What Would You Do

if People were few
and contact was
far and Between?

Where would you be
if not one was free
and there was no
joy to be seen?

How would you feel
if nothing were real
and nowhere on earth
was it green?

You would be here
and I would be near
for you and I both
play this scene.

The scene that we play
is with us Today,
an act we shall
never escape.

So struggle and fight
for this play to rewrite
and so then do we
change our fate.

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Gypsy Hand

Too brite days
midnights that refuse to
abide dark and secret
as empty phrases chant
to fairytale Moons
I tell myself
This is no ordinary room
This is no fleeting flittering life
This is a magical passageway
sparkling like mica, like miracles

Quiet traces
luminous impression
a trailing kite tail binds
silent whimpers, sojourning whispers,
tears shining behind mime smiles

Crone's gnarled fingers, playing
to spite agony
simulate touch
beyond ache
Too brite cell,
crouched scarred shadow
I cast silhouette of metamagic gypsy
hand offering

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The Comet

So well with word
the seducers voice was heard
o'er the whisper of the linen.

"And so,' said she,
'Let us e'er be
skyclad 'neath the Heavens".

"Dance with me sweet Temptress.
Let our limbs entwine
upon this bed so downy soft.
'Tis ours, not yours or mine.
Of what I speak
there is no Telling
For it is ever as it is not.
We have one place yet
for our dwelling
never found, yet always sought."

And so with eyes aglow
with Midnight
and a smile handsomely done,
The seducer lifted one fond finger.
Touched her breast with one fond finger.
And shuddering,
near undone,
the lady asked:

"What is it that you speak of love?
What have you and I?
Are we not here to live
and couple 'neath th' inky sky?"

Slowly tracing circles
as his mouth found hers to dine,
the lover whispered tenderly,
"We have an aeon of time."

"Say it is not true!' cried she,
'Say it is not so!
An aeon is so little
and we have so far to go!"

He held his distraught lady.
Brought his mouth down to her lips
and they touched at face and belly,
from shoulder down to hip.

"Alas it is so little,
But far more than many men
have in their meager lifetimes
and so lady, we shall begin."

Close became then closer
'til there was no light to be seen
'tween their naked bodies
flaming liquid sheen.

Upon the deepest darkest night
cast eye to the sky above
and see racing 'cross the heavens high
two lovers burning with their love.

Authored and contributed by Toadie

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The New Colossus By Emma Lazarus

Not like the brazen giant of Greek fame.
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
"Keep, ancient lands, your storied pomp!" cries she
With silent lips. "Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!"

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The Speech Of The High One

I know I hung on that windswept tree,
Swung there for nine long nights,
Wounded by my own blade,
Bloodied for Odinn,
Myself and offering to myself:
Bound to the tree
That no man knows
Wither the roots of it run.

None gave me bread,
None gave me drink.
Down to the deepest depths I peered
Until I spied the Runes.
With a roaring cry I seized them up,
Then dizzy and fainting, I fell.

Well-being I won
And wisdom too.
I grew and took joy in my Growth:
From a word to a word
I was led to a word, From a deed to another deed.

The Poetic Edda (ca A.D. 1200)

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Hymn To Pan

Book: Hymn To Pan by Aleister Crowley

HYMN TO PAN: This poem, Together With extracts from the Book of the Law and the Collects from the Gnostic Mass formed the Last Ritual at aleister crowley at his funeral in Brighton on December 5th, 1947.

Download Aleister Crowley's eBook: Hymn To Pan

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Ariadia Or A Gospel Of The Witches

Book: Ariadia Or A Gospel Of The Witches by Charles Godfrey Leland

Aradia, or the Gospel of the Witches is an 1899 book by Charles Godfrey Leland. The book is an attempt to portray the beliefs and rituals of an underground religious witchcraft tradition in Tuscany that, Leland claimed, had survived for centuries until his discovery of its existence in the 1890s. Scholars have disputed the veracity of this claim. Still, the book has become one of the foundational texts of the Neopagan witchcraft movements Wicca and Stregheria.

The text is a composite. Some of it is Leland's translation into English of an original Italian manuscript, the Vangelo (gospel). Leland reported receiving the manuscript from his primary informant on Italian witchcraft beliefs, a woman Leland referred to as "Maddalena" and whom he called his "witch informant" in Italy. The rest of the material comes from Leland's research on Italian folklore and traditions, including other related material from Maddalena. Leland had been informed of the Vangelo's existence in 1886, but it took Maddalena eleven years to provide him with a copy. After translating and editing the material, it took another two years for the book to be published. Its fifteen chapters portray the origins, beliefs, rituals and spells of an Italian pagan witchcraft tradition. The central figure of that religion is the goddess Aradia, who came to Earth to teach the practice of witchcraft to peasants in order for them to oppose their feudal oppressors and the Catholic Church.

