A Hellenic Samhain Unity Working

The Elysium Fields

“Into the West” is a common phrase heard among those of Celtic Hearth when referring to a journey to the Summerlands, the green fields of the afterlife, but this is not only a Celtic concept. Homer describes a plain where life is easiest for men, for there is no snow or heavy storm, and Okeanus blesses them with the West Wind that it may be cooling to those who live there. Hesiod refers to an Isle of the Blessed on the Western Edge of the Earth where admission is given to those chosen by the Gods, the righteous and heroic among the folk who would live a blessed and happy life, indulging in those things that brought them joy in their years on Earth. These Isles in the West, these Isles of the Blest, these Plains of paradise, are known as the Elysium Fields, and it is here that all Hellenes look to call their eternal home. Here, where the soft precipitate wind falls upon rich soils, continually supporting fruits, vegetables and grains beyond measure. Here, where long, lazy days are followed by cool, comfortable nights. Here, where the tales and songs of the Bards fill halls of fellowship and mirth for all time.

Our hearts’ desire is for our loved ones to be in just such a place, and as we honor them tonight, this time when the veil thins enough for our voices to freely echo through their Halls, let us call out the names of our clans, our tribes, our families. Let us remember the threads that connect us and weave them together as one folk honoring one mighty Kindred: The Ancestors.

We have blessed this Water and infused it with the gifts of the Kindreds, drawing down their blessings that we may be infused with their love in return for our gifts. As we offer this Water to the Fruit of the Vine, we share these Blessings with Those who have gone before us in Unity, in honor and with love. (Pour Waters of Life into Bowl of Wine, preferably red)

And now, Children of Earth, raise your voices with ours and sing your memories into these Waters. Lift your song from your heart that we, too, may add of our essence to these Waters gifted from the Kindreds. (Tone into the Unity Waters)

With reverence and passion, let us invite our houses to accept these gifts as a part of the Community Family of Three Cranes Grove and The Folk of Central Ohio.

(Beginning with a couple well-placed grove members, have each participant give the last names from their family tree, pouring a libation from the bowl over the Omphalos for each person. Single Drumbeat plays throughout. Offer final amount to the collective Ancestors of the Community)

Sing: Mothers and Fathers of Old

Hades, an Essay and Prayer

Guest Writer: AG Vanidottir

Many would view Haides as a stern, fierce and unyielding god. Shown as dark and gloomy, the majesty of his appearance is often tainted. The judgement of men's souls is not an easy task and is often thankless. False notions about the power of this god make people unduly afraid of him. Perhaps this is stems from the idea that once dead we remain in his realm for ever, and that with the crossing of the River Styx the soul goes to him without the covering of the body and thus loses its humanity. I am hear to tell you that this is not so.

In the beginning of the Age of the Olympians, three brothers divided the realms of Earth. Zeus drew the lot of the skies and heavens and thus rules from Olympus. Poseidon drew that of the realms of seas and waters and with this rules from the depths of the world's Oceans. The third brother, Haides, drew the lot of mists, secrets and the deep darkness that the Earth's fertility comes from. It is to this realm that all must return when their days have run their course.

Haides rules the depths below Earth's surface and beyond the river Styx. There the mists from her waters part and the souls of our beloved ancestors walk freely to the rewards of a life well lived. Within the gates of the Elysian fields walks the defender of the rights of the dead, king of the under realms, lover and husband to Persephone, guardian of the hidden wealth of the earth. There those that have earned a place within these sacred grounds are at peace, hearing the love and prayers from the upper world by the grace of Haides. The dead, upon receiving this gift from their protector, smile and make ready for the time that their descendents join them. Love and sympathy course through the fruits of this world and here the dark and gloom do not dare invade.

Haides, in Elis your temple was only opened once a year; not unlike our own ancestor box. You hold the keys to the other realm and fiercely watch those in your charge with Cerberus by your side. Though you sit in judgement of men's souls and often must pass a harsh sentence, you are not without compassion. It is from the darkness of your realm that seeds gather their strength to be brought forth in the Spring. By your hand the wealth of the land is brought forth. Your gift to man is the promise of a safe harbor upon the crossing of the river. Your gift to the other gods is to care for those that they have favored in life with peace and joy beyond the confines of their flesh.

