Norse Runes: Attunement

My sense of the Runes is that they tell a complete story of the Wyrd of the Well. My goal as a diviner is to uncover this story, and find meaning in it. I regard the Runic Aettir as chapters in this story, with the individual Runes as sentences. (For me in Runic divination, the questioner is a thread in the tapestry of the Wyrd.) I need to attune to the Runes to discover how the questioner’s thread fits into the overall Story.

 To prepare for the attunements, I decided that the time to do them was early in the morning. For me, the early morning is a liminal time, and my brain is fresh and open. Therefore, after my morning tea ritual, I would sit with the Runes.

For the attunement, I decided to do two Runes at a time. By learning in pairs, I could study them as a dyad. As I did, I would ask myself, “how do these Runes fit together.” I would contrast and compare each, as well.

 First, I would lay out the entire Rune set to see how the Story develops. Then, I would take the pair of the day, and ask that these Runes speak to me. As their pictures would form in my mind, I wrote down my insights. As each Rune developed into a full picture, I placed it in my memory palace.

For me, the meanings of the Runes lie on a continuum. I regard the meanings of each Rune to be fluid with a center, end, and beginning points. The center point is the “standard” agreed upon meaning. The “standard” meaning also governs the beginning and end points. As a diviner, I see shades of meaning from either side of “standard.” Therefore the Runic insights that I got were usually variations of this “standard.”

 An example of how this works for me is as follows. Hagalaz (“hail”), Nauthiz (“need”), Isa (“ice”), and Jera (“harvest”) can be viewed as one chapter of the Runic Story. These Runes can flow together to form a picture. Depicting disaster, Hagalaz is the hail pounding on the roof, causing the roof to cave in. After the roof falls in, the fire goes out in the home. Now the home owner has to make a “need” fire (Nauthiz) by rubbing two sticks together. While everyone, in the home, waits for the fire, they are “frozen,” much like the ice (Isa) that hangs from the eaves. When the warm weather comes, the ice melts, watering the fields. Jera is the field that becomes ready for “harvest.” Through these four Runes, the chapter of a cycle turning and a new one beginning is depicted.

 For me, an attunement is to go inside each Rune to hear the story that each tells. Then, the Runes become pictures or scenes, which resides in my memory palace. When I access them, the Runes flow from one to the next, each telling me what I need to know.

Bardic Perspective: Awen Charted: Old Age

To reflect on Old Age, I went to a swampy area where three streams converge. On two sides of this area are woods, several houses on one side, and a road on another side. Crossing over the swamp was a bridge spanning the road and the houses on the hill. This is a liminal place for me for several reasons, such as the swamp is neither earth nor water. Moreover, the wild area lies between a road and houses, with the bridge connecting the two.

For me, noon represents mid-life followed by old age. After the noon hour comes the afternoon, the decline of the day. Since noon, for me, is a liminal time, I chose this time to start my meditation on Old Age.  

The day I went was a blustery winter day. The strong wind blew the dried leaves, which swirled around me, in small eddies. Meanwhile, the sparkling stream water, as it rippled over the tangled roots, reflected the weak winter sun. Seeing the dead leaves strewn about the bottoms of bare trees, I was reminded of Old Age. As the sharp wind knifed through me, it called to mind my own mortality. Moreover, I was off the beaten path, in a place of ancient decay, symbolic of Old Age. The active life, represented by the road and houses, was separated from me by this swamp.

 As I stared out at the swampy overgrown area, an ancient being of hoary old age popped out of the bog. This male being had an unkempt appearance with unruly white hair sticking out of his brows and ears. Sailing about on the wind, he played with the whirling leaves. Laughing, the being said to me, “Never be neat, clean, or civilized. Always be wild and unruly. Never be staid or docile.” As I listened, the being twinkled at me and danced off.

 As I was leaving, I felt the wildness of the swamp bubble up inside of me. Being old was a time to not to live up to anyone’s expectations, instead it was a time to be content with myself. The being’s advice had resided inside of me, and made me rethink growing old. I think I should go and play in the gusting wind with wild abandonment.

Bardic Path Work: Awen Focus: Morning

Early each Sunday morning, I take my trash out to the dumpster near my building. Behind this dumpster is a large field bordered by woods. Beyond the woods are the railroad tracks of the Norfolk and Southern Railroad. Since everything seems so still at this time, I often go to the edge of the woods to listen to “morning.”