Leland's work remained obscure until the 1950s, when other theories about, and claims of, "pagan witchcraft" survivals began to be widely discussed. Aradia began to be examined within the wider context of such claims. Scholars are divided, with some dismissing Leland's assertion regarding the origins of the manuscript, and others arguing for its authenticity as a unique documentation of folk beliefs. Along with increased scholarly attention, Aradia came to play a special role in the history of Gardnerian Wicca and its offshoots, being used as evidence that pagan witchcraft survivals existed in Europe, and because a passage from the book's first chapter was used as a part of the religion's liturgy. After the increase in interest in the text, it became widely available through numerous reprints from a variety of publishers, including a 1999 critical edition with a new translation by Mario and Dina Pazzaglini.

Download Charles Godfrey Leland's eBook: Ariadia Or A Gospel Of The Witches

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Goddess Initiation

Book: Goddess Initiation by Franceska De Grandis

veryone possesses the spiritual, psychic, and worldly potential of a Goddess or God. In this breakthrough book, Francesca De Grandis brings years of experience as a shamanic counselor and traditional spiritual healer to reveal how you can cultivate and celebrate the secret, magical side of your nature. This month-to-month program of many practical exercises, rituals, and prayers will help you:

- Discover your innate wisdom
- Heal inner blocks to happiness and meaningful action in your life
- Achieve your goals and feel energized, strong, and capable
- Unleash creativity and passion for living
- Celebrate a vibrant and healthy sexuality

Based on traditional Celtic culture and the author's own successful and unique Third Road teaching, this enriching journey deep into the heart of shamanism and Goddess Spirituality will appeal to all seekers, not just Wiccans. A lyrical sourcebook of rituals, spells, mysticism, and mirth, Goddess Initiation is designed for everyone who wants to integrate commonsense Spirituatity -- and a bit of Faerie dust! -- into their everyday lives.

Download Franceska De Grandis's eBook: Goddess Initiation

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Icelandic Poetry Or The Edda Of Saemund

Book: Icelandic Poetry Or The Edda Of Saemund by Loptsson

The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius. Along with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse Mythology and Germanic heroic legends.

Codex Regius was written in the 13th century but nothing is known of its whereabouts until 1643 when it came into the possession of Brynjolfur Sveinsson, then Bishop of Skalholt. At that time versions of the Prose Edda were well known in Iceland but scholars speculated that there once was another Edda—an Elder Edda—which contained the pagan poems which Snorri quotes in his Prose Edda. When Codex Regius was discovered, it seemed that this speculation had proven correct. Brynjolfur attributed the manuscript to Semundr the Learned, a larger-than-life 12th century Icelandic priest. While this attribution is rejected by modern scholars, the name Semundar Edda is still sometimes encountered.

Bishop Brynjolfur sent Codex Regius as a present to the Danish king, hence the name. For centuries it was stored in the Royal Library in Copenhagen but in 1971 it was returned to Iceland.

Download Loptsson's eBook: Icelandic Poetry Or The Edda Of Saemund

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Love Secret

Never seek to tell thy love,
Love that never told can be;
For the gentle wind doth move
Silently, invisibly.

I told my love, I told my love,
I told her all my heart,
Trembling, cold, in ghastly fears.
Ah! she did depart!

Soon after she was gone from me,
A traveller came by,
Silently, invisibly:
He took her with a sigh.

by William Blake

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Norse Mythology Legends Of Gods And Heroes

Book: Norse Mythology Legends Of Gods And Heroes by Peter Andreas Munch

The Norwegian original on which the present translation is based was written by Peter Andreas Munch, the founder of the Norwegian school of history. Munch’s scholarly interests embraced also many related subjects, such as general history, archaeology, geography, ethnography, linguistics, and jurisprudence. His varied labors have in large part stood the test of time. His most important work, the “History of the Norwegian People” (Det norske folks historie, 8 vols. 1851–63) covering the period of Norway’s ancient independence ending with the Kalmar Union of 1397, still remains a source book and a point of departure for historians. The great significance of Munch’s scholarship lies in its influence upon the modern renascence of Norwegian culture. In the middle of the nineteenth century he was the most conspicuous intellectual force in the country, as Wergeland had been before him and as Bjornson came to be after him. The national spirit in Norway, which has steadily gained strength, owes a heavy debt to the gifted leaders of an earlier generation, not least among whom was Munch. As an historian, as an editor of Old Norse poetry and saga, as a recorder of the venerable myths and legends of the race, he did yeoman service in establishing a sense of historical continuity between the Norway of the past and the Norway of the present. Since his day, Norwegians have labored in the fields of history, folklore, and related subjects, deepening and strengthening that fruitful sense of national consciousness which he did so much to awaken.

