Friday, March 20, 2009

Warriorship

Warriorship Image

WARRIORSHIP by Swein Runestaff

There has been much written on warriorship in recent times and interest in the subject shows no sign of diminishing. As Pagans we must come to understand our warrior ancestry and, more importantly, adapt its principles to modern life. If we fail in this task, we face the prospect of becoming either meek and herded sheep, or branded outlaws, condemned as were our ancestors, for our heresy.

Although I have read widely on the historical evidence, my own understanding comes mainly from my training in a living Norwegian tradition and in the Rune- Gild. There are many academic theories and conjectures about the role of the warrior in Pagan society but very few academics who understand warriorship. We Pagans do not have the luxury of theorizing, no matter how clever those theories may seem. If they are not of practical benefit to us in daily life, they amount to nothing more than intellectual wankery.

Paganism is about freedom. Freedom from dogma, freedom from our negative conditioning, habits, and inhibitions, freedom from our self-limiting beliefs.
We must not think that we can improve our situation if we break the bonds of the Judeo-Christian chastity belt merely to adopt fetters forged from the twisted scrap of a bygone age. Christianity became fossilized before it reached the wisdom and tolerance of maturity, let us not make the same mistake.

Paganism has always had its strength in its diversity and fluidity, constantly adapting according to time and location. The form is always evolving but the essence remains. This fluidity is indeed part of the essence, and differentiates us from the anachronists who seek only relief from reality. To the Pagan, reality is not the tiresome mud of everyday, but colourful clay to be moulded lovingly in our hands.

Paganism is our way and warriorship is our vehicle. Without warriorship, Paganism becomes quaint anachronism. In my tradition warriorship is not about aggression, in fact a warrior has gone beyond the need for aggression.
Warriorship is actually magick, the art of manifesting the True Will. An aspect of this is illustrated in our understanding of the Berserk.

The word "berserk" comes from two words, "bare" and "sark" (a shirt). A berserk was originally one who fought without a shirt, bare from the waist up. Not only did they scorn body armour, they even went without the psychological advantage of a layer of clothing between their skin and the enemy's sword.

In our tradition, the symbolism of removing the armour is of great importance, but before it is safe to do so, one must be adept at doing battle with the armour on. Whether on the battlefield or in the marketplace we all wear some sort of armour against "the slings and arrows of outrageous fortune", or more to the point, the barbs of our fellow humans. In order to operate efficiently we must know our strengths and weaknesses, and become aware of the style and construction of our armour.

As our movements become increasingly efficient, we find that we can afford to shed some of our armour. We then find that our movements become even more efficient with the resulting freedom. Eventually we find ourselves totally open to the world. No longer encumbered with layers of protection we are free to be our true selves. Every act becomes a spontaneous and joyous act of pure will. We become a vortex of pure will force.

Paradoxically, while a novice stripped of armour would be instantly slain, an adept becomes impervious to steel. The berserk ceases to be a target by becoming as if devoid of gross substance. The Ynglinga Saga describes the Berserks when inspired by Odin, "They cut down the enemy, while neither fire nor iron could make an impression on them." That which offers no resistance cannot be cut. That which is flexible cannot be broken.

Anyone who has been in combat situations will realize that uncontrolled anger is rarely a friend in battle. Such emotion may well stimulate enthusiasm and fearlessness, but at the cost of judgment and precision. There is a Samurai saying- "The angry man will defeat himself in battle as well as in life." The true berserk rage is certainly not blind anger. An angry warrior may be frightening and deadly but is unlikely to come out of a battle alive, let alone unscathed.

The secret of the berserk's invulnerability is the ability to let the True Will flow unimpeded. This requires the warrior to be totally calm and centred while at the same time unleashing the destructive forces of the Will. This is a form of meditation infinitely more difficult than being calm and centred in a quiet room (something most people find almost impossible anyway). The slightest distracting thought can be fatal. By not letting thoughts interfere with the flow of Will, the berserk is always in the right place at the right time. Action flows, there is no rigidity or predictability, there is nowhere a blade can strike.

The berserk acts without hesitation and is always in harmony with any situation.
Harmony in this case means being true to the self and interacting with the situation in a way which is honest with the self. This can only be done when there is no barrier between the self and the situation. One becomes a fluid part of the situation without losing one's individuality, an indispensable and autonomous part of the whole, every movement being a vital adjustment of one's position in the universe.

It is only through warriorship that we will be able to practice our varied traditions without fear of persecution, for this fear betrays a lack of confidence in one's own magickal ability and in the power of one's tradition.
Like the berserk, those who truly practice warriorship or magick will find themselves beyond the reach of any attack, and extremely unlikely to be attacked in the first place.

Judeo-Christian culture has taught us that we are powerless as individuals, that we must follow the mob to be saved. Pagan culture has always taught that we should accept responsibility for ourselves. Our power or lack of it is our own choice. Freedom is ours, taking responsibility for ourselves is the price. Many are not ready to pay it, let them join the sheep of a herd religion until they are ready, they too have a valid place in the greater whole. This is why Paganism does not seek to make converts.

