which is in the geopolitical region of Anatolia.  This Olympos was named for the mountain peak Tahtali Dağ, which the Greeks who moved into the region called Mount Olympus after their own Mount Olympus in Greece.  This was part of the Hittite Empire in the Late Bronze Age, and was completely Hellenized by the influx of Greeks following the Persian Wars when it fell under the Macedonian Empire. The people in the region initially spoke languages in the Luwian family, before the amount of Greek speakers effectively converted the linguistic makeup of the region (“Lycia”).

While there is little evidence to suggest that this specific Greek Alphabet Oracle was used cross-culturally, there is evidence that shows a variety of alphabet and dice oracles in general were used across Greece and Asia Minor, though there is not nearly as much evidence to see how the alphabet oracles worked.

In Bura, there was evidence of a dice oracle where the Seer would cast the dice onto a table, or perhaps into a dish of holy water, and from that numbers shown on the dice, find a corresponding letter.  It seems as though this particular version of the oracle was used before taking part in other ceremonies, religious or otherwise (Heinevetter 33).

In the ancient Pisidian city of Adada was a similar inscription to the one found at Olympos.  This one was also found on a mountaintop, and in addition to the collection of letters and phrases, contained an invocation to Apollo and Hermes.  It is likely that the Seer would call on Apollo to guide his divination and on Hermes as the messenger of Zeus. It interesting to note from the German translation that the Oracle, that is the person through whom the gods speak, is called literally the “Orakelsprüche” – the speaker of oracles.  I find this to be particularly interesting when you combine it with the belief that at the time, all magical acts were spoken (Heinevetter 33-35).

Heinevetter also references the work of Kaibel, who theorized that when the letters were inscribed on stones and placed in a temple, the priest at that temple would put these stones into an urn, and “his hand would be guided by the deity” and upon drawing out a specific letter, he would immediately know what it meant (Heinevetter 35).  

 

  1. Describe the division of sacred and profane use for this symbol set in cultural context (i.e. how was the symbol set used in every day life, and how was it used in religious contexts?). If you find no such division, explain why you think that the set was either entirely sacred or entirely profane in the culture. (min. 300 words)

Ancient Greek was used from about the 9th century to the 6th century BCE, and is the language used by the classical poets, playwrights, historians, and philosophers.  The Greek alphabet, specifically the Ionian Greek alphabet and its dialect, has uses both in the sacred and the profane, though most writing appears to be for profane purposes.  For example, the literature of the ancients Greeks was written mainly in Old Ionic Greek.  This includes the works of Homer and Hesiod, from whom we get a large portion of our knowledge about the deities today (“Ionic Greek”).  While some of these texts, such as the “Homeric Hymns,” were arguably used for sacred purposes, such as invoking deities within a ritual context, I think it’s important to remember that many of the texts were written with the purpose to entertain and perhaps teach ethical and moral lessons.  This can be seen in The Odyssey, where the trials and tribulations of Odysseus are related.  It is, on its most basic level, an adventure story.  It also teaches the lesson that one should be careful which gods one offends.

Hesiod’s works, particularly Works & Days, fall fairly solidly into the category of profane uses of the language.  The vast majority of Works & Days contains information on the proper way to behave and complete certain mundane tasks.  For example, he instructs on how to determiner he proper time for plowing your field and planting your crops: “Mark, when you hear the voice of the crane who cries year by year from the clouds above, for she give the signal for ploughing and shows the season of rainy winter” (Hesiod ll. 448-457). He also includes a variety of moral lessons that the narrator tells to Perses.

It is interesting to note that the Greek Alphabet Oracle has an overwhelming number of symbols that relate to having to work hard for any successes you might have, and that this is the general feel of Works & Days, wherein Hesiod tells the reader and Perses, in great detail, the jobs that must be done to be successful in life, and the morals issues one must tackle to be judged properly.  I would postulate that this particular work either draws from the alphabet oracle, or informed the alphabet oracle, because the resonance is between the two is very strong.

 

  1. Describe the life of a seer in an Indo-European hearth culture, their techniques of divination, and the respect they received. (min. 600 words)

I think that in the past, just as it is in modern times, the Seer acts as an intermediary between the Folk and the Gods.  Also important to note is that the seers of ancient Greece were written about by people who had real life seers before them.  And those ancient seers then tried to behave as the seers in myth were portrayed to them.  “So art imitated life, and life art,” so it isn’t easy to pick out a cut and dry source for how the Seers in ancient times actually worked and behaved (Flower 21).

The role of the Seer in Ancient Greece took multiple forms.  They can be basically divided into the Institutional Oracles.  These are the ones that most people have heard of and know about, and they are the ones who commanded the most respect in their time.  The other type of Seer in Ancient Greece was the mantis.  They are the independent diviners, and were paid through their services.

The Institutional Oracles were an important part of the economic ecosystem of the cities they existed around.  Generally speaking, they did not provide for themselves in the way of sustenance, but rather relied on the folk they served to bring that to them.  In the Homeric Hymn to the Pythian Apollo there is story asking how the people chosen by Apollo to care for his temple shall be provided for.  They were reminded that “the glorious tribes of men will bring gifts to you as Iepaeon (`Hail-Healer’), and you will receive with delight rich sacrifices from the people dwelling round about” (Evelyn-White).  This meant that when the people brought forth sacrifices to the altar of Apollo at his temple, the priests there would be well fed as long as the fame of the oracle lasted. In this same sense, it was also beneficial for the surrounding towns to enhance their Oracle’s reputation.  The more people traveled through, and stayed for extended period of time, the better business was for that town.  This was especially true of the Oracle of Delphi, which later became the site for the Pythian Games (Johnston 34-46). This being said, the Institutional Oracles, while perhaps the most famous, were certainly not the most widely used method for gaining knowledge.  The oracles would only take questions once a month, and the right to ask a question was very expensive (Flower 2).

The Institutional Oracles were often described as receiving their omens through ecstatic trance.  The Oracles would enter trance and as the questions were asked, they would posit answers to these questions, most of which were then translated into verse by the priests and priestesses who tended the Oracle and the temple of the god the Oracle spoke for (Flower 6-7).

For the independent diviners (manteis), they made their living much the same way other merchants did: by selling their wares and services to the public.  They were well-respected as part of the aristocratic class of men (and sometimes women) who would seek to further themselves and their reputation not only through their divination, but also through feats of strength and courage (Johnston 116).  The mantis is “one who speaks from an altered state” or “one who is in a special state of inspiration.”  They are literally “workers for the community” and they have a special gift and skill that cannot just be learned, but rather has to be granted by the divine (Flower 23).

The manteis had a very important role in the military history of Greece.  In myth, every army had its own mantis, because of how important it was to consult the will of the gods when approaching something that their good or ill will may determine the outcome of the battle.  The mantis would bring out sacrificial animals before a battle.  He would kill these animals and read their entrails, determining how the battle would go and what would need to be done in order to win the battle.  Generals were known to put great weight in these divinations, and would even delay battle until the omens were fortuitous.  The independent diviner had more freedom than the institutional oracles to peruse the life they wanted.  They were less tied to the people in the sense of dependency, but also had to prove themselves much more than the institutional oracles to maintain their reputation and thus be able to sell their services (Johnston 116-118).

The mantis was also a crisis manager; he was an integral part of the Hellenic society.  When something went wrong, the mantis would not only look to the future, but would also look to the past.  It was his job to determine how the folk might have offended the gods at some point in the past so that the correct amends could be made to set the course of history back on a good path.  He coasted the line between priest and diviner, and existed in that liminal place where he was able to travel and be available for those that needed him for a variety of services (Johnston 116-118).

The manteis commanded a certain type of respect, as they straddled the line between priest and magician.  The term mantis carried far more respect than the term magos.  “Anyone could insult a mantis by calling him a magos, and any magos could lay claim to higher status by calling himself mantis.”  And just as the authority and reliability of the seer lays outside of the self now, so it was then: “You could call yourself whatever you wanted; the proof of expertise lay in what other people were willing to call you” (Flower 66).

As mentioned above, the manteis used a variety of methods for divination, one of which was the reading of entrails (both extispicy and empyromancy).  Other methods included augury (the behavior, movement, and calls of birds), the interpretation of dreams and portents (like storms, earthquakes, and eclipses).  They also occasionally, though not often compared to the institutional oracles, engaged in spirit possession (Flower 24).

It is interesting to note that the role of the mantis extended beyond only divination and was also said to include healing and purification (Flower 27).  This meshes well with what I’ve experienced as a seer, because after a reading has been given to someone, they often have a lot to think about, and sometimes a lot to deal with.  I have had many readings that end with the querent in tears, and me left in the position where my best course of action is to offer some form of comfort and healing.

 

  1. Describe what you have done to connect with this symbol set on a spiritual level, where your ideas came from, and how it has affected your method of learning this set. Some examples might include (but are not limited to) carving or sacrificing for your runes, gathering each kind of tree for a set of ogham, or doing volunteer service at your local zoo to get more closely acquainted with the behaviors of animals. (min. 600 words)

Connecting with the Greek Alphabet Oracle on a spiritual level has proven easier than my attempts at connecting to either the runes or the ogham.  I suspect this is partly because I resonate better with a divination system that matches my hearth culture.  One of the first things I did that has helped me connect to my oracle is make one to use.  Part of this was necessity.  There was nowhere to purchase one, and so my options were if I wanted to use this system, then I would have to make my own.  So I did.  I researched the way that the ancients made their version of the oracles, and finding that I had a hard time with the dice due to the math, decided I would prefer the traditional sortilege.  The ancient system had its symbols painted or inscribed on pottery fragments, so that was my first step.  It didn’t go well…

I started out by making a terra cotta dish of my own, and let it dry-fire in the sun.  So it hardened nicely, and, while not particularly pretty and not particularly water tight, it was a bowl.  Then I smashed it, and picked up the fragments, using those as my first set of pieces to carve symbols into.  Well, as I’m sure you can imagine, this did not go as well as I’d hoped.  First of all, it’s hard to carve into hardened clay without breaking pieces.  The second obstacle came from when I began doing divinations with this set, the pieces were all different sizes and some were sharp on the edges.  Not conducive to good, active seership, and I’m really not into bleeding for a reading.  The third and final obstacle, and the one that led me to make a new set, was that, wonder of wonders, pottery is fragile, and some of the pieces broke into dust after too much carrying them around.

This incident, while regrettable in its unfortunate outcome involving cuts on my hands and the symbols wearing away to dust, did at least help me to get my magical juju flowing into connecting with and understanding this symbol set.  I successfully learned what each symbol looked like, and put a bit of my own energy into the creation of the set.  Then, when I did make my new set (this time out of wooden disks, paints, and gold leaf paint) I was better equipped to charge and put my new found knowledge and understand into each symbol.  On this new set I put the symbol and its name on the front of each disk, and then on the back put the phrase that corresponds with it.  This proved extremely beneficial to me in the beginning as I learned to match the symbols to their names and to their phrases.  It has still been useful even now, because while I no longer need the crutch of the names and phrases, it’s been beneficial for those people that I have done readings for to be able to see that corresponding phrase.

While the above text describes how I connected with the set on a magico-religious level, and while that certainly helped with learning the technical symbols themselves, I definitely resorted to more esoteric methods to actually learn the set, its symbols, and meanings.  To memorize them I started by pulling a single symbol each day and making sure I knew the word, key word, and phrase that went with it, as well as the meaning I’d begun to tease out of it from my work connecting with the set.  However, I found that I was missing some of the symbols this way, because I don’t often pull some of them, which mean they weren’t coming up in my daily drawing of them.  So I turned to the tried and true method of flashcards, and was able to fairly quickly memorize the symbol set this way.

 

  1. Describe the overall symbology of a chosen divination method as well as each individual symbol in that set. Review and compare to your answers to this question from Divination 1, explaining how and why those views have changed over time. If you have changed your primary symbol set, why did you change? (min. 600 words for the descriptive essay, and 100 words per symbol)

When I began working with the Greek Alphabet Oracle in Divination 1, I was working on learning the symbols and their meanings.  Each letter in the alphabet oracle correlates to a phrase containing a key word that starts with that letter (Sophistes).  In the initial learning phase I examined the letter itself (I use the Ionian Greek alphabet for the purposes of divinatory work), the key word, the phrase that goes with it, as well as the phrases that I wrote to correspond to the letter’s sound in English (since the key word for each phrase is in Greek, and thus the first letter does not match to the Latin alphabet that we use when it is translated to English).

Some key points that I’ve analyzed since beginning the work with this symbol set are my choice of which alphabet to use, and a deepening of my understanding on each symbol.  I chose to use the Ionian Greek alphabet for a few reasons.  In part, it was simply because to my eye, it looked cooler, and once I started learning the symbols, it would have been difficult to switch.  Another reason I chose this particular alphabet was because I didn’t want to run into preconceptions regarding the letters based on their modern usage.  The biggest culprits for me here are the Greek letters that are used in mathematical equations, such as Delta, Sigma, Lambda, Gamma, and Rho.  I still have trouble separating out Delta from its meaning within the oracle (strength is weak) and its mathematical meaning (change).  The final reason I chose this particular alphabet is because it is likely a closer approximation to the alphabet that would have been used at the time the oracle was used than the modern Greek is.  The Ionian alphabet was the alphabet that was used in the writing of the Illiad and the Odyssey.  And as far as why I didn’t use a different ancient alphabet, most of that relates to not all of the oracle’s letters being found in other incarnations of the ancient Greek alphabet, as can be seen when you compare the various scripts side by side (“Ancient Scripts: Greek.”)

One of the things I have done as my understanding of these symbols deepens is develop a narrative to accompany each symbol.  This has helped immensely in my personal understanding of the symbols, as well as made it easier for me to explain that meaning to others, but in individual explanations and in combined meanings of multiple symbols.  By developing these narratives, it has allowed for facets of each symbol to come out and become more apparent.  These facets allow the symbols to have a different emphasis depending on the situation and its proximity to other symbols, or placement within a divinatory spread.  Many of the narratives come from accepted myths within the hearth culture, some come from accepted cultural norms at the time in history, and some come from trance work I’ve done as I’ve worked to deepen my understanding of the symbols.

The symbols themselves seem to fall into three generalized categories: how the gods influence the lives of men, how men influence the lives of men, and how nature influences the lives of men.  This appeals to my English major self in that it encompasses the types of conflicts that can are experienced in a narrative: Man vs. Man, Man vs. Self, and Man vs. Nature (or Divine, as the case may be).  That is to say that some struggles are between mortals.  For example, Pi advises perseverance through adversity.  Tau advises that there will be a separation from the people around you.  Some struggles are internal. For example, Delta advises that outright strength and full on assault is not always the best options.  Rho advises waiting, despite a possible desire to blunder forward.  Iota reminds that work is the way to succeed.  And some struggles are with forces that cannot be controlled. For example, Kappa advises endure the waves.  Zeta advises fleeing the storm.  Theta reminds that the Gods are helping.

Alpha: “The God [Apollo] says you will do everything {Hapanta} successfully.” 

Alpha reminds us that we have the support of our gods, and to trust in the reading that we have been given.  It is a note that we will be successful at any goals we have set for ourselves.  This can also mean that the querent needs to stop second-guessing themselves when they are considering their actions and to just go with it. In some cases this symbol can also signify that the problem needs to be looked at from all sides in order to have the most favorable outcome.

Beta: “With the help of Tychê [Fortune], you will have an assistant {Boêthos}, the Pythian [Apollo].” 

I have always taken a large part of Beta to mean that in order to receive the help you desire and need, you will need to ask for that help.  It is good fortune that will aid you, but you can’t have that good fortune unless you’ve sought it out.  It is important to ask for the help, because otherwise the being you are seeking help from either won’t know that you need it, or will place such a high value on the act of asking that unless that happens, they will refuse to give it.

Gamma: “Gaia [the Earth] {Gê} will give you the ripe fruit of your labors.” 

Gamma is the symbol of the Earth Mother.  It represents the culmination of our work and our projects, as well as the new life that can begin thanks to her bounty.  In a reading that involves actions, this symbol indicates that a successful outcome is at hand due to the work that has been put in, and the seeds that have been carefully tended.  It can also represent the cycle of life, from nothingness, to seed, to something to be tended, to the culmination of that project, which then cycles back around and allows us to begin planting seeds anew.

Delta: “In customs inopportune strength {Dunamis} is weak.” 

Delta is the symbol that reminds us that whatever methods we normally use to approach a situation will not work in this case.  The analogy that use to explain this symbol most often is that for many people, it is it takes a certain amount of strength to confront those who are at odds with us or our ideas, however, it often takes even more strength to sit back an listen to those conflicting views and either choose to accept them, or choose to disagree.  In either case, the approach that you initially want to try, or normally would try, is not the course of action that should be taken here.

Epsilon: “You desire {Eraô} to see the offspring of righteous marriages.” 

Epsilon is the symbol of fertility.  It represents the creative magic that comes from working towards a goal.  It is the imbas and the inspiration that gets a project off the ground and moving along.  It is also the culmination of work that has been welcomed and approved by the Gods and/or community.  It is also literal fertility, as has been demonstrated by multiply instances of magical work done where this symbol was pulled, and babies happened soon after.  It is a symbol of support that the culmination of your desires and projects is strong, and depending on what symbols are pulled along side it can advise how the desire will (or will not) come to fruition.

Zeta: “Flee the very great storm {Zalê}, lest you be disabled in some way.” 

Zeta is the symbol that represents Zeus, the storm god.  At first interpretation, this symbol can mean that there is a situation that has occurred that the querent must remove themself from.  It can also mean that the querent must set aside those things which are no longer serving their goals, or which are acting as obstacles to their goals.  This setting aside mainly relates to things and situations, differing from Tau, which deals more with a separation from people.  A deeper look into this symbol carries an additional meaning that this ‘fleeing’ is okay, and advises the querent to accept that sometimes it is necessary and in their best interest to remove themselves from something, and that that is okay.

Eta: “Bright Helios [Sun] {Hêlios}, who watches everything, watches you.” 

Eta is the symbol that represents Helios, the sun.  This is the oath symbol, and can serve as a reminder for the querent to keep any oaths or promises that they may have made.  It can also be an indicator that one must consider their oaths when they are decided what actions to take.  Depending on the surrounding symbols, it can represent that an oath needs to be taken, or that the consequences of breaking an oath must be considered.  This symbol, unlike the sun symbols from other systems, does not represent victory.

Theta: “You have the helping Gods {Theoi} of this path.” 

Theta is the symbol that represents the Theoi, the Olympians, the Shining Gods.  This is a very good symbol to get when the querent is considering actions because it means that Gods are in agreement with their actions and will help bring those actions to fruition.  There is a similarity to Beta, in that both symbols signify that help can occur, however the different here is that the help that is being received does not necessarily have to be asked for, and the help that is being received is coming from the Gods, not from other mortal sources.

Iota: “There is sweat {Hidrôs}; it excels more than everything.” 

Iota is one of the many symbols that indicates a need for work.  The Olympian Oracle, and the Greek mythos in general, is very clear in maintaing the fact that mortals are responsible for their own actions and are responsible for making their own fortunes in the world.  Iota is the epitome of that worldview, reminding the querent that in order to achieve their goals, they will need to work at it.  Additionally, the work referenced in this symbol is most often external work.  It also indicates that the work will be hard, and that the best way to achieve the optimum result is by doing that work.

Kappa: “To fight with the waves {Kuma} is difficult; endure, friend.”

Kappa is the symbol that represents the ocean.  It is both a warning and an encouragement.  It is a warning because it can signify that a situation is about to arise that will require the querent to keep a level head, and endure the turmoil that will try to throw them off course.  It is also an encouragement because if there is already a situation that the querent is working through that contains a lot of turmoil, it helps remind them and sympathizes that “yes, we know that it’s hard, but we need you to keep plugging away at it.  We still care for you and are not turning our back on you.”  It is a reminder that the going is tough right now, and it will take strength to endure, but you’ve got to try.

Lambda: “The one passing on the left {Laios} bodes well for everything.” 

Lambda is a signifying symbol.  It acts as a notice that there is going to be a sign or a portent from somewhere that will act as the turning point for a situation.  It relates to the querent that this sign will come from somewhere that is either very unusual for them, or from an unexpected place.  The turning point also indicates that things are about to turn around, and the world can expect to look up again.  Or, if things were already going good, there may be a bump in the road which, when paired with Lambda, will indicate to not read too much into that because things will still turn out okay.

Mu: “It is necessary to labor {Mokhtheô}, but the change will be admirable.” 

Mu is another one of the many symbols that indicate work.  While Iota reminds the querent that only by working hard can they excel at their goals, Mu helps to give the querent faith.  While the work may be arduous, and you may want to stop doing it, it will be worth it in the end.  Mu is also an indicator of work that will happen internally, while Iota often signifies external work.  Mu is an especially apt symbol to pull when the querent is facing a choice to do something they may not want to do.  It reminds them that the easy path is not always the right one.

Nu: “The strife-bearing {Neikêphoros} gift fulfills the oracle.” 

Nu is the strife-bearing gift, and is the hard-won lesson or hard-won strength that you receive following a series of trials. Nu is the silver lining of a bad situation.  The myth that explains this symbol perfectly is the story of Heracles.  Heracles was a mortal, who was cursed by Hera.  This curse meant that he had an extremely rough time of it, and was forced to atone for actions that never would have happened had it not been for Hera.  However, it is also because of those actions, those labors he had to do, that made him worthy of being called a hero, and later a god.  And so, it is the strife-bearing gift that came out of it.  He had to deal with the curse and the labors following it, and that was no fun, but out of all that hardship, pain, and hard work came the gift of godhood.

Xi: “There is no fruit to take from a withered {Xêros} shoot.” 

Xi is one of the agricultural symbols within this set.  Agricultural was very important in the ancient times, and so it made for a good analogy to help people understand the deeper meanings behind the phrases.  Xi is the reminder to the querent that they need to tend the seeds they have planted if they expect to have any sort of good result from it.  It is dangerous to begin many, many projects but to not follow through on any of them to the point of completion.  This symbol warns against just setting up your master plan, but then not caring for it, nurturing it, and tending it to ensure that all the pieces fall into place and everything works out in the end.

Omicron: “There are no {Ou} crops to be reaped that were not sown.” 

While Xi talks about tending the seed one has planted in order to achieve the ends you want, Omicron takes that back one more step.  The warning inherent in Omicron is that if you didn’t lay the groundwork for your project to succeed, if you didn’t plant the initial seeds in the first place, then you will not see the culmination of any projects.  Omicron encourages forethought and foresight when approaching a goal or an outcome.  Omicron, Xi, and Gamma are the three symbols that follow the agricultural progression: from seed to plant, and from plant to fruit.

Pi: “Completing many {Polus} contests, you will seize the crown.” 

Pi is the symbol of perseverance.  This symbol indicates that there are trials in your future.  There are obstacles that you will need to overcome in order to reach your desired outcome.  This is both a symbol of hope, because it explains that if you are persistent, and keep plugging away and doing things the way you have been, that you will eventually gain whatever it is that you have placed value on.  It can also carry a note of caution, reminding the querent that there are going to be a lot of steps on their path, and that there are going to be a lot of obstacles that must be tackled to achieve their goals.

Rho: “You will go on more easily {Rhaion} if you wait a short time.” 

Rho symbolizes patience.  This is the magic 8-ball answer of “try again later.”  Everything is so much in flux right now, and because of that there is no clear answer or clear direction indicating a course of action.  It will work out better if you wait for all the pieces to fall and let everything settle, and then reevaluate.  This can also mean reevaluate your work and your assumptions to make sure they are accurate, and that you’re not giving in to your biases.  In most cases this applies toward the querent assessing their biases, but I’ve also found that if a reading is being done for someone the seer knows well, this can also be a caution to the seer to not assume too much about the reading, and instead focus more on what the symbols are saying and less on what they know about the querent personally.

Sigma: “Phoibos [Apollo] speaks plainly {Saphôs}, ‘Stay, friend.’” 

Sigma is the trust symbol.  It means you need to trust your instincts, and trust your gut.  You need to trust that the gods have a plan going on, and you’re part of it.  It also means you need to stay the course and keep doing what you’re doing.  Hold your ground.  Sigma stands opposite Tau.  Where Tau represents a separation, or a cutting away, Sigma represents a holding together and staying strong.  It can also hold a connotation of together we are stronger than we are apart.  This can also caution the querent to stop second guessing themselves, and that this is as plain as the gods can make the message right now.

Tau: “You will have a parting from the {Tôn} companions now around you.” 

Tau signifies a separation that will occur. It can mean that the querent must distance things which are no longer serving their goals, or which are acting as obstacles to their goals.  This setting aside mainly relates to people and situations, differing from Zeta, which deals more with a separation from things. This symbol also carries less in the way of an acceptance that a separation will occur, and is more of a warning that this separation will occur and has the intent to allow the querent to prepare for the aftereffects of that separation.

Upsilon: “The affair holds a noble undertaking {Huposkhesis}.” 

Upsilon pairs nicely with both Pi and Mu.  It informs the querent that the task at hand is a worthwhile thing to be doing.  The keyword in this symbol is Undertaking.  This can be both a noble quest, or it can be an ordeal.  It can also be both something that needs to be done as well as something that is going to be a lot of work and hard to complete.  There is also an undertone that the querent needs to seek understanding to determine whether they are supposed to seek out something noble to do, or whether they are already doing something worthwhile and are going to face obstacles on the path.

Phi: “Having done something carelessly {Phaulos}, you will thereafter blame the Gods.”

Phi indicates that the querent needs to take responsibility for their own actions.  If you have made a mistake, then you need to own up to it and accept the consequences.  Do not try to foist the blame off on someone else for what you have done.  Do not try to lay blame at the feet of the Gods when only you can determine your own actions.  On the slip side of this, you must also refrain from taking credit for work that is not yours.  This essentially boils down to honestly and examining yourself and your ethics.

Khi: “Succeeding, friend, you will fulfill a golden {Khruseos} oracle.” 

Khi represents wealth, worth, and value.  This can be physical value, or it can be something that you have placed value on that is an intangible thing.  This symbol can be an indicator that if you have placed value on something then you are more likely to put the time into it and put the work into it, and thus succeed at any oaks you have set for yourself.  Khi is strong indicator that you will be successful at whoever it is that you put your mind to.  On the other hand, depending on where it falls in a reading, it can also be an indictor to reexamine your values, and reexamine where you’re spending your time and what you’re putting work into.

Psi: “You have this righteous judgment {Psêphos} from the Gods.” 

Psi is the symbols that indicates you have a directive from the Gods.  They have given you a task, and given you a set of actions to take and goals to have.  You are expected to follow through on them.  This can also mean that you have been given what ever it is your deserve.  This could be a good or a bad thing depending on the querent’s situation and/or the symbols that are pulled along side it.  This symbols comes up fairly often for those people who have either asked a specific question regarding their spiritual work, or for those who have a call to serve the gods, folk, and land.

Omega: “You will have a difficult {Ômos} harvest season, not a useful one.” 

Omega is another one of the symbols that deals with work.  However, where as many of the others symbols discuss the work that needs to be done, and how it will benefit either the self or the situation, Omega indicates that there will just be a lot of work to put in, and you won’t feel as though it’s worthwhile.  This can be a warning that you’re pouring all your energy into something that is not something you should be doing.  Additionally, depending on where it falls in a reading, it can also indicate that even though the work sucks, and you don’t feel like anything is coming from it, you’re not getting anything out of it, it is still work that you have to do.  You still have to clear the field to plant new seed, even if your harvest has been completely decimated.

 

  1. Describe the primary sources available regarding your chosen symbol set, explain the place of inspiration in your interpretations, and describe how the synthesis between historical source work and inspiration plays in your personal practice. (min. 1000 words)

The primary source for the Greek Alphabet Oracle comes from an inscription found in Olympos, which is an ancient city in Lycia.  There are actually a couple of different inscriptions, though this one appears to be the one that most sources for the Greek Alphabet Oracle pull from.  The inscription begins with an invocation to both Apollo and Hermes (Apollo being the prophet, and Hermes being the messenger of the gods, specifically Zeus), and is then followed by the 24 phrases, one for each letter.  In Ancient Greek the phrase would begin with a word that started with that letter.  This made the key word for each phrase the one that started with the letter, and the remainder of the phrase helped for further clarification.  The inscription was divided up into 5 verses, the first being the invocation, and the 24 phrases making up the remaining 4 verses (Heinevetter).