Haides, gathered before you now are the children of the Earth. The living call to you to recognize and honor you for your sacred duty. Haides, part the mists that stand between your realm and ours that we may make offering in thanks for your careful hand and watchful eye. Turn the keys within the gates and allow the mothers and fathers of old to hear the words of our hearts. The words of our own souls that sing in praise of you and yours.

"Zeus Khthonios (of the Underworld) [Haides], thy sacred ear incline, and pleased accept these sacred rites divine. Earth’s keys to thee, illustrious king, belong, its secret gates unlocking, deep and strong. ‘Tis thine abundant annual fruits to bear, for needy mortals are thy constant care. To thee, great king, all sovereign earth assigned, the seat of gods and basis of mankind."

Haides,
Lord of the Underworld,
Husband to Persephone,
Brother to Zeus and Poseidon,
Son of Kronos and Rhea,
Keeper of the mists,
Guardian of the dead
Haides, the children of the earth call out to you
Join us at our sacred fire and accept all that we offer to you.
Haides, we honor you!

Sources include: www.theoi.com, the Orphic Hymns and Plato

On Writing For Our Druidry, Part II

The following is the account of the work that lead me to write one of the most requested songs I've written:

I had been doing “musical devotionals” three times a week prior to writing “The Fire in My Heart.” It was late January, moving toward Brighid’s time as main Goddess of my Shrine. I had just finished writing the song “So Lean on Me” that I later performed as a part of the Wellspring Bardic Chair competition, and I had noticed that during the times when I did my offerings to the Ancient Wise and to Brighid before I practiced, not only was my overall performance better, but I was also commonly reaching for pen and paper to try to catch the inspiration flowing through me. It occurred to me that if these were the results of spontaneously “channeling Awen” then the results of actually invoking the Awen could be even greater.

The first several times I performed a devotional with the intent to write, things were a little rough. Performance mode and composing mode really were two separate mindsets, and although I could write in performance mode when I realized there were new pieces forming in my mind, starting from the other side of that coin was a bit more difficult. I decided to ease myself into it more, and I created a devotional structure as follows:

Offering to Brighid: invocation, incense and sing Holy Water, Sacred Flame.
Offering to the Ancient Wise: invocation, coffee and sing Hymn to the Ancient Wise
Sit down and write
Thank the Ancient Wise
Thank Brighid

The songs at the beginning of the devotional were there to get the “bardic juices” flowing, so to speak, since this was the way that I had been doing it thus far, and it worked much better. I worked in this format almost daily for two weeks before I wanted to change it. The amount of ritual work did not suffice for my devotional desires. During this time, however, I had come up with a new song for the Waters portion of the Core Order. My devotionals evolved to this:

Honor the Earth Mother
Honor all three Kindred, including Ancient Wise
Honor Brighid
Perform as an offering
Write
Thank the Beings

This was much better! A little back story here will reveal that during the course of my Dedicant Path, I can begun doing Core Order devotionals as part of my regular practice, and the similarities here were comfortable. Over the course of the next several weeks, I wrote a new poem to Brighid and had begun to toy with some similar works for other deities, which all turned out to be more liturgy than bardic work. I eventually interchanged the writing with the guitar or piano to use this format for writing music, too, and the results were good. I wrote the music that would eventually become a Sacred Center/Three Kindred song.

The poem I humbly submit to you came to me one day at random right before Trillium Festival in April of 2010. By this time, I was starting to seriously worry about the poem portion of the Wellspring Bardic Chair. My story and my song had been done for months, but I hadn’t even started writing a poem yet (says the woman who had written four other poems just that month). I specifically asked for aid in writing a poem for ADF, but instead of asking Brighid, which I normally do, I asked in general of all Three Kindreds, much like asking for a blessing in the Return Flow. I wanted it to describe to other people what it felt like for me to be a Druid, the joy and peace the path brings me and how deeply a part of who I am this work has become. I recalled my Dedicant Oath, in which I oathed to use my music to serve the folk (funny what comes out of your mouth when you lose your cue cards and have to do things off the cuff), and I was caught by the line “footsteps of those gone before.” I started writing. The text that came out is almost exactly as it is now, with some minor changes for cadence and diversity in word choice.

The first verse holds references to all three Kindreds and expresses the joy that comes with the knowledge of walking this life with a world full of Spirits. The second verse internalizes the path and illustrates the reward that comes when one simply taps into what is already there. And the third verse is about the *ghosti relationship we have with the Kindreds.