The Sunday, I focused on “Awen” was a winter day, devoid of greenery. I stood at the edge of the woods and awaited the day to begin, which out started grey and overcast. The sun was rising but the light was still low. First, I heard the “coo, coo, coo” of the mourning doves, who were resting in the maple trees. The red-bellied woodpecker, hopping along on a trunk of an oak tree, answered them with “Churrups, churrps.” A staccato rhythm continued with the doves and woodpecker calling and responding.

While that was going on, two Carolina wrens searched for food among the tangled basswood trees, hopping from limb to limb. Finally stopping, they began to trill loudly, “pidaro, pidaro, pidaro.” These small pugnacious birds provided the counterpoint to the doves and woodpecker. The rhythm of the bird calls became faster and faster, announcing “Morning is coming!”

 Then silence came abruptly over the field. Something unseen had passed through the woods. My grandmother referred to this phenomenon of noise then sudden silence as “an angel just walked by.” In the presence of the Sacred, we all became silent.

 After a brief while, the woodpecker quietly went “quir, quir”. Then, the two wrens answered, with “tweepudo dip dip dip.” Adding to their calls, the doves boomed “coo, coo, coo.” Again the rhythm of the doves calling and the other birds responding continued, as if nothing had happened. Once the sun became brighter, the birds stopped and went about their business. Morning had arrived.

Bardic Inspiration: Awen Defined: Winter trees

Since it was the middle of winter, I waited for a “January thaw day,” to listen to a tree. Behind my garden condo is a small stream with a grove of trees. My balcony faces an ancient twin oak in this grove. In fact, this oak’s branches extend to the roof of my building. I decided to listen to the twin oak, who has been my friend for many years. The oak is two males who often finish each other sentences. On this day, they were sleepy, having just woken up for the warm day.

Devoid of leaves, the oak’s branches swayed in the slight breeze. Nuthatches were searching for bugs on the trunk, while the titmice were flitting from branch to branch. A flock of geese flew overhead, honking a greeting to the tree. Sleepily, the twin oak acknowledged the geese’s calls.

A few days before a storm had blown through taking with it, the large squirrel nest from the main branches of the oak. Upset at this, the oak felt sad that the squirrels had to build a new home elsewhere. Since they were asleep at the time, the twin oak could not save the nest. Regarding themselves as a protector of life, they wanted the squirrels to feel secure with them.

As I sat with the twin oak, a squirrel jumped up on a branch near my balcony. The upset animal angrily “cheeed” at me, screaming that I was bothering the oak. Before the oak settled back down to their slumber, they said that the squirrels do like to guard them. This particular squirrel (Cut Ear) warned me not to disturb the tree again. I have no idea what this squirrel would do to me, but I certainly did not want to find out. So I went inside.

Divination: Norse Runes: Consecration Ritual write-up

 In order to consecrate my Rune set, I first researched how to conduct a Norse ritual. I also looked up what Gods governed the Runes and divination (in general). Afterwards, I wrote a simple ritual to ask the Gods to consecrate my Runes.

 To prepare for the ritual, I first took a bath. (As a Roman Pagan, I believe that ritual purity is important. For me, it is a part of showing piety to the Gods.) Then I cleansed the area where I would do the ritual. While preparing my ritual space, I laid out my divination cloth and Runes. Setting up an incense burner and lighting a candle, I then played several pieces of classical music to appease the Gods. (Roman Pagans play music to cover any imperfections during the ritual.)

 When I was finished setting up my sacred space, I hallowed the ritual space using the Hammer Sign. Calling on Thunor (Thor), the God of Thunder, I asked Him to protect the space for the duration of the ritual. Offering incense to Sibb (Sif), the Wife of Thunor, I asked Her to sanctify the space. (My relations with the Gods of the Runes are with the Anglo-Saxon Gods.)

 After doing that, I hailed the Anglo-Saxon Gods who govern the Runes and divination. They are Woden (Odin), who brought the Runes to the Worlds, Frige (Frigga), who read the Runes but kept her own counsel, and Freo (Freya), who is a Seidhkona (a Norse shaman). Freo is, also, noted for unraveling the Wyrd (fate) of people.

I regard the Norns (Fates) to be the most important for consecrating the Runes and for guiding their use in divination. These “Weavers of the Wyrd” are Urahr (what has become), Verdhandi (what is becoming), and Skuld (what shall be). For the Norse and Germanic peoples, They are the Weavers of our fates (Wyrd). To honor Them, I read a verse from the “Voluspa,” of the “Poetic Eddas.”