These 4 verses divide up the symbols as follows.  The first verse contains Alpha, Beta, Gamma, Delta, Epsilon, and Zeta.  The second verse contains Eta, Theta, Iota, and Kappa, Lambda, and Mu.  The third verse contains Nu, Xi, Omicron, Pi, Rho, and Sigma.  And the fourth verse contains Tau, Upsilon, Phi, Khi, Psi, and Omega (Heinevetter).  I’m not sure that these divisions contribute at all to the meaning, though my sense is that they most certainly could.  However, there are no sources that have broached this subject, and the division of verses is only mentioned in the German source books.  I haven’t explored the possibility of adding subtle nuances to the meanings of the symbols by including which verse they belong in.

As the only primary source that exists for this symbol set contains simply the phrase, which begins with the word that starts with the indicated letter (Sophistes), I have made use of inspiration and myth to begin expanding on my knowledge of the symbol set and it’s subtler meanings.  The first thing I did, in part to help my remember which phrase and meanings was associated with each letter, was write a poem of my own, which allowed me to add some of my own insight while maintaining the structure of the initial inscription. I had the phrases that I wrote begin with the same letter, or at least sound, so that as I was learning them it would be easier for me to remember.

Alpha: “The God [Apollo] says you will do everything {Hapanta} successfully.” 

All you do is successful.

Beta: “With the help of Tychê [Fortune], you will have an assistant {Boêthos}, the Pythian [Apollo].” 

Because you asked for help

Gamma: “Gaia [the Earth] {Gê} will give you the ripe fruit of your labors.” 

Gaia gave what you need.  Harvest it.

Delta: “In customs inopportune strength {Dunamis} is weak.” 

Deciding how to act and when strength is necessary

Epsilon: “You desire {Eraô} to see the offspring of righteous marriages.” 

Eager to see the results of union

Zeta: “Flee the very great storm {Zalê}, lest you be disabled in some way.” 

Zeus causes the storm: flee before his anger

Eta: “Bright Helios [Sun] {Hêlios}, who watches everything, watches you.” 

Every word you speak, Helios knows the truth

Theta: “You have the helping Gods {Theoi} of this path.” 

Throughout your journey, you will have the gods help.

Iota: “There is sweat {Hidrôs}; it excels more than everything.” 

If you lose all else, your hard work remains

Kappa: “To fight with the waves {Kuma} is difficult; endure, friend.”

Keep on enduring the inevitable with courage.

Lambda: “The one passing on the left {Laios} bodes well for everything.” 

Learn that blessings come from the most unsuspecting places

Mu: “It is necessary to labor {Mokhtheô}, but the change will be admirable.” 

Much good will come through labor and toil.

Nu: “The strife-bearing {Neikêphoros} gift fulfills the oracle.” 

Notice when strife has come, for it is a sign.

Xi: “There is no fruit to take from a withered {Xêros} shoot.” 

Expectations should be rational

Omicron: “There are no {Ou} crops to be reaped that were not sown.” 

Only what you plant will yield a harvest

Pi: “Completing many {Polus} contests, you will seize the crown.” 

Perseverance through adversity will win many battles.

Rho: “You will go on more easily {Rhaion} if you wait a short time.” 

Remain a short while and you will proceed more easily.

Sigma: “Phoibos [Apollo] speaks plainly {Saphôs}, ‘Stay, friend.’” 

Stay and hold your ground

Tau: “You will have a parting from the {Tôn} companions now around you.” 

Travelers must eventually part ways.

Upsilon: “The affair holds a noble undertaking {Huposkhesis}.” 

Understand whether you should seek a noble quest, or whether your quest is being hindered.

Phi: “Having done something carelessly {Phaulos}, you will thereafter blame the Gods.”

Fate is yours alone – take responsibility for it and do not blame the Gods.

Khi: “Succeeding, friend, you will fulfill a golden {Khruseos} oracle.” 

Completion of your goals is excellent

Psi: “You have this righteous judgment {Psêphos} from the Gods.” 

Suitable judgment has been passed down by the Gods.

Omega: “You will have a difficult {Ômos} harvest season, not a useful one.” 

Onerous times await you.

As I continued to learn this symbol set, and was beginning to use it for readings for other people, I needed a better way to explain what each symbol meant.  I need the flowery language of poets and bards to help me explain the meaning in such a way that could be understand by the vast majority of people.  So I turned to the myths.  There are good myths that be used to explain nearly every symbol, and I have taken to using them extensively when I’m explaining an omen I’ve taken, and am trying to make sure that the querent understands the subtler meanings behind it.

My favorite example is that of the letter Nu.  Nu is the strife-bearing gift, and is the hard-won lesson or hard-won strength that you receive following a series of trials.  The myth that explains this symbol perfectly is the story of Heracles.  Heracles was a mortal, who was cursed by Hera.  This curse meant that he had an extremely rough time of it, and was forced to atone for actions that never would have happened had it not been for Hera.  However, it is also because of those actions, the labors he had to do, that made him worthy of being called a hero, and later a god.  And so, it is the strife-bearing gift that came out of it.  He had to deal with the curse and the labors following it, and that was no fun, but out of all that hardship, pain, and hard work came the gift of godhood.

 

  1. Maintain a journal of regular divinatory practice (entries at least weekly; daily is ideal) for 5 months. At the end of that five-month period, write an essay reflecting on the importance of daily practice; the results seen (including whether your ability to work with this symbol set has increased and why you think it has); and your feelings about the symbol set’s strengths and weaknesses after this period of work (min. 1000 words)

During the course of keeping this journal, I rarely engaged in daily practice.   Most of my entries are spaced out with one every few days, sometimes more frequently if there was a ritual I was taking the omen for as well.  There is a chunk of time in the second month of the journal where I diligently took an omen each morning before going in to work.  What I found was that the meaning seemed to get diluted.  The days ran together, and the omens ran together, and the meanings ran together.  I found the daily divination strategy to be counterproductive when I was taking daily omens.   Part of this certainly could have been the time of day that I took the omens, and the rush of the morning.  However, as I do daily morning devotionals, the timing seemed to make sense, not to mention the fact that if I wanted the omen to guide me throughout the day that I should take it before I truly started my day.  I found more value in the ‘spaced out by a couple of days’ divinatory work.  The view was longer, and that seemed to help the omens make more sense.

I will say that this chunk of time doing daily divination was most beneficial in that the last vestiges of uncertainly I had with the symbol set vanished with this work.  Because I was working with them every day, the few symbols that I was unsure of were solidified in my brain.  I also began to truly get a sense of the often subtle differences between the various symbols, for example, the difference between Iota and Mu.  Both of the symbols reference that work will be necessary, however Iota is work that occurs externally, and Mu is work that occurs internally.  Both types of work will effect change, and both types are necessary to achieve your goals, but the approach is vastly different.  Iota might require you to actually go confront that person you’ve been clashing with and take many, many steps to begin to repair the relationship.  Mu would require you to examine within yourself how you have been acting in relationships, and what changes you need to make internally to deal with the situation.  Of the two, Mu is often much harder, because while Iota requires physical labor, Mu demands that you work to change something within yourself and how you view the world.

Overall, regarding the strengths and weaknesses of this symbol set, I would say that it boils down to the fact that this is a rough set for beginning diviners.  It is a hard set to learn divination with.  Many of the weaknesses of the set become strengths the more you work with it, and the more you engage with it.

Strengths:

  • often give specific instructions on how achieve the goal you were striving towards (ex: zeta = flee, kappa = endure)
  • lack of primary sources means you really have to engage with the set to get meanings

Weaknesses:

  • for beginners to the set, so many of the symbols appear to have the same meaning
  • agricultural based: if those metaphors don’t make sense to you, it can be hard to grok the meanings
  • the symbol set’s reputation as “the doom and gloom oracle”
  • lack of primary sources leads to having to do a lot of work on your own to get meanings
  • requires knowledge of the myths to truly begin to understand and explain the subtle meanings
  • oftentimes the keywords offer little guidance as to the meanings of the symbol

 

  1. Describe your method of taking an omen or doing divination in your private practice, from start to finish. Include any prayers said, deities invoked, or sacrifices made. (no minimum word count)

In my private practice, when I take an omen, I start almost identically to how I start every other time I do divination.  The first thing I do is take a deep breath to center myself and then call out to Apollo Mantikos, crushing an offering bay leaves, using the same prayer I use every time I pull omens:

Apollo Mantikos, guide my hand.

See with my eyes. Hear with my ears.  Speak with my voice.

I crush the bay leaves in order to offer them because it is both a sounds and a smell that happens every time.  This resonates with the idea that the Pythia had a whole series of steps that she would do the same every time in order to prepare her to speak with Apollo and enter that trance state where that was possible.  The Pythia is the name given to the Oracle who dwells at Delphi and speaks for Apollo (Johnston 33-50).  As I use them in a similar way to put myself into a light trance in order to make that call to Apollo Mantikos and be able to hear and interpret his words, I feel it is an apt way of doing things.

Then I begin pulling symbols out of the bag, letting my hand stir them around and linger over them until one ‘feels right’ and I pull it out and lay it out as part of the spread.  I do not put the symbols back after I pull them, because I feel that in most cases this is not conducive for me to be able to relate the symbols to each other.  It makes sense to me to have the smaller pool of symbols, and I feel like if this is how I always do my divinations, then the messages I receive from the divine will answer my questions in such a manner that this makes sense.

 

  1. Describe the results of nine divinations you have done for others (without assistance from a book). (min. 300 words per reading, and 600 words for a summary)

As usual, the first thing I do is call out to Apollo Mantikos, crushing an offering bay leaves, using the same prayer I use every time I pull omens:

“Apollo Mantikos, guide my hand. 

See with my eyes. Hear with my ears.  Speak with my voice.” 

The spread I use most often for divinatory readings for others is one that I developed myself, called the Delta Plus Spread.  The symbols are pulled all in a row, with the interpretation coming after all symbols have been pulled.  The layout is indicated below.  The “D” symbols are pulled first, and form a Delta.  The “P” symbols are pulled second, and form a plus sign.

D2                            P4

P1             P2

D1            D3                      P3

 

The Delta portion is the action plan, the change. The meanings of the symbols circle around, each symbol feeding into and relating to the other two.

The Delta symbols can then act as a catalyst for the Plus portion to occur. The Plus portion first runs from left to right. These two symbols are interpreted together in part to represent what will happen following the action plan, and in part to represent what will be allowed by their culmination.  Then that horizontal meaning circles to the bottom and the vertical meaning runs rom bottom to top. The vertical meaning is both influenced by the horizontal meaning and then must also pass through the horizontal meaning to reach the P4 result.  So, as P1 and P2 have come together for an interpretation, they then can allow P3 to happen.  Then to move from P3 to P4, the vertical meaning must be interpreted with the knowledge that this path must pass back through the horizontal interpretation, influencing the symbols again.

I always ask after I’ve completed a reading if the person has any further need for clarification.  If they would like further clarification, I continue to pull symbols form my set without putting those already drawn back.

C3

C2

C1

 

These don’t necessary feed up the path into each other, but that can sometimes help in determining the order of importance of the necessary steps to reach a point of clarification.

One thing I have found interesting as a pattern in my readings is that those people who either are currently priests, or plan to embark on the path to priesthood, is that they nearly always receive Eta or Psi in there readings unless they have asked a very specific question that doesn’t revolve around their position.  For priests, I think these two symbols have similar meanings.  Eta is meant as a reminder that we must hold our oaths, and Psi is the directive from the gods.  So, assuming that a priest has been called to serve, they will have both been directed to take that path, and will have oathed to continue on that path.

Another thing that is interesting, is that when I have done readings for people that I know well enough to know who their patrons are, I often pull the symbols that represents their patron.  For example, when reading for a friend who has one of the storm gods as a patron, I pulled Zeta, and there was a definite shift in the feeling of the meaning.  This has also happened with another who works closely with the Earth Mother.  I have had that similar shift in the feeling of the meaning occur when I’m doing readings for folks that I don’t know, and it makes me curious if perhaps their patron(s) were represented within the reading.

I occasionally do other spreads for readings, though not as often.  I do a basic Past, Present, Future reading when someone has a question that specifically pertains to that, or when they just want a short reading.  These are both not as detailed, but also more straightforward.

I’ve also considered putting the symbols back after I’ve drawn them, so that all options are valid for every single pull, but I feel that in most cases this is not conducive for me to be able to relate the symbols to each other.  It makes sense to me to have the smaller pool of symbols, and I feel like if this is how I always do my divinations, then the messages I receive from the divine will answer my questions in such a manner that this makes sense.  I could see putting all the symbols back if a person has a completely different follow-up question, rather than a simple act of clarification following the initial reading.

 

Querent 1:

Delta Plus spread:

Question: Whatever I need to know…

D1: Nu- the strife bearing gifts. Out of the ashes and out of difficulties you’ve faced there is a hard-won gift you’ve been given to use.

D2: Tau- a separation from those now around you. A division of the way things currently stand.

D3: Xi- there is no fruit to bear from withered shoot. If you don’t tend the seeds you’ve cultivated, then you should not expect them to grow.

P1: Pi- Perseverance. Completing many contests, you will receive the crown. The trials that occur before your goals are realized.

P2: Eta- Helios, the sun, the oath watcher. Hold fast to your oaths and virtues.

P3: Omega- there will be a difficult harvest, not a useful one. There is a lot of work to be, but it may seem like it’s not going anywhere and it may not be rewarding.

P4: Rho- patience. You will have an easier time if you wait a bit.

Delta: there have been difficulties and out of these difficulties you’ve been given gifts and lessons. You are also currently cultivating seeds, and in order to properly tend them and allow them to bear fruit you must apply your gifts. You must also be willing and able to set aside something that is an obstacle. There must be a separation in order for your seeds to come to fruition.

Plus: Perseverance regarding your oaths. Continue to hold fast to your virtues, your word, your promises, and your oaths. There will also be a significant amount of difficult work that you may feel is not going anywhere and you must simply be patient and continue to do the work. This continuance of the work is what will allow you the ability to continue to hold true to your oaths.

 

Querent 2:

Delta Plus spread:

Question: General Reading

D1: Lambda – Look for an unusual or unexpected sign

D2: Kappa – endure the waves and the turmoil that surrounds

D3: Beta – You must ask specifically for help, rather than just expect it.  And because you ask, so shall you receive.

P1: Nu – the strife-bearing gift and the light at the end of the tunnel.  The lesson received after turmoil

P2: Xi – There is no fruit to take from a withered shoot.  Tend the seeds you have planted

P3: Khi – Succeeding, you will fulfill the golden oracle.  Wealth and value, more often immaterial wealth and abstract value

P4: Gamma – The Earth Mother grants you the ripe fruits of your labors.

Delta: Endure the choppy seas and be willing to ask for help when you need to.  Look for an unusual or unexpected sign that signifies the end of the choppy seas is near, and you’re moving on to the next step.

Plus: The difficult times have taught you a hard lesson and given you a hard-won gift.  Use that gift to now tend your seeds, your projects.  In tending those seeds and accepting the fruits of those labors you are then able to take the wealth and value and worth received, and gift it in turn to the Earth Mother.  The Earth Mother will then complete the cycle and in turn return the love and gifts back to you.

 

Querent 3:

Delta Plus spread:

Question: no question, general reading only

D1: Delta – Inopportune strength is weak.  While it takes strength to stand up for your beliefs, it sometimes takes more to sit back and say nothing, just listening.  A different approach is needed

D2: Pi – Perseverance.  Completing many contests, you will win the crown.  After many trials, you will make it through

D3: Theta – The Theoi stand by you, helping you as the bright and shining gods.

P1: Nu – the strife-bearing gift.  Out of the ashes you receive a hard-won gift or lesson.  The light at the end of the tunnel.

P2: Epsilon – you desire to see your projects come to fruition and have things fall into place

P3: Omicron – there are no crops to harvest for seed that were not sown.  If you expect results, you must first do the work.

P4: Psi – a directive from the gods.  They expect you to do something for them, and it is their righteous judgment.

Delta: Persevere on your path, and know that the waiting is often harder and requires a different strategy.  it requires a different kind of strength than active strength.  You also have the helping gods, which will help to make the path clearer, and easier to maintain.

Plus:  The strife-bearing gift.  You’ve been given gifts that are things that have emerged from the ashes.  Now you must plant those gifts, those seeds, if you would hope to realize the result of the gifts you received and the lessons you learned.  You must do this, because you have been given this directive from the gods.

 

Querent 4:

Delta Plus spread:

Question: general reading

D1: Alpha – the support of the gods that you will be successful, and the assurance that you are on the right path.

D2: Mu – the work is going to be hard, but it will be worth it.  The change will be admirable

D3: Khi – worth, wealth, and value.  Determine what you value, and what you desire success at

P1: Iota – there is a lot of work, and doing the work is what will allow success

P2: Kappa – endure the turmoil, endure the waves.  There is difficultly ahead, but stay your course.

P3: Eta – oaths.  Helios watches over the oaths you have taken, and holds you to them

P4:Nu – the strife-bearing gift.  Out of the ashes, a gift arises.  This is your hard-won lesson, and your light at the end of the tunnel.

Delta: Determine what it is that you place value or worth on, and put in the work towards that thing.  By putting the work in, you will be successful at it, and you will value it even further.  Note as well, that you have the support of the gods that you’re making the right choices.

Plus: As a barrage of stormy seas crashes against you, whether situational or emotional or whatever, you are going to have to work hard to not let it drown you and sweep you away.  By working at it and maintaining yourself and your values, you will then be able to keep your promises and oaths, and acquire a gift from the lessons learned within the stormy seas.

After talking with the querent regarding his view of the reading:

He is struggling with being Senior Druid, and the way the bureaucracy of the position is preventing him from doing what the community needs, and serving the folks the way they need to be served.  He was considering not running for re-election but the ‘oath’ piece brings a new perspective on that.  There has been a lot of push back and he’s struggling with whether or not to push a change in the by laws.  The previous senior druid, and founder of the grove, is not being very accepting of any changes to the current by laws and way that things are run.

Delta: He values the change, and the work will be hard to get the by laws chained, but it would be worth it to make those changes. Also, the gods remind him that he has their support in the matter.

Plus: If the bylaw changes are made, there will be a shit storm that he will have to work like hell to not drown in it, and let it consume him.  This would allow him to keep his oaths, but he’d have to pass through the storm to receive the gift at the end, and the light at the end of the tunnel.

I recommended he do some divination of his own, and determine to what extent his oaths hold in the eyes of the gods, and to do some serious thinking on whether or not he’ll broach the subject.

 

Querent 5:

Delta Plus spread:

Question: What to focus on in the short term to have peace of mind.

Delta: The changes you must make:

D1: Kappa – perseverance – you must persist at the things that are of value to you and keep working at and thru them despite any difficulties.

D2: Zeta – flee – you must discard those things that no longer serve you.

D3: Beta – ask for help – to both persevere and to discard the things that aren’t working for you, you will need to ask the gods, spirits, and people to help you with this.  They will not help, or will not know you need help, if you don’t ask for it.

Plus: If you make these changes, the outcome is:

P1: Xi – put in the work – with the effort you’ve made, things will be fine

P2: Khi – success – you will be able to have peace of mind, calm your thoughts, and calm your emotions

P3: Eta – keep your word – you need to keep any promises you’ve made, or perhaps by making the changes, you will be able to keep your promises and your honor.

P4:Alpha – everything – because you asked for help the gods will ensure that you be successful in this endeavor.

 

Querent 6:

Past, Present, Future Spread

The Querent asked me if I had ever done a reading with there being a question, but without me knowing what it is.  I said that I didn’t think I had, and so she suggested that we try it.

So, initially, without knowing the question:

Past: Gamma – the earth mother gave you the ripe fruits of your labors.

Present: Xi – There is no fruit to take from a withered shoot.  Tend the seeds that you have sown if you expect to have a good harvest.

Future: Omicron – there are no crops to reap that were not sown.  If you have not planted the seeds, then you won’t even have the option of having a harvest at all.

The first thing I asked her after seeing the symbols I’d pulled was whether or not she was a farmer.  She smirked at me, and said yes.

With that in mind, I gave her the following interpretation:

You received gifts, and now you must care for them.  And in order to repeat the cycle of a good harvest and reaping those rewards, you must plant the seeds anew, and continue to tend and care for them.

After this, the Querent revealed to me her question:

She is writing a book on gardening for pagans, whether it is full-scale farm, backyard garden, or pots of plants on a patio.  She was stuck in the process, and had stagnated.  She wanted to know what to do to be able to continue writing it.

 

Querent 7:

Delta Plus spread:

Question: general reading only

D1: Mu – there is a lot of work ahead of you, but the change that comes out of it will be worth it.

D2: Omega – You will have a difficult harvest, but not a useful one.  As you are working, you will feel that you’re not getting anywhere with it.

D3: Beta – because you asked for help, you will receive aid.  Without asking, you will not gain that which you desire.

P1: Alpha – everything you do will be successful.  You have the support of the gods.

P2: Zeta – flee the storm.  This is the signifier for the storm god.

P3: Nu – The strife-bearing gift.  Out of your struggles and out of the ashes you have been given a gift or a lesson.

P4:Khi – Wealth and value.  Succeeding, you will fulfill the golden oracle.

Delta: You need to do the work, and it will affect a change.  However, you will get no benefit from that change unless you ask for help front he gods or others around you.  You will find the work difficult and unrewarding.

Plus: If you have asked for help, you will successfully complete all you have set out fro, as long as you listen to the words of your patron (a storm god) and set aside that which no longer serves you.  You must take all the gifts you’ve been given out of the hard lessons you’ve had to learn, and apply them if you hope to find value, worth and success from your work. Your experiences have made you who you are.  Use that knowledge.

 

Querent 8:

Delta Plus spread.

D2                            P4

P1             P2

D1            D3                      P3

The Delta portion is the action plan, the change. The meanings of the symbols circle around, each symbol feeding into and relating to the other two.

The Delta symbols can then act as a catalyst for the Plus portion to occur. The Plus portion first runs from left to right. Then that horizontal meaning circles to the bottom and the vertical meaning runs rom bottom to top. The vertical meaning is both influenced by the horizontal meaning and then must also pass through the horizontal meaning to reach the P4 meaning.

Question: General Reading

D1: Psi – the righteous judgment and directive from the gods

D2: Upsilon – this is a noble undertaking. it will be work, but it is the right path

D3: Lambda – the unexpected or unusual sign

P1: Xi – tend the seed you have planted if you expect to achieve results

P2: Tau – a separation or pulling apart of the ways things currently stand.  A barrier.

P3: Sigma – A very clear indicator to stay the course, stay on your path

P4: Zeta – Flee the storm / set aside those things that are not serving.  There must be a sloughing off of the old for new beginnings to occur.

Delta: Watch for the unexpected sign that will guide you in the knowing what the task is that you have been given and when to begin. The task is needed and necessary, a lot of work, and a directive from the Gods.

Plus: You must release a piece of something that is stopping you and creating a barrier and preventing you from tending to you seeds.  You should also stay among friends and know that sometimes it is necessary and okay to flee from what you have built.

Clarification was requested:

C3

C2

C1

C1: Theta – the Theoi, the shining gods of your path

C2: Rho – You must wait a short time

C3: Beta – Asking for help.

You must ask for help in order to have the gods’ guidance.  And you must be patience in waiting for their response.

 

Querent 9:

Delta Plus spread:

Question: general reading

D1: Epsilon – the offspring of righteous marriages.  A coming together of creative energies.

D2: Psi – the righteous judgment of the gods.  A directive from the gods.

D3: Zeta – flee the storm and set aside the things that are creating obstacles.

P1: Theta – the Theoi, the helping gods of your path

P2: Iota – There is much work, and by doing the work you will excel

P3: Lambda – The unexpected or unusual sign

P4: Alpha – everything you do will be successful

Delta: In order to allow your projects, desires, and imbas/creative juju mingle and successfully create, and thus allow you to complete the tasks that the gods have required of you, you need to set aside that which no longer serves you.

Plus: Once you have set these things aside you will be able to do the work to develop your relationship with the gods.  Then you will be equipped to recognize the sign that will allow you to achieve everything the gods have directed you to do.

 

  1. Describe the method you would use for drawing an omen in public ritual, how it is different from any private practice you do, and how it is different from taking an omen for another individual. (min. 600 words for the essay)

The method that I use for public omens is essentially identical to how I do reading for myself, or private reading for other people.  I still do the set up the same way.

The first thing I do is take a deep breath to center myself and then call out to Apollo Mantikos, crushing an offering bay leaves, using the same prayer I use every time I pull omens:

Apollo Mantikos, guide my hand.

See with my eyes. Hear with my ears.  Speak with my voice.

I crush the bay leaves in order to offer them because it is both a sounds and a smell that happens every time.  This resonates with the idea that the Pythia had a whole series of steps that she would do the same every time in order to prepare her to speak with Apollo and enter that trance state where that was possible.  As I use them in a similar way to put myself into a light trance in order to make that call to Apollo Mantikos and be able to hear and interpret his words, I feel it is an apt way of doing things.

Then I begin pulling symbols out of the bag, letting my hand stir them around and linger over them until one ‘feels right’ and I pull it out and lay it out as part of the spread.  I do not put the symbols back after I pull them, because I feel that in most cases this is not conducive for me to be able to relate the symbols to each other.  It makes sense to me to have the smaller pool of symbols, and I feel like if this is how I always do my divinations, then the messages I receive from the divine will answer my questions in such a manner that this makes sense.

The difference in taking the various types of omens comes in when I consider what spread to use.  In a public omen, it depends of their are set questions or not that are typically asked.  For example, when I take the omen for my Grove’s Druid Moon rituals we always ask:

  • What is our path?
  • On what should the Grove focus for the next month?
  • On what should each individual focus on for each month?

I pull a symbol to answer each question, and then also give an overall interpretation of the omen as a whole.

When I take an omen in one of the Full Moon rituals that I lead the questions I ask are always:

  • Apollo Mantikos, what wisdom or blessings do the Kindreds offer?
  • Apollo Mantikos, what wisdom or blessings do Selene and the Patrons of Magic offer?
  • Apollo Mantikos, what wisdom or blessings does [DotO] offer?

Then, as with the Druid Moon rituals, I pull a symbol to answer each question, and then also give an overall interpretation of the omen as a whole.

In our Grove’s public High Day rituals we most often, but not always ask:

  • Have our offerings been accepted?
  • What wisdom do the Kindreds offer us in return? 
  • What further needs do the Kindreds have of us? 

Then, as with the Druid Moon rituals, I pull a symbol to answer each question, and then also give an overall interpretation of the omen as a whole.

Occasionally during our High Day rituals we will instead ask for a blessing from each of the Three Kindreds.  These are then interpreted both individually, and then taken together to determine the blessing of the Kindreds as a whole.

Only rarely do I do in-depth divinatory work for myself.  Most often if I am doing a divination fro myself I’m either pulling a single symbol or three symbols to be interpreted together for a full meaning.  I find that I am often too close to the situation to be able to get a clear reading.  The exception to this, is that I will do an extended reading if I am preparing for extensive magical work, in order to be sure that I’m taking the right actions and that I have take all I need to into consideration.

When I’m taking an omen for another individual I most often use the Delta Plus Spread that I developed.  The symbols are pulled all in a row, with the interpretation coming after all symbols have been pulled.  The layout is indicated below.  The “D” symbols are pulled first, and form a Delta.  The “P” symbols are pulled second, and form a plus sign.

D2                            P4

P1             P2

D1            D3                      P3

 

The Delta portion is the action plan, the change. The meanings of the symbols circle around, each symbol feeding into and relating to the other two.