But it didn’t stop there! This piece went quickly from pen and paper to voice and song, and from there, this piece has spread out across ADF as more and more folks are using it in their Groves and personal devotional practices. This piece, this song is truly a gift to ADF from the Kindreds, and I am honored to have had a part in bringing it to life.

I still perform devotionals with the intention to write on Wednesday with Brighid and/or Saturday with Ogmios. Lit Practicum 1 has me doing all sorts of things, but as a Bard, writing and performing in ritual space will always be a cornerstone of my practice. This work has taught me the value of performance and composition, how the two are related, how they are different and how important it is to be able to do both WITH the Kindreds, not just FOR them. How else does a Bard receive blessings in return if not through pen and voice?

The Fire in my Heart

As I walk in the footsteps of Those Gone Before,
I’m surrounded with love by my Gods.
My spirit flies high with the Noblest Guides,
And the fire burns bright in my heart.

For I am a Walker of Ancient Ways,
A dreamer of times gone before I was born.
I journey to lands where the trees come to dance
Round the fire that burns in my heart.

I stand ‘neath the tree rooted deep in the Earth.
I’m crowned with the stars in the sky.
I’m filled with the powers below and above,
And the fire burns bright in my heart.

The waters of life course their way through my veins.
Blessings abound in my soul, in my blood.
The mark of the Kindred is left by my touch,
And the fire burns bright in my heart.

The Ancestors offer me knowledge and truth.
The Noble Ones serve as my guides.
The Shining Ones’ wisdom and grace fan the flames
Of the fire that burns in my heart.

I lift up my voice, singing praise to their names
With my offerings poured out in thanks in the soil.
I raise up my hands; I invite them to dance
Round the fire that burns in my heart.

I raise up my hands and cry, “Kindred! Come dance
Round the fire that burns in my heart!”

On Writing For Our Druidry, Part I

I had the privilege to meet our Founder, Rev. Isaac Bonewits, in person in 2009 when he and I were both competing for the first Wellspring Bardic Chair. The poem and song that I wrote got his attention, because they were modern-sounding but still embraced the ideas that were important to folks in ADF. The poem was an inspirational piece entitled "Awen Rains Down." The song was one I wrote for my grove entitled "Teutates" for the God of the Tribe that we honor every Fall Equinox at our anniversary rite.

When I wrote "Awen Rains Down" in 2008, I had been in a rather lonely place due to some life circumstances that were rather isolating and difficult. It started out as a simple refrain that I wanted to use to teach the folk more about Awen. I fell in love with the concept of Awen, of invoking Awen, after a conversation with a woman who had taken "Awen" as her magical name. During this difficult time, I found myself singing the Awens absent-mindedly, and I wanted to express the comfort and peace that the Kindred had given me through this time. Inspired by a quote MJD had read to me from a source I do not recall, I wanted to write. He said, “In the midst of a crisis of faith, prayer is often the first to go, but this is exactly when you need to pray the most.” This had become almost a mantra and a driving force to continue on in the devotional work I had previously found so enjoyable even though I was lacking in motivation. That day, I sat down and sang the refrain several times with the intent to create verses, and they just fell into place.

When I wrote "Teutates," I was feeling similarly about my grove. They had been a source of strength and healing to me, and I used thematic elements from our Grove poem to create a piece that expressed not only the joy of diversity but also the unity and solidarity that come with being a Crane.

After Wellspring 2009, having lost the Bardic Chair competition, I began immediately to think about the next year's competition. I needed to write three new pieces, song, poem and story, and I needed them to be better than what I had done that year. The story was no problem. I had several already done, and writing fiction has always come easily to me.

The song was almost channeled. I had tried several times to write a song, any song! but to no avail. Being the Members Advocate, I learned through the grapevine via some of ADF's more private lists asking for prayer requests that Isaac was ill. We had no idea how ill at the time, but doing some healing workings for him over the summer had definitely put him in the forefront of my mind. I had recalled the conversations we had about how the bardic arts would be a way for ADF to be a bigger part of the greater Neopagan community, and I wanted to embrace some of that.

It was late August when I began toying with the idea that later became this work. I had just returned home from the Summerland festival, and I was feeling particularly amazing. Post-festival high lasted for a week! My devotional times were highly joyful, and many of my cares had been resolved. I was looking back on the difficulties of the summer, and I was particularly grateful for my patrons, those Deities to whom I had pledged devotion and with whom I had forged a more personal relationship. I made offerings in this mindset and then sat down to write. I wasn’t sure what form the song was taking until after the first draft was down on paper. It was clearly from the vantage of a patron to the devotee, speaking on behalf of the Kindred.