 Since for me, the Runes are drawn from the essence of all Nine Worlds, I, also, wanted to dedicate them to the Worlds. During the ritual, I hailed each of the Worlds and asked them to imbue their essence into my Runes. As I did, I could feel the energy of each world flow into my tiles.

 Then I consecrated each Rune, one by one. To do so, I first traced the Rune letter over each tile. As I chanting their name, I held each in the air to be blessed. After saying the meaning for each Rune, I asked that the Gods  that it would be “read right” and be worthy of the Well of the Wyrd (Fate).

 To finish the ritual, I bid farewell to each of the Gods. Then I asked Sibb and Thunor to return my ritual space back to ordinary use. Blowing out the candle, I ended the ritual and put everything away. While putting the Runes back into their bag, I could feel their renewed connection to the Well of the Wyrd.

This ritual can be found at : Runic Consecration Ritual

Divination: Norse Runes: Consecration Ritual

Runic Consecration Ritual
1.      Hallow space with Hammer Sign +
“Hammer in the North, Hold and hallow this stead”
(Directions: east, south, west, above, and below)
Hail Thunor (Thor), the Thunderer, protect this space.
 --
2.      Cleanse space.
Hail Sibb (Sif), Wife of Thunor, may this space be sanctified.
Offer incense
 ---
3.      Greet the Gods and Others
Hail, Woden, the All Father!, May I honor your Gift and Sacrifice of the Runes
Hail Frige, Shining Lady of Asgard, May I show discernment in reading the Runes
Hail Freo (Freya), Shining Lady of the Vanir, May I be deft at understanding the Wyrd.

 Hail, Urdhr, Norn of What has become
Hail, Verdhandi, Norn of What is becoming
Hail, Skuld, Norn of What shall be.

“From there come the maidens
With knowledge of many things
Three from that sea,
Which stands beneath the tree;
One is called Urdhr,
The other Verdhandi,
They carved on sticks,
Skuld the third.
They laid down the law,
They choose the lives
Of the children of men,
The fates of men.”
“Voluspa” Verse 20
---
4.      Consecrate the Runes by tracing a figure over them, and saying each out loud.
---
5. Working May these Runes draw from each of the Nine Worlds,
Midgard, the World of men,
Muspellheim, the World of raging fire, Niflheim, the World of freezing cold,
Asgard, the World of the Shining Ones, Vanaheim, the World of the Fertile Ones,
Jotunheim, the World of the Giants, Svartalfheim, the World of the Dark Elves, Ljossalfheim, the World of the Light Elves,
and Hel, the World of the Dead.

May these Runes be worthy of the Well of the Wyrd.
May these Runes read right!
 ----
6.      Open space to ordinary time and place
Hail and Farewell All!
Hail and Farewell, Woden, the Wise One
Hail and Farewell, Frige, the Frith Weaver
Hail and Farewell, Freo, the Seidhkona
Hail and Farewell the Norns, the Weavers of the Wyrd.

Hail and Farewell Sibb, Lady of the Golden Hair, may this space be ordinary
Hail and Farewell Thunor, Son of the Earth, may this space be ordinary
 --
Please note that I use the Anglo-Saxon names of the Gods since They are the Ones I am most familiar with.
 ---
Works Used:
Aswynn, Freya, “Northern Mysteries & Magick,” Llewellyn, Woodbury, MN, 1998.
Kaldera, Raven, “The Pathfinder’s Guide to the Nine Worlds,” Asphodel, Hubbardston, MA, 2007.
---, “Voluspo,” “The Poetic Edda,” Sacred Texts, http://www.sacred-texts.com/neu/poe/poe03.htm.
Krasskova, Galina, “Exploring the Northern Tradition,” New Page Press, Franklin Lakes, N.J., 2005.
Wild, Sean, “The Runes Workbook,” Thunder Bay, San Diego, CA, 2004.

Mythical Animals: Simurgh (Simorgh) of Persia (Iran)

When I read translated excerpts of the Persian epic, “The Shahnameh (Shahnama): The Book of Kings,” by Abu’I-Qasim Firdawsi (Ferdowsi) (d. 1020-21), I encountered the mystical Simurgh (Simorgh). What drew me to this beast was that she had survived the destruction and rebirth of the world three times. I pondered what sort of wondrous beast could do this. In his writings, Joseph Nig, noted chronicler of mythical beasts, called this beast “the Wise Old Bird of the Ages.”