The Delta symbols can then act as a catalyst for the Plus portion to occur. The Plus portion first runs from left to right. These two symbols are interpreted together in part to represent what will happen following the action plan, and in part to represent what will be allowed by their culmination.  Then that horizontal meaning circles to the bottom and the vertical meaning runs rom bottom to top. The vertical meaning is both influenced by the horizontal meaning and then must also pass through the horizontal meaning to reach the P4 result.  So, as P1 and P2 have come together for an interpretation, they then can allow P3 to happen.  Then to move from P3 to P4, the vertical meaning must be interpreted with the knowledge that this path must pass back through the horizontal interpretation, influencing the symbols again.

I always ask after I’ve completed a reading if the person has any further need for clarification.  If they would like further clarification, I continue to pull symbols form my set without putting those already drawn back.

C3

C2

C1

These don’t necessary feed up the path into each other, but that can sometimes help in determining the order of importance of the necessary steps to reach a point of clarification.

 

  1. Give and explain the results of three omens taken by you in public ritual. (min. 300 words per omen)

May Hellenic Full Moon to Apollo – 14 May 2014

The working for this moon was a blessing of our divination tools.  I decided that I would like to have every person pull a symbol from their sortilege set (which I was very thankful that everyone who came was using sortilege) and interpret it.  Then I would interpret the symbols for their combined meaning.  Below is the text of divinatory part of the working, including the symbols that were pulled and interpreted.

We come together now in the presence of all the Theoi, but most especially Apollo Mantikos, Apollo Aphetor.  Prophetic One, Giver of Oracles.

Klûthi mou, Apollon! (Hear me, Apollo!)

Elthé moi, Apollon! (Come to me, Apollo!)

Deûro Mákar! (Hither, Blessed One!)

We come with our tools, and we come with open heart and empty mind.  We ask that you give us the gift of the Mantis, and the gift of your blessing, that our Sight might be improved.

*All Speak Together or Call & Response*

Phoebos, Radiant One,

Shine your light down on me.

Mantikos, Prophetic One,

Send your truth down to me.

Aphetor, Oracle Giver

Send your wisdom down to me.

Proopsios, Farseeing One

Send you visions down to me

Leskhenorios, Converser

Send your voice down to me

Loxias, Speaker

Send your words down to me.

Pythian Apollo, of Delphi,

Let your Oracle speak through me.

*if all are using a sortilege, each person draws a single lot and interprets (otherwise each person seeks an omen in whatever manner they generally use); whoever took the rite’s omen should make sure they are drawing lots from the full set for the working*

We have received the blessings of:

Nu – the strife-bearing gift

Sowilo – the sun and victory

Gebo – gifts

Birch – new beginnings

Khi – golden oracle fulfilled, worth, and value

Gamma – Gaea, the earth mother gives the ripe fruit of labors

30, The Clanging – illumination and enlightenment

Magician – power and willpower, as well as creativity

Eta – the Sun, and oaths

8 of Stones – apprenticeship and practice of skill

Ivy – journey, guidance, travel

7 of Arrows – insecurity and facing your doubts

Honeysuckle – lay down your burdens and have fun

Iota – sweat and work excel

Rebirth – new beginnings

 

Apollo Mantikos, Prophetic One,

I seek to know of these omens.

Let your truth be told through me.

 

Apollo Aphetor, Oracle Giver,

I seek to know of these gifts.

Let your wisdom flow through me.

 

Apollo Leskhenorios, Converser,

I seek to know of these messages.

Let your voice speak through me.

 

*Seer makes offering of Oil and/or bay and speaks prayer as needed*

Apollo Mantikos, guide my hand.

See with my eyes. Hear with my ears.  Speak with my voice.

 

These blessings and wisdom that we have received, when taken together, mean:

 

With the bright light of the sun illuminating our path, we have been blessed with many gifts. It is now time to take these gifts and focus our willpower and creativity to work on and practice our skills as we set down our burdens so that we might pick up burdens anew as we face our fears and set out on our new, enlightened path.

Reflect a moment on these gifts and how they pertain to your Sight.

  

3CG Summer Solstice @ Comfest: June 24, 2012 

As the Seer for the rite, I called out to Apollo Mantikos, offering bay leaves, using the same prayer I use every time I pull omens:

Apollo Mantikos, guide my hand.

See with my eyes. Hear with my ears.  Speak with my voice.

Apollo Mantikos, first I ask have our offerings been accepted?

Omega – No.  You will have a difficult harvest, not a useful one.

At this point as I nodded to MJD, and he asked if anyone had forgotten to give an offering, or would like to make more, I noticed that some of the offerings we had set out on the altar were still sitting there.  In the shuffle of the ritual, there was a huge chunk of offerings that were promised to the Kindreds that had not, in fact, been offered.  Jessie came up to offer those out, while I and a few others made additional offerings.

Apollo Mantikos, have our offerings and their additions been accepted

Epsilon – Yes, the fertility of our gifts and out desire to continue giving rings out.

Apollo Mantikos, what blessing do the Kindreds offer the community?

Khi – They give us knowledge and wisdom to follow the right path.  As they guide our steps to build a stronger community, we will succeed on our path.

Apollo Mantikos, what further needs do the Kindreds have of us?

Rho – We must have patience to know that we may not always get what we need or want immediately.  Sometimes we must wait for the right moment and wait for the proper time and proper materials to best serve the Kindred, our own community, and ourselves.

Taken together: The Kindreds want us to come together and flourish as a community and walk the path of the Old Ways with the knowledge that what we need may not come to us immediately, but if we wait we will best serve them and succeed in coming together as a community.

 

Elembivios Druid Moon: August 22, 2012

As the Seer for the rite, I called out to Apollo Mantikos, offering bay leaves, using the same prayer I use every time I pull omens:

Apollo Mantikos, guide my hand.

See with my eyes. Hear with my ears.  Speak with my voice.

Apollo Mantikos, first I ask have our offerings been accepted?

A wren called out in sweet, chirping song.  We took this to be a good omen, that our offerings were accepted.

Apollo Mantikos, what is our path?

Nu: The Strife-Bearing Gift

We have been through a lot of rough times, struggling and fighting to make sense of things.  We’ve experienced a great deal of strife.  Now it is time for us to look for the silver lining.  What lessons have we learned from this?  How can we use what we have learned to help others.  Now is the time for us to look at our struggles as a gift that has not only made us stronger and taught us valuable lessons, but to also look into spreading that wisdom so that others need not experience the same strife as we have.

Apollo Mantikos, on what should the Grove focus for the next month?

Sigma: Stay, friend.

We are only as strong as the sum of all of us.  The message is clear: we need to strengthen our bounds with each other.  As families often do, they have a tendency to grow apart at times.  We need to focus on building our ties between each other, support each other, and not give up on each other.

Apollo Mantikos, on what should each individual focus for the next month?

Epsilon: Desire Offspring of Righteous Union

There are things that we want to see.  Now is the time to take our goals and dreams and begin making the steps towards making them a reality.  This is the letter of fertility.  Allow the forces of creation to bubble up in you, and flare in you, and allow you to make the changes you need to succeed at your goal.

Taken together, these omens suggest that we focus on combining our respective powers and gifts and lessons learned to maintain and strengthen our bonds as a folk so that we can unite to achieve our goals.  “With our powers combined…”

 

Cranefest Hellenic Main Rite: September 2, 2012

Apollo Mantikos, what wisdom and advice do the Kindreds offer?

Omicron: “There are no crops to be reaped that were not sown.”

You must plant seeds first if you expect them to grow.  And in planting them, you must also be willing to tend them and care for them.

Apollo Mantikos, what wisdom and advice does Zeus offer?

Phi: “Having done something carelessly, you will thereafter blame the gods.”

Take responsibility for your own actions.  You can only control you and how you act and respond.  Do not take responsibility for others actions, and do not blame others for your own actions.  Zeus is the bringer and enforcer of justice.  Do not try to take his domain into your own hands.  Control yourself, your actions, and your reactions without assigning blame to others for your situation.

Apollo Mantikos, what wisdom and advice does Hera offer?

Iota: “There is sweat; it excels more than everything.”

To reach a place where relationships reach a balance, and a place of harmony, there is work that has to be done.  It is hard work to grow and maintain a relationship, but if it something you love and care about, it should feel less like work because it is worth it.  Hera helps create and defend healthy relationships, and reminds us that we can’t simply rest and expect those types of relationship to fall into our laps.  There is work that goes into creating them, and it is a labor of love.

Taken together the message is in building and sustaining relationships of all kinds remember to tend the seeds that you plant so that they might grow.  There will be a lot of work to do, and all you can control are your own actions and reactions.

The path to peoples’ hearts is a rocky slope that is hard to plant seeds of love on.  But once planted, if tended with love and care (because doing what we love should not be work) they will grow to be beautiful flowers.

 

References:

“Ancient Scripts: Greek.” Ancient Scripts: Greek. Lawrence Lo., 1 Jan. 2012. Web. 29 May 2014. <http://www.ancientscripts.com/greek.html>.

 

Evelyn-White, H. G. “The Homeric Hymns 1-3.” Classical E-Text. Theoi.com, 2011. Web. 06 Aug. 2012. <http://www.theoi.com/Text/HomericHymns1.html>.

 

Flower, Michael A.. The Seer in Ancient Greece. Berkeley: University of California Press, 2008. Print.

 

“Ionic Greek.” Wikipedia. Wikimedia Foundation, 29 Apr. 2014. Web. 16 May 2014. <http://en.wikipedia.org/wiki/Ionic_Greek>.

 

Hesiod, and Hugh G. Evelyn-White. “Works And Days.” Hesiod: Works and Days. Sacred Texts, 1 Jan. 1914. Web. 16 May 2014. <http://www.sacred-texts.com/cla/hesiod/works.htm>.

 

Heinvetter, Franz. Trans. Jan Avende. Würfel- und buchstabenorakel in Griechenland und Kleinasien. Breslau: Grass, Barth & comp., 1912. Print.

 

Johnston, Sarah Iles. Ancient Greek Divination. Malden, MA: Wiley-Blackwell Pub., 2008. Print.

 

“Lycia.” Wikipedia. Wikimedia Foundation, 14 May 2014. Web. 16 May 2014. <http://en.wikipedia.org/wiki/Lycia>.

 

Sophistes, Apollonius. “A Greek Alphabet Oracle.” A Greek Alphabet Oracle. Biblioteca Arcana, 1 Jan. 1995. Web. 17 May 2014. <https://web.eecs.utk.edu/~mclennan/BA/GAO.html>.

Magic 2

  1. Describe the difference between a “magical” ritual and a “religious” ritual, including if there is a difference and why there is or is not. (min. 150 words)

I think this is a case of squares and rectangles. All religious rituals are magical, but not all magical rituals are religious. This comes from the fact that all rituals contain elements of magic that aid the folk in communing with and honoring the gods. However, I don’t think all acts of magic take place within a religious context. For some, I think perhaps for me, they might, but I don’t see it as a requirement. In every religious ritual magic is performed in someone way or another.  Sometimes it is simply an invocation calling for a spirit to hear our words, sometimes it is calling for blessings from the spirits, and sometimes it is an elaborate working with a specific intent. But when you consider that all magic is is prayer with intent, then we’re performing magic all the time in ritual.

When considering magic specifically within the context of an ADF ritual, it is important to determine whether or not you are observing the 18 steps of the Core Order of Ritual, and leaving out the 7 things that are not to be included in an ADF ritual (ADF Clergy Council).  If you are including all the steps in the Core Order of Ritual, then it must be a religious ritual, even when it includes a magical working.  You have Opened the Gates, honored the Kindreds, and continued the work of building a working *ghosti  relationship.  If you’re not including all the steps, or you are including one of the 7 things that don’t fall within an ADF ritual, then the rite may be better classified as a magical ritual.  This may be the case if one were completing one of the spells from the Greek Magical Papyri that calls for a blood sacrifice, such as the spell detailed in PGM III 1-164, which requires drowning a cat (Betz).   For the record, I would not recommend attempting most of the malicious spells contained in the PGM.

Additionally, the division of magic without religious purposes can be seen within ancient cultures when looking at the division of functions. The Priest and the Magician divided out from the other functions as the magico-religious class, but then also divided further as time went on (Mallory 131-2). In general, the priest remained welcome within mainstream society, while the magician was relegated to the outskirts and the fringes of society. Religion, and rituals that contained both religious and magical elements, was part of everyday life. However, magic when it was performed out side of a religious context drifted away from the mainstream and was feared in many cases (Graf 20-22).

It should also be noted that depending on what category of magic your working in will determine whether or not it fits better into a religious of magical definition. As I described in Magic 1, the categories I see magic falling into are based on intent. Does the magic benefit the spirits, the self, or the folk? I think magic that benefits the spirits or the folk is better classified as a religious ritual, while the magic that benefits the self will more often fit the definition of magical ritual. Again though, the line is fuzzy, and won’t stay the same for all practitioners of magic.

 

  1. Describe magic as it exists in one non-Indo-European culture, describe how it has influenced or could influence the magical system of an Indo-European culture, and describe what lessons you could take from the non-IE culture into your own personal practice. (min. 200 words)

The Egyptian magicians and priests were practitioners of magic as it exists in a non-Indo-European culture.  They were said to be keepers of ancient mysteries, and refused to share their methods with outsiders, so there is very little information on the apprenticeships that beginning priests and magicians in Egypt would undergo in order to be initiated.  What we do have, however, are recipes and handbooks for many of the technical aspects of the magic from the Hellenistic Age.  These can be found in the Greek Magical Papyri.

The nature of Egyptian magic has certain features that can be teased out by looking at what doesn’t fit with the magic that existed in Greece before the Hellenistic Age.  The first aspect of Egyptian magic is that it is “a means of harnessing good or evil powers in order to achieve one’s goals and desires” and is not necessarily used a means of protection from evil powers (Luck 25).  The second aspect of Egyptian magic is that the magician uses their own personal authority, their ‘Big Voice,’ and “pretends to be a god in order to frighten the gods” allowing them to command these greater powers (Luck 25).  The third aspect of Egyptian magic is that there are specific and exact words and diagrams that are used to achieve the desired ends.  Similarly, the fourth aspect of Egyptian magic is that there are specific gestures and rites performed in order to achieve the desired ends (Luck 26).

Due to Egypt’s proximity to Greece in both location, trade, and migration, there ended up being a lot of crossover between the two cultures in terms of magic.  “The Greeks who lived in Egypt had an opportunity to observe native religions and forms of worship, folklore, and superstition, and being Greek, they must have tried to make sense of what they saw” (Luck 14).  The Greeks had a definite hand in the creation of the magical papyri that have been found as they gathered and modified the practice that existed in Egypt to fit their language and needs.  As the native gods of Egypt (Isis, Osiris, Anubis, Typhon, etc.) are called in the magical spells in the Papyri, it is interesting to note the phenomenon that “the gods of a foreign culture are not addressed as proper gods, but since they seem to work for that other culture, they are suspected of having powers that could be useful in magical operations” (Luck 16).

As I incorporate various aspects of magic into my own personal practice, I definitely see the influence from the Egyptian system of magic.  This makes sense, since many of the current occult systems draw heavily on the practice of this particular ancient system.  For example, when I do magic that is outside of a religious ritual context, it is often done in order to achieve my own goals and desires.  Additionally, I have learned that when I’m doing any magical act, whether it is invoking a spirit, opening the gates, calling for blessings, or something else, it is certainly best to use my ‘Big Voice.’  While I would not say that I’m trying to “frighten the gods,” I am speaking in such a way that denotes that I have the confidence and authority to be acting the way that I am.  I have tried a few of the spells from the Greek Magical Papyri, however with the emphasis on following the recipes and instructions exactly, most of them are impractical in a modern context.  The few I have tried though, particularly those meant to induce trance to speak with a certain spirit and a few of the amulets, have seemed to be successful.

 

  1. (Crossover Requirement) Keep a journal for five months detailing the trance work that you have done. Write an essay based off those journals that examines your practice over the time you journaled. The essay should describe how you use trance for your magic, whether trance has helped your magic, and particularly how trance and magic have played off each other in your personal work. Entries occurring less than weekly will not count toward completion of this requirement. Your journal must include work from the exercises found in the support material for this course. [This requirement’s journal matches up with requirement 10 in Trance 1: see required and recommended reading for that course for further information] (min. 1000 words)

Trance has certainly played an integral role in my magical work, both in and out of ritual.  I’ve found that in order to be in the best mindset to achieve the results I want with my magical work, I need to enter a least a light trance. This trance may differ depending on my location, if there are other people present, if the magical working is taking place in or out of a ritual context, and how complex the magical working is.  The deepest trance states I use in conjunction with magical work are done when I am in my own home, by myself, in ritual space, with a complex working.  If I’m going to go deep into trance I need to feel safe and comfortable.  This could probably be done around a few people who I trust as well, though that opportunity has not presented itself.  I am also more likely to enter a deep trance state for more complex workings because this will minimize distraction and help me to better focus my intent.  Additionally, I’m more likely to do a complex magical working within ritual space because if it is that important or that complex, I will probably be asking the spirits for assistance.

I use trance when I am doing divinatory work, which I consider to be a form of spirit arte.  I am entering a trance state to call on the spirits, in this case Apollo Mantikos, in order to ask for their assistance in divining the answers to  specific questions or general situations.   When I do divination the first thing I do is take a deep breath to center myself and then call out to Apollo Mantikos, crushing an offering bay leaves, using the same prayer I use every time I pull omens:

“Apollo Mantikos, guide my hand.

See with my eyes. Hear with my ears.  Speak with my voice.”

I crush the bay leaves in order to offer them because it is both a sound and a smell that happens every time.  This resonates with the idea that the Pythia had a whole series of steps that she would do the same every time in order to prepare her to speak with Apollo and enter the trance state where that was possible.  As I use them in a similar way to put myself into a light trance in order to make that call to Apollo Mantikos and be able to hear and interpret his words, I feel it is an apt way of doing things.  This intentional use of trance has helped to augment my divinatory practice.

Then I begin pulling symbols out of the bag, letting my hand stir them around and linger over them until one ‘feels right’ and I pull it out and lay it out as part of the spread.  I do not put the symbols back after I pull them, because I feel that in most cases this is not conducive for me to be able to relate the symbols to each other.  It makes sense to me to have the smaller pool of symbols, and I feel like if this is how I always do my divinations, then the messages I receive from the divine will answer my questions in such a manner that this makes sense.

I also use trance for magic when I writing bardic pieces.  Part of the Order of Bardic Alchemy work requires you to write a bardic piece in ritual space, with the intent to use it during ritual.  The Muses are my bardic patrons, and whom I work with most frequently when I’m doing bardic work.  I call to them for inspiration before I write, and often before I play, sing, or perform.  I decided the piece I would write would honor them, and give me an alternative method to call to them, rather than with a simple invocation.

I did the bardic alchemy devotional, and when I reached the working portion, I called to the Muses for inspiration and asked them to fill me with their song so that I might better honor both them and Kindreds.  I made offerings of sweet incense (Lotus), milk, and honey.  The thought process here was that this was a mix of the sweet words that I hoped to be blessed with and one of the hypotheses for what makes up ambrosia.

I had my bard book open in front of me, and sat staring at a flame.  The words seemed to come excessively quickly.  I often describe the process of this ‘gift song’ as trying to catch the Awen with your pen, and funnel it down into something coherent on the page.  This was not my first experience with a ‘gift song,’ and like the others, the whole piece was written in probably under an hour: words, chords, melody, and all.  It required very little revision following the initial writing.  “Muses, Sing Through Me” is still the main way that call to the muses before beginning bardic work.

This type of gift song also occurred when I wrote a song honoring Artemis (“I am the Huntress”), and when I wrote a song honoring Tsirona, one of Brighde’s helping spirits met during the Court of Brigid work with Ian (“Because They Love”).

I also use trance when I’m doing healing work, in order to focus the intent of the energy being directed, as well as allowing me to better visual the target when I’m working from a distance.  Most recently we performed a healing at a Druid Moon for one of our Grove members who is dealing with a wound that won’t heal, a staph infection, and recently diagnosed diabetes.  Paul, Missy, and I led the working, which involved everyone toning and focusing the healing energy through to the grove member.  We began by breathing together and then started the toning.  The regulated breaths that are required by toning, combined with the circular motions Missy was making with incense helped to drop me into a deeper trance.  Things seemed to slow and the sounds took on a synesthesic quality, seeming to thicken and color.  I focused on wrapping the grove member in the tones.  As we continued to work, I began to hear the overtones and harmonics coming out of the toning.  That is one of the cues that I recognize as an indicator that the intent is properly focused and the magical work is taking effect.  We continued for just a bit longer past the overtones, letting them fully sink in, before completing the work.  I was surprised to note that the Folk followed me in ceasing the toning, and then Missy tied up the loose ends with pretty words.

I also put myself into a light trance when I am performing various magical parts of liturgy.  Most notably invocations of specific deities, the recreation of the cosmos and opening/closing the gates, and the return flow.  Some examples of this are when I invoked Poseidon during Dylan Johndrow’s Coming of Age rite.  His patrons are Poseidon and Athena, and as we share a devotee relationship with Poseidon, I wrote and performed the invocation.  I was in a light trance for it, and felt the power surge through me and into him as I was speaking:

“The Children of the Earth call out to Poseidon, the Lord of the Deep!

Earth-shaker! Wave-bringer!

Fury of the cresting breakers and calm in the raging storm.

Your trident commands the ocean.

The seas turn glassy at your approach as your horses toss their heads, coming ashore.

Your teach us of endurance and patience,

The calm in the raging storm.

You teach us of strength and perseverance,

The gates holding the Titans at bay.

You teach us of memory and honor,

The consequences of our actions.

You teach us of persistence and change,

The ebb and flow of the tides.

You teach us of magic and mystery,

The dark and unfathomable depths.

Encircle us as your realm encircles the earth.

Wash over us as your waves drench our souls.

May we be pulled to the watery depths by your riptide,

And bob to the surface as the tide rolls in.

Poseidon, come to us, and let us feel your heavy gait upon the earth

As you join your magic and power with ours.

Elthete, Poseidon, and accept this Sacrifice!”

During my grove’s Summer Solstice ritual at Comfest this year I Opened the Gates in a way that differs from how we normally do.  I first Recreated the Cosmos, then Opened the Gates of my own power before calling on Atlas to act as a Gatekeeper and Guard the Gates for us.  Recreating the Cosmos and Opening the Gates is something I have always done in a light trance.  I get to that state mostly by breathing to center myself and letting myself sink into that state.  I find the experience of performing these two parts of the ritual to be visually interesting, because I see, or envision, an almost overlaid image as the worlds align, and then as I make the spiraling motions to Open the Gates the slightly fuzzy look that the overlaid image lends clears and comes into focus.

The Return Flow is also an example of when I use trance for a magical part of the liturgy.  During the Hellenic Full Moon rituals that I’ve been leading, following the omen, I ask that the omens fill the Waters, and grow in power like the cycle of the moon:

“Let the brightness of the full moon fill these waters with the omens we have received, [Omen, Omen, and Omen].  Let their blessings grow in strength like the light of the moon, shining with the brilliant power akin to the noon-day sun.  Their strength shall augment our strength as we approach the workings ahead.”

I envision the moon growing from new to full, and the omens filling the Waters making them grow brighter and brighter as the power is poured into the Waters by the Theoi.  The blessed waters are then mixed with wine and the Folk are free to drink either the water or watered wine.

I also use trance when I am doing a protective working.  I’ve found trance in this case to be particularly helpful because it helps me to better visualize where and how the “zone of protection” is.  An example of this was following Easter weekend this past year.  There was a shooting involving students at my school, where one killed the other.  We (the teachers) were advised not to come to school the day following the funeral due to fears of retaliation.  There had been threats related to that specific day, and so I along with many of my coworkers, did not go in to work that day.  However, I did do some hefty work in the days leading up to then, both to protect the students at my school, and to make sure that nothing happened and none of the threats came to fruition.  I made offerings to the Theoi, and asked that they watch over the students at my school.  I also asked Epione to provide healing for those who were grieving, and allow them positive outlets for their anger and sadness.  I drew up energy from the Earth and gathered it within myself.  Then I focused on it traveling outwards and blanketing my school in a protective mist that both deters violence and helps to wash clean the anguish that dwells there now.

Trance, as well as practice, has certainly helped my magic.  It allows me to better focus my intent.  Additionally, since I am a very visual learner, it helps me be able to visualize my intent clearly.  Trance and magic play off each other very nicely in this same sense.  I can enter trance in order to perform magical work, and then often during the magical work my trance will deepen as my intent focuses, and as my trance deepens the magical work becomes more potent.  I think trance is an integral part of magical work for me.  It doesn’t always have to be a deep trance for every working, but at least a light trance helps to take me out of the mundane state of mind and into the state I need to be in to focus.

 

  1. Discuss the role of the Three Kindreds in magic, particularly in your personal practice but also in ADF’s cosmology. (min. 300 words)

The Three Kindreds are part of what makes ADF unique in the vast conglomerate of neopagan religions. The collection of Ancestors, Nature Spirits, and Shining Ones are the spirits with whom we build our relationships, and who we come to honor. I am reminded of one of the “challenge questions” within my grove when we perform members only rites: “Who do you come to honor?”

The Kindreds are one of the cornerstones of our practice, especially as it relates to building the *ghosti relationship. This relationship of hospitality, of give and take, is a large part of makes magic possible within the context of ADF. For me, since I perform nearly every magical act with the aid of a spirit, it is especially important to develop good relationships with the Kindreds, or the categories of spirits that exist.

I will admit, that I often have a difficult time with the delineation of spirits into the Three Kindred categories, feeling more comfortable operating with the spirits in terms of what realm they come from. That being said however, depending on the magical task at hand will determine who I am working with.

First, within the context of an ADF ritual, some of the common magical acts that are performed are things like opening the gates and calling for the blessings. When working with a spirit to perform one of these acts, it is important to have built a relationship with them. The relationship is important because we are asking the spirit to “join your magic with mine,” and without the relationship that we have focused on having within a religious context, the joining of our magic would not be as powerful. For example, when opening the Gates, it is important to have built a relationship with a spirit who can traverse all the realms, because that is what their knowledge allows them to do, and what their powers are geared towards. However, this spirit does not need to belong to a specific category of Kindred. The two Gatekeepers I commonly work with are Hekate, a Shining One, and Garanos, a Nature Spirit.

While I believe the relationship is paramount to working with the spirits, within the ancient context this was not always the case. Take for instance, the Greek Magical Papyri, and the plethora of spells it contains that deal with coercing a spirit and making it do your will. The ones I’ve noticed the most often are the spells that deal with Typhon (PGM IV 260-285). I relate to this the way I noticed relationships working within an urban classroom. As the teacher, you find the biggest, baddest kid in the room, and win him over to your cause. Then he will take care of keeping the rest of the kids in line. So, in the case of the ancient magician, if he could get Typhon to do as he wanted, then he wouldn’t have to be concerned with the other spirits because Typhon would take care of them for him.

When I’m thinking about the delineation of spirits along the lines of the Ancestors, Nature Spirits, and Shining Ones, depending on what category the fall in changes the way I think about them and how I approach my relationship with them in terms of magical work.

The Ancestors are important for their knowledge and skills that they are able to pass on, and this is determined based on the skills they had in life. So, if I am working with an ancestor and desire to learn more about and perform divinatory work, I may reach out to Teiresias or Pythia, because in life, that is where their skills were. Teiresias was a Seer in life, and Odysseus meets him when he journeys to the Underworld.  Teiresias gives him a prophecy and guidance (Homer).  The Pythia is the name given to the Oracle who dwells at Delphi and speaks for Apollo (Johnston 33-50). These ancient diviners carry forward the skills they had in life into death.  Therefor, by developing a relationship with them, and communing with them, not only can they teach you some of their skills, but they can also assist in the interpretation of an omen.  Alternatively, if I wanted to work with an Ancestor for bardic work, I may reach out to Taliesin or, more likely, Homer.