There were only a few edits, two deliberately done with Isaac in mind. In the second verse, I included “*ghosti,” and in the third verse, I included “mana.” These two concepts are the very crux of what ADF intends to bring into the lives of the folk, and I wanted to show that the Kindred want us to have them, too. This song, though finalized in tune and word, is still showing me the power of music.

So Lean on Me

V1:
Before me once more, your heart in your hand
Asking for help with something you don’t understand
Listen to me, Child, I need you to know
Not all things you strive for will help you to grow
By Oath-bound assertion we keep you on your path and
We’re right here to guide you; we’ve done as you asked.

Chorus:
So Lean on me
Come, take my hand, and Lean on me
I’ll help you stand when
All you’ve planned is just not meant to be.
Lean on me

V2:
Your offerings poured were not made in vain
Omen-gifts given and *ghosti still remain
The strength of the bonds between you and your Gods
Will never falter just ‘cause you don’t beat the odds.
By Well and by Fire and by Sacred Tree
Wyrd-bound, you’ll be stronger just wait and see.

Chorus

Bridge:
For how many years have we been by your side?
How many secrets heard that you’d rather hide?
I know the end you desire, and I can see the means
I’ll carry you through, you need only to lean

V3:
Look back on your past, the evidence shows
How often the mana you seek freely flows
We closed a few doors you opened in error
Exchanged mislead interests with something better
We Kindred will guide you in the Elder ways
We’ll walk along side you all of your days

Lean on me (3x)

Chorus

Lean on me, lean on me

The Court of Brighid

I had the privilege of attending a ritual led by Ian Corrigan and Liafal designed to bring us into contact with the spirits in the court of the Goddess, Brighid. The rite, as you can see in the link above, was a typical ADF Core-Order, though the offerings to Brighid were copious and heart-felt.

As the rite progressed, we were led deeper into trance until we finally crossed the threshold into the place where the spirits may make themselves manifest to us. I was approached by a woman who named herself as Tsirona (sa-RON-a). I found it interesting to note that this was one of the spirits I had seen in my mind's eye during the pre-ritual meditation the day before when Ian asked us to visualize Brighid and the three "servants" he planned to call.

Tsirona appeared to me as a woman, timeless and regal in crimson robes with long, black hair and piercing blue eyes. In her right hand, she held a quill. In her left, she cradled the cup of a goblet. The vision was very real to me. She told me her name, Tsirona, though I pronounced it wrong and had to be corrected. She described herself as an agent of Brighid's who deals in the healing power of music. She takes the energy put forth in song and vocalization and manifests the healing.

She gave me a prescribed method for working with her. Begin by burning sweet herbs and focusing on the work at hand, calling her to aid us. Then, we are to use music in whatever form we find most powerful for ourselves in terms of moving energy, and she will transform our energy into healing. When our work is done, she would like a note of thanks to be written and burned for her.

She then set down her things and spoke further. She told me that she has been working between Brighid and me for a long time by my measure. She told me that if I let her heal me that she can work through me better. I nodded, and she touched the middle finger of her right hand to my chest and kissed the palms of both my hands. When Ian and Liafal asked me about the spirit with which I had been speaking, I found that I was shaking and crying.

Since the ritual, I have spoken with her twice. The first time was a wash of emotions as I realized just what work she had done through me. The second was less intense, but still quite new and powerful. I have many questions to ask of her as I get to know her, and I look forward to working with her directly in future endeavors. This was and is an amazing experience!

A Magical Toning Experience

Yesterday, our grove held our sixth night Druid Moon ritual. During this rite, I was asked to lead a toning to create a charged object for a couple of our Grovemates who are undergoing quite a large venture.

MJD handed me a pendant of a crane and asked me to lead a toning. He wanted the object to go around the circle, beginning and ending with me, so that those who were willing could charge it individually. I held the charm in the palm of my right hand as I recentered the folks briefly and began to sing. The first gentleman did not take the pendant from me when I approached him, but rather, he placed his hands such that one was above and one was below the hand holding it, but not actually touching me. I held my other hand above his, and we toned into the pendant. This was how every person added their magic to the mix after that.