Described by the Persian as a beast of two natures (mammal and bird), the Simurgh was a devoted mother who both nurtured her young and several Kings of Persia. Mostly resembling an eagle, this beast also had the head of a dog, claws of a lion, and the tail of a peacock. In addition, her feathers had special healing properties.

From her perch on the Tree of Knowledge, the Simurgh would observe the affairs of humans in the world. Whenever she left the Tree, this beast would send out the seeds of goodness and wisdom. And when she landed back on the tree, the Simurgh would spread the seeds of life throughout the world.

Her ancient age and wisdom of being a mother, first attracted me to the Simurgh, since I was entering my “Cronehood.” My immediate impression of the Simurgh was of a wise old mother who cared for abandoned children and healed wounded people. Furthermore, she would guide people and teach them the ways of goodness. These aspects of the Simurgh helped me to settle into being a “Crone,” and accept my new role in life.

Later I read a translation of “The Parliament of Birds (Mantiq ut-Tayr)” by Farid ud-Din Attar (12^th Century), a Persian Sufi poet. The focus of this mystical poem was the journey of several birds searching for the Simurgh, the Ruler of the Birds. As they travelled over seven valleys, some of the birds shed their undesirable qualities, while others went home. (These valleys were called “yearning,” “love,” “gnosis,” “detachment,” “unity of God,” “bewilderment,” and “selflessness and oblivion of God.”) Finally when they arrived at the place they believed that the Simurgh lived, only thirty birds remained. Now purified, these birds encountered the Divine in the being of the Simurgh. Afterwards, the birds realized that they were all the Simurgh, which also means (thirty (Si) birds (murgh)).

Ahmad Karimi-Hakkak (Professor at University of Maryland) writes that the birds were in the “all-embracing presence, a transcendent majesty speaking not just in silence but through silence.” He explains that “The Parliament of Birds,” expresses the heart of Sufism, when the individual merges into the “ocean of eternity,” the mystical ecstasy of the Divine. In this poem, the Simurgh becomes the catalyst for the transcendence of divinity.

For me, the Simurgh evolves from being a dispenser of wisdom to a being who sends life out into the world. Finally the Simurgh becomes the immutable essence of the Divine. As a Crone I would like to evolve like the Simurgh, though I could never be Divine. At the end of my days, I hope to be like the thirty birds. After the end of their mystic journey, they merged into the “ocean of eternity.” I hope to do the same after my journey to meet the Simurgh.

-----

Please note that since Iranian (Persian) does not have a Latin-based alphabet, I found several spellings for the same Iranian word. I used both the spellings used by Iranians and those more common to English speakers.

Works Used:

Allan, Tony, “The Mythic Bestiary,” Duncan Baird: London, 2008.

Karimi-Hakkak, Ahmad, “At the Sign of Simorgh: Mythical Birds and the Mystical Discourse in Persian Poetry,” Foundation for Iranian Studies, http://fis-iran.org/en/programs/noruzlectures/simorgh-hakkak,  2012.

Nigg, Joseph, “The Book of Dragons and Other Mythical Beasts,” Quarto: London, 2002.

---, “Simorgh, A Fabulous Mythological Bird,” “Tehran Times,” 27 June 2012, http://www.tehrantimes.com/highlights/99516-simorgh-a-fabulous-mythological-bird.

Vinao, Ezequiel, “El Simurgh for Piano and Electronics,” 1991-1992.

http://www.tloneditions.com/Ezequiel_Vinao_Simurgh_The_Conference_of_the_Birds.html

Zell-Ravenheart, Oberon and Ash DeKirk, “A Wizard’s Bestiary,” New Page Press: Franklin Lakes, NJ, 2007.

DROMEDARY CAMEL / ONE-HUMPED CAMEL: Saying No

Dromedary Camel is well adapted for extreme climates and harsh terrains. His hairy ears and heavy eyebrows with long eyelashes protect Dromedary Camel’s face from the sun and blowing sand. He eats vegetation that other desert animals cannot tolerate. Since He sweats very little, Dromedary Camel can go long periods without drinking.

Dromedary Camel’s hump stores fat for times when food is scarce. When food is plentiful, He overeats and stores the excess in his hump. Full of excess fat, his hump is erect and plump. When food is scarce, Dromedary Camel lives off the stored fat in his hump. As the fat is used up, his hump shrinks and flops over to one side.