The Nature Spirits have otherworldly powers that give them the innate ability to perform magical acts.  When developing  a relationship with a Nature Spirit in the context of magic, they are beneficial to work with because they are likely to know more about a certain type of magic than me. For instance, if I am working with plants and growing things, I would likely call out to a nymph of some variety for their specialized skills in that area. Nature Spirits also make excellent guides, as is evidenced by the number of people who have totems and spirits guides that take the form of animals. This can also be seen in the lore when considering the Greek daimons.  They are spirits who are approached for a variety of reasons, and are powerful beings in their own right.  They can help a magician if he calls on them to perform anything from agricultural magic to weather magic.

The Shining Ones are huge, alien, and knowledgeable in far more things than me. So when I seek to work with them it is from the stand point of they have this awesome power, and I’ve developed a relationship with them that makes them want to help me, as I have honored them. I often view working with the Shining Ones as their power filling me (or another person), and allowing me to direct that energy to achieve an end. For example, when I do bardic work, I ask the Muses to fill me with their power and to sweeten my words, to sing through me. When I do healing work, I often ask for Asklepios or Epione to fill the physician and work through their hands.  Askelpios is the son of Apollo and God of Medicine and Doctors (Atsma “Asklepios”).  Epione is his wife, and is the Goddess of the soothing of pain, particularly emotional pain (Atsma “Epione”). Othertimes I ask Brighde to fill me with her warmth and allow me to ease the pain of someone.  When I do divinatory work, I call on Apollo Mantikos to “See with my eyes, / Hear with my ears, / and Speak with my voice.”  These are all forms of spirit arte and/or channeling the divine, and it is that relationship that I’ve developed with the deity that allows me to ask for, and perform these acts of magic.

 

  1. Discuss three different instances of magic done in every ADF ritual, how the magic is accomplished, and what makes that particular work magic. (min. 150 words each instance)

The three instances of magic that are done in every ADF ritual that I’ll be discussing are the Recreating the Cosmos, Opening/Closing of the Gates, and the Return Flow.

Recreating the Cosmos

The Re-Creation of the Cosmos lines up the different realms, so that they are overlaid, or parallel. It is common to sanctify the space around the ritual and the ritual participants as part of the Re-Creation of the Cosmos.  I think this works well, since we are creating the Sacred Center of ritual, and setting aside the mundane for a time in order to commune with the spirits.

When I Re-Create the Cosmos I first hallow the space around the ritual participants, to be sure that the miasma is washed clean and chaos is left behind.  Then I initiate the connection to the worlds by declaring that the smoke from our sacred Fire will carry our prayers to the gods.  I make offerings to the Fire and the Well, allowing the objects that represent them to become fit for the purpose of ritual.  Then I take the omphalos and bring it to the center, declaring that it marks the Sacred Center of all the Realms.  The Re-Creation of the Cosmos works because it establishes the Sacred Center and primed the space for the Opening of the Gates.

Because I am mimicking the first establishment of the Center, the magic being performed here is sympathetic.  I am mimicking the directions of Zeus, as he searched for the Center of the World.

Below are the words I say most often when Re-Creating the Cosmos:

“Let this area around us be purified sacred space where we go to meet the gods, and the gods descend down to meet with us.

Let the smoke from our sacred fire carry our voices to the heavens to be heard by the gods.

I place this omphalos at the center of worlds, just as it marked the center of the ancient world.  My hands, like two eagles, flying to meet in the middle and establish this as the sacred center of worlds.

Through this sacred center, let the World Tree grow, plunging deep within the earth to touch the Sacred Waters below and reaching through the sky to embrace the Sacred Fires above.

Opening the Gates

After the Cosmos has been Re-Created, the space is primed and the Gates are ready to be opened.   When the Gates are opened the space between the realms is connected, so that we are better able to hear the Kindreds and they are better able to hear us. It is akin to ringing the doorbell of a spirit.  While they are all around us, Opening the Gates allows us to get their attention.

When I Open the Gates, I call on a Gatekeeper for assistance.  In my personal rites, this is usually Hekate.  I say an invocation that praises Her and extols the reasons why I desire to work with Her in particular.  Then I ask that She join Her magic with mine, and help me open the Gates.  The physical motions that I make I believe are echoes of what many in ADF do. When Opening the Gate to the Underworld through the Well I make a spiral motion from my center, counter-clockwise down towards my feet.  When Opening the Gate to the Upperworld through the Fire I make a spiral motion from my center, clockwise up towards the sun towards my feet.  Then to connect the realms I first form a ball (Tai Chi “hold the ball”) at my navel with my right hand on top and left on bottom, then I press my right hand up towards the heavens, and my left hand down towards the earth.   Finally, as I proclaim the Gates to be open I take my hands from a ‘prayer’ position and open them out to my sides.

In this manner, I think the motions help to focus the intent of the magic, but it is with the help of the Gatekeeper that the Gates can actually be opened.  As with most of the other acts of magic I’ve discussed, it is the relationship with the spirit that makes the magic possible.

Below are the words I say most often when Opening/Closing the Gates:

“We call out now to Hekate to guide us in walking between the worlds!

Hekate, at moonlit crossroads, you befriend the helpless.

Keyholding Mistress of Earth, Sea, and Sky.

Dark Mother Hekate,

Ghosts and hounds follow you.

You are the black puppy and the black she-lamb.

Torchbearer, we praise you for the brightness of your power.

We offer you [eggs and wine].

Hekate of the Crossroads be our Guide!

Guide us as you guided Demeter in her journey.

Reveal to us the way to walk in safety.

Radiant Hekate of the Torches,

Guiding Light, Keeper of the Keys,

Join your hidden knowledge and power with ours

and help us to open the Gates between the worlds.

 

Let this water become the Well, and open as a Gate to the worlds below.

Our connections deepen to the Chthonic beings as the Gate is opened.

Let this flame become the Fire, and open as a Gate to the worlds above.

Our connections deepen to the Ouranic beings as the Gate is opened.

Let this Omphalos stand at the center, and mark our sacred center here and in all the world.  Let the tree wrap its roots around the stone and sink into the Well, and let it’s branches stretch upwards and reach for the Fire.

We stand here, connected at the Sacred Center to all the realms of Land, Sea, and Sky.

Let the Gates be Open!”

 Closing the Gates/Restoration of the Ordinary

“Let this Well be but water, ever sacred in its own right, but no longer a Gate opening to the many paths.

Let this Fire be but a flame, ever sacred in its own right, but no longer a Gate opening to the many ways.

Let the omphalos no longer be the Center of the Worlds holding us at the Crossroads.  Hekate, as we move away from the Crossroads and return to the center of our hearts and homes, stand ever vigilant as you always do, until we return again in need of your aid.”

The Return Flow

The Return Flow takes place after all the offerings have been made.  It is the reciprocal part from the Gods, that as we have given gifts to them, now we ask for gifts in return.  When we ask for blessings from the Kindreds, we take an Omen to see what form those blessings will take.  Then the Blessings are infused in some way, often within the Waters, so that the folk can imbibe them and take them within themselves, and carry them into the work ahead and into their lives.

When I Call for the Blessings, I first reflect on the omens that the Seer has received and interpreted.  It is important to understand the omen, because that is what you are going to be infusing the Waters with, and offering to the Folk.  I find it useful in larger, especially diverse, rites to also call on the Folk themselves to consider the omens and their interpretation, and how it applies to them.  I then ask for the Theoi to give us their blessings, as we have given of ourselves.  I use the imagery of the moon to help the Folk visualize the Blessings filling the waters.  I hold the vessel of water aloft as I ask for the Theoi to send down their blessings. As I am doing this I reach out in all directions with tendrils of awareness, and use them to act as a conduit and a funnel for the blessings, so that they make it into the vessel.  As I feel the vessel getting heavier, more dense, and often slightly warmer, I declare that with the blessings of the gods we can grow ourselves, and symbolize this mixing of our energies by pouring the blessing infused waters into the wine (or juice).  Some of the water is reserved for any workings that will be done, as well as for those who desire a non-alcoholic drink (when wine has been used).  The Folk are then invited to imbibe and reflect on the blessings.

Below are words, or a variation on them, that I commonly say when conducting the Return Flow:

*have vessel filled with wine, and vessel filled with water.  Water is infused with the blessings and poured into the wine.  Some water is set aside for the working*

Having given of ourselves, and received wisdom and blessings in return, we now seek to take of those blessings to enrich ourselves for the work that is to come.  We seek to fill ourselves with these blessings so that we may be thusly imbued with the sacred powers and apply ourselves to the work ahead.

*take vessel filled with water*

Let the brightness of the Shining Gods fill these waters with the omens we have received, [Omen, Omen, and Omen].  Let their blessings grow in strength like the light of the moon, shining with the brilliant power akin to the noon-day sun.  Theoi! Rain your blessing down upon us, and fill our Sacred Cup.

*vessel is held aloft as water is infused with the blessings*

Their strength shall augment our strength *blessed waters are poured into wine.  reserve some waters for the working* as we approach the workings ahead.

Drink deep, Children of Earth, and think on the gifts we’ve been given.

Esto!

  

  1. Discuss the use of song and poetry in magic within your hearth culture, and explain how you have used music and poetry in your own work. (min. 300 words)

There are many examples of poetry within the Greek hearth culture, ranging from epic poems to hymns praising the spirits.  The poetry that I have found to be most useful in ritual space are the Homeric and Orphic hymns.  Each is to a clearly defined spirit (most often one of the deities), and extols them and their domains.  During the Hellenic Full Moon rituals that I lead, we use the Orphic Hymn to each of the Olympians for the month that they are honored.

Plutarch discusses types of music within Ancient Greece, dividing them into the two contrasting categories of paean and dithyramb.  He relates the former to Apollo and the latter to Dionysos: “To this god [Dionysos] they also sing dithyrambic mele full of passions and a modulation that has a certain wandering and dissipation.  For Aeschylus says: ‘It is fitting that the dithyramb with its mingled shouts should accompany Dionysos as fellow-reveler.’  But to the other god [Apollo] they sing the paean, an ordered and temperate muse” (Mathiesen 71).  This fits with my concept of the two types of inspiration, and two methods that I commonly use to write.  There is the wild and free inspiration that comes from Dionysos, but there is also the inspiration of writing with a strict form in mind, that comes from Apollo.  I use both methods when I write, sometimes separately, and sometimes together.

It should not be surprising that I use song and poetry rather extensively within my own personal practice, and for the most part I use them in much the same way. I generally use poetry, often free verse, to invoke the spirits.  I enjoy writing these out before hand so that I can focus on the way the sounds roll together and how the specific words play off each other, however, I am also comfortable speaking off the cuff in a poetic fashion for invocations.  Some of ones I use often, in many different rituals, are to Ushas, Hekate, Gaea, Okeanos, Ouranos, and Poseidon.  I have also used song to invoke the spirits.  An example of this is “Muses, Sing Through Me,” where I call to each of the nine muses in turn, describe their strengths, and invite the to “Inspire me with [their] grace and song, to honor all the Kindreds.”

I use both song and poetry in my personal work to honor the spirits.  For example, “Because They Love (Tsirona’s Song),” is a song that describes the joy and healing that she brings through the power of music.  “A Song for Your Passing” was written as an Ancestor song (specifically for my grandfather) and honors those who have gone by singing of them, and reminding that we continue to honor them when we tell their stories and share their words.  “Kore: Phoenix Maid” is a poem written in honor of the Kore and her rebirth as Persephone.

There are also songs and poems that I use with specific magical intent in mind.  For example, “Wash Away,” is a song I use for healing, specifically emotional healing.  The last line of the song is literally “Let this song wash away all your sorrows.”  It has the added benefit that it is simple enough for folks to pick up easily and sing with me, as well as simple enough to allow for embellishments, echoes, harmonies, and countermelodies to be woven in.  To me, this helps make the song much more powerful.  I’m currently working on a sestina (a strictly formatted poem) designed to be used in opening the gates.

Other musical things I due to enhance my magical work are free note toning and toning the Awen to focus intent, as well as drumming either by itself or as an accompaniment to song to help build energy.  Both of these things are useful in that they help to occupy the extra spaces in your brain that can lead to distraction, and thus splitting your available resources, and aid you in directly all of your focus to the task at hand.

 

  1. Detail your understanding of why self-understanding and introspection are critical for the magus at any stage and how you intend to pursue a course of self-understanding. (min. 200 words)

Self-understanding and introspection are essential for every person who practices magic, whether or not they consider themselves a magus or magician.  For me this becomes a discussion of ethics, and a discussion of ethics within my practice turns towards the Delphic Maxims (Oikonomides).  Personal introspection falls under maxim #8 “Know Thyself” or perhaps “Be Yourself,” depending on the translation. This requires a person to examine their personal values, and determine why they feel the way they do, and how to best act in accordance with those values they have come to own.  Many other values are accounted for within the maxims that help to guide who that “self” is that you should strive to know and be.

An understanding of yourself requires that you know who you are and continually explore who you want to become.  It requires an understanding of how your actions and inactions affect yourself and others, and your view of yourself and how others perceive you.  This does not require you to cater to or be afraid of how others will view you, but at least have an understanding.  This understanding as you grow will help you to distinguish the role that magic is taking in your life. I believe there is always a danger that hubris can overtake a person, and in the case of magical work, this hubris can be more devastating as the magician breaks from reality.  One of the guiding maxims that I think helps to curb hubris is to “Be (religiously) silent.”  It is more important to do the work than talk about all the work you have, or could have done.

An understanding, and continual drive for better understanding, of how you view yourself and how others view you will help to keep hubris from taking root and destroying both the self and any relationships that may exist.  You should like who you are, and act in such a way that you continue to do so.  If you don’t like yourself, then you should be able to take steps to fix that.  You should also have an understanding of how those around you view you, and be able to accept that view.

Ways that I pursue a course of self-understanding are first by examining (and re-examining) my biases.  It is important for everyone to know their biases so that they can account for the ways that may pre-dispose them to a certain belief or outcome.  I do divinatory work to consult the divine on whether or not an action (magical or not) is called for.  I meditate on how my actions will affect myself and others. I work to determine what I view as right and wrong, and where my line is that I won’t cross.  I do my best to stay honest with myself and true to my gods, because in the end, I have to answer to my conscience and my gods.

 

  1. Describe three workings you have done that had demonstrable, intended results. Explain what those results were, how the working was conducted, and how the result appeared to manifest. (min. 150 words per working)

Working 1:

I have worked with Artemis since I knew I was pagan, certainly since high school, and likely before. She became my patron goddess, like a guardian and a sister. There are so many myths about her devotees, and what happens when they leave her realm to get married. I knew I needed to ask her permission to get married if I had any hope of not being forsaken to her. So I conducted a rite of passage to move myself from her realm as a maiden, to Hera’s realm, as a married woman. It was, and still is, the hardest rite I have ever written and performed.

I researched the rites that were done in Ancient Greece as girls left the protection of Artemis, and I wrote my own rite of passage to reflect these ancient practices. I chose two of my treasured toys from my childhood and sacrificed both them, and a lock of my hair. This sacrifice was part of the process that allowed me to leave the realm or Artemis and enter the realm of Hera.

My relationship with Artemis has changed drastically since that day. I don’t work with her nearly as often, and when I do, it’s in a different fashion. Now I work more as a colleague with her. And rather than being under her protection I am now working to provide protection. I have acted as a liaison for several girls, and I suspect I will continue to do so.

Working 2:

After my daughter was born I successfully breastfeed her until I went back to work. After I started work again, I had many issues pumping at work, and as much as I still wanted to breastfeed, and wanted desperately to make it to at least 6 months, but my supply was tanking. I began offering to Brighde every morning. Initially, to gain her attention, and show my intent and that my need was real, I offered a small portion of my own milk, and promised other offerings should my milk production remain steady and allow me to continue to feed my daughter.

I offered incense, milk, and honey regularly along with lighting the Kildare flame along side Hestia’s nearly every morning.  On the days that I forgot, my supply was noticeably lower. And when I reached six months my husband and I made the decision to begin introducing formula. So I thanked Brighde for her help, made a final offering of incense, milk, and honey and then stopped making my daily offerings. I made it barely another three to four weeks before Thalia had been weaned and we were formula feeding exclusively.

Working 3:

Each Hellenic Full Moon ritual I lead has a magical working in it.  During the Artemis full moon, we created protective talismans for the children of the folk who normally attend (or for the children of those close to those who normally attend).  I wrote out the text for the working, and we did it in a call and response fashion.  I felt that it was important for each person to speak the words themselves, because they knew who the talisman was being created for, and could better focus the intent.  I’ve included the text below:

Creating a Protective Talisman:

  • Need a token of some sort that will be on or near child/young mother
  • Need blessed waters, cypress or walnut (both sacred to Artemis), and incense

We come together now in the presence of all the Theoi, but most especially Artemis, protector of children.

I take this token and ask that it be blessed.

Blessed in the light of the moon which has infused these Waters.

Blessed in the presence of the Maiden, who watches over all children.

Blessed by the breath of the Theoi, who watch over us all.

Let these waters wash clean (this child) as they infuse this token.

Let this plant, sacred to Artemis, fill (this child) with strength, and protect (her) from all harm, as it infuses this token.

Let this smoke breathe life and joy into (this child) as it infuses this token.

Infused with the blessings and in the presence of the Kindreds, we call now for the powers of Land, Sea, and Sky to combine with ours and with the bright, fierce essence of Artemis, to seal this intent into this token.

Esto!

I fashioned the working itself a bit after some of the amulets in the Greek Magical Papyri, such as what things were done to the item in order to make it fit for the intended use.  In the case of this working I wanted the talisman infused with the powers of the land, sea, and sky, as well as ensuring that the child would be looked after by all the Theoi and by Artemis specifically.

As we were conducting the working, I go the tingly, slightly dizzy feeling that I have come to associate with magic that has worked, and intent that has been pushed through and realized.  While tangible results for this working are hard to determine, I feel that the combination of the energy feeling I got from the working and the fact that nothing bad has happened to my daughter and she’s been full of life and joy are a good litmus test for deeming the talisman a success.

Working 4:

Part of the Order of Bardic Alchemy work requires you to write a bardic piece in ritual space, with the intent to use it during ritual.  The Muses are my bardic patrons, and whom I work with most frequently when I’m doing bardic work.  I call to them for inspiration before I write, and often before I play, sing, or perform.  I decided the piece I would write would honor them, and give me an alternative method to call to them, rather than with an simple invocation.

I did the bardic alchemy devotional, and when I reached the working portion, I called to the Muses for inspiration and asked them to fill me with their song so that I might better honor both them and Kindreds.  I made offerings of sweet incense (Lotus), milk, and honey.  The thought process here was that this was a mix of the sweet words that I hoped to be blessed with and one of the hypothesis for what makes up ambrosia.

I had my bard book open in front of me, and sat staring at a flame.  The words seemed to come excessively quickly.  I often describe the process of this ‘gift song’ as trying to catch the Awen with your pen, and funnel it down into something coherent on the page.  This was not my first experience with a ‘gift song,’ and like the others, the whole piece was written in probably under an hour: words, chords, melody, and all.  It required very little revision following the initial writing.  “Muses, Sing Through Me” is still the main way that call to the muses before beginning bardic work.

 

  1. What three modes of magical work do you find most appealing, and why do you find them so interesting? How have you used these modes? (min. 200 words for each mode)

The first mode of magical work that I find appealing is spirit arte. I was introduced to the concept of spirit arte, or at least was given a name for it, by Ian Corrigan in his Court of Brighde work.  I attended the initial festival ritual where we sought out the hand maidens, or helper spirits, of Brighde, and made alliances with them.  From that working, the spirit I have continued to work with is Tsirona, an ancestor spirit.  She aids Brighde in her work of healing through music.  I find spirit work appealing because it is what makes the most sense to me when trying to achieve something magically.  I, by far, prefer and operate within a thaumatergical magical system.  I have built these relationships with the spirits, and so it makes sense to me to ask them for help when I’m trying to achieve something.  The burden is lessened for all when you ask for help.  This is especially true if I’m doing a magical working that the pre-divination has indicated Beta (ask for help).  For me, spirit arte does not just have to be a relationship or bargaining with the worker spirits.  It is just as valuable working with deities, whether they are those who I’ve developed a patron-like relationship with or those with whom I’ve built a strong working relationship (ex: Gatekeepers such as Hekate and Garanos).

The second mode of magical work that I find appealing is incantations.  When I talk about incantations, I’m lumping a large variety of spoken word magic all together.  For me, incantations can be the writing and speaking of hymns and poems that weave the power of the words together.  These often take the form of strict poetic forms, such as sonnets, villanelles, and sestinas.  I’ve found that strict forms help ensure that proper thought and power has gone into a piece, and the form itself lends additional power.  There is also power in free verse, provided that other poetic elements are observed to still lend power to the spoken word, such as alliteration, meter, or assonance.  I use these hymns and poems most often for invocations to specific deities as I call on them to aid me in a specific work.  This ties closely to the spirit arte I discussed above.  The spoken word invocation is how to gain their assistance, and the spirit arte is what you have them help you with once they arrive.

Another aspect of incantations for me is toning.  It still depends on the audible sounds that are made.  I use toning to raise energy and direct toward a specific intent.  Toning is interesting in that it has an audible cue for when the work has reached completion.  I tone so that I can hear the resonance of the notes around me, and my pitch shifts to echo the harmonics.  With the shifting notes the toning continues until I hear the overtones.  Overtones are the harmonics heard above the actual pitches that are sounding.  So, when it sounds like a choir of voices singing all around you, rather than just one or a few, that is the indicator that the spell has worked, and the intent has happened. I use toning most often for charging an item, for healing work, or to focus the intent of a sacrifice.

The third mode of magical work that I find appealing is sigil magic or talisman magic.  I don’t feel as confident with sigil magic, mostly because I don’t feel confident in my ability to accurately draw what I need to, but both talisman and sigil magic are fascinating because it is a spell that is tied to a material object or concrete image.  I lump these together because sometimes sigils are marked onto talismans to give the talisman more power.  They are created with a lot of thought going into the design of the piece.  For sigils, there is an accurate symbol that is drawn, sometimes in conjunction with other symbols.  Each line, angle, and instance of shading is carefully considered so that it can be applied towards a certain end. For talismans, the magician needs to consider how the piece will be worn of carried, the size, the shape, and the color of the piece.  They also need to decide if any additional markings will go on the piece, or if the talisman will contain other ingredients, and if so, what order they are added in.  Talismans are also interesting because they are worn of carried by the person for whom they are made, and thus exude a kind of magical energy at all times.  I’ve had good luck making initial talismans, as well as with recharging the magic on existing talismans.  One example of making an initial talisman is described above in my workings detailing the protective charms that were made at the Artemis Full Moon ritual.

 

  1. Explain how you determine if a magical working is the proper action in the situation you wish to apply it to. Describe your method of determining the proper magical course of action, from start to finish, as well as any particular exercises (such as divination) you go through to ensure that your actions are correct. (min. 300 words)

When I’m considering whether or not a magical working is the proper action for a situation my general outlook is “would I take a mundane action to try to resolve or aid this situation?”  If the answer is yes, then I will consider taking a magical action.  If the answer is no, then I have determined no action should be taken, and so the consideration stops there. When I’m determining if any action at all should be taken I consider my morals (mostly derived from the Delphic Maxims, the ADF Virtues, and common sense).  Some notable maxims to consider are #2 “Obey the Law,” #30 “Exercise nobility of character,” #50 “Act when you know,” #93 “Deal kindly with everyone,” and #107 “Pursue harmony” (Oikonomides).  These tie in nicely with some of the ADF Virtues I consider in particular (Wisdom, Courage, Integrity, and Perseverance), as well as with some good old-fashioned common sense: “Don’t be dumb” and “Don’t be an asshat.”

If I would take a mundane action, then my next step is to consult the gods.  This is the step where I do divinatory work to determine if I should take action, and in some cases what form that action should take.  If I’ve determined it is the right course of action, then I have a better understanding of what questions need to be asked when I’m approaching the deities to ask for guidance.

If the deities agree that a magical action can and/or should be taken, then my next step is to determine what form the magical working should take.  This is the step where crafting the work takes place, and so it just remains to be determined how to best achieve my ends.  Sometimes the answer is simpler than others, particularly if the magic act is something for my own ends. I have particular deities I’ve forged relationships with and with whom I work best.  For me, these are nearly all within the Hellenic hearth culture.  However things get more complex when I’m working for the benefit of or by request of another.  I must stop and consider if it would be better to consult with the deities that they honor for better results.  I’ve only just recently started considering this method, and have been working to build at least passing relationships with multiple deities outside my hearth for when these instances occur.  I think working with deities you are familiar with can help to establish an intermediary connection with deities that the other person works with.  And the ability to approach another’s deities will help to ensure that the intent is properly established for the work.

 

  1. How can the magician serve modern society? (min. 300 words)

When serving the community as a magician it remains important to still consider the ethics that if you would make the mundane effort, then why not marshal all your forces and also make a magical effort.  “Use your skill” and thus, use all the resources available to you to serve in the way your role demands (Oikonomides).  There is great power in magic for the benefit of the community.  Things like Opening the Gates and Calling for the Blessings within an ADF ritual benefit the community.  They allow all the participants in a ritual the opportunity to connect more deeply with the spirits and to receive their wisdom and blessings.  This magic is central to our being able to perform rituals.  I think magic that benefits the community is the most important, and it is our relationship with the spirits that allow us to do it.

It is also an important job of the religious magician to develop and maintain relationships with the spirits.  This way, there is someone familiar with them when a need arises.  It is because of this I’ve started branching out of my current hearth culture and comfort zone and have begun to develop relationships with deities beyond the Greek hearth.  If a religious magician is to serve her whole community, she must be prepared to access the means to respond to the needs of the community.

Magic that benefits the community also contains work that is done for others, such as healing and protective charms.  I’ve found that folk have started coming to me, often privately, and asked for some of these things, and I feel that it is the right thing for me to be doing to help them in whatever manner I can.  By helping the individual members of our community, we’re strengthening the community as a whole.  Other things individual members of the community may request are things like divination.  This can serve the needs of modern society by helping guide each individual’s actions in the right direction, or give them confidence they need to make the right choices.

Magic done to strengthen the community, care for the earth, or help someone through a time of transition is also benefiting the community.  These are things that serve not just the local and specific community, but also serve modern society as a whole.  Without the earth, and without people who are comfortable in their own place and position, society would become, at least, more unstable.

 

Works Cited

ADF Clergy Council. “The ADF Core Order of Ritual for High Days.” Ár nDraíocht Féin: A Druid Fellowship. Ár nDraíocht Féin: A Druid Fellowship, 1 Jan. 2006. Web. 7 July 2014. <https://www.adf.org/rituals/explanations/core-order.html>.

Atsma, Aaron J. “Asklepios.” The Theoi Project : Greek Mythology. 2011. Web. 07 July 2014. <http://www.theoi.com/Ouranios/Asklepios.html>

Atsma, Aaron J. “Epione.” The Theoi Project : Greek Mythology. 2011. Web. 07 July 2014. <http://www.theoi.com/Ouranios/AsklepiasEpione.html>

Betz, Hans Dieter. The Greek Magical Papyri in Translation: Including the Demotic Spells. Chicago, Ill.: U of Chicago, 1986. Print.

Graf, Fritz. Magic in the ancient world. Cambridge, Mass.: Harvard University Press, 1997. Print.

Homer, and Samuel Butler. “The Odyssey.” The Internet Classics Archive | The Odyssey by Homer. The Internet Classics Archive, n.d. Web. 7 July 2014. <http://classics.mit.edu/Homer/odyssey.11.xi.html>.

Johnston, Sarah Iles. Ancient Greek Divination. Malden, MA: Wiley-Blackwell Pub., 2008. Print.

Luck, Georg. Arcana mundi: magic and the occult in the Greek and Roman worlds : a collection of ancient texts. Baltimore: Johns Hopkins University Press, 1985. Print.

Mallory, J. P. In Search of the Indo-Europeans: Language, Archaeology, and Myth. New York, NY: Thames and Hudson, 1989. Print.