Munch’s handbook of Norse Mythology, which first appeared in 1840, was originally written as a supplementary volume to a school text on the history of Norway, Sweden, and Denmark. As a book for students and as a work of general reference it has maintained its popularity. The third edition (1922) from which the translation is made, was prepared by Professor Magnus Olsen of the University of Oslo, in response to the demand for an up-to-date treatment of the entire subject. He found it advisable, however, to revise Munch’s work rather than to attempt a wholly original book, since he was thus able to incorporate the results of later research in a volume which had long enjoyed both popular and scholarly approval. The value of Munch’s work has been greatly increased through Professor Olsen’s revision.

The English translation is intended as a companion volume to two other books published in the SCANDINAVIAN CLASSICS series, The Prose Edda, translated by Arthur Gilchrist Brodeur, and The Poetic Edda, translated by Henry Adams Bellows. Norse Mythology will serve alike the student of Old Norse literature, and the general reader who seeks an authoritative guide through the world of Northern myth and legend. My thanks are due to Professor Magnus Olsen for permission to translate the work, and to Professor William Witherle Lawrence, of Columbia University, Chairman of the Publications Committee of the American-Scandinavian Foundation, for many valuable suggestions. - S. B. H.

Download Peter Andreas Munch's eBook: Norse Mythology Legends Of Gods And Heroes

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Introduction To The Elder Edda

Book: Introduction To The Elder Edda by John Ronald Tolkien

The Elder Edda is not a single continuous narrative, but a collection of poems, most of which are preserved in the Konungsbok, or Codex Regius (King's Book), copied in Iceland about A.D. 1270. The poems are the work of many poets. Their language suggests that they were composed between 800 and 1100 A.D. and first written down between 1150 and 1250 A.D. The poems are a rich source of Information for culture and belief among the Vikings. They are not, however, purely Scandinavian. Christian Irish influence is likely, while the Sigurd story draws on actual events among the tribes that invaded the Roman Empire between 350-600 A.D.

The Elder Edda first came to scholarly attention in the seventeenth century as antiquarian interest in the non-classical past was growing in Europe. It was published in its entirety just as intense romantic and nationalistic interest in the perceived tribal ancestors of the European nation states emerged towards the end of the eighteenth century. This interest, combined with the new science of philology, ensured popular and scholarly interest in texts like the Elder Edda. Some of the lays were available in bowdlerized versions even for children by the later nineteenth century. In the hands of Richard Wagner, the Elder Edda became the foundation of one of the century's masterpieces. While northern legends and the Scholarship based on it were misused by the Nazis to develop and further their ideas of race, they are seriously misrepresented by such ideas. In the 1960s, the poet W. H. Auden in collaboration with an Old Norse scholar, Paul B. Taylor, produced a Translation of sixteen of the poems.

Download John Ronald Tolkien's eBook: Introduction To The Elder Edda

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Eclipse

by emerald groves, and silver streams
a secret glade that holds all dreams
shadowy pathways and beams of light
flow on winds from greatest height
a mist from the ocean swirls around
twisting writhing, with gracious sound
a figure emerges, blessing the eye,
stands in the center and looks to the sky

gowned in white, with hair of gold,
knowing to be one for all to behold,
silver wings fold round from behind,
and a crimson thread round her fingers twined
find her through singing, meditation or prayer,
she's crafter of water, fire, earth air

and happiest she is, when joining her there,
Our lord who beams, with sunlight so fair,

No one forgets, the day that they wed,
Moon and sun meet, an eclipse is spread

By emerald groves and silver streams,
A secret glade that holds all dreams
Shadowy pathways and beams of light,
Flow on winds from greatest height.

~Cerridwen (Sara) Contributed to Lady of the Earth by the Author

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Myths Of Northern Lands

Book review: Myths Of Northern Lands by Helene Adeline Guerber

The aim of this handbook of Northern mythology is to familiarize the English student of letters with the religion of his heathen ancestors, and to set forth, as clearly as possible, the various myths which have exercised an influence over our customs, arts, and literature.