Contrary to popular belief, Dromedary Camel is not bad-tempered and stubborn. He is actually patient and intelligent. What people account for stubbornness is Dromedary Camel saying, “NO!” When his load is too heavy or unbalanced, He will refuse to stand up. Only when the pack loader readjusts his pack will Dromedary Camel rise.

Dromedary Camel teaches the value of saying No. He is willing to help people except when He believes that He will get hurt. Then, Dromedary Camel says “NO!” He refuses to budge until it is safe to do so. From Dromedary Camel, learn that saying No can save your life.

ALPACA: Love

The Incas of South America said that Alpaca was a gift from Mama Pacha, the Earth Mother, a gift loaned to them for only as long as Alpaca was properly cared for. Magical and beguiling, Alpaca was treasured by the Incas for her fine wool. To the Incas, textiles were a source of wealth. They believed that if you stole and wore your enemy’s clothing, you had power over him. Since Alpaca's wool produced the softest and finest textiles, the Incas regarded Alpaca to be an animal of power.

To conquer the Incas, the Spanish had to kill off as many Alpacas that they could. To escape the invading Spaniards, some Incas fled to the high Andean plateaus. To save Alpaca, they took Her with them to places the Spanish could not go.

Then in the early 1800s, the Europeans discovered the softness of Alpaca’s wool. They encouraged the Peruvians to raise more Alpacas. The British Royal Family, like the Inca Royal Family centuries before, favored Alpaca's wool for their winter clothing.

Alpaca was safe, until the late 1900s, when Peruvian terrorists began killing them off. Again, Alpaca was saved by people who cared about her. The governments of Bolivia, Chile, and Peru sent Alpacas to Canada, the United States, and New Zealand to save Them. Through human efforts, Alpaca was safe again.

What was it about Alpaca that inspired people to help Her? Because of her hardy nature and gentleness, Alpaca kept people from harm with her warm wool. Out of love, they saved Her and cared for Her. They kept Her from harm by taking Her to safety. As Alpaca proves, love is powerful.

LLAMA: Watchfulness and Protection

Much more attractive than her cousin Dromedary Camel, Llama nonetheless has the same facial characteristics as He does–long eyelashes and long lips. For centuries, the people of the Andes in South America used Llama for transportation and food. Bred from wild Guanaco, Llama walks sure-footedly along high mountain paths. She moves with both feet on the same side of her body at the same time, to keep her balance. Unlike Horse, Llama does not suffer from mountain sickness.

Llama was important to the Incas. She carried their loads when they built their cities, roads, and irrigation systems. Still important today, Llama helps the people of the Andes, doing what She has been doing for centuries.

To express Herself, Llama hums or voices, "Orgle! Orgle!" She hums to her Baby (Cria) to assure Him that everything is all right. Different hums have different meanings. If She sees someone ready to harm her herd, Llama gives a loud orgle alarm. A chuckle followed by a snort means “BACK OFF!”

The Incas of South America had small stone images called conopas for their homes. These conopas were charged with protecting the home and the people inside. Many conopas were of Llama, who is fierce when protecting those left in her charge. She will attack the intruder by slashing with her front feet. Not only that, but She will orgle to warn everyone of danger. Llama is neither large nor powerful, but She guards well. Like Llama, you can learn to watch over your loved ones.

CAMEL FAMILY: Partnership

Today, the two branches of the Camel Family live on two different continents. Camels (Dromedary and Bactrian) live in the deserts of Eurasia. Llamas (Llama, Alpaca, Guanaco, and Vicuña) live in the high Andes Mountains of South America. The Camel Family (Camelidae) started in North America 40 million years ago. Some migrated to the high dry mountains of South America, while the rest migrated to the dry deserts of Asia.

Because of Camelids' remarkable ability to live in semi-arid areas, people domesticated Dromedary (one-humped) Camel, Llama, and Alpaca for food, shelter, clothing, and transportation. Many things make Camelids special. They can digest tough grasses and convert the grass to energy more efficiently than Sheep or Cows. Moreover, being the only Mammal with oval red blood corpuscles helps Camelids to thrive under harsh conditions. (Their blood helps them to breathe more efficiently.) Their large pads on the soles of their feet give Camelids traction on rocky and sandy soil. Camelids' tough, leathery footpads are broad enough to prevent Them from sinking in sand or snow.