Mathiesen, Thomas J.. Apollo’s lyre: Greek music and music theory in antiquity and the Middle Ages. Lincoln, Neb.: University of Nebraska Press, 1999. Print.

Oikonomides, Al. N.. “Records of “The Commandments of the Seven Wise Men” in the 3rd c. B.C..” Classical Bulletin: 67-76. Web. 1 July 2014. <http://www.flyallnight.com/khaire/DelphicMaxims/DelphicMaxims_CB63-1987.pdf>

 

 

Magic 1

  1. Discuss the importance of the action of the magico-religious function as it is seen within the context of general Indo-European culture. (minimum 100 words)

Within the general Indo-European and applying Dumezil’s Theory of Tripartition, a culture is divided into three classes: the sacral class, the martial class, and the economic class.  The magico-religious function would fall into the first class of people.  These are the people who would serve as priests and magicians within their culture (Mallory 131-2).  They would preform rites of passage as needed, as well as preside over other seasonal and cultural celebrations.  It was the duty of the priest to be sure that all proper forms of sacrifice were observed and that each necessary holiday was celebrated appropriately.  It was the function of the magician to perform rites of passage as needed, but also to act as seers and spell casters for both individuals and institutions within their culture.  In some cases the function of the priest and the magician would overlap, however their paths diverged more in some cultures than others.

 

[Introduction to questions two and three: As different Indo-European societies developed, the figure of the magician in those societies evolved in differing ways, for example: in Roman society the magical function evolved, it was divided away from the priestly function and regulated by a different set of laws while in the evolution of Gaelic culture the magical and priestly functions remained entwined within the same cultural functionary.

  1. Discuss your understanding of the evolution of the magician from early to late periods within one Indo-European culture. (minimum 300 words)

The cross contamination of cultures, as they have shifted and merged into one another complicates this questions.  Within the classical era of Greece, there existed the magos.  This magos was a Persian priest or, more generally, someone who specializes in religion.  They were known for being particularly pious (Graf 20).  It is important to note that though they were known for their skill and expertise in magic and religious work, they were, by definition, outsiders.  This marked them, and ensured that they were not a part of the mainstream culture at the time.

By the 5th century BC, the magos became known less as a wise man, and more like the wanderer of the night, associated with the maenads and the initiates.  These accounts come from Heraclitus of Ephesus, wherein we can begin to see a negative connotation of the magician taking hold.  The magi were considered to be crazy, and practicing false religions, and were lumped in with the faithful practitioners of ecstatic (Bacchic) cults.  In this era, the magos was likely less a sorcerer, and more like the other practitioners of magic: the beggar priests (agurtes) and diviners (mantis). He was a professional of rites, and lumped into the category of men were feared by some, lived on the fringes of society, and were experts in various cults (Graf 21-22).

Later, Sophocles in Oedipus Rex describes the magicians, and considered them to be close in nature to the agurtes, the beggar priest.  This means he has no place in official society, unlike the diviner.  He basically describes the magicians as con artists who practice tricks of the mind and slight of hand in order to profit, rather than as men who were skilled in the art of magic.  The magos and the agurtes shift from being more respected members of societies and transition to those found on the fringes of societies.  The diviner has the official status in the polis, and the beggar priest stands opposite him (Graf 22).

Plato, in the Republic, lumps the magicians together even further, combining both the initiates of ecstatic cults and the practitioners of black magic.  He considered them specialists of “ evocations and magic bonds,” particularly because of the all the curse tablets, and implements of magic that have been found all across Attica (Graf 22-23).

 

  1. Compare and contrast the culturally institutionalized position of the magician within at least two Indo-European cultures. (minimum 300 words)

Within ancient Greece the diviner was granted a place in the polis.  This is the mantis, and he stands opposite the magi and the agurtes.  Any magical work that is performed outside of the state is a crime, and punishable as such, because the position of these sorcerers threatens the relationship between the humans and the gods (Graf 25).  Interestingly, Athens did not have as many harsh laws regulating the work of magic within its limits.  Plato says that it is a good thing that Socrates settled in Athens because if he had lived anywhere else they would have prosecuted him for black magic and sorcery.

This contrasts sharply with ancient Rome, who pulled heavily from the works of Plato, where in the Laws he proposed harsh punishment for practitioners of magic.  Part of this was because he distinguished a distinct difference between magic and religion, where magic tried to convince the gods very specifically to bend to your will, and religion leaves the gods a choice (Graf 27).

In Rome, the existence of the Twelve Tables was meant to combat the practice of black magic.  The malum carmen is the harmful charm that is spoken as an incantation to achieve results.  The example given (“Do not put a curse on the crops of others”) explains how the effect of making a neighbors harvest disappear, is illegal, though possibly logical, since that would be the natural consequence of performing a spell to increase your own harvest, though it may pull a neighbors crops into your own fields. It should be noted, however, that the crime was not practicing magic, but rather theft. It all came back to the mundane (Graf 41-2).

While the Greeks left room for the magician in their society, mainly through the practice of divination, the Romans considered the magician to be solidly on the outskirts of society.  One of the reasons magic was considered particularly dangerous was because of its supposed silent nature.  If you were making silent prayers, it was often assumed that they were harmful, because why else would you not say them out loud. There were other restrictions on magic.  One such was noted in Cicero’s Laws II.  It was intended to stop non-public sacrifices, with are similar to non-verbal prayers.  The excerpt states  “Let there be no sacrifices at night by women with the exception of those made for the people, and let them not initiate anyone with the exception of the traditional initiations for Ceres, according to the Greek rite” (Graf 59).  These are all indications of how as time progressed, and the Romans grew out of Greek culture, the magician was divided away from his role in the state, and relegated to fringes of society, governed by different law than those that governed the state officials.

 

  1. Identify the terms used within one Indo-European language to identify ‘magic’ and ‘magician’ examining what these terms indicate about the position of the magician and the practice of his or her art. (minimum 100 words)

There are a variety of terms that are used to describe magic and magician, and the connotation of the word would change depending on which term is used to describe a magical person or magical act.  Mageia, the Greek word for magic, is what is practiced by the magos or magi, the magician or sorcerer.  The term magi comes from Persian, and when used in Greek refers to a foreigner.  There is a kind of grudging respect because they are skilled in a responsible for “royal sacrifices, funeral rites, and for the divination and interpretation of dreams” (Graf 20), however due to the cultural and political tensions between Persia and Greece, they were not trusted.  The Heraclitus prophecies threaten these “wanderers of the night, … the magi, … with tortures after death” and torturing with fire because the mystery initiations were impious rites.  There are other subsets of terms used to describe the various magicians.  The agurtes were beggar priests, who people could go to for individual work, with the likelihood that the amount you paid them would effect what they told you.  The mantis was a diviner.  He was the freelance diviner, as opposed to the institutional diviners.  Both of these people were defined in the Derveni papyrus as “a professional of rites” (Graf 21).  They were lumped in with the night wanderers because they were privy to and specialized in the secret rites.

 

  1. In Norse culture we see magic divided into to primary methodologies known as Galdr and Seidhr. Galdr is very much the formal magic of sound, word and poetry meaning literally to intone while Seidhr is the magic of the spirits and is used by the folk in their everyday lives to assist in their crafts and arts. Compare the methodologies of spoken word magic and spirit magic and discuss their cultural significance within at least one Indo-European culture. (minimum 300 words)

Within the Hellenic hearth culture there is no example that is as clean as the delineation between galdr and seidhr.   There are many examples of spirit magic, perhaps the best being that of Pythia and oracular magic.  Oracular magic like that that is demonstrated by the Oracle of Delphi and the Oracle of Dodona “relied on mortals through whom a god was believed to speak” (Johnston 33).  In this method the humans delved into much deeper relationships with the divine, and the consciousness of the two often seemed to merge.  Another related example is that of the mantis.  Manteis were those people who were freelance magicians, and freelance diviners.  They offered divinatory clarification and advice as well as acting as an intermediary between the folk and the gods, helping them to strike bargains.  Much the way that high magic is practiced in the modern era with the magician building up his personal authority in order to achieve his ends, the mantis was able to converse with and bargain with the spirits on behalf of those who didn’t have the authority and training to do so on their own.

While there are clear examples of spirit magic, it becomes difficult to tease the formal, spoken magic away from magic that deals with the spirits.  This is because the vast majority of the spoken magic also deals with the spirits, often calling them directly to take part in the magical work.  This can be seen in the variety of hymns from ancient Greece.  They are a powerful spoken magic, however that spoken magic is used as an evocation to a spirit.  Rather than acting as a magical spell for a certain task, it calls to a spirit for a reason.  Sometimes the spell is the task, but a spirit is still called to assist in the magical act.  For example: if performing the saucer divination of Aphrodite (PGM IV. 3209-54) you call to her “the mother and mistress / of nymphs” and with the proper steps of the spell she will appear and before you and reveal to you those things that were concerning you that caused you to call her.  So while the spell is somewhat complex, with steps taken in preparation, and has specific words that must be spoken, the fact remains that it is not solely a divination spell, it is a spell to call the aspect of a goddess to you to reveal answers to you.

There are other examples of spells in the Greek Magical Papyri that include certain sounds that must be made, including descriptions of what those sounds should feel like within your mouth as you make them.  Apollonius notes in his discussion of Hellenic magic ritual that “for greatest effectiveness, certain spells or parts of spells (vowel chants, etc.) – the spells proper (Grk. epôdaí),- must be sung or recited sonorously, if circumstances permit. In any case, all ritual actions should be accompanied by appropriate verbal formulas, in the mind (by attentive imagination) if not out loud” (Sophistes “Hellenic”).  He notes that in ancient magic, spells were either silent or murmured, differing sharply from prayers and sacrifices that were made.  Graf also mentions this in his discussion of how it was not culturally okay to partake in silent prayers (Graf 120).  The inclusion of audible sounds “can help to entrain your assistants with your intentions.”   This is another example of how while there was likely both spoken magic and spirit arte, it was difficult to draw a clear line between the two different kinds of magic (Sophistes “Hellenic”).

 

  1. Discuss the existence and relative function of trance-journey magic within at least one Indo-European culture. (minimum 100 words)

In many Indo-European cultures trance work is often linked to divination of some sort. Trance, and trance-journeying appear to be a common method for conducting divinatory magic.  The most prominent example of trance-journey magic within ancient Greece remains the existence of the institutional oracles.  These women would enter a trance state in order to commune with the divine and receive answers from the spirits.

For example, the oracle of Delphi (the Pythia) was said to sit above a chasm in the rock, on a three-legged stool, and breathe in the vapors of the mountain. The ancients believed these vapors were the breath of Apollo, and by breathing it in, he (or his daimons) would possess her and speak through her (Johnston 44-7).  This is the idea that “when this prophetic potency mixes with the Pythia’s body, it opens up channels through which her soul can receive impressions of the future” (46-7).

 

  1. Discuss the place of alphabetic symbolism (runes, Ogham, Greek letters, etc) as part of the symbolism of magical practice within one Indo-European culture examine how this alphabet may or may not relate to the earlier sound, word and poetic magical methodologies. (minimum 300 words)

Within ancient Greece the use of the Greek Alphabet in divination was, while not the most famous method of divination, a useful tool for many people.  A common method for this style of divination was to place pottery shards that had been inscribed with the letters and shake them in a drum frame until one or more leapt out (Sophistes “Oracle”).  Divination was a deeply ingrained magical practice within ancient Greece.  It is interesting to note, however, that the institutional manteis was likely not using the alphabet system to divine, and that the freelancer diviners were more likely to use the alphabetic method for divination.

The letters of the Greek alphabet are used in the creation of amulets.  This can be seen in the variety of examples within the Greek Magical Papyri.  For example, PGM VII. 206-7 describes the creation of an amulet to prevent coughs.  The magician takes hyena parchment and inscribes a series of ancient Greek letters.

When referring to sounds, it is interesting to note that sometimes within the Greek Magical Papyri, there are direct intrusions on how a specific sound is to be made, and the feel of it in your mouth.  For example, in PGM V. 1-53 it directs the magician to pronounce AOIAO EOEY by saying “the ‘A’ with an open mouth, undulating like a wave; / the ‘O’ succinctly, as a breathed threat, / the ‘IAO’ to earth, to air, and to heaven; / the ‘E’ like a baboon; / the ‘O’ in the same way as above; / the ‘E’ with enjoyment, aspirating it, / the ‘Y’ like a shepherd, drawing out the pronunciation.”  This detailed description implies that the exact way in which the letters were said, and the exact sound they made, was imperative to the successful completion of the magical act, in this case, creating and working with an oracle.

 

  1. Discuss three key magical techniques or symbols from one Indo-European culture. (minimum 100 words each)

Rites of Binding (defixiones)

Binding spells are found in the curse tablets that are scattered across the ancient world, most notably the Mediterranean area.  They are text, primarily written on tablets of lead, that are intended to force another to the magician’s will, or make them unable to follow their own desires.  The texts themselves are divided into five different types of spells: judicial, erotic, agonistic, anti-theft, and economic.  In these cases, while the written texts have allowed us to study them, the part that is more important is the rite itself where the binding is carried out (Graf 119-123).  The text of who is bound and in what way conveys the intent of the spell, the there were also instructions for the magician for how and where to send the tablet down, whether by burying or sinking or nailing, etc.  The magician treated with chthonic beings to help him carry out the binding spell (Graf 134-5).

Divination

There are a whole host of techniques revolving around divination.  The famous methods of divination involve the use of direct visions either directly to the querant or through an intermediary (Graf 197).  This is what is seen at the Oracle of Delphi and the Oracle of Dodona.  This type of divination uses trance work to determine the message.  There are instructions to conduct such a direct vision in the Greek Magical Papyri specifically with Apollo (PGM VII. 727-39).  There is also the use of augury to conduct divination, as well as knucklebones (or astragaloi) and basic lots for sortilege.  This is what we most often use in modern paganism.  Some other methods include divination through lamps, mirrors, or bowls of water.  These methods often have an elaborate set of directions to prepare the magician and the object for use.  For example, one set of instructions explains how to take a bronze vessel and fill it with a specific type of water depending on who you wish to contact, as well as the words to say over it in preparation (PGM IV. 221-258).

All of these methods of divination are magic because they depend on having a relationship with spirits in order to achieve the results you desire.  Even if the result is no more than being able to interpret an omen, to be able to do that you must develop a relationship with a spirit to do so properly, and convince, cajole, bribe, etc. to get their help in the matter.  Divination within the Hellenic hearth culture is a form of spirit arte.  If you want something, then you have to find a spirit and win them over to your cause in order for that thing to happen.  This is seen time and again within the Greek Magical Papyri, as spirits are called for both simple and elaborate tasks.

Amulets

There are a great many examples of amulets begin created and worn to achieve a certain end.  In paging through the Greek Magical Papyri, there are hundred of examples.  One category of amulets has to do with healing.  The magician takes the material required and inscribes a series of letters or sigils.  The person the spell is for then wears the amulet.  PGM VII. 213-14 describes wearing an olive leaf about the neck as an amulet, with a shape that looks like a cone inscribed on the shiny side of the leaf, and a crescent moon inscribed on the dark side of the leaf.   Another description of an amulet is PDM xiv. 1003-14 which gives instructions on how to create an amulet to cure gout.

 

  1. Discuss the relative place and methodologies of magic within your personal religious/spiritual practice. (minimum 100 words)

I have struggled with the concept of magical work, partly because for me it is so entwined with both trance and divinatory work.  The three all contain pieces of the others that make it difficult for me to pull out just one of them and discuss it independently of the others.  Magic is simply prayer with Intent, and so it is a very broad term that can encompass many things.

When I do magical work, it most often takes one of five different forms: trance work, divinatory work, ritual magic, healing work, or bardic work.  And these forms can happen at the same time, and often do.  I often use trance in combination with all of the forms, as well as independently to better focus the intent of the work, or to gain a clearer or more intense understanding of the desired outcome.  When I do divinatory work, I always call on Apollo Mantikos to aid me, making this a form of spirit arte.  Ritual magic is the kind of things that happen within a ritual.  Within ADF these are things like opening the gates and calling for the blessings.  When I do healing work, it is most often done with the aid of a spirit.  I make offerings to the spirit and call on them to help me focus my intent and lend energy to the person in need of healing.  Bardic work is done through trance and calling on various spirits for inspiration.  An initial offering is made to a spirit, and the outcome is often the creation of a bardic piece that can then be used to further honor the spirit.

 

  1. Into which basic categories would you divide magical arts and how do you see those categories functioning within the context of ADF? (minimum 300 words)

There are three categories that I think magic can fall into: magic for the benefit of the spirits, magic for the benefit of the self, and magic for the benefit of the community. Initially I had considered the theurgy and thaumaturgy categories, as those also resonate very well with my understanding of magic.  However, I’ve found as I work through my understandings, and perform more magical acts, that almost all the work I do calls on a spirit for aid, and thus, I don’t often operate in both categories.

Magic for the benefit of the spirits contains things like prayers and invocations to the deities.  These are most often audible or physical things that are given as a gift to the spirits to honor them in some way.  Magic that benefits the spirits is particularly important because it is through this magic that the *ghosti relationship is built, and through this magic that other types of magic become possible.  In the context of ADF, when we call to honor the Earth, the shining ones, the nature spirits, and the ancestors, we are invoking them to honor them and give them gifts.  In a typical High Day rite, this is often the purpose of the rite.

Magic for the benefit of the self are things like spells or charms for prosperity, protection, love, safe travel, etc.  These are things that while a spirit is often asked to assist with the charm, the intent is meant to benefit the magician in some way.  This type of magic is often not carried out within the context of the ritual we normally see in ADF.  However, as noted above, this type of magic would not be possible without the magic that is for the benefit of the spirits.

The final category is magic for the benefit of the community.  Magic within this category is what is seen most often in ADF rituals outside of the magic that honors the spirits.  Things like Opening the Gates and Calling for the Blessings benefit the community.  They allow all the participants in a ritual the opportunity to connect more deeply with the spirits and to receive their wisdom and blessings.  This magic is central to our being able to perform rituals.  Magic that benefits the community also contains work that is done for others, such as healing and protective charms.  Magic done to strengthen the community, care for the earth, or help someone through a time of transition is also benefiting the community.

For me, magic for the benefit of self falls short of the emphasis I put on magic benefiting the spirits and magic benefiting the community.  I think magic that benefits the community is the most important, and it is our relationship with the spirits that allow us to do it.

 

Works Cited:

Betz, Hans Dieter. The Greek Magical Papyri in Translation: Including the Demotic Spells. Chicago, Ill.: U of Chicago, 1986. Print.

Graf, Fritz. Magic in the Ancient World. Cambridge, MA: Harvard UP, 1997. Print.

Johnston, Sarah Iles. Ancient Greek Divination. Malden, MA: Wiley-Blackwell Pub., 2008. Print.

Mallory, J. P. In Search of the Indo-Europeans: Language, Archaeology, and Myth. New York, NY: Thames and Hudson, 1989. Print.

Sophistes, Apollonius. “Hellenic Magic Ritual.” Hellenic Magical Ritual. Biblioteca Arcana, 2000. Web. 18 Apr. 2014. <http://omphalos.org/BA/HMT/>.

Sophistes, Apollonius. “A Greek Alphabet Oracle.” A Greek Alphabet Oracle. Biblioteca Arcana, 1995. Web. 18 Apr. 2014. <http://web.eecs.utk.edu/~mclennan/BA/GAO.html>.

Trance 1

  1. Define the following terms in your own words: “Trance,” “meditation,” and “hypnosis.” (min. 25 words per definition, dictionary definition does not count toward final word count.)

Trance, meditation, and hypnosis are differing methods of getting the brain to an altered state.  Arguably, trance could be considered that altered state, and meditation and hypnosis would be two possible ways to get there.

Trance is an altered state of consciousness that allows the brain to see, experience, and react to more possibilities.  When the body enters a trance state there are mental and physiological changes that happen, and can be perceived by the person experiencing trance, and often by outside observations as well.  Within a religious context, trance can be used to gain spiritual knowledge through visions, to deeply experience the gods, and to focus magical intent.

Meditation is a method of reaching an altered state, whether it’s trance, relaxation, or focused contemplation.  It is often an experience that focuses on going within oneself in order to make sense of that which is outside oneself.  Within a religious context, meditation can be used to reach a quiet mind to allow for communion with the gods and spirits, to gain knowledge of spiritual tools through thought and contemplation, to reflect on religious experiences, and to examine one’s personal values and ethics as they relate to one’s spirituality.

Hypnosis is also a method of reaching an altered state, often thought to border on an empty and susceptible mind.  Hypnosis is most often induced by someone other than that person experiencing the altered state. It is often used to condition the mind to certain behaviors through the power of suggestion.  Within a religious context, hypnosis can be used to augment meditation and trance work in ritual by providing the brain with shortcuts.  For example, a musical signal to begin ritual, once conditioned, could be used to quickly cause the brain to switch from the worries of the mundane world to being open to experiences the energy swirl within a ritual.

 

  1. Give a brief history of hypnosis. (min. 300 words)

Hypnos is the Greek god of sleep, who was often pictured with “a horn of sleep-inducing opium” among other things.  It is from him that we get the word hypnosis (Atsma).  The practice of hypnosis appears to have begun in Egypt, and later spreading to Greece.  Special “sleep temples” were built where people could come to seek healing.  They would enter the temple, undergo various rituals, and then sleep to dream for a cure (Hypnosis in History).

It is through the work of Dr. Franza Anton Mesmer that we are familiar with hypnosis today.  Mesmer coined the term “animal magnetism” to refer to a fluid flowing through each person’s body that effected their health, and that this fluid could be manipulated through mesmerism to cure or debilitate them.  Mesmer seemed to have extraordinary control over other individuals, mainly through the power of suggestion, since the theory regarding the “fluid” was proven wrong (Hypnosis in History).

Many of the continuing studies following Mesmer related back to the idea of sleep.  These studies related Mesmer’s techniques back to their ancient origins, such as sleepwalking and lucid sleep.  In the 1840s, Dr. James Braid coined the term “hypnosis” and “hypnotism.” Because he was a credited doctor, he lent credibility to hypnosis, and conducted studies involved the traditional swinging pendulum to produce states of hypnosis (Hypnosis in History).

As research progressed, more traditions and methods were studied, including shamanistic ways of trance induction and its uses.  Hypnosis for healing continued to evolve, and in the mid-1900s hypnotherapy regained popularity thanks to Milton H. Erikson and his use of hypnosis to treat chronic pain.  Hypnotherapy today is used for everything from pain management to anxiety to addiction to replacing anesthesia during surgery (“Hypnotherapy”).

 

  1. Describe Neuro-Linguistic programming. (min. 100 words)

Neuro-linguistic programming is the general idea that the way you present yourself externally will help you to manifest your goals. This includes the multitude of ways that we communicate, both verbally and non-verbally. What this means is, it is not only the words that you use and the emphasis you put on them, but also the gestures and other nonverbal cues that you give, that lend to your overall effectiveness in communication. It is like poetry of the body, in a sense. Each choice you make in how you communicate something will have an effect on the outcome of the interaction. This idea of communication doesn’t have to apply only to interpersonal communication.  It also allows for a degree of self-analysis in the way we think about a situation in order to gain more control over it (Bandler).

Bandler has suggested that neuro-linguistic programming and its techniques are especially useful for therapists helping their clients overcome a multitude of issues, such as elimination of phobias, breaking destructive habits, and aiding in learning disabilities (Bandler ii).  Part of this has to do with building rapport with a client, and using the same kind of words that they are in order to communicate on their level, in a way that they understand. Most people will describe experiences mainly in a visual, physical, or aural sense. When the therapist matches the type of word that they use to the type of word the client is using, a rapport is built (15-6).

This can apply to guiding others through a guided meditation or trance induction. For a small group of people, if they all think in the same mode, visual for example,  you can focus your descriptions using mainly visual describing words (look, see, etc). Likewise, if you’re leading a meditation for a larger group you would want to be sure to differentiate your descriptions so that each person can relate to what you are trying to have them sense.  For example, you could say, “Look at the trees around you and see how lush and green their leaves are. Feel the rough bark running up the trunk and the wet, cushiony soil beneath your toes. Listen as the wind rustles through the leaves and the birds sing back to it.”  In this brief description, I’ve included visual cues (the trees are lush and green), physical cues (the bark is rough and the soil is wet), and aural cures (the wind is making the leaves move and the birds are singing). In this way, using the techniques  presented in neuro-linguistic programming can help increase the buy-in to the trance experience when doing a guided meditation or spirit journey.

 

  1. Identify and describe three instances where trance is found in ancient Indo-European cultures. (min. 150 words each instance)

In many Indo-European cultures it appears that trance, and trance work are often linked to divination of some sort. Trance often appears to be a common method that is used to gain knowledge, inspiration, or skills by allowing a person to tap into a higher state of consciousness, access a more knowledgeable or skilled authority, or achieve a more deeply connected mindset.

The first example of this comes from Ancient Greece, where the oracle of Delphi (the Pythia), an enthusiastic medium,  was said to sit above a chasm in the rock, on a three legged stool, and breathe in the vapors of the mountain. The ancients believed these vapors were the breath of Apollo, and by breathing it in, he (or his daimons) would possess her and speak through her (Johnston 44-7).  This is the idea that “when this prophetic potency mixes with the Pythia’s body, it opens up channels through which her soul can receive impressions of the future” (46-7).  This matches my definition of trance as an altered state of consciousness that allows the brain to see, experience, and react to more possibilities.

Iamblichus, a philosopher in the 3rd century CE, proposes a slightly more modern concept that rather than the vapor being the cause of the prophecy, it is instead what triggers the Pythia to enter a prophetic state (Johnston 47).  This idea was deemed plausible in the late 20th century by researchers who determined that two fault lines converged under the aduton (the room where the Pythia delivered prophecies) that released a mixture of ethylene, ethane, and methane.  “Small doses of ethylene produce an altered state of consciousness during which people feel euphoria and have out of body experiences, but remain lucid enough to answer questions” (Johnston 48-9).  This supports the idea that initially the Pythia may have inhaled the hallucinogenic gases, but that as time passed the smell of the vapor would have triggered the altered state.  It is hypothesized that it was only a trigger because it was only the Pythia who entered the trance state and prophesied, and not the priests and consultants who were in the outer chambers (49).

The trigger of smell, as well as the constant conditioning of going through the same ritualistic actions before delivering a prophecy (ex: bathing in the spring, fumigating with laurel leaves, dressing in white robes and wearing a laurel crown, going down to her chamber and sitting on the three-legged stool to breathe in the sweet smelling vapors) is indicative of the Pythia entering a trance state in order to do her job.  These triggers were sensitizes by the repetition of the actions, month after month (Johnston 50).  The Oracle of Delphi, the Pythia,  is an example of a person who has attained a trance state in order to gain knowledge from a more knowledgeable authority, in this case, Apollo.

Another example from Greece that demonstrates individuals entering a trance state are the records of the Eleusinian Mysteries.  The worshipers would drink cold barley water during some of their rituals.  This cold barley water was likely infected with ergot, a fungus that grows on cereals and contains similar compounds to those found in LSD, lysergic acid (Wasson 8-10).  In addition to the likelihood of the Ancient Greeks having access to some form of hallucinogen, there is also record of ecstatic dancing where “when at last [the pilgrims] arrived at Eleusis, they danced far into the night” (12).  The celebrants were said to have visions within the sanctuary where the ritual was performed, and to experience physical symptoms, such as “fear and trembling in the limbs, vertigo, nausea, and a cold sweat” (13).  The wine, the gift of Dionysos,  was the medium by which the celebrants of both the Lesser and Greater Mysteries would have partaken of the hallucinogen.  “At sacral events, the wine would be more potent [than wine drunk in social situations] and the express purpose of the drinking was to induce that deeper drunkenness in which the presence of the deity could be felt” (15).  The worshipers of Demeter, Kore, and Dionysos are examples of people who attained a trance state in order to find a  more deeply connected mindset to divinity.