Ultimately warriorship is a path of compassion. When we no longer fear others, we are free to sense their real needs. This is not sympathy or just being nice, sometimes a harsh lesson will be far more beneficial in the long run. Only fearless openness allows one to see the best way to interact. Without fear we can be more tolerant and less defensive, less inclined to take things personally, or become offended when others do things a little differently, or moralize and interfere with others because we feel threatened by their strangeness. Only fear prevents us from achieving our potential. Only warriorship will defeat the fears which divide us.

(Swein Runestaff is Steward of the South Pacific Region of the Rune Guild)

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Monday, March 2, 2009

God Ullr

God Ullr Cover Ullr is God of the Winter. He is the son of Sif and the stepson of Thor. He is god of archery and snowshoeing and skiing. All those sports and arts of the wintertime are his. He is also god of single combat, and those who go into it should call upon him. He might also be viewed as god of those Things requiring precision. He is sometimes the consort of the Goddess Holle, or Huldra.

Books in PDF format to read:

Mama San Ra Ab Rampa - Tigerlily
Mama San Ra Ab Rampa - Flor Silvestre
Aleister Crowley - Rodin In Rime
Aristotle - On The Soul

Thursday, February 12, 2009

Berkana Rune Of Fertility And A New Start

Berkana Rune Of Fertility And A New Start Image
The Rune Berkana (also known as "Berkano") is the Rune of fertility, growth, rebirth, the birch tree and a new positive start.

BERKANA MEANING


To many Berkana is seen as the female Rune only as it is said to represent the internal goddess energy, female fertility, and the relationship between a mother and her child. By looking at the Occult symbol one can see that the female nature / symbolism of the symbol, maybe implying the breasts of a women on the side when in pregnancy or after birth. As it is said to represent a new start in fertility or new beginning it is probably more so after child birth.

As mentioned above within the Runes meaning is the meaning of nurturing when shown in a reading or rune cast. In other meanings to do with other aspects of life such as business it would represent the nurturing of the business and maybe a new start in the business as well. Like a new idea.

The rune is also said to symbolize the importance and power of the Birch Tree. The regrowing and fertility shown here could be its representation as well.

Other ways of looking at the rune Berkana is that it symbolizes growth and rebirth in all matters, a fresh start, a new journey and success. It is a very positive rune for many. It is also believed many feminine mysteries are within Berkana, however this does not totally mean that it is only solely for females only, rather that it can mean a nurturing aspect of a supportive protective male as well.

BERKANA REVERSED


The reversed meaning of Berkana in a casting or similar usually means not a good start, a bad beginning to a new task or maybe not a good idea venture into what you were thinking of doing. In relation to business it may refer to not making a business decision just yet and wait.

As a rune, I believe Berkana would of been used around child bearing times, planting time (harvest) and times where nurturing was needed. Also, it may of been used in the form of a wand or necklace.

Wednesday, February 11, 2009

The Sons Of Odin A Heroic Analysis Of The Volsunga Saga

The Sons Of Odin A Heroic Analysis Of The Volsunga Saga Cover

Book: The Sons Of Odin A Heroic Analysis Of The Volsunga Saga by Devyn Christopher Gillette

Without the lasting power of the story, especially in the sharing of myths and legends, a society functions ethically or with much hope of retaining its individual culture. In addition to being a vehicle for spiritual and psychological illumination, myths are the means by which a culture identifies its relationship to the universe, how it defines its processes of ritual, and how significant events warrant rites of passage.

The Saga of the Volsungs, an oral account written during the latter period between 1200 and 1270 in the Codex Regius (Book of Kings) and discovered later in a burning barn, accounts for events that likely occurred during the transformative Indo-European migration era of the third through fifth centuries. Fortunately, unlike most other European examples of pre-Christian lore, its translation seems to be free of the "corrective" biases liberally administered by Benedictine pens. scholars have suggested that the myth specifically reflects the wars among the Burgundians, Huns, and Goths, and the saga treats many of the same legends as the Middle High German epic poem Nibelungenlied written circa 1200. The legends were later immortalized for contemporary audiences through Wagner's Der Ring des Nibelungen tetralogy composed between 1853 and 1874.

This presentation attempts to isolate and analyze elements within this saga that are common to most hero myths. These commonalities include unusual birth of the hero, the concept of the mother as symbolic of the Great Goddess, a search for the father, a threat to the young hero, quest, the notion of the dragon slayer, guides on the hero's path, and the final confrontation with death.

This analysis is mutually fashioned in the cultural anthropological character of Levi- Strauss and the interpretive manner of Jung and Campbell. It is important then for the reader to understand that references to the text need not occur in any particular order, at all, or to a particular personage for the analysis to convey its visceral points. This approach is in league with the idea that linear interpretation functions well in logical deduction, but plays little role in mythological thinking. This is not to suggest that I am attempting to reduce the myth into impotent component parts, but the analytic process itself has much to offer.