As Norwegians, Danes, Swedes, Icelanders, Germans, English, and French all came originally from the same stock and worshiped the same gods, so these tales formed the basis not only of their religious belief, but also of their first attempts at poetry. They are the classics of the North, and deserve as much attention at our hands as the more graceful and idyllic mythology of the South.

The most distinctive traits of the Northern mythology are a peculiar grim humor which is found in the religion of no other race, and a dark thread of tragedy which runs throughout the whole woof. These two characteristics, touching both extremes of the scale, have colored Northern thought, and have left their indelible imprint upon all our writings even to this day. The mythology of Greece and Rome, growing as spontaneous and luxuriant as the tropical vegetation, came to its full fruition and began to decay before the introduction of Christianity. But Northern mythology, of slower growth, was arrested in mid-career before it had attained its complete development.

A glossary, and complete index have been added to adapt this book for general use in libraries and public schools. Author and publishers sincerely trust that little work will be as kindly received and as well appreciated as has been the case with its predecessor, “Myths of Greece and Rome,” the first volume of this series.

Download Helene Adeline Guerber's eBook: Myths Of Northern Lands
Keywords: magic and witchcraft  deities  kathryn paulsen  magick   asgard tales northern  

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The Star In The West A Critical Essay On The Works Of Aleister Crowley

Book: The Star In The West A Critical Essay On The Works Of Aleister Crowley by John Frederick Charles Fuller

The Star in the West: a Critical Essay upon the Works of aleister crowley by Captain (as he then was) J. F. C. Fuller can now be read online. This is a lengthy study of Crowley's early poetry and philosophy (as expressed in the writings collected in his 1905-7 Collected Works). Some might question the "critical" part; even AC was occasionally embarassed by the excesses of Fuller's praise, as witnessed by his ca. 1910 poem "The Convert (a hundred years hence)"

Download John Frederick Charles Fuller's eBook: The Star In The West A Critical Essay On The Works Of Aleister Crowley

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A Strip Of Blue By Lucy Larcom

I DO not own an inch of land,
But all I see is mine,--
The orchard and the mowing fields,
The lawns and gardens fine.
The winds my tax-collectors are,
They bring me tithes divine,--
Wild scents and subtle essences,
A tribute rare and free;
And, more magnificent than all,
My window keeps for me
A glimpse of blue immensity,--
A little strip of sea.

Richer am I than he who owns
Great fleets and argosies;
I have a share in every ship
Won by the inland breeze,
To loiter on yon airy road
Above the apple-trees.
I freight them with my untold dreams;
Each bears my own picked crew;
And nobler cargoes wait for them
Than ever India knew,--
My ships that sail into the East
Across that outlet blue.

Sometimes they seem like living shapes,--
The people of the sky,--
Guests in white raiment coming down
From heaven, which is close by;
I call them by familiar names,
As one by one draws nigh.
So white, so light, so spirit-like,
From violet mists they bloom!
The aching wastes of the unknown
Are half reclaimed from gloom,
Since on life's hospitable sea
All souls find sailing-room.

The ocean grows a weariness
With nothing else in sight;
Its east and west, its north and south,
Spread out from morn till night;
We miss the warm, caressing shore,
Its brooding shade and light.
A part is greater than the whole;
By hints are mysteries told.
The fringes of eternity,--
God's sweeping garment-fold,
In that bright shred of glittering sea,
I reach out for and hold.

The sails, like flakes of roseate pearl,
Float in upon the mist;
The waves are broken precious stones,--
Sapphire and amethyst
Washed from celestial basement walls,
By suns unsettling kist.
Out through the utmost gates of space,
Past where the gray stars drift,
To the widening Infinite, my soul
Glides on, a vessel swift,
Yet loses not her anchorage
In yonder azure rift.

Here sit I, as a little child;
The threshold of God's door
Is that clear band of chrysoprase;
Now the vast temple floor,
The blinding glory of the dome
I bow my head before.
Thy universe, O God, is home,
In height or depth, to me;
Yet here upon thy footstool green
Content am I to be;
Glad when is oped unto my need
Some sea-like glimpse of Thee.

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Seeking The Sign To Dragonheim

Mighty wings once carved the cumulus
sowing storm filled clouds and reaping rain.
Soaring, we bounded the radius
of the peak crowned heights of our domain.