Similar experiences to the Eleusinian Mysteries were said to be induced by drinking soma in the Vedic culture.  As referenced in the Rig Veda, Soma causes an altered state, where the drinker of the soma-juice is granted great knowledge, skills, power, and inspiration.

Soma is called “a sacred Bard, a Sage; the meath is offspring of thy sap” (RV 9.18).  This hymn refers to Soma himself as the Bard and Sage, who grants divine inspiration and knowledge.  He is the ultimate giver of knowledge, skills and wisdom.  Meath translates to “mead” or “honey wine.”  This is similar to how within ADF we refer to the “the mead of inspiration.”  Soma gives us the inspiration, and all who partake of that juice gain the knowledge of the bard and the sage.  For example, when Indra drinks of the soma-juice, he gains skills that allow him to be inspired and compose as a bard who has trained for years would.  He claims, after partaking of Soma, “as a wright bends a chariot-seat so round my heart I bend the hymn” (RV 10.119).  Another hymn has a refrain line that calls to Soma to “make us better than we are,” which is to say, grant us skills and wisdom we didn’t have before (RV 9.4).

In addition to granting inspiration and knowledge, the soma juice seems to have the ability to effect in the drinker an ecstatic state, that can either be a deeply connected mindset, or result in what most today would call a bad trip. The speaker of this hymn calls to Soma: “Gracious, displaying tender love, unconquered, gentle in thy thoughts, Be sweet, O Soma, to our heart. /  O Soma, terrify us not; strike us not with alarm” (RV 8.68).  This references the physiological and psychological changes that happen in a trance state.

Wasson, who wrote about the likelihood of hallucinogenic drugs in connection with Eleusis, also suggested a similar plant compound that was found in both India and Iran that could be linked to Soma.  While still controversial, he suggested that the plant used to make Soma was the mushroom Amanita muscaria.  In another interesting connection across cultures, the raven, which is associated with Odin, was noted in antiquity to relish this particular mushroom.  “In ancient Egypt the Amanita muscaria mushroom was called ‘Raven’s bread'”(Bedrosian).  When this is taken into consideration alongside the text in the Rig Veda referring to the offspring of Soma as “meath” or “mead,” one is led to consider the story of Odin’s theft of the Mead of Poetry.

One of the roles that Odin takes on is the giver of divine inspiration, and when he was bringing the Mead of Poetry back to Asgard, a few drops fell to Midgard.  Snorri writes that the mead itself would allow “he who drinks become a skald or scholar” (Sturlson).  When Loddfafnir recounts this story in the “Hávamál”, he claims to have received the verses from Odin and recited them from his chanter’s stool (“Hávamál” 111).  This bears a distinct resemblance to the Pythia in Greece, who sat upon her stool over the chasm at Delphi in order to receive the wisdom of Apollo.  In this case, it appears that Loddfafnir, in a similar manner to the Pythia, used trance to in order to gain inspiration from a more knowledgeable authority, in this case, Odin.

 

  1. Describe three ways trance can be used in personal spiritual practice. (min. 100 words each)

Three ways that trance can be used in personal spiritual practice are during divination, to enhance the “spiritual experience,” and during parts that require visualization.  The common benefit of trance that runs through all of these ways is by decreasing distractions and increasing a connection to the powers around us.  There are also a few specific instances where trance is beneficial that are particular to group ritual.

During divination the Seer is called on to commune with the Kindreds to gain knowledge and insight from them.  They often do this with divinatory tools to aid them, but the process is still one that appears to be vague at best from the outside.  For example, on two different occasions, with the same omens from a divinatory set received, the message from the Kindreds may still be different.  When acting as a Seer, it can be extremely beneficial to go into a trance state to deepen your connection both with the spirits your communicating with and with the divinatory set, as well as to allow your mind to see more possibilities and connections than it would otherwise be able to.

Enhancing the spiritual experience is something that I believe all rituals attempt to do, some to a better extent than others.  Often, the times that one feels the most spiritual connection is when there has been an intentional disconnect from the mundane world in order to connect to the whole cosmos, and then effort made to bring that connection back to the world we know.  By entering a trance state, one can feel a deeper connection to the cosmos at large as well as there place within it more clearly.  This trance state is also what allows for a deeper connection with individual beings.  When seeking connection with a particular deity, spirit, or ancestor, it can be beneficial to sink into trance so that the connection feels more direct and their words become clearer, and feels less like playing a game of telephone with kindergarteners.

During parts of a ritual that require visualization a light trance can be extremely useful.  I’ve found that it has become  second nature to me, as well as almost necessary, if I’m trying to make a connection or visualize something in a location or a t a times when I’m distracted.  One of the experiences I had with most successful attempts at trance, is that when I reach a certain point the world around me because muted and fuzzy, and my attention can hyper focus on whatever I’m doing.  This is especially useful during visualization when you need to be actively doing something, meaning you can’t close your eyes, and also need to see something happening.  Particularly, during both personal and group rituals, I notice this when I’m recreating the cosmos and establishing scared space, opening the gates, and calling for the blessings.  I need to be able to see enough of the mundane world that I don’t knock something over, but I also need to see, to visualize, the magical act that is taking place.

This same idea of trance being useful for visualization can extend into group ritual where not only are there often more distractions, but also when it’s very important to establish a group mind.  This is often done by leading group meditation of some sort.  As a bard, I’ve also found it beneficial in group worship to enter a trance state to help myself visual the lassoing of the energy that is being built up in the first half of a ritual so that it doesn’t escape and can be used during the latter part of the ritual.

 

  1. Identify and explain three methods of attaining a trance state. (min. 150 words per method)

The method I am the most familiar with is a combination of trance induction or guided meditation with focused breathing. This is the method we use most often in our grove, and that I use most often in my personal practice.  Mostly because, since it is visualization and breathing, it requires no external tools (though sometimes a recorded or second person spoken guided meditation is nice if it is a journey that is new).  The idea behind guided meditation is that the speaker, or leader, of the meditation will use techniques found throughout hypnosis and neurolinguistic programming.  They will use a process of taking what you know to be true, and gradually suggesting new additions to your method of thinking, seeing, or approaching something.  The power of suggestion mixing with what you know to be true moves you from a mundane state to an altered state where trance happens.

Another method that is commonly used is sonic driving.  Sonic driving is when noise of some sort is used to occupy the brain and induce a trance state.    This is often done with drums or rattles beating at a rate of 205 to 220 beats per minute (Harner 39).  This method is hypothesized to work due to the aural stimulation causing a change in brainwaves.  “Multiple EEg studies have confirmed that gamma waves can become entrained to auditory stimuli that are presented at rates in the gamma band (30-70Hz) (Turow 54).

Andrew Neher conducted a laboratory study of auditory driving in 1962.  He accepted that part of trance journeying was culturally conditioned, but “that there are certain physical brainwaves states that must be present” in order for the stereotypical trance state to happen (Turow 41).  Once the brain waves reach these states, with alpha and theta waves being the most common, they act like a blank slate where a range of states of consciousness with that brainwave can happen.  This is particularly true of theta waves, where a person is highly suggestible, and could be led through a trance journey or simply succumb to the cultural conditioning of the ritual they were in (Turow 41).  Additionally, cycles of 3-6 beats per second have been used across many shamanic cultures, and are thought to produce theta waves in the shamans reaching a trance state (Turow 85).

Harner has found sonic driving to be extremely effective when it is done with a recording played through headphones (not a speaker system) and a microphone for the person experiencing the trance so that they can record a simultaneous narration of their trance journey.  This not only makes the experience more vivid, but also allows for immediate review and analysis of the journey itself (185-6).

A third method of attaining a trance state is through the use of body postures, often in conjunction with sonic driving.  These postures were introduced by Dr. Felicitas D Goodman following her study of altered states of consciousness and pictures and illustrations of ancient art.  She began looking at the positioning of the statues in the ancient artwork because she was dissatisfied with the results of other trance work being done, namely that there were few common experiences.  Through observation and analysis of these common experiences Goodman has divided the 70+ postures into  categories based on the type of spirit journey they produce (Goodman 2-3). To use ecstatic body postures as a method for attaining a trance state one must mimic the position of the body exactly as pictured in the ancient artwork in order to achieve the common trance experience.   In is also important to maintain tension in one part of your body, often the arms or back.  This tension allows the body to function as the control system for changing perception, and by increasing the tension and your awareness of it, you can deepen the trance state (Goodman 109).

 

  1. Using one of the three methods described in requirement 7, describe in depth a single experience you had while in the trance state from an experiential point of view (i.e. what did you feel, see, sense, etc.). (min. 300 words)

January 20, 2013: Grove trance night – going to meet Nemetona

I begin the trance in my Inner Grove.  It is on a kind of plateau that looks out over the sea, with the forest behind it.  There is cliff face with a winding, treacherous path that leads down to the rocky beach and the sea.  The forest is sparse, but wild.  The clearing on the plateau has dry meadow grasses that become more green as they reach the pond in the center.  There are a few cypress trees growing around the pond, and reeds at the edges.

During grove trance work, Garanos the Crane is my guide.  He was waiting for me, tall and elegant, at the edge of the pond.  One foot on land, one foot in the water, and gazing up at the sky.  I greeted him and climbed upon his back.  He dove face first into the pond, and flew down a black hole type swirling vortex.  We appeared to have flown straight out of the cliff face.  I memorized the sites along the way, noting the signposts that would guide me home, and then back here again should I need to come.  We flew over the waves.  The water was choppy, but not stormy.  We flew on, past a wind swept island with a palm or maybe fir tree, just one, in the middle.  We flew over more waves then Garanos dropped me in the surf off the coast of another larger island.  I wasn’t concerned by this, the water doesn’t bother me.

I swam up to the island and came up the beach and found a thin river, maybe more of wide creek, leading out to the sea.  There were trees arched over the river and I walked up the river, feet splashing quietly in the running water, and through a veil of light.  The river was gone, and just the arch of trees was behind me with the light shining in it.  The archway had been a portal transporting me to a clearing, a grove, in a forest.  Standing in the grove there, next to a giant, roaring fire was Nemetona.  She was covered in a dress made of flowers.  Not just covered in flowers, but clothed in them, like they were a part of her and she made them into the form she found most pleasing.  Wild flowers, not completely cultivated, and more beautiful for it.

I danced around her, jumping and twirling, and told her what’s been going on in my life recently.  She then gave me a seed.  It looked like a seed, like the ones from Fern Gully.  It clearly had light within it, which was just barely coming through the cracks.  Blinding.  I put it in my Crane bag.  She said it was to tend my grove and make it stronger.  She wants me to plant it in my inner grove.  Garanos and I flew back, and past the same things we did on the way there.  Then came back up through the black hole type tube.

During the trance I felt like gravity shifted to the right completely.  I assume that I stayed upright during the trance, but I felt like I was leaning precariously to the right the whole time.  I seem to have intense balance issues when I go into a deep trance.  I also felt my eyes twitching and chills sweeping through my body, especially as the two powers filled me and left me.

The follow-up trance on January 25, 2013, to plant the seed that I was given.

I received a seed from Nemetona during the Grove trance night.  Tonight I used calm breathing to put myself in a trance state.  I went to my inner grove and took the seed out of my Crane Bag.  I planted in in the soil next to the pond and it began to grow.  I’ve never done acid, but I’ve read Dr. Seuss.  That’s the only way I can think to describe how the tree looked coming out of the ground.  It was brightly and multi colored and was a full-grown tree within minutes.  It grew up maybe three times my height and had a bluish purple trunk, and bright orange, red, pink, and yellow leaves.  Then the leaves began to turn green and bunch of flowers burst into bloom all over the tree in every color imaginable.  The blossoms looked like the dress of flowers that Nemetona was wearing.

Most of the tree now looks like a normal tree, similar to a maple or oak: kind of a grayish brown trunk (though you can still catch hints of blue and purple in it) and leaves that range from yellowy-green to deep green.  The flowers all over the tree though.  Those are beautiful and surprising, and every shape and color under the sun.  I think the purpose of the seed, and of the tree now, was to bring Nemetona into my inner grove where I can commune with her more easily.  The same way I can go straight down the cliffside to meet with Poseidon at the ocean, or back into the forest to meet with Artemis.  Now I have a Nemetona tree in my inner Grove to meet with her.

 

  1. Describe what happens to the body during a trance state from a physical standpoint. (min. 300 words)

Dr. Felicitas D Goodman describes the body as a “control system for changing your perception” (Goodman 109).  Simply put, the brain fluctuates both in tension and in electric charge based on the stimuli that it is provided.  The electrical charge, called the “DC potential” is a variable that can be measured in the brain, and relates to the level of excitability and alertness within the cerebral cortex.  Goodman postulates with her study of hypnosis, meditation, and ecstatic trance, that hypnosis and meditation do not alter the state of consciousness enough to be considered true trance work.  This was done by observing the DC potential of subjects engaging in each type of trance (Goodman 16-7).

Alternatively, during a true trance state, as achieved through sonic driving or body posturing, the DC potential increases dramatically causing an overactive state that is quite the opposite of sleep, while the brainwaves slow down to producing theta waves, which are normally only observed during deep sleep.  Subjects who were observed and interviewed following the experiments showed that when the muscles were tensed, the DC potential went up and when the subjects consciously made use of relaxation techniques to relax their muscles the DC potential decreased.  Dr. Guttmann coined the term “paradoxical arousal” for this phenomenon that is seen only in this higher state of consciousness, but not in the state of consciousness achieved by hypnosis or meditation (Goodman 18-9).

Dr. Goodman studied other physiological changes that occurred during a trance state and found changes relating to brain waves, blood pressure, adrenaline, and endorphins.  During ritual trance the brain switches from producing beta waves, and begins producing theta waves. This moves the brain from a state normally observed during alert, waking hours to a state normally observed during deep sleep.  During the trance state the blood pressure also drops, while the pulse races.  Additionally, the level of stress hormones in the blood drop while the level of beta-endorphins increases.  This leads to the euphoria experienced during trance (Goodman 8).

There are some difference that she observed between ritual body postures and channeling.  Using ritual body postures the blood pressure drops in the middle of a session, while the stress hormones adrenaline and noradrenaline drop between the first two phases of the trance.  Near the end of a session there is a moderate euphoria.  During a channeling trance state the blood pressure remains constant throughout a session, while adrenaline and noradrenaline dramatically increase near the end of a session, along with the endorphins, creating an experience of ecstasy (Goodman 20).

 

  1. (Crossover Requirement) Keep a journal for five months detailing the trance work that you have done. Write an essay based off those journals that examines your practice over the time you journaled. In this essay, explain how you can apply the trance work to divination, magic, and other workings you do in ritual and personally. Entries occurring less than weekly will not count toward completion of this requirement. Your journal must include work from the exercises found in the support material for this course. [This requirement matches up with Req. 3 in Magic 2] (min. 1000 words)

My journal for the first part of the Trance sequence was kept from December 2012 through May 2013.  During this time period I worked through several different methods of entering trance.  Some worked better than others, and some I would definitely like to try again when I’m not pregnant. Additionally there are some methods I still have left that I would like to try.

Two methods that I’ve experimented with and used mostly for visualizations, spirit journeys, and the simplicity of euphoric feelings are sonic driving and (sometimes in conjunction with) ecstatic body postures.  I found sonic driving to be probably the most rewarding experience as far as simplicity and results go.  I was able to sit and close my eyes with my headphones in, and allow the sounds to wash over me.  There was often a distinct sense of the world tipping as my mind relaxed and stretched.  While one of the recommended methods for sonic driving was to use the 210 bpm drumming, I found I really only liked that for use with the body postures.  When engaging in sonic driving on its own, I preferred to use various percussive recordings.  I have a CD of African drumbeats that I found works extremely well for me.  It is complex enough that it engages the wandering part of my mind, and yet not so distracting that I hyper focus on it.  My brain can follow it to some degree, and allow the majority of me to release and enter trance.  I’ve also experience success with many Sigur Ros recordings.  These are at the opposite end of the spectrum, being often extremely slow, with a more atmospheric feel to them.  I think they work more to relax my body and allow my mind to disengage, rather than fully engage.  I’ve found Sigur Ros to be more successful when I’m seeking a more self-directed journey, especially with a patron god/dess, while I’ve found the drumming to be more successful when I’m seeking to enter trance and let a new experience wash over me.

I did a little bit of experimentation with ecstatic body postures combined with 210 bpm drumming, and found the bit I did to be successful to some degree.  However, I would like to experiment with this method more when I’m not pregnant.  I found many of the postures difficult to get into and maintain my balance with my shifting center of gravity.  I did experiment with writing a trance induction script using the birthing posture.  It begins with a guided meditation that puts the body in the correct position, focusing on making a connection the child in the womb, and then is followed by 15 minutes of 210 bpm drumming, and coming back out again, allowing the body to reconnect to the self.  I enjoyed writing and performing this trance several times, and found a deep sense of peace and calm joy.  I found it has helped with my nerves through out pregnancy.

One thing I found interesting when working through Goodman’s ecstatic trance workbook was the discussion of how tensing your body into the body posture will intensify the trance state.  This seems at odds with how we tend to open most meditations and trance experiences in ADF, which often begin with “Find a comfortable seat,” or “Take a deep breath and allow you body to relax.”  It is a concept I’d like to play with more and see how working the tension into a public ritual could affect the outcome and success of the folks’ experience.

Another method that I’ve found useful a few times during this time period is the recitation of a litany.  I have a set of the Olympian Prayer beads that Emerald gifted me.  She sent the prayer that accompanies them, honoring each with a short verse.  Since then however, I’ve used the structure of the beads to assist in writing my own litanies and mantras.  I’ve fallen back on it many times when I need something and am at a loss for words, seeking comfort.  The most often used one is the Litany to Ease Depression that I wrote:

“Hestia, warm my heart.

Zeus, give me strength.

Hera, give me serenity.

Poseidon, let the pain wash away.

Demeter, give me peace.

Aphrodite, rekindle the flames.

Ares, give me courage.

Artemis, give me companionship.

Apollo, give me words.

Athena, make me coherent.

Hephaestos, let me not feel ashamed.

Hermes, help me move on.

Dionysos, be kind with your mirror.”

It is repeated for as often as needed to regain enough calm to function, the prayer beads themselves acting as a fidget to keep the hands occupied.  I don’t normally use the beads to count the prayers, though having experienced success with writing litanies to accompany these beads, I’ve wanted to experiment with writing short prayers that can accompany something like a rosary, so the prayers could be said for a certain number of iterations.

The two other methods I’ve used most often are a combination of cleansing breathes and guided meditation.  These often go hand in had, though in some cases I will just sit and breathe.  When I was doing yoga near the beginning, I found the cleansing breaths to be quite helpful.  There was no visualization to go along with it, just a sense of ever increasing peace and calm.  There have been a variety of guided mediations I’ve done during this period of time.  We do at least one guided meditation during each high day ritual with the grove, and I’ve included them in most of my daily and weekly work.  Most common for me is the dryad meditation used to enter my inner grove.  From there I can stray from the meditation and allow other trance journeys and states to occur, but it is the guided meditation that kicks off me getting there.

Some of the ways I’ve used the various trance states during this period are for big ideas such as a vehicle for personal growth and for spiritual clarification along my path, but also for more categorical and identifiable things like divination, focused magical work, spirit song, establishing a group mind, and maintaining energy during a public rite.  In general, I’ve found trance work to be especially beneficial when I’m questioning my path, and where I feel like I should be heading.  I am able to seek guidance from my patron gods by entering trance and communing with them (often accompanied by some method of divination).  It has been both enlightening and reassuring to get the sense of approval that this is the path I nee dot walk, and that I’m completing it to their and my satisfaction.  My most notable memory of this actually comes from when I was initially trying to decide whether to take the clergy route or the initiate route.  I eventually experienced spirit journey with Poseidon where it was he smacked me with the proverbial clue by four that the initiate path is what I need to walk, at least at first.  That experience has helped me remember that sometimes, when I’m confused about things spiritually, that I should just go ask my gods.

Of the more direct applications of trance work divination definitely comes out at the top of my list.  Before every single omen I take I offer bay leaves and a prayer to Apollo Mantikos:

“Apollo Mantikos, guide my hand.

See with my eyes. Hear with my ears.  Speak with my voice. “

This repetition has helped me to create a trigger that allows me to enter this divinatory trance state quickly for the purposes of seeking messages from the gods.  A similar feeling to this trance state is used when I complete my Noumenia blessing each month.  I will have entered this trance state to take the omen for the coming month, and to receive the blessings.  Then, while still in a light trance the power of the omens and blessings is infused into the kathiskos.  It took some practice to be able to maintain the trance state while still focusing enough to complete the mundane tasks alongside the magical ones, like managing to not spill the water, and to draw the symbols on the jar.  Over time, I’ve found that that skill of maintaining myself in both headspaces has improved, and with it, so has the feeling from the ritual itself.

This light trance that I maintain for magical work within my personal rites has also helped me when filling the role as bard at a public ritual.  I believe that one of the tasks of a bard, beyond leading the songs to help guide the folk in building energy for the rite is to also help maintain that energy throughout the rite, so that it stays contained enough to be used during the working portion of the rite.  The light trance allows me to continue to feel the energy swirling around me while leading the folk in song.  It allows me to visualize what I refer to as the “bardic lasso.”  It’s this picture of throwing a massive barrier around the folk gathered to hold in the energy that is created during the rite.

Another aspect of public ritual that I’ve touched on is establishing the group mind.  This is done most often with the attunement section of the rite, which I’ve led several times in the past few months.  I find it useful to have a general script to work off of, but to also be able to quickly analyze people and our surroundings in order to incorporate that into the attainment.  I’ve found that it helps to better establish the group mind during the guided meditation, and leads to more “buy in” from the participants.

The last bit that I’d like to touch on as one of the practices I’ve incorporated into my personal work, is the idea of spirit song.  I was first introduced to the term at a workshop at Earth Warriors Festival in 2011 by Kellianna.  The idea is that you allow your mind to relax so you can draw on the pure expression of spirit within yourself and release it to experience it as sound, as your own personal song.  The workshop itself was very powerful as we held space for each other and shared our spirit songs of the moment.  Some were intimately lyrical and beautiful, some haunting, and one was heart wrenching as only a soul-born scream and cry can be.  I’ve worked this into my personal practice with bardic work, most often using my guitar as an extension of myself, but not always.  I breathe my way into a trance state, and speak prayers to the Muses.  And then I play.  I most often fall into a chord progression and continue that until my fingers no longer seem my own and they are moving of their own accord.  Then I begin vocalizing and singing with my guitar.  Sometimes there are words, but most often not.  Most often it is the pure expression of sound and music.  I don’t keep track of time when I do this, I just play and sing until it feels right to stop.  It is a magical feeling, because it’s not just me singing.  It’s me and my guitar, and the earth around me, and it’s like I can literally hear the harmonizing of the spirits around me as they join in.  It is one of the most powerful, repeatable experiences that I’ve had.  I’ve very occasionally recorded myself while doing this, and only in one instance has that taken form and begun to develop into a structured song.  I think part of the power in it is within the experience, not the outcome.  Though, I do see the benefit of using this technique for writing.

I found my experiences during this journaling period to be worthwhile, but as I said before, there are still some methods I would like to try, in addition to working through these experiences when I’m not pregnant to see how they differ.  I want to try auditory confusion.  I tend to get a lot out of aural experiences, and so I think auditory confusion could be very interesting to experiment with.  I also would like to try dance.  I would have liked to try it during this time frame, but didn’t feel comfortable attempting it in the way it’s described due to the raising heart rate and duration, which were discouraged for me while pregnant.  So I decided to wait on this one until later.  I also have plans to write a lot more guided meditations and trance inductions.  Specifically, the next writing project I’ve set myself is a series of meditations based on the Greek Alphabet Oracle, meant to help a new practitioner connect to each of the symbols.  Along the lines of divination, Johnston talks of many methods used to achieve a trance state during divination that I’d like to try.  Many of these fall ingot he category of visual concentrate, such as watching a flame in a dark room, or smoke rising, or a mirror in a mostly dark room.

 

  1. Create a self-hypnosis tape to put yourself in trance and go on a spirit journey and bring yourself back out. Submit a script as well as a summary of your results. (min. 200 words for the summary)

The following is a Two Powers meditation I wrote initially for use at one of our Samhain 2010 ritual, and have used it as the attunement in many rituals since then.  This past year at Fall Equinox, MJD actually caught it on video (http://www.youtube.com/watch?v=yvqCGdFQ9Yc).  This is a tree meditation, using the imagery of the World Tree connecting to the Fire above and Waters below, written for multiple people, with bits of season specific imagery that can be tweaked to fit the current season. The path of the meditation takes you into a forest alone. You find a tree, you become that tree, and use the tree‘s own knowledge to draw the waters up and process the light from above. The meditation ends with you noticing the rest of the trees around you. Each person then steps out of their tree and returns to their bodies together, a united grove.  The way I perform it at home when I am not in a community setting is by envisioning myself stepping out of the tree into the presence and community of the Kindreds.

However, beyond using it as a grove attunement, it is the text that I have used to build my inner grove, the place where I start nearly every trance journey from, the place I know how to get back to my body from.  It started initially as a way that I connected to the Two Powers while working on my Dedicant documentation, and the more times I did the meditation, the more the visualization built upon itself.  I have always been more successful in meditation when I have a concrete guide to follow that is both visually striking and descriptive, but also vague enough that my mind can implant it‘s own imagery without conflict.  At first, I saw only what I describe in the text: the tree, the pond, and the grove.  After each time though, a new piece was added it, kind of like a full painting that you first sketch out the details in pencil, and then begin filling in with colors, and then finally layer in small flourishes of detail so that the whole picture comes to life.

When I follow this meditation now, it takes me to my inner grove.  I begin by envisioning myself pressing my back up against my tree, a cypress at the edge of the pond, complete with roots bulging up through the soil, and let myself sink into the trees awareness.  As I connect to the powers above and below my vision of the mundane area around the tree fades and a gray mist or fog fills the peripherals of my vision, eventually pulling back to reveal my inner grove.

I stand with my tree at my back, and it acts as a portal back to my body, only needing me to sit back down there to go home.  All around me are dry, meadow grasses, becoming greener around the edges of the pond, which is surrounded by a few other cypress tress and some reeds.  Also at the edge of the pond is my tree, and  also now the tree planted there from the seed Nemetona gave me.  Additionally, there is a small fire, that while seeming too small to maintain itself, is clearly burning hot and strong.  Occasionally there is a girl, Hestia,  sitting in the flames, or maybe made of the flames.  Behind me a forest rises up, mostly of pine and similar trees.  It appears quite spares at first, but thickens the deeper one walks into it, and rising in the distance is a mountain.  In front of me as I walk out is a plateau covered in the dry, meadow grasses and becoming sandy and rocky near the edge, where there is a drop off a cliff face, with a barely visible path down to the shore.  There is a small, rocky beach in the cove that is formed there, with rocks out just a bit, acting a breaker for the waves.  As the waves crash against them, a spray floats across the beach.

The two places I go most often from here are into the forest, to commune and journey with Artemis, and down to the shore to commune and journey with Poseidon.  When Artemis is my guide, we start at the edge of the forest and as we walk into it, we approach the area we need to be, and she will again guide me back to the edge of the forest at the end of our journey.  When I’m working with Poseidon, his pull is stronger.  I walk down the cliff face to the beach, and sometimes as the spray hits my face I feel swept away, and others times I walk into the waves and am pulled out by the riptide.  He is much more vast, alien, and huge than Artemis, and it has been much more difficult reaching an understanding of how our journeys are to work.  His awesome power led me to put a bell at the edge of the beach that dangles into the water.  When it is time for my to return to my body, the bell will ring and guide me back to land.  I also work with Garanos Crane to guide me on other journeys. When I leave with him we start from the pond, and he dives into it, and it becomes a kind of portal to other worlds.  One of the new images beginning to fill in at the edges is a wall of earth with a cave inset within its face.  There is a flickering light coming from within.  I believe at I do more work with Hekate as a Gatekeeper and Guide this image will solidify more, and I will see her, with her torches held high, ready to use the cave as a starting point for journeys with her.