Camelids have been in service to people for thousands of years. In Arabia, Dromedary Camel has provided transportation for people and their belongings. The Bedouins wove his wooly fleece into clothes and blankets. The Incas of South America raised Llamas to be their pack animals, and Alpacas for their wool.
Camelids are highly regarded by the people they serve. The Bedouins call Dromedary Camel, “Ata Allah” (God’s Gift). The Incas called Alpaca a gift from Mama Pacha, the Earth Mother--a gift loaned to humans for as long as They were properly cared for.

The Camel Family has been long known for their partnership with people. Learn cooperation and partnership from the Camel Family. Just do not resort to spitting to express yourself, as various Camelids are apt to do.

Divination: Norse Runes: The Nine Worlds

Before my brain injury, I wove altar cloths using wool on my lap loom. As I wove, I meditated on what I was creating. During these times, I could sense the Norse Goddess Frigga whispering to me. As the Lady of Asgard, Frigga would guide my efforts, since She holds the Distaff. Eventually, the All-Mother became my Matron.

After I made my Runes, I decided to weave a divination cloth in Frigga’s honor. To ascertain the colors for this Goddess, I consulted Freya Aswynn’s “Northern Mysteries and Magick.” Aswynn said that silver grey was the color for Frigga. I also researched various depictions of Her. I noticed that many featured blue, gold, and white, which were symbolic of her position in Asgard. The green and red of the divination cloth was requested by Frigga to honor the women, as the Keepers of the Household, with their blood and fertility. Then with her Blessing, I wove this cloth for my Runic divination.

 For storing the Runes, I purchased a linen bag and a wooden box (to put the bag in). Although both were undecorated, I felt the Runes (Who I came to see as living entities) wanted a depiction of the Nine Worlds on each. My sense was that the Runes belong to all of the Nine Worlds, from which They gain their substance. After reading Raven Kaldera’s “The Pathfinder’s Guide to the Nine Worlds,” I understood that the Runes also holds the essence of the Worlds in Themselves. Therefore, I think that it was appropriate to have symbols of the Nine Worlds on the box and bag.

 I used two different artistic mediums for the bag and box. I employed magic markers for the bag, and painted the box with tempura paints. Using Kaldera’s narratives, I was able to envision representative colors for each World. Hel, the Land of the Dead, is black and white. (It is the Ninth World, where all the Dead of the Worlds go.) I placed Hel’s symbol in the center of the bag and the bottom of the box. Muspellheim, the Land of Fire, is the orange and red circle. Niflheim, the Land of Ice and Fog, is white and blue (box) or blue and white with a fork (bag). These Worlds are near Hel, and on either side of the box.

 For the worlds of Ljossalfheim, Vanaheim, and Asgard, the circles all contain yellow to represent the golden auras of these worlds. The world of the Light Elves, Ljossalfheim also has green, the traditional color for elves. Vanaheim, the land of the Vanir, includes brown for its fertile fields of grain. Asgard, where Odin the All Father lives, is white symbolizing the shining world of the As.

 Since Jotunheim is similar to Midgard (according to Kaldera), I painted the two worlds green and blue. Midgard, the home of the Humans, is green on the left, and blue on the right. Jotunheim, the land of the Jotuns, is blue on the left, and green on the right. On the bag, the world of the Jotuns is green and brown.

 Svartalfheim is shared by the Dark Elves and the Dwarves. Brown is for the Dwarves, who live underground on this world. Meanwhile, dark green is for the Dark Elves. On the bag, Svartalfheim is red and purple for the forges of the Dwarves and the darkness of the Elves, respectively.

 After I decorated the box and the bag, I placed the Runes first in the bag, then in the box. After They resided for some time in the bag/box, the Runes seemed, to me, happy. I also felt that their power had increased since They were now connected with the Nine Worlds.

 Works Used:
Aswynn, Freya, “Northern Mysteries & Magick,” Llewellyn, Woodbury, MN, 1998.
Kaldera, Raven, “The Pathfinder’s Guide to the Nine Worlds,” Asphodel, Hubbardston, MA, 2007.
Wild, Sean, “The Runes Workbook,” Thunder Bay, San Diego, CA, 2004.
Please note that I decorated the box and bag for this assignment.