How long is the road to Dragonheim?
The length of a dreamer's call.
How number the miles to Dragonheim?
It is none, I say, and all.

And the sky roared when touched by our flames
it sang to words wrought in fume and smoke.
Firey visions dwelt within the names
of numberless tribes of dragon folk.

Where winds the path to Dragonheim?
Hidden in a name; a secret sound.
Where stands the entrance to Dragonheim?
In the place never lost, though seldom found.

Majestic mountains once housed our young
born from crystal eggs that caught the light.
In strong shadowed heights our dwellings hung
ne'er crossed by the foes who feared our might.
What shapes the trail to Dragonheim?
A maze of dreams, pointing streight.
How travels the way to Dragonheim?
On paths of heart, devoid of hate.

Now the lands are gone, scourged by the ire
of the modern day people's decree.
But spirits live on, look to the fires.
You must catch our souls to set us free.

In what age stands the halls of Dragonheim?
Time beyond time, between the worlds.
Where dwell the inhabitants of Dragonheim?
They smile as your spirits soar and curl.

J.A. Bordeaux (Steorra Rokraven) , 17 Feb 89

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Wiccan Rede Poem Poster

Book: Wiccan Rede Poem Poster by Raven Blackwood

A traditional poem outlining the Wiccan Way in rhyme. Ends with the well-known `an ye harm none, do what ye will. The Rede is the Central Law of Wiccan Religion. In short it states: "If it harms none, do what you want." You may see it phrased in different ways. Some use the old English: "An it harm none, do as thou wilt". The Rede is seen by both Wiccans and outside observers as very similar to the Golden Rule, a belief that is found in nearly every religion. It should be noted that, while the Golden Rule forbids harm subjectively, The Wiccan Rede forbids harm absolutely. The concept of ethical reciprocity is not explicitly stated, but most Wiccans interpret the Rede to imply the Golden Rule in the belief that the spirit of the Rede is not just to do no harm, but to actively do good for one's fellow man as well as oneself.

Different sects of Wiccans read "none" differently: some include the self, others include animals or plants, and so forth. The Rede also expressly rejects the concept of sin outside of harm to oneself or to another. The Rede is only a guideline which the individual must interpret to fit each particular situation. Partner to the Rede is the Rule of Three (also called the Threefold Law or or The Law of Return). It states that both the good and the evil that one creates in the world will be returned threefold (in joy or suffering). It is therefore seen as a pragmatic reason for ethical behavior and compliance with the Wiccan Rede.

Buy Raven Blackwood's book: Wiccan Rede Poem Poster

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Inquisition

Again the burning came,
She felt the heat, the searing pain
a cry lanced Through her heart
"Why, My Lady, Why"

She lay quietly, remembering
lost Within the labyrinth of the past
and the future
she did not feel the bite of the cruel blade.
Bleeding, moaning, she saw the man
his face, and heart masked with black
she knew his choices and his pain
Oh, to cause pain, to accept his own
if only she could Touch him, Heal him.

"I love you" she whispered
dark eyes calm, yet full of pain
"Don't " cried the man "I want to see you die"
"I love you and forgive you" she said
tears rolled freely down her cheeks

Again, and again the searing pain
As the man applied the red hot blade
"Do you still love me, and forgive me" he screamed?

Despite the pain she answered strongly
"I do", She smiled
"Blessed be" she whispered.

A wave of pain sent her among the stars.
"My Lady" she cried "I'm frightened"
Strong arms held her close
"You have done well my child, rest now"

The man watched as the blade grew cold
As the young body before him cooled
tears streamed down his face
and he whispered
"Forgive me"

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New Words And Old

In the autumn of the lightnings, in the mighty-voiced throng In the Twilight were the offerings, with both chants and full-throat song:

These the People, born to silence
These the Seekers, born to sight
These the Wanderers, born to roaming
These frail Humans, born to night...

In the winter's swirling blizzard, in the quaking of great trees In the night-black child of charring, in the wavering, fitful breeze:

These the Wicca, seeking Knowledge
These the Shamen, knowing care
These the Students, always reading
These the Hopeful, who despair...

In the spring-tide's joyous growing, in the flower and the leaf In the summer's dearth and plenty, saving up to stoke Belief:

Hear the Mother, gentle-voicings
Hear the Father, rumbled whisper
Hear the Children, gay and laughing
Hear the Many -- sing your vesper...
Now the Bard and Druid gather
Now the Priestess calls afar
Now the Time to Watch and Listen
Now the Time to Practice more!
+*+*+

Kihe Blackeagle

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