“Dryad Meditation”

Children of Earth, take a moment to calm your mind and body. Breathe deep and close your eyes. Listen to the sound of your own breathing. Hear your heartbeat thrumming inside you. Pause for a second and just listen.

***Pause***

See in your mind‘s eye where you stand now and picture yourself walking away from where you are.

You‘re walking towards a deep and old forest. Feel the cool, damp earth on your feet. As you enter the forest feel the cool autumn breeze brush your cheek.

Notice the sounds around you. A gentle rustling of leaves, perhaps from the wind, perhaps made by a squirrel bounding by. Notice the sunlight dappling across your face. A last breath of summer caressing your face, heartening you for the colder days ahead.

As you are walking deeper and deeper into the forest you suddenly come upon a clearing. There is a small pond in the middle of the glade surrounded by trees around the water‘s edge. One of these trees calls to you and you glide over to it. Place you hands on the trunk and feel the rough bark against your palm. Feel the ancient wisdom emanating from it.

Turn and place your back against the tree. Feel yourself sinking into it, becoming part of the tree. Feel your toes mix with the roots twinning down into the earth. Allow you mind to follow those roots and tendrils as they creep ever deeper, until suddenly they plunge into the cool deep waters far below the surface of the earth. Use the knowledge of the tree to pull those waters up through your roots. Feel them approaching you, up and up, until they reach your toes.

Feel the waters pulsing up through your toes and heels, moving up your legs and pooling in your groin. Feel them surging up into your chest and down your arms. Feel your branches swelling and cool waters seeping into your fingers, your leaves. Feel the waters rush up and fountain out the crown of your head, your uppermost branches and leaves, and come cascading back down into the earth to soak back down cooling your roots again. Having taken your fill, feeling replenished, allow those cool, dark waters to bleed back down into the earth.

Again feel the wind brush through your hair, your leaves. Feel as the sunlight shines down on you, brightening and invigorating you. Allow your leaves to take in that bright, golden light. Let it convert to pure energy and infuse your head and chest with light and energy. Let it saturate your branches and flow into your finger leaves. Feel as it washes down through your groin and flows down you legs and energizes you down to your roots. Having absorbed as much light as your body will hold, let the remainder reflect back off you, back into the sky.

Feel how the combination of the cool waters and the bright light mixes within your body. Feel how it mingles and brings a new awareness to every essence of yourself. Let your attention drift over yourself from your roots, to your trunk, and on up to your leaves.

Let a breath of wind catch one of your leaves and watch as it drifts downward to land fall lightly into the pond. Watch as the water ripples outward from this light touch. Allow your awareness to follow this ripple outward and see as it collides with other, similar ripples. As you follow those to their source you see that they also come from fallen leaves.

Now seeing all these leaves in the water creating ripples that touch and rebound off your own, you notice all the other trees surrounding the pond. Reach out your awareness and sense that these trees are all part of this grove. Reach out and feel that you are not alone in this glade, but rather you are surrounded by the warmth of your kin. You are all here together.

Take a moment and allow this feeling of togetherness and oneness to soak into your mind, your heart, your bones and your soul. Listen to the breathing of those around you. Your hearts beat as one now.

***Pause***

With this new realization that you are here among family, you begin to disconnect your self from the tree, just as all those around you do. Wiggle your toes and separate them from the roots. Wiggle your fingers and feel the leaves fall away. Roll you shoulders, allowing you to step out of the tree and once again become your own self.

As you now look around you see that while before you came to this glade alone, you now are leaving among friends. It is time now to turn away from the glade and walk back out of the forest. Listen, as before to the sounds around you. You can now hear the laughter of friends, and you feel now not just the warmth of the sun, but the warmth of companionship. As you break out of the forest and head back towards you body here keep that feeling that you are now one with the people around you.

Now, step back into your body and take deep breath to settle yourself back in. Wiggle your fingers and toes. Now begin moving your arms and legs just a little as you feel yourself come back to this place. Here, among kinfolk, we may now move on with the work we have for today.

 

Works Cited:

Atsma, Aaron J. “Hypnos.” Theoi Greek Mythology. Theoi.com, 2011. Web. 16 May 2013 <http://www.theoi.com/Daimon/Hypnos.html&gt;.

Bandler, Richard. “What Is Neuro-Linguistic Programming?” NLP – Neuro-Linguistic Programming. The First Institute, 1996. Web. 16 May 2013. <http://www.neuro linguisticprogramming.com/>.

Bandler, Richard, and John Grinder. Frogs into Princes: Neuro Linguistic Programming. Moab, UT: Real People, 1979. Print.

Bedrosian, Robert G. “Soma Among the Armenians.” 2000. Web. 16 May 2013. <http://rbedrosian.com/soma.htm&gt;.

Dictionary.com. Dictionary.com. Web. 18 Apr. 2013. <http://dictionary.reference.com/&gt;.

Goodman, Felicitas D., and Nana Nauwald. Ecstatic Trance: A Workbook : New Ritual Body Postures. Havelte, Holland: Binkey Kok Publications, 2003. Print.

Griffith, Ralph T.H., trans. The Rig Veda. 1896. Rig Veda. Sacred Texts. Web. 16 May 2013. <http://www.sacred-texts.com/hin/rigveda/&gt;.

Harner, Michael J. The Way of the Shaman. San Francisco: Harper & Row, 1990. Print.

“Hávamál.” The Poetic Edda. Trans. Henry Adams Bellows. 1936. The Poetic Edda.

Sacred Texts, 2001. Web. 16 May 2013. <http://www.sacredtexts.com/neu/poe/poe04.htm&gt;.

Hypnosis in History. AHA & HMI, 2012. Web. 16 May 2013. <https://hypnosisinhistory.com/&gt;.

“Hypnotherapy.” University of Maryland Medical Center. University of Maryland Medical System, 2011. Web. 16 May 2013. <http://www.umm.edu/altmed/articles/hypnotherapy-000353.htm&gt;.

Johnston, Sarah Iles. Ancient Greek Divination. Malden, MA: Wiley-Blackwell Pub, 2008. Print.

Sturlson, Snorri. “Skáldskaparmal.” The Prose Edda. Trans. Arthur Gilchrist Brodeur. 1916. The Prose Edda. Sacred Texts, 2001. Web. 16 May 2013. <http://www.sacred-texts.com/neu/pre/pre05.htm&gt;.

Turow, Gabe. “Auditory Driving as a Ritual Technology.” Thesis. Stanford University, 2005. Stanford University, 20 May 2005. Web. 19 May 2013. <http://www.stanford.edu/ group/brainwaves/2006/AuditoryDrivingRitualTech.pdf>.

Wasson, R. Gordon, Albert Hofmann, and Carl A.P. Ruck. The Road to Eleusis: Unveiling the Secret of the Mysteries. New York: Harcourt, Brace, Jovanovich, 1978. Print.

Indo-European Studies 1

  1. Describe several of the factors that define a culture as Indo-European and how those defining factors are useful in understanding that culture. (minimum 300 words)

There are several factors that define a culture as Indo-European.  The big three factors as they apply to the study of Our Druidry are having the same root language, having similar social or class structures, and having similar myth cycles.  Each of these three is important when studying Indo-European cultures in general because with those three factors combined, it is possible to postulate regarding aspects of each Indo-European culture that is missing sources from other Indo-European cultures that have that information documented.  It allows us to better flesh out each culture and better understand how the context of the culture impacted the life and the religion of the people.

The cultures we define as Indo-European all have language that root back to the reconstructed Proto-Indo-European language.  Having this same root language allows us to reconstructive certain deities and worship practices based on the tracing the roots of other cultures back.  For instance, we can look at language to see the similarities in various deities. The Thundering Sky God is a strong archetype present across the Indo-European cultures, and in Greek myth Zeus “is in name identical with the old Vedic sky-god Dyaus (Indo-European *Dyews ‘Bright Sky’)” (Puhvel 130).  Similarly the Norse Thor shares a root with the Gaulish Taranis, both reducing to *thunar-, meaning thunder (169).  The similarities in the roots of the deity names are a way that we can reconstruct an archetypical deity for a certain culture that doesn’t have a reliable record or complete record of one existing.  This same method holds true for important cultural rituals, such as rites of passage and celebrations linked to the seasons.

Indo-European cultures also have a similar social or class structure in place.  This is commonly referred to as Dumezil’s Theory of Tripartition, which will be discussed in more detail in question 2.  In general, this is the theory that there are three general classes of people that all must exist in a society and all play an important role to that society.  The three classes are the priestly class, the warrior class, and the agricultural class.  None can exist without the other and they work together to maintain a culturally rich society.  This tripartition is important to understanding the culture because it allows us to compare the functions of the deities of that culture to the people that culture.  This allows us to better understand their values and why they exist and are observed in the forms that they are.

The third factor that gives us a better understanding of Indo-European cultures is each cultures myth cycles.  There are various archetypes that appear across Indo-European cultures.  These archetypes that present themselves in the various myths give us a wealth of information that can be used to help reconstruct myths, or at least give us general information about a specific culture.  For example, in cultures that are missing archetypical myths, such as a creation myth for the Celts, or any wealth of Gaulish information, the lack of a myth doesn’t mean that one didn’t exist, simply that we don’t have the records of it anymore.  So having the ability to cross-reference all the different Indo-European cultures allows us to gives a better understanding of the similarities and differences about each myth in each culture, as well as allowing us to fill in the missing pieces a little more reliably.

 

  1. George Dumezil’s theory of tripartition has been central to many modern approaches to Indo-European studies. Outline Dumezil’s three social functions in general, and as they appear in one particular Indo-European society. Offer your opinion as to whether you believe Dumezil’s claim that tripartition is central to IE cultures. (minimum 300 words)

George Dumezil’s Theory of Tripartition is the theory that the there are three classes of people in (Proto)Indo- European cultures.  Additionally, not only does this division of classes occur among the people of that society, but it is also reflected in the pantheon that is particular to that hearth culture.  The three classes that are present across these (Proto)Indo-European cultures are the class of priests (the sacral class), the class of warriors (the martial class), and the class of herders and cultivators (the economic class) (Mallory 130-1).

Using Ancient Greece as an example, the priestly class, or the class of sovereignty, had kings as well as priests serving this function.  The gods within this class include Zeus and Hera, and arguably Apollo.  Zeus and Hera were often referred to as the King and Queen of the gods.  The kings of the various city-states honored both the patron of their city, as well as giving honor to Zeus for his role as the dispenser of justice.  Apollo is the most commonly associated with prophecy and magic, two things that fell most often to the priestly class (Mallory 131-2).

The warrior class consisted of those members of society who were either on the defensive or offensive. The hoplites that served in the various armies, as well as the naval and cavalry forces would fall into this class.  The gods within this class include Ares and Athena, and arguably Artemis and Poseidon (both of whom may also fall within the economic class depending on the task at hand).  Ares is often referred to as the god of military prowess, courage, and brute strength, whereas Athena is praised for her tactical prowess and wisdom in the cunning that accompanies a victory.  Artemis, while primarily regarding as a deity of the hunt, is also honored as a protector of children, allowing her fall within the defensive military realm.  Her skill with the bow also gives her a place as a warrior.  Poseidon is primarily known as a sea deity, but he is who gave horses to man, allowing a cavalry to exist.  And while his blessing is necessary for fishing and gaining things from the sea, it is also required for naval support, as evidenced by the many myths that involve his refuses navies to set sail, or throwing ships full of warriors off course (Mallory 131-2).

The third class, the economic class, consisted of the majority of the common people, as well as a majority of the gods.  These people were the farmers and the tradesmen.  They were involved in tasks that relate to productivity and a strong economy.  The gods that fall into this class are Demeter, Dionysos, Hermes, Hephaestus, Aphrodite, and Hestia, and arguably Athena, as well as Artemis and Poseidon, as mentioned above.  Demeter is associated with farming and the grains of the earth. Dionysos is associated with the cultivation and processing of fruits.  Hermes is the patron of shepherds and herdsmen, as well as the patron of tradesmen, merchants, and thieves.  Hephaestus is the patron of people who make things with their hands and craftsmen, specifically of the forge.  Aphrodite is a fertility figure.  Hestia is the goddess of the hearth and the home, and thus of all the people.  Athena, while known for her tactical genius, is also the goddess of wisdom and of crafts, specifically processed goods such as textiles (Mallory 131-2).

I do think that Dumezil’s claim that tripartition is central to Indo-European cultures is a valid one.  I think these three classes can be found within every Indo-European society, as well as each Indo-European pantheon.  I think some of the specifics may be hard to find within culture, such as the horse association with the third function, or, as demonstrated above, some of the deities may fall within multiple functions. I’m also not sure that this tripartition is specific to Indo-Europeans, or if it is a theory that could be applied to every human society (Mallory 130-135).

 

  1. Choose one Indo-European culture and describe briefly the influences that have shaped it and distinguish it from other Indo-European derived cultures. Examples include migration, contact with other cultures, changes in religion, language, and political factors. Is there any sense in which this culture can be said to have stopped being an Indo-European culture? (minimum 300 words)

The Greeks are one of the earliest Indo-European civilizations that developed.  They were likely an invasive population that moved through the Mediterranean area because they were following the same route that farming and agriculture took as it spread.  There is evidence that “in earlier times there were two races living in Greece: the Pelasgians; who never left their original home, and the Hellenes (Greeks), who frequently migrated” (Mallory 68).  This account by Herodotus reflects the theory that the Greeks moved into the area and absorbed another culture on their migration.

Some of the evidence that suggests they absorbed an indigenous culture comes from an examination of the Greek language. There is much linguistic evidence that that the Greeks borrowed considerably from a non-Greek language in a calculated manner that suggests they incorporated words that are specific to the resources and knowledge of that indigenous culture (Mallory 68).

The Greeks also had contact with other cultures from all sides.  Notably they had the Persians to the north, India to the east, Egypt to the south, and later Rome to the west.  The Persian in the north was where the majority of the military conflict arose.  In some cases the Persians invaded Greece, and on other occasions Greece invaded Persia.  There is evidence of some imported deities from the east, such as Dionysos, and perhaps Artemis and Poseidon.  Later there was mixing with the Egyptians and their culture.  An incorporation of some Egyptian deities, specifically in magic work, occurred.  This can be seen in the Greek Papyri.

As far as politics are concerned, initially Athens and Sparta were the dominating city-states, but with military conflict this shifted.  The Peloponnesian War led to the downfall of Athens and Thebes and Macedon eventually became leading powers, overshadowing their predecessors.  Macedon eventually united the city-states in the League of Corinth, which was led by Alexander the Great.  Alexander the Great is who led The Empire, however following the confusion after his death Greece eventually became one of the regions protected by the Roman Empire (“Greece”).

When taking into account the hallmarks of an Indo-European culture, such as the common root language, the similar social structures, and a common myth cycle, I think Greece can still be considered Indo-European.  They still speak a language that finds the roots of the majority of its words in proto-Indo-European.  They still have three basic classes of people: the ruling class, though it now may have less clergy participating within this class and more government officials and law makers; the warrior class, who now also include protectors of the people and city, such as policemen, as well as traditional military figures; and the economic class functioning much as it always has because the need for food and trade continues throughout cultural changes.  The final aspect, the common myth cycle, is still present within the culture, though neither it nor the pantheon are followed and worshiped as the primary religion of the area.  However, I think this lack of a current majority of followers of the old religion does not preclude current Greece from continuing to be an Indo-European civilization.

 

  1. Choose one other Indo-European culture and compare and contrast it to the culture discussed in question 3 above with respect to each culture’s Indo-European nature.(minimum 300 words)

Considered by some sources to be the homeland for Indo-Europeans, the early Vedics set a standard for what is seem in many, if not all other Indo-European cultures (Winn 333).  When discussing migration, while the Greeks moved from the east and eventually settled along the Mediterranean coast and surrounding areas, the Vedics appear to have migrated from the Iran and Afghanistan areas into what is now India.  This migration happened at the same time the Indo-Iranians were migrating.  So, while the Greeks migrated into a new area and then came in contact with an indigenous culture, it seems likely that the Vedics and Indo-Iranians came in contact with each other while both were migrating, though it is debated in what order they came in contact and in what region (Winn 186-7).

The Vedas were written down no later than 1400 BCE, which was around the same time that the migration from the Indo-Iranian lands to northwest India occurred.  Unlike the Greek language, which appears to have borrowed extensively from the indigenous culture, the text of the Indic text of the Rig Veda bears enough resemblance and parallels to the Iranian language that it is almost certain the two cultures had extended contact during which time their languages evolved alongside each other (Winn 187).  It was at first assumed that Sanskrit was the mother of the Indo-European languages, though upon further examination it is generally agreed upon now that it is a sister language to the Indo-European family tree of languages, all of which date back to an even earlier Proto-Indo-European language (Ford).  Sanskrit has been used extensively in the reconstruction of the PIE language, while the other IE languages, including Greek, have been used to aid and verify the reconstructed words (Winn 333-4).

The Vedic religion has gone through changes and evolutions in religion, most notably transitioning from the ancient worship of Vedic deities as they are mentioned in the Vedas, to the modern religion of Hinduism.  At first this appears to be similar to how the Ancient Greek religion evolved as more and more ancient poets wrote hymns and other texts, slowly altering the perception of the deities, and eventually splitting off into their Roman and later forms.  However, within the Vedic society as more texts were added, the focus of worship shifted into a less Indo-European polytheistic practice observing the tripartition of classes and placing an importance on ritual, and moved more towards a monism practice focusing on the ideas of all things being one and individual reflection more than ritual practice (Winn 187-9).

In the same way that Greece can still be considered and Indo-European culture, I think the Indic culture can still be considered Indo-European.  While it may not follow the same religion as it did in ancient times, it still displays the hallmarks of an Indo-European society with its common root language and observance of social structures, particularly with India’s caste system.

 

  1. From its beginnings, ADF has defined itself in relation to Indo-European pagan traditions. What relevance do you think historical and reconstructed IE traditions from the past have in constructing or reconstructing a Pagan spirituality for the present and future? (minimum 600 words)

ADF has defined itself as a neo-pagan religion that focuses on the cultural and religious practices of Indo-European traditions.  There are a few points that need to be made regarding this focus: the difference between reconstruction and reimagination, how this applies to the focus on reputable sources, and the depth and community of the new religion that results from these sources.  These three points are relevant to the continued growth of ADF because of the ways they allow us to move towards a deeper and more meaningful spirituality.

First, I think it is extremely relevant that ADF is a neo-pagan religion, rather than a reconstructionist religion.  By reimagining the practices of the Indo-European cultures we’re able to move towards things that will allow ADF to continue to progress towards a mainstream religion.  It also allows us to maintain a path that will continue for multiple generations rather than the few that so often happens with new religions.  Our ability to reimagine, rather than reconstruct allows us to take the best pieces from the ancient religion and culture, and leave behind those which no longer apply to our current society and modern culture.  We are able to apply the social justices we’ve learned over the centuries to our new religion.  By doing this we are acknowledging that religion evolves over time, and are making an educated guess at the direction the worship practices would have gone.  Overall, this means that knowing the historical Indo-European traditions is imperative to both reconstruction and reimagination of those traditions.

Second, when beginning the process of this reimagination it is relevant to ADF’s practice that we focus on scholarly work and reputable sources.  These sources are about the historical traditions of the ancient Indo-European cultures. This focus allows for both accurate reconstructed practices and better guesses at what those practices would look like if they had continued to evolve.  Because of this focus on scholarly work, members of ADF are given opportunities to study the ancient religions and beta-test new ideas.  If these new ideas work, they then have the sources to back up what they’ve done, and thus continue the path of Our Druidry through the present and into the future.  Being able to draw from these historical traditions is relevant to ADF.

Finally, most relevant to the continuing ADF spiritual community, it is important to answer the question, “Why restrict cultures to only Indo-European ones?” or “Why allow more than one culture?” This is important for a number of reasons.  Due to the commonalities that Indo-European cultures share, it allows for a common discourse and a common ground between members who worship following the practices of many different hearths.  Also, by allowing all Indo-European cultures to be represented it allows for a broader community base in a religion that has a minority following it.  It also allows for the common language that all ADF members can relate to, such as discussion of the Three Kindreds, the Earth Mother, and the Gatekeeper.  In addition, by focusing solely on Indo-European cultures we can draw deeply from a few sources, rather than shallowly from many.  This allows for less inconsistencies or discrepancies within a ritual when blending multiple cultures.  All these reasons for focusing on the historical traditions of ancient Indo-European cultures, and the ways they are now reconstructed and reimagined make the resulting religion that ADF is fostering a more coherent and valuable whole.

 

Bibliography:

Ford, Clark, Ph. D. “Early World History: Indo-Europeans to the Middle Ages.” Iowa State University. N.p., Fall 2012. Web. 02 Jan. 2013. <http://www.public.iastate.edu/~cfford/342worldhistoryearly.html>.

“Greece.” Topic Pages. Boston: Credo Reference Contributors, 2013. N. pag. Credo Reference. 1 Jan. 2013. Web. 1 Jan. 2013. <http://www.credoreference.com/topic/greece>.

Mallory, J. P. In Search of the Indo-Europeans: Language, Archaeology, and Myth. New York, NY: Thames and Hudson, 1989. Print.

Puhvel, Jaan. Comparative Mythology. Baltimore: Johns Hopkins UP, 1987. Print.

 Winn, Shan M. M. Heaven, Heroes, and Happiness: The Indo-European Roots of Western Ideology. Lanham: University of America, 1995. Print.

Indo-European Language 1

Required for all:

 1.     Compare and contrast the language you have chosen to study and your native language (and any other languages you have studied, if you like). Consider each languages’ syntax and grammar, as well as vocabulary matters, such as cognates, derivatives or borrowed words. (minimum 300 words)

 

German is one of the many language that English has stolen from, and as English itself is a Germanic language, there are many similarities between the two that English speakers will notice.  Grammatically, in German there are four cases: nominative, accusative, dative, and genitive.  These show up in English as well, though often in a more vague sense than they do in German.  One of the first differences I noticed between German and English was that nouns are gendered.  They are male, female, or neutered.  These cases and gendered nouns are clearly linked in German, while they are not evident in English:

 

Nominative Accusative Dative Genitive
I ich mich mir mein
you (singular/plural) du/irh dich/euch dir/euch dein/euer
him er (der) ihn (den) ihm (dem) sein (dessen)
her sie (die) sie (die) ihr (der) ihr (deren)
it es (das) es (das) ihm (dem) sein (dessen)
they sie (die) sie (die) ihnen (denen) ihre (deren)
we wir uns uns unser
you (formal) Sie Sie Ihr Ihnen

 

When considering syntax, German is very lax compared to English.  The differing endings of words thanks to case and gender in German allow word placement within a sentence to be flexible.  The subject will have a nominative ending.  The direct object will have an accusative ending.  The indirect object will have a dative ending.  If there is something showing possession, it will have a genitive ending.  The verb in German will always take second position if it is a declarative sentence.  In a question or command, the verb will always come first.

 

In addition, because English has borrowed heavily from German, there are many cognates in older words, loan words that have been borrowed long enough that they’re part of the English language now, as well as Anglicized words and -ieren verbs for more modern words.  Some cognates, for example: house = Haus, brother = Bruder.  These are pronounced somewhat similarly, and would be recognizable to speakers of both languages when they are used in context.  Loan words are similar to these cognates, except that they are identical in spelling but may have a slightly different pronunciation or meaning.  Some examples of loan words are kindergarten, angst, and delicatessen (or deli, as we’re more familiar with). The Anglicized words are often more modern, and are nearly always gender neutral.  For example, das Fax and das Email are gender neutral and mean fax and email.  Verbs that end in -ieren are another type of word that has been influenced by the English language, such as fotographieren (to photograph) and reparieren (to repair).

 

 

2.     Based on what you understand about the language studied, linguistics in general, and your knowledge of the associated culture(s), briefly describe how the characteristics of the language may reflect the attributes, history or values of the associated culture(s). (minimum 300 words)

There are many moments in history and in linguistics that have allowed for the development of what we know today as modern German.  In her book German: Biography of a Language, Sanders narrows down the main events in the life of German as a language to six major turning points that correspond with historical events (5).

The first turning point was when a pre-Germanic language split off from its PIE roots.  This moment in history is perhaps the most pivotal and telling in the values of the people.  Sanders references the work of David W. Anthony in his book The Horse, The Wheel, and Language. As the Germanic speaking peoples moved west they took their culture, values, and language with them.  They were able to travel quickly and extended distances because they had domesticated the horse and learned the skill of horseback riding.  The Germanic language they brought took hold in the lands they moved into because of three main aspect of these people culture.  First they became a dominant force in trading and in politics because they valued their oaths and kept their word.  They were welcomed by the regions they traveled to because of this trust and also because of their strong rules regarding hospitality.  They believed in the value of trade more than war, meaning they incorporated themselves and their language into these societies rather than conquering them.  They made themselves a desirable class of people to be respected and welcomed rather than feared and hated.

The final reason, and the main way the Germanic language took hold, was because of the rituals, specifically rites of passage, and feasts that contained speech and songs in their Germanic tongue (Sanders 22).   Because the Germanic speaking people were welcomed into the new cultures and regions, and merged themselves in rather conquering, the people of the western regions began to learn the new language so that they could make better trade alliances, marry into the new blood, and participate in the rituals and feasts.  There would have been a period of bilingualism, but eventually the new, Germanic language took hold because as the children of the western regions saw the technological advances that the Germanic speaking people brought with them and the elite status they held in society, the old language would have become stigmatized and the Germanic language became preferable (Mallory 258).

The remaining five turning points are still important in the history of the German language, though aren’t quite as telling regarding the cultural as the first point.  The second and third turning points in German’s linguistic history deal with moving further down the IE language tree.  When the Germanic tribes were victorious over the Romans, the Germanic language split off from the romance languages (Sanders 44).  Then, with the Second Sound Shift, the Germanic languages split into the variations that would lead to German and English (the Northern Germanic languages that include Norse, split off before this sound shift).  This is the shift that explains why English words sound different than German words that have the same meaning and often even look similar (93).

The fourth turning point regarding the history of the German language is when the Bible that was published in German.  This allowed the common people to read in their own language and split off German into many dialects.  It allowed for more independent cities, towns, and villages (Sanders 117).  The fifth and sixth turning points are more modern in their history. In the 1800s many German-speaking areas were politically unified into a country.  This unification allowed the new Germany to become a world power and the language to become a world language.  People around the globe now had a reason to learn German so that, like with the first turning point, they could become involved in trade and politics with Germany (157).  The final turning point in German’s history involves the two world wars which first stigmatized the German language, and then with the cultural and moral recovery of Germany, the language has begun to restore some of it’s standing (175).

 

Required-one of the following:

3.     Copy of college transcript for any Indo-European language (minimum one semester/quarter with at least a grade of “B”).

German Transcripts from The Ohio State University

Works Cited:

 Mallory, J. P. In Search of the Indo-Europeans: Language, Archeology and Myth. London:

Thames and Hudson, 1991. Print.

Sanders, Ruth H. German: Biography of a Language. Oxford: Oxford UP, 2010. Print.

Liturgy Practicum 1: Requirement 1

Requirement #1: Key concepts from required reading:

1.  What three factors (“subcategories”) does Bonewits identify as determining the impact of “familiarity” on the success of a ritual? Briefly discuss the ways in which personal or family-only ritual is aided or hindered by these factors when compared to public group ritual. (Minimum 100 words)

The three factors that Bonewits identifies as determining the impact of “familiarity” on the success of a ritual are knowledge, affection, and group identity.  These three aspects of intra-group familiarity are what help to create and maintain the group mind necessary in ritual space.  The group mind is needed in order to raise and use mana, or energy.  Knowledge creates intellectual and social bonds, affection creates emotional bonds, and group identity creates psychological bonds.  The better these aspects can be developed and nurtured, the greater the psychic bonds will be that fuel the group mind.  In general, “having more people present makes more mana available, yet also makes it harder to keep that mana focused” (Bonewits 58).