I had expected them to take the charm out of my hand, but I am actually glad that they didn't, because about three folks in, I realized that I was more channeling than leading this working. About five folks in, I realized that I was listening to my voice from an objective, external standpoint. I recall thinking,"Wow, is that how my voice always sounds?" My tones were solid, and my vibrato was impressive, usually indicative of a well-trained vocalist. As I approached each of my grovemates, I was hearing the note I was to sing for them before I began to sing, and when I sang before each of them, I felt the change in the air between our hands surrounding the pendant. The two people "last" in line were the two (one by association) for whom this working was being done. I actually held their hands around the pendant, marking the pendant with their touch. Finally, I signalled the end of the working to the folk, and gave the pendant one final "charge" before handing it back.

At the beginning of this rite, I called to Brighid for Bardic Inspiration. Brighid also happens to be my Bardic patron, and I felt her arrive after I called to her. I am quite certain that it was she who was working through me, and I can't wait to see how things pan out from here!

Introduction to Taliesin

Taliesin was the name of a Welsh poet, a druid-bard who sang to Wales the glories of fine art at the courts of at least three Celtic British Kings. In legend and myth, he is often referred to as Taliesin Ben Beirdd which means “Taliesin, Chief of Bards.” Some tales relate that he was adopted as a child by Elffin, son of Gwyddno Garanhir. The later tale of his origins begins with the young lad known by the name Gwion Bach, servant to Cerridwen. Cerridwen had an ugly son, Avagddu, whose appearance no magic could cure. She began brewing a potion that would give him the gift of inspiration (Awen) and wisdom in compensation for his appearance. The first three drops of this potion would grant the one who consumed them the gifts in full and the remainder of the potion would be turned to poison. This brew had to be constantly stirred for a year and a day, so Cerridwen, who had better things to do, set Gwion to this task accompanied by Morda, the blind man who tended the fire.

Now it came that one day, Gwion was splashed with three drops as a bubble from the pot burst. The hot liquid caused Gwion to instinctively place his thumb in his mouth, instantly granting him great powers of wisdom and creativity. His first wise thought was to run, for Cerridwen would certainly murder him for this! It was not long before Cerridwen’s fury echoed through the land. Gwion turned himself into a hare to run faster, but Cerridwen turned herself into a greyhound and gave chase. He turned himself into a fish and leapt into a river, but Cerridwen turned herself into an otter and swam after him still. Gwion jumped from the water and turned himself into a bird, but Cerridwen turned herself into a hawk and was right on his tail feathers. Finally, exhausted from the newfound art of shapeshifting and the pace of the chase, Gwion turned himself into a grain of corn and rested peacefully on the ground. Cerridwen, who misses not, turned herself into a hen and ingested the corn, thinking she had rid herself of the evil boy who stole her potion.

Soon after, Cerridwen found she was pregnant, and once she realized it was Gwion, she resolved to kill the boy once and for all upon his birth. However, when the child was born, he was so beautiful that she could not follow through with the task. Still wishing to be rid of him, she tied him in a leather satchel and threw him into the sea.

It is said he was discovered by Elffin while fishing for salmon. When Elffin uncovered the babe, he was shocked at the whiteness of the boy’s brow and cried, “Dyma Dal lesin!” which means, “This is a radiant brow!” He was further shocked to learn the boy could already speak as his voice burst forth in poetic form. Elffin took the child into his care.

At the age of thirteen while visiting King Maelgwn Gwynedd at court, Elffin proclaimed his Taliesin to be a far better bard than anyone the king had at court. Maelgwn imprisoned Elffin for his insolence and demanded Taliesin be brought forth to prove this claim, and when he arrived, his words were unmatchable for they rendered the king’s bards to speaking in only babbling tones as those of a baby. Elffin was released from prison.

Over time, many tales exist regarding the verbal prowess of the magnificent Taliesin, and a myriad of works refer to him for his great skill. He is called today in our Druidic rites that he may grant us the powers of Wise Words and Awen that Cerridwen had granted to him—though with a little more “direct action” and none of the angry chase scenes!

Bibliography

Ford, Patrick K. The Mabinogi and Other Medieval Welsh Tales. Berkeley, CA, University of California Press: 1977. Print.

Koch, John and John Carey. The Celtic Heroic Age 3rd ed. Malden, Mass, Celtic Studies Publishing: 2003. Print.