 

Mythical Animals: The Catoblepas

As described by the Roman naturalist Pliny, the Elder (1^st Century CE), the Catoblepas was a four-legged bovine-like animal. According to Pliny, this beast had the body of a buffalo and the head of a boar. As an herbivore, the Catoblepas ate poisonous plants that caused its breath to be toxic. Because of this, the beast was often found alone, for out of self-defense, many animals stayed far away from the Catoblepas.

Later Aeolian, a Greek naturalist in the 2^nd Century, noted that the Catoblepas had a killing stare. He called the beast “Katobleps”, the “Down-looking One,” since the naturalist observed that the beast was conscious of its peculiar power. Since the animal seemed unwilling to lift its heavy head, people were safe from its stare. The Greek naturalist added that the beast’s eyebrows were high and shaggy, with narrow and blood shot eyes.

Although Pliny and Aeolian agreed that the Catoblepas lived in North Africa, they differed as to where. Pliny, in his writings, said that the Catoblepas inhabited Western Ethiopia near the source of the Nile. Aeolian believed that the beast lived in Libya. Meanwhile early travelers said that the beast could be found near the islands of the Gorgons in the far side of the Mediterranean Sea near the Hesperidies.

Travelers’ reports lead to confusion between the Catoblepas and the Gorgons, which caused people to think that both possessed killing stares. Another reason for the confusion was that the Catoblepas had a scraggly mane which fell over its forehead. This mane covered its eyes similar to the snakes on the Gorgon’s head. Because of this similarity, people thought that the gaze of the Catoblepas would turn them into stone. Since the mane covered the beast’s head, people believe that they were relatively safe. However, when the Catoblepas raised its head and belched, the breath would kill anyone nearby.

In his book, “The Temptation of Saint Anthony,” (1874), Gustave Flaubert (France, 1821 - 1880) described various Monsters that appeared in Saint Antony’s nightmares. One of them was the lonely and solitary Catoblepas. This beast told the desert saint that it was aware of very little around it. The beast was mostly focused on the warm mud under its stomach. Then mournfully, the Catoblepas informed St. Anthony that once it had absently-mindedly eaten its own foreleg. (This contradicts Pliny’s observations that the beast was an herbivore.)  Flaubert described the Catoblepas with a long thin neck that could not support the head, but had stiff bristles hiding its face. For whatever the reason, St. Antony survived his encounter with the beast.

Later a naturalist, Baron Georges Cuvier (French, 1769 - 1832) deemed that Pliny and Aeolian were describing an African gnu or wildebeest. Modern zoologists agree that Cuvier’s identification of the Catoblepas was accurate. However, that does not mean that the Catoblepas is a fictional beast or a misidentified member of the deer family. Flaubert observed that this beast does wanders absent mindedly through our nightmares. That alone makes the Catoblepas real in our world.

Works Used:

Allan, Tony, “The Mythic Bestiary,” Duncan Baird: London, 2008.

Atsma, Aaron, “Katoblepones,” Theoi Project, 2011, http://www.theoi.com/Thaumasios/Katoblepones.html.

DeHoff, Nathan, “The Catoblepas that Got the Cream,” Vovatia, 20 May 2013, http://vovatia.wordpress.com/2013/05/20/the-catoblepas-that-got-the-cream/.

Macumbeira, “‘The Temptation of Saint Anthony’ by Gustave Flaubert,” A Reader’s Dairy, 21 August 2010, http://www.macumbeira.com/2010/08/temptation-of-saint-anthony-by-gustave.html.

Nigg, Joseph, “The Book of Dragons and Other Mythical Beasts,” Quarto: London, 2002.

Zell-Ravenheart, Oberon and Ash DeKirk, “A Wizard’s Bestiary,” New Page Press: Franklin Lakes, NJ, 2007

Mythical Animals: The Peryton

From Wikipedia

Little known in modern times, the Peryton was an animal feared by ancient peoples, for these beasts often hunted humans out of spite. Resembling a winged deer, the Peryton had the antlers, head, and legs of a deer. In addition, this beast possessed the wings and body of a bird. Furthermore, some Europeans thought that Perytons were relatives of the Stymphalids, the man-eating birds of Arcadia.

 Jorge Luis Borges (Argentina, 1899 - 1986) documented in his “The Book of Imaginary Beings” (1969) that the Peryton had originally came from Atlantis. When that continent sank, these beasts fled east beyond the Pillars of Hercules to the mountains of Greece and North Africa. Since they perceived that Atlantis, their home, was destroyed by humans, the Perytons sought their revenge by murdering people.