Knowledge can be defined as what skill sets you have present at a ritual.  Are some people good at singing and chanting, others good at drumming, and still others who are excellent at visualizing?  In order to accommodate varying levels of knowledge the folks leading ritual may need to put strong vocalists next to weaker one, or have a strong mother beat in a drum set, or keep visualizations shorter or better guided to help folk maintain focus.  This is all a matter of differentiating the ritual to best serve the needs of the folk so that the needs of the Earth and the purpose of the ritual can be served.  A personal or family-only ritual means that you have less specialized skills to draw on, but that less accommodations may need to be made.

Affection can be defined as the genuine bonds of friendship and love that exist between people.  Lovers and family members will have the strongest bonds, followed by friends, and then by acquaintances.  These bonds can be nurtured to help have a stronger connection and stronger group mind.  In a personal or family-only ritual the affection level is likely very high unless there is a lot of strife in the family.  This means that the bonds that exist will be much stronger and the energy more accessible because the group mind is easier to maintain.

Group identity can be defined as the specific identity for the group.  The more narrow it is, the stronger the identity is among the groups’ members.  For example, I consider myself not just a Pagan, not just an ADF Druid, but also a Crane.  At Three Cranes Grove rituals, this common identity allows us to have more focused group mind.  We can reinforce it by the common things we do at every ritual that bind us together, such as reciting Serith’s “The waters support and surround us…” prayer.  A personal or family-only ritual will end up having a very narrow group identity, so the bond between participants in this aspect would be very strong.

The benefits of personal or family-only ritual is that an intimate group of people is far more likely to have more things in common than a larger group of people who have less contact with each other.  This means that there is less fumbling with scripts, a more open sense of community and less fear of judgment, and a likelihood, though not necessity, that similar deities will be worshiped.  In a public group ritual, if not everyone is familiar with each other, there may be hesitancy in sharing, or making offerings.  There may also be disruptions in the flow of ritual as the congregants are not sure what part to expect coming up.  In addition, there are likely to be many different pantheons represented in the congregants’ beliefs, which can lead to a chaotic feeling in ritual, or hurt feelings on the part of those participating.  However, despite these possible problems, there is also a benefit to group rituals.  More energy can be raised and directed, more diverse styles of liturgy are represented, and more can be attempted and accomplished because of the broader range of skills available to the congregation.

 

2.  What six methods of prayer does Ceisiwr Serith describe? Briefly suggest an example of how you might employ each in your personal worship practices. You may include worship with a group if applicable. (Minimum 200 words)

Praying Through Words

Praying with words is perhaps the most obvious way of praying.  I couple most of my prayers with words, though a few remain silent or only observable through other means.  Most notably when I call to the Kindreds and my Patrons I speak with words for them to hear me.  I find the words to be a good focus, and a way of reminding myself that I’m talking to someone, not just talking.  I also take great joy in writing, and have applied that to writing various thing including spoken prayers.

Praying Through Posture

Depending on what I am doing, my posture will alter.  When calling to the Earth Mother I will either crouch down on the balls of my feet and put my fingertips on the ground, or I will kneel in seiza, and then lean over to place my forearms on the ground, with my hands forming a diamond and my forehead placed between them.  When I call to Hestia I have a lighter or match in my right hand and her candle flame in my left. I hold the candle chest level while I speak the prayer to her, and then light the candle and set it down.  My Grove has adopted certain postures for calling to each of the Kindreds that I use fairly often, though not all the time.  When calling to the Ancestors we look and reach towards the ground, palms parallel to and facing the ground.  When calling to the nature spirits we reach out to our sides, looking levelly across the earth, arms bent at the elbows and palms facing in towards the center flame.  When we call to the Shining Ones we reach up and look towards the sky, arms extended and palms facing up.

Praying Through Motion

In Hellenic ritual it is important to separate the mundane space from the sacred space.  I keep this by washing at least my hands before a ritual for purification and then processing into the space I will be conducting the ritual.  I then recess out after the ritual.  I’ve found this is very helpful in getting into a ritual mindset where I can focus on the work at hand and not be so worried about the mundane things going on outside the rite.  In addition, as I mentioned above, there are times when I deliberately shift from one posture to another depending on what I am doing and who I am calling. One of the things that Serith specifically mentions is walking in circles, especially clockwise circles, around the sacred space.  My home shrine backs up against a wall and my fireplace, so I don’t walk circles at home.  I do however use circle motions when opening and closing the gates (clockwise for opening, and counterclockwise for closing), and when I do outdoor rituals I circle the space spreading barley, incense smoke, and/or water for purification.  At my home shrine I cense the altar top in a circle motion, moving clockwise, though it is not truly moving in a complete circle around the space.

Praying Through Dance

I have not tried dancing in my own personal rites, at least not in the traditional sense of the word ‘dance.’  I have found kata, or martial arts forms, to be extremely beneficial to me as a method of meditation and prayer.  It helps to clear my mind and allow more thoughts to enter unimpeded.  In a group ritual I led a Crane Dance that I wrote for a magical working.  The intent was to raise energy to break away the chains of our lives that were holding us back.  It is described in more detail in my journal.  Dance can also be used for ecstatic trance, though I have not tried this either.

Praying Through Music

Praying through music is one of the ways I like praying best.  Whether it is instrumental or with voice, I find it very rewarding.  Certain chords can strike certain moods or certain thoughts in a person, and I can strum through a progression on my guitar and achieve a mental state similar to others ways of praying.  When combined with words, music gains even more for me.  I sing my prayers to some of the Kindreds, specifically the Muses.  I chant other parts of ritual, or other invocations.

Praying Through Gestures

Praying with gestures often coincides with magical work for me, in one form or another.  When I make offerings, I pour oil or wine, or sprinkle oats, corn meal, or barley.  It is not just the physical offering that I give, but it is the act of pouring or sprinkling that is also part of the offering and sends the gift to the Kindreds.  When opening and closing the gates, I move my hands in a spiral either opening or closing my fist.

 

3. What arguments does Ceisiwr Serith make in support of set prayers (as opposed to spontaneous prayers)? Discuss how these arguments apply (or do not apply) to solitary Pagan prayer. (Minimum 200 words)

Serith argues that set prayers offer many benefits as opposed to spontaneous prayers.  I believe that both types have their place in ritual and worship.  The first point Serith makes regarding set prayers is that from a historical point of view we are following the way of the ancient when we speak a set prayer.  In Vedic religion one of the ancient source is the Rig Veda, which is literally a collection of set prayers.  In pagan Rome the exact words war so important that the priest had an assistant with a prayer book whispering the words to him through the rite (Serith 66).

Another point that Serith makes is that there is nothing wrong with using the prayers of others.  We all have skills, and some people are simply better at writing prayers than others (Serith 66).  Even if you write your own prayers, there is absolutely nothing wrong with repeating them time and time again.  It is rather a good thing to do, because if you wrote the prayer while inspired you will continue to find more within that prayer.  If you were sincere then, there is no reason it makes you less sincere now. However, as Bonewits states “sincerity is not a substitute for competence” (Bonewits 64).

This feeling of continuing to be inspired with a prayer relates to what Serith describes as “deepening.”  This is a phenomenon where the more you memorize and use a prayer, the more it gets ingrained in your unconscious mind.  It begins to “pray you” rather than you “praying it.”  It works its way into you soul and you see more and more with it each time you use it (Serith 67-8).  I’ve found this to especially true in my own practice as I went through the Order of Bardic Alchemy work and wrote, polished, and used my Muses song nearly every ritual.

Another important aspect of set prayers that Serith examines is the because “there are times when we want to pray, but words fail us” (Serith 66).  This is especially applicable in solitary practice.  When you feel the intense need to pray, you often are alone, or feel alone.  In times of mourning this is especially common.  A set prayer is very useful when you are seeking comfort, but don’t know the words to say.  I have found that litanies combined with prayers beads are especially useful for me in this way.

The final argument Serith makes in regard to set prayers is the only that does not apply to solitary prayer: that you can’t pray spontaneously as a group (Serith 67).  On the surface this seems true.  In order for people to speak the same prayer together, they need to know what to say.  However, an area of gray in this that qualifies as more of a sub-point is the call and response prayer.  The person leading the prayer, the call, could be praying spontaneously.  The response given by the congregants would then be repeating this spontaneous prayer.  So whether or not this still counts as a spontaneous prayer I’m not sure, but it is an interesting argument to consider.

 

Works Cited

Bonewits, Philip Emmons Isaac. Neopagan Rites: A Guide to Creating Public Rituals That Work. Woodbury, MN: Llewellyn Publications, 2007. Print.

Serith, Ceisiwr. A Book of Pagan Prayer. Boston, MA: Weiser, 2002. Print.

Divination 1

1.     Name and briefly describe one method of divination or seership technique common to three paleo-pagan Indo-European cultures. (minimum 100 words each)

The Drawing/Casting of Lots:  This method involves a collection of symbols, commonly from a writing system, from which the Seer picks from, and then interprets.

Norse: Runes

The Runes of the Elder Futhark is a writing system for the Germanic people.  Each symbol stands for a letter/sound, as well as additional divinatory meanings.  The runes are associated with wisdom and divination through Odin.  His story of how he learned the runes and gained their wisdom is related in the Havamal.  This discussion is more related to the magical uses for the runes.  Further meanings that apply more to the context of divination as used by man are found in the Rune Poems, whether they are from Norse, Anglo-Saxon, or Icelandic versions.  The traditional way of casting lots with the runes involved not only interpreting the meaning of each symbol, but also where it fell during the casting process (Thorsson).

Celtic: Ogham

The Ogham was a system of writing for the Celtic people in general, though it is found most commonly in Irish.  The alphabet dates from the 4th century CE, and most inscriptions are from the 4th-8th century.  Each symbol represents a letter, since the ogham was likely first used as a writing system rather for divination.  The Tree Ogham is the set of oghams that is used for divination.  The fews, or individual symbols, are broken down into five groups of five (called aicme (aicmi= plural), some of which are not commonly used in divination since they appear to have been meant solely for use in manuscripts (Ellison 1-12).

Greek: Olympian Alphabet Oracle

The Greek Alphabet Oracle comes from the Ancient Greek system of writing.  Unlike other symbol sets, where a collection of key words may accompany each symbol, the Greek Alphabet Oracle has a phrase that matches to each symbol.  The phrase starts with a word that begins with the corresponding letter.  So, when interpreting from the Greek Alphabet Oracle, not only does the Seer work with keywords and intuition, but also with an oracular phrase that references some aspect of life or the Gods within Ancient Hellenismos.  Traditionally the letter was chosen either by rolling five astrogaloi (goat knucklebones) and calculating the corresponding letter based on the associated numbers or by shaking pottery fragments that had been inscribed with the letters from a bowl or frame drum (Sophistes).

 

2.     Within the context of a single paleo-pagan Indo-European culture, discuss three different forms of divination or seership, and give an example of each. (minimum 100 words each)

Within the context of Ancient Greece, divination can be divided into roughly two categories: natural and artificial.  Both types were considered to be a communication between mortals and gods, but artificial divination is something that could be taught, whereas natural divination is something that is untaught and considered more reliable because it is a direct communication from the gods, rather than going through the channels of interpretation by mortals.  Another division that may make more sense and be less convoluted is to say that the two types of divination can instead be divided into institutional oracles and independent diviners (manteis) (Johnston 7-29).

Perhaps the most famous method of Greek divination is the Oracle, specifically the Oracle of Delphi.  This is both an institutional oracle and on that is noted for its natural method.  This specific natural method is called enthused prophecy.  The idea here is that a god, in this case, Apollo, god of truth and prophecy, possessed an oracle, called the Pythia at Delphi, and spoke through her with his voice.  The “breath” of the God filled the Pythia, and she spoke as Him.  One important thing to note is that the oracles were tied to their location, rather than to a specific person.  Thus we have the Oracle of Delphi, the Oracle of Dodona, etc.  A Pythia, serving at the Oracle of Delphi, is a woman born in good standing and who has been influenced as little as possible by the thoughts of man so that she may speak clearly Apollo’s words without overtones of human thoughts (Johnston 33-50).

Dice oracles were also popular.  These were a kind of “self-service” oracle.  The person seeking a divinatory reading would go to a statue or pillar where there were numbered phrases inscribed on the side.  They would take up five of the astrogaloi (four sided dice made from a sheep’s knucklebone) that lay on a table in front of the statue and roll them, adding up the resulting numbers.  They would them find the numbered phrase on the statue, which was the advice or answer to their question.  In Anatolia the oracular phrases were inscribed on a statue of Hermes.  Each phrase was “sponsored” by a particular deity.  The seeker would have to determine for themselves how the phrase and deity represented by their number applied to their question.  It is likely that there were manteis, or freelance, diviners present offering their services of interpretation to the seeker (Johnston 98-100).

Another type of divination that was common in ancient Greece, as well as many other cultures, was the reading of entrails.  One reason this was so common was because those animals that were most often sacrificed to the gods (sheep, goats, cattle, and pigs) always shad their entrails read as part of the sacrificial procedure.  This was done often simply for the sake of making sure that the offering was acceptable to the gods.  The reading of entrails is thought to be rather straightforward.  The diviner would look at the innards of a creature, most notably the liver, and receive a yes or no answer to whatever question had been asked.  There is debate on the subject, but it is generally agreed on that this process can only be done three times each day for the same question.  This was more a sense of omen taking than other methods were. The belief was that certain signs would always precede creation events.  The manteis was trained to know what those signs were and what they were known to precede (Johnston 125-128).

 

3.     Discuss both the role of seers within at least one Indo-European culture and the relationship of seers to other members of the society, including in that discussion how seers or visionaries would have supported themselves or how they would have been supported by their people.(minimum two paragraphs)

The Institutional Oracles were an important part of the economic ecosystem of the cities they existed around.  Generally speaking, they did not provide for themselves in the way of sustenance, but rather relied on the folk they served to bring that to them.  In the Homeric Hymn to the Pythian Apollo there is story asking how the people chosen by Apollo to care for his temple shall be provided for.  They were reminded that “the glorious tribes of men will bring gifts to you as Iepaeon (`Hail-Healer’), and you will receive with delight rich sacrifices from the people dwelling round about” (Evelyn-White).  This meant that when the people brought forth sacrifices to the altar of Apollo at his temple, the priests there would be well fed as long as the fame of the oracle lasted. In this same sense, it was also beneficial for the surrounding towns to enhance their Oracle’s reputation.  The more people traveled through, and stayed for extended period of time, the better business was for that town.  This was especially true of the Oracle of Delphi, which later became the site for the Pythian Games (Johnston 34-46).

For the independent diviners (manteis), they made their living much the same way other merchants did: by selling their wares and services to the public.  They were well-respected as part of the aristocratic class of men (and sometimes women) who would seek to further themselves and their reputation not only through their divination, but also through feats of strength and courage.  The manteis was a crisis manager; he was an integral part of the Hellenic society.  When something went wrong, the manteis would not only look to the future, but would also look to the past.  It was their job to determine how the folk might have offended the gods at some point in the past so that the correct amends could be made to set the course of history back on a good path.  The manteis also had a very important role in the military history of Greece.  In myth, every army had its own manteis, because of how important it was to consult the will of the gods when approaching something that their good or ill will may determine the outcome of the battle.  The manteis would bring out sacrificial animals before a battle.  They would kill these animals and read their entrails, determining how the battle would go and what would need to be done in order to win the battle.  Generals were known to put great weight in these divinations, and would even delay battle until the omens were fortuitous.  The independent diviner had more freedom than the institutional oracles to peruse the life they wanted.  They were less tied to the people in the sense of dependency, but also had to prove themselves much more than the institutional oracles to maintain their reputation and thus be able to sell their services (Johnston 116-118).

 

 

4.     Identify and describe one method of divination to which you find yourself attracted, and discuss its relationship to paleo-pagan divination.(minimum 300 words.)

I am attracted to divination by lots.  This method is common across many cultures, and I find the juxtaposition of the simplicity of drawing a symbol against the complexity of interpreting that symbol within the context of the question and all the sublets that it may represent to be very effective and rewarding.  Since I am drawn almost exclusively to the Hellenic deities, I am specifically attracted to the Greek Alphabet Oracle, also known as the Olympian Oracle.  Within this symbol set are the 24 letters of the ancient Greek alphabet.  There is very little source material regarding this symbol set specifically (discussed in further detail in the following question), and what there is, is difficult to find translated into English or find at all.  In general, it is a method of divination that involves choosing a number of symbols seemingly at random and interpreting their meanings in relation to the individual symbol, in relation to each other and the placement of each symbol drawn, and in relation to the question asked.

The Greeks have many documented methods of divination, but I’ve found that the Greek Alphabet Oracle fits well within methods used across many paleo-pagan cultures.  The important part of this for me is that it means it fits well within ADF cult practice.  Drawing or casting lots is the most common method of divination I’ve seen in ADF public ritual, making the method of taking an omen in ritual familiar both to me and to the Folk (who are used to seeing Runes or Oghams drawn from a bag as a method of taking an omen).  This is why I’ve chosen to use the Greek Alphabet Oracle in my divinatory practice, even though it lacks in the way of obtainable source material.  It is familiar in application to other methods of divination commonly used.  On a practical level, it is also easily transportable, and can be consulted rather easily in a variety of situations and locations.

 

5.     Briefly describe the symbology of your chosen method of divination, and include a method of application for that system. (minimum 100 words overall description plus at least one sentence or line per symbol)

The system of divination that I used most often is the Greek Alphabet Oracle.  There are three traditional ways of using this system.  The first way is through the drawing of lots.  Traditionally this would have been done with pottery fragments, each inscribed with a letter.  This is the method that I use, drawing inscribed wooden disks from an opaque bag.  I found that pottery fragments were both too brittle, since I had no way to fire them, and the shapes weren’t uniform enough, removing some measure of objectivity.  The second method is through the casting of five knucklebones, or astrogaloi.  There are four “sides” of a knucklebone, and each is given a value (1, 3, 4, and 6).  When those values are added together they correspond to a letter.  There are 24 possible different sums, between 5 and 30, with 6 and 29 being impossible.  The third method is similar, except that it uses five six-sided die, rather than bone.  The possible values are again between 5 and 30, with both 13 and 25 being uninterpretable from a reconstruction standpoint.  Generally, the die will be recast, though some may choose to interpret 13 as having to do with sacrificed and resurrected Gods (i.e.: Dionysos) and 25 as having to do with perfection (being the square of 5) (Sophistes).

Each letter in the alphabet oracle correlates to a phrase containing a key word that starts with that letter.  Below I’ve written the phrase that goes with the letter in italics, as well as the phrase I wrote to add some of my own insight while maintaining the structure that these omens where taken in. I had the phrases that I wrote begin with the same letter, or at least sound, so that as I was learning them it would be easier for me to remember.

Alpha: “The God [Apollo] says you will do everything {Hapanta} successfully.” 

All you do is successful.

Beta: “With the help of Tychê [Fortune], you will have an assistant {Boêthos}, the Pythian [Apollo].” 

Because you asked for help

Gamma: “Gaia [the Earth] {Gê} will give you the ripe fruit of your labors.” 

Gaia gave what you need.  Harvest it.

Delta: “In customs inopportune strength {Dunamis} is weak.” 

Deciding how to act and when strength is necessary

Epsilon: “You desire {Eraô} to see the offspring of righteous marriages.” 

Eager to see the results of union

Zeta: “Flee the very great storm {Zalê}, lest you be disabled in some way.” 

Zeus causes the storm: flee before his anger

Eta: “Bright Helios [Sun] {Hêlios}, who watches everything, watches you.” 

Every word you speak, Helios knows the truth

Theta: “You have the helping Gods {Theoi} of this path.” 

Throughout your journey, you will have the gods help.

Iota: “There is sweat {Hidrôs}; it excels more than everything.” 

If you lose all else, your hard work remains

Kappa: “To fight with the waves {Kuma} is difficult; endure, friend.”

Keep on enduring the inevitable with courage.

Lambda: “The one passing on the left {Laios} bodes well for everything.” 

Learn that blessings come from the most unsuspecting places

Mu: “It is necessary to labor {Mokhtheô}, but the change will be admirable.” 

Much good will come through labor and toil.

Nu: “The strife-bearing {Neikêphoros} gift fulfills the oracle.” 

Notice when strife has come, for it is a sign.

Xi: “There is no fruit to take from a withered {Xêros} shoot.” 

Expectations should be rational

Omicron: “There are no {Ou} crops to be reaped that were not sown.” 

Only what you plant will yield a harvest

Pi: “Completing many {Polus} contests, you will seize the crown.” 

Perseverance through adversity will win many battles.

Rho: “You will go on more easily {Rhaion} if you wait a short time.” 

Remain a short while and you will proceed more easily.

Sigma: “Phoibos [Apollo] speaks plainly {Saphôs}, ‘Stay, friend.’” 

Stay and hold your ground

Tau: “You will have a parting from the {Tôn} companions now around you.” 

Travelers must eventually part ways.

Upsilon: “The affair holds a noble undertaking {Huposkhesis}.” 

Understand whether you should seek a noble quest, or whether your quest is being hindered.

Phi: “Having done something carelessly {Phaulos}, you will thereafter blame the Gods.”

Fate is yours alone – take responsibility for it and do not blame the Gods.

Khi: “Succeeding, friend, you will fulfill a golden {Khruseos} oracle.” 

Completion of your goals is excellent

Psi: “You have this righteous judgment {Psêphos} from the Gods.” 

Suitable judgment has been passed down by the Gods.

Omega: “You will have a difficult {Ômos} harvest season, not a useful one.” 

Onerous times await you.

 

6.     Describe the results of three divinations performed by you. These divinations may be text assisted. (minimum 100 words each)

Omen for Querant as she worries about her health (3/28/12)

Kappa — Theta — Beta

Things are going to be rough ahead, but you are loved, so stay strong.  The gods are with you.  Apollo the Healer is with you.  Good Fortune (Tyche) is on your side.  As the waves crash over you, you may find it harder and harder to endure all the tis being thrown at you.  Remember to float.  Work on just being.  The Gods are watching over you, and they are here to help you.  The path ahead has many obstacles, but allow them to guide your steps.  And remember that you specifically have the assistance of Apollo and Tyche.  They will help you get through the struggles ahead, but in return you must ask for help when you need it.  They can open the doors for help to be given, but you must walk through those doors and ask for what you need.

Comfest: Querant (6/23/12)

Past: Phi — Present: Omega — Future: Zeta — Overarching Connection: Nu — Further Clarification: Theta & Xi

In the past she had made some actions or mistakes that she was perhaps too hard on herself for or didn’t accept that that’s how fate or the situation should or was meant to go.  Presently she’s in a holding pattern, sending out all these feelers and none of them are taking hold.  Her advice to get out of the pattern is to stop pouring her energy into that which isn’t serving her, and stop per suing those things that are only draining on her.  The overarching connection is the strife-bearing gift.  What is the silver lining she can take from Phi, Omega, and Zeta?  She can learn not to be careless with others emotions, to continue trying to find a way out, and to recognize what is helpful to her.  For further clarification she was reminded that though she’s struggling on this path, the Gods have her back.  She also needs to be sure that she properly cares for and tends the seedlings she plants.  Either be all in, or don’t water your energy bothering at all.

Comfest: Querant (6/23/12)

Past: Nu — Present: Omega — Future: Theta

Maybe something bad happened a little while ago, but now you’re trying to fix, but aren’t really getting anywhere.  So, to work on fixing it you need to remember all the people around you and the divinities have got your back. You just need to remember that you can ask them for help.  You’re not in this alone, even though it may feel like it sometimes.  Learn from the mistakes of your past.  Every bad experience has a lesson within it.  Try to find that lesson and apply it to what you’re struggling with now.  You’ll find that your relationship with the divinities will deepen as you work through this current struggle and apply the lessons they gave you to learn.

 

7.     Discuss your view of the purpose of divination. (minimum 100 words)

Sarah Iles Johnston states that the purpose of ancient divination is “to gain knowledge of what humans would not otherwise know” (Johnston 3).  This general statement is true in all regards, but I think in terms of divination for religious purposes, if a general goal can be set that we’d like to live our lives to the fullest in the best way we can, then divination can guide us.  I believe that in our lives and in this world we’re each set on a path.  Our general course has been set by the fates.  Our threads spun out, woven, measured, and will eventually be cut.  The specifics are left up to us to determine how we spend our thread, how we burn our wick. Divination can help us see more clearly the path laid out before us so that we can make more informed and conscious decisions about the direction we’re heading.  It can also offer reassurance for choices made, or guidance to view a situation from another perspective.  In general, I see an omen taken as the way things will pan out if no changes are made in the course you are taking.  So, but seeing the path ahead you are more able to make an informed choice as to whether or not you should hold your course, or set your sails to divert a different direction.  As with all things, divination is no substitute for the thoughts and work and actions we put into our lives.  It cannot make the changes, but can help to clear the clouds so we can see a bit further and with a bit more wisdom.

 

8.     Discuss the relative importance and effect of divination within your personal spiritual practice. (minimum 100 words)

Within my spiritual practice there are a few ways that I approach and use divination.  On a personal level I will take an omen for guidance on the coming days.  I rarely look further ahead than a month, simply there are so many choices and branching of paths in that amount of time that an omen and the wisdom it provides could really go any which way.  I find it useful in this way to brace myself in a sense.  The other piece of this is that oftentimes taking an omen for myself will force me to see a situation in a different light, from a different perspective, allowing me to change my course if I need to.

I also use divination in ritual space, especially when working with a new or unfamiliar deity, to see if the offerings I’m making have been accepted.  I find this especially useful when I’m unsure of what kinds of things the deity would like to receive as offerings.  Following up on that, the other way I use divination is to see what blessings or wisdom are offered to me in return for the offerings I make.  I’ve found that I more often receive wisdom and guidance than I do specific blessings, but perhaps that is the nature of the Greek Oracle.

 

9.     Discuss your view and understanding of the function of the Seer. (minimum 100 words)

The role of the Seer is to serve as an intermediary between the Folk and the Kindreds.  The Folk can be anything from a solitary, to a Grove, to a larger community.  The Kindreds can be from any of the Ancestors, Nature Spirits, or Shining Ones depending on whom the Seer is addressing.  The Seer can serve as one in a ritual setting with a larger purpose, or in a more intimate setting with the main goal being to seek guidance from the Kindreds.  In the case of a ritual, the Seer takes the Omen, serving as the voice of the Kindreds.  In a more intimate setting, the Seer is directed more by the querant and the questions they ask.

 

10.     Discuss the importance and value of divination as it relates to ADF. (minimum 100 words)

The Seer directs the divination within an ADF ritual.  The Seer’s job here is three-fold: to find out whether or not the Sacrifices of the Folk have been accepted, to interpret the blessings and wisdom that is received in return, and to help the Folk determine how to apply those blessings and wisdom to their lives.  I think this is important because finding out if our gifts are well received helps to deepen our relationship with the Kindreds.  In addition, once we have learned what we’re being offered in return, it is sometimes overlooked how to apply those blessings and wisdom to our lives.  I’ve found that the Socratic method works well for this part because though you can give someone wisdom, if you cannot help them apply it to their own life, it does them little good.  By asking questions that help them focus on the blessing and think on multiple meanings of it, you can help them find the ways it applies to them.

 

Bibliography

Sophistes, Apollonius. “A Greek Alphabet Oracle.” A Greek Alphabet Oracle. Biblioteca Arcana, 2005. Web. 23 July 2012. <http://web.eecs.utk.edu/~mclennan/BA/LAO.html>.

Ellison, Robert Lee. Ogham: The Secret Language of the Druids. Tucson, AZ: ADF, 2007. Print.

Evelyn-White, H. G. “The Homeric Hymns 1-3.” Classical E-Text. Theoi.com, 2011. Web. 06 Aug. 2012. <http://www.theoi.com/Text/HomericHymns1.html>.

Johnston, Sarah Iles. Ancient Greek Divination. Malden, MA: Wiley-Blackwell Pub., 2008. Print.

Thorsson, Edred. Runecaster’s Handbook: The Well of Wyrd. York Beach, ME: Samuel Weiser, 1999. Print.