Download Devyn Christopher Gillette's eBook: The Sons Of Odin A Heroic Analysis Of The Volsunga Saga

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Monday, February 9, 2009

Common Germanic Deities

Common Germanic Deities Image

One of the Wodin chorus chanting Spam in the caf'e

In the original 1887 poem, Wednesday's child is loving and giving.

Wednesday - the name comes from the Middle English Wednes dei, which is from Old English Wednes daeg, meaning the day of the Germanic god Woden (Wodan) who was a god of the Anglo-Saxons in England until about the 7th century.

Wednes daeg is like the Old Norse Odinsdagr ("Odin's day"), which is an early translation of the Latin dies Mercurii ("Mercury's day"). Though Mercury (the messenger of the gods) and Woden (the king of the Germanic gods) are not equivalent in most regards.

Russian does not use pagan names but instead uses sred'a, meaning "middle," similar to the German Mittwoch. Portuguese uses the word quarta-feira, meaning "fourth day."

Hope that clears that up. There's not much of the day left.



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Saturday, February 7, 2009

Goddess Freya

Goddess Freya Image
Freya, queen of Vanaheim, expresses deep feminine beauty and strength. She is a very powerful Goddess, known as a Goddess of love, beauty, fertility, magic, war, and death. Her palace is called Folkvang, and she chooses the first of the fallen warriors to join her in preparation for Ragnarok. As a Vane, she has taught her own unique and powerful magic to the Aesir. Her personal chariot is drawn by a team of cats.

Freya is sister of Frey, daughter of Njord and Nerthus. Freya is not so much a name as a title, and means Lady. She is called Vanadis, and is a dis of the Vanir. She may be identical with the goddess Nerthus, in the way Frey might be identical with Njord. Her realm is Folkvang, her hall Sessrymnir. She is goddess of seidh, and taught that art to Odin (while learning galdr from him). She is also a goddess of war and is called Valfreya, Lady of the Slain. This may refer to the fact that she recieves half those warriors slain in battle (getting first choice, even before Odin). This may also mean she is head of the Valkyries, Odin's warrior women. She is goddess of the Earth, and the crops. She is a goddess of fertility, and sex, and passion. Part of her worship in pagan times involved writing erotic poetry dedicated to her. It was said to so inflame the passions that even in pagan times it was illegal for a man to read Freya's poetry to an unmarried woman. This poetry was the reason that Christians were so thorough in eradicating any of Freya's lore. She is in many ways a female form of Odin (though not a female side of Odin). She possesses a falcon's plumage cloak, which turns its wearer into a falcon. She is married to Odin under the name of Odhr (though "married" might have been a Christian term, used because a scribe was uncomfortable with the idea of a consort, which seems to more accurately describe her relationship to Odin). But Odhr's wandering nature sometimes stirs him to leave her, and wander the worlds. When he does this, she seeks ever after him, in her chariot drawn by cats, weeping tears that become gold. For this reason gold is sacred to her. It seems likely that she was a birch goddess. She is one of the two goddesses the giants are always trying to abduct. She has a magic necklace, which is called Brisingamen, which may be identical, symbolically, with the whole earth. The "Valentine's heart" was originally a symbol of Freya, and actually represents sex more than romantic love (it is a representation of the vulva). The ladybug (freyabug) is also a symbol of her.

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Monday, February 2, 2009

What Is A Warlock

What Is A Warlock Cover

Book: What Is A Warlock by Lil Bow Wow

If, as is posited in many Modern English dictionaries, the word "warlock" comes from a ME "warloghe" from OE "warloga", then the Modern form we should expect to see would be something like warlow, or werlow, since the tendency to move from 'gh' to 'w' is strong in English, and from 'gh' to 'ck' unknown. This is a trait it shares with Danish, and to provide an example, the Old Swedish "lagh" (meaning "law") is spelled in Modern Danish "lag" but pronounced "law" and in English, orthography and pronunciation are again in sync, with the form "law." That "gh" in the Middle English form "warloghe" indicates a uvular fricative, that is a g that is pronounced as if one were gargling (as in Dutch "gulder"). That aspirated "g" is what, in English, is usually exchanged for a "w". Other examples in English: "through", "drought", etc. When one also considers the semantic shift, i.e., from "traitor, oathbreaker" to "sorcerer, conjurer", this all begins to introduce an element of doubt as to the actual etymology. Now, when I find corroberation for this hypothesis in dictionaries of Old Norse (Cleasby, Vigfusson and Craigie), I must, as a trained linguist, seek another more satisfying etymology. Here, then, is an alternative etymology for "warlock", one which I find both satisfying as a linguist and as a magic user.

Download Lil Bow Wow's eBook: What Is A Warlock

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Thomas Voxfire - What Was Aleister Crowley
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Lil Bow Wow - What Is A Warlock