 Whenever a Peryton hunted, the beast would cast the shadow of a human on the ground. Since it was not vulnerable to human weapons, a Peryton could easily kill a person. However once the beast did so, its shadow was transformed into that of a winged deer. According to Dr. Karl Shuker, (U.K., 1959 - ) a zoologist and cryptozoologist, a Peryton lost its invulnerability after slaying a person. Moreover, the beast could only kill one human in its lifetime.

 Roman accounts tell that a sibyl prophesied that the Perytons would bring about the end of Rome. During the Punic Wars (264 BCE to 146 BCE), these beasts fought for Carthage against the Romans. From their home in North Africa near the city, Perytons regularly attacked Roman ships in the Mediterranean Sea. 

During the Second Punic War in 218 BCE, Hannibal had attacked Rome. As he laid siege against the city, Hannibal waited for more reinforcements to arrive from Carthage. Meanwhile the Roman general Publicus Scipio Africanus sailed to North Africa to stop them. As he sailed, the Perytons attacked his fleet killing many Roman legionaries. To stop the on-going carnage, Scipio ordered the survivors to raise their large square shields (scutum) towards the sun. The reflection from these shields blinded the Perytons, which then fled to the mountains of North Africa where they are reputed to be living today. 

  Various scholars have claimed that Borges made up his stories about the Perytons. According to them, Borges’ sources were bogus, and the Peryton was a figment of the writer’s imagination.  Borges, himself, claimed that his information came from a 16th century Rabbi’s essay, who cited an ancient Greek scholar. Borges said that the only known copy of this Rabbi’s treatise was destroyed in World War II. Many think that this is very suspicious and highly coincidental.

 However, Dr. Shuker points out the abundance of portrayals of winged deer in various cultures. He thinks that Borges had other sources for his information about the Peryton. Dr. Shuker points to the statues in Segovia, Spain, and at the palace grounds of Linlithgow Palace in Scotland as evidence. 

 Meanwhile, Caspar Henderson (U.K., 1963 - ), author of  “Book of Barely Imagined Beings: A 21st Century Bestiary,” asked, “which dreams are wholly fantastical and which are vision or distortions of what is real or has the potential to be so?” Henderson observed that life is inventive and creatures today are as fantastic as the ones that Borges wrote about. Therefore, the Peryton exists whether we want to believe Borges or not.

 Works Used:

Allan, Tony, “The Mythic Bestiary,” Duncan Baird: London, 2008.

Henderson, Caspar, “Rereading The Book of Imaginary Beings by Jorge Luis Borges,” “The Guardian,” 23 November 2012, http://www.theguardian.com/books/2012/nov/23/caspar-henderson-rereading-jorge-luis-borges, .

Nigg, Joseph, “The Book of Dragons and Other Mythical Beasts,” Quarto: London, 2002.

Shuker, Karl, “‘And Hast Thou Slain the Peryton?’ – An Antlered Atlantean,” ShukerNature, 21 November 2011, http://karlshuker.blogspot.com/2011/11/and-hast-thou-slain-peryton-antlered.html, .

Zell-Ravenheart, Oberon and Ash DeKirk, “A Wizard’s Bestiary,” New Page Press: Franklin Lakes, NJ, 2007.

Making Norse Runes

A few years before my brain injury, I explored several methods of divination. For a Rune class that I was taking, I had to make a Rune set, that consisted of the Elder Futhark (the original Norse Runes). In the class, I learned that the World Tree of the Norse (Yggdrasill), the Tree that Odin hung on to receive the Runes, was an Ash. Therefore, I chose ash as the wood for my Rune tiles.

Since the tiles I chose were precut, I only needed to sand and then carve the Rune letters into them. After practicing writing each Rune, I wrote each letter on a tile. Some of the more complex Runes – Perthro and Mannaz for example – took more care and time. I regarded my practice of writing the Runes as learning a new alphabet.

My instructor told us to stain the tiles with red stain and blood. He said that the blood would make the Runes come alive for us. I carefully pricked my finger and dripped the blood into the stain. I used all of the stain-blood mixture on the Runes.

Later, I found out that what I did was blood magick, since the blood bound this set of the Runes to me. The only way, I could break the bond was to burn the Rune set. Next time anyone suggests using blood, I would ask more questions. I learned later that I could have done a ritual of prayers to consecrate the Runes, and have them become living entities.