#tradition bearers and practitioners

[culturaldiversityday]

Digital technologies and AI : culture and arts education at the helm of the technology frontier.

Digital transformation is taking place at a prolific pace, generating new forms of learning, creating and communicating across platforms and borders. The acceleration of AI has also led to rethinking how this is bearing upon culture and arts education. Bringing to the forefront some of the decisive issues surrounding technology, this session shines a light on the opportunities, as well as the digital divide, adverse impacts and evolving prospects.

[the-hermit-at-midnight]

The Mystical Significance of the Crow in Witchcraft and Magick

In the vast tapestry of symbols and beings that populate the world of witchcraft and magick, few hold as much intrigue and mystique as the crow. Revered by many cultures throughout history, the crow has come to symbolize wisdom, magic, and transformation in the realm of the occult. Let's explore the significance of this enigmatic bird and its role in witchcraft and magick.

1. **Messenger of the Otherworld:**

In various mythologies and belief systems, crows are often seen as messengers between the earthly realm and the realm of spirits. Their black plumage and keen intelligence evoke an air of mystery, making them natural conduits for communication with the unseen realms. In witchcraft and magick, practitioners may invoke the presence of crows to seek guidance, protection, or insight from the spirit world.

2. **Bearer of Wisdom:**

Crows are highly intelligent birds known for their problem-solving abilities and complex social behaviors. In many cultures, they are revered as symbols of wisdom and knowledge. In witchcraft, the crow is often associated with the archetype of the wise old crone, a figure steeped in ancient wisdom and magickal prowess. Through their association with crows, witches seek to tap into the deep well of knowledge that these birds are said to possess.

3. **Guardian of the Sacred:**

In some traditions, crows are believed to be guardians of sacred spaces and magickal practitioners. They are said to watch over witches and protect them from harm, serving as loyal allies and guides on their spiritual journey. In rituals and spells, practitioners may call upon the energy of the crow to provide a shield of protection or to keep unwanted influences at bay.

4. **Agent of Transformation:**

Crows are creatures of the liminal spaces – the thresholds between light and darkness, life and death, the mundane and the magickal. As scavengers, they feed on the remains of the old, transforming death into new life. In witchcraft, crows are often associated with the process of transformation and renewal. They remind practitioners that change is a natural and necessary part of life, and that through death and decay comes the opportunity for rebirth and growth.

5. **Symbol of Magickal Power:**

Throughout history, crows have been associated with magickal power and the ability to shape-shift or transform. In folklore and mythology, witches are often depicted as being able to take on the form of crows or to summon them to do their bidding. In modern witchcraft, crows are revered as symbols of personal empowerment and mastery over one's own destiny.

The crow holds a special place in the pantheon of symbols used in witchcraft and magick. As a messenger, guardian, and symbol of wisdom and transformation, it serves as a powerful ally for practitioners seeking to deepen their connection to the mysteries of the universe. Whether invoked in rituals, spells, or meditation, the crow embodies the essence of magickal power and spiritual insight, guiding witches on their path to enlightenment and empowerment.

[venusianpulp]

Traditional Orphic Hymns: Mythology

Have you ever heard of an Orphic Hymn? If you haven't, here is a little background...

An Orphic Hymn is a type of devotional poetry that was used in the religious practices of ancient Greece, particularly in the mystery cults associated with the mythical poet and prophet Orpheus. These hymns were believed to have been composed by Orpheus himself, although the actual authorship is unknown and they were likely written by various poets over time.

Orphic Hymns are characterized by their invocations to specific deities, as well as their use of mystical language and symbolism. Each hymn is dedicated to a particular god, goddess, or abstract concept, and they often include epithets, attributes, and mythological references associated with the subject of the hymn.

In ancient Greek religion, Orphic Hymns were used as part of ritual practices, such as:

Invocation: The hymns were recited or sung to call upon the presence of a deity and to request their blessings, guidance, or protection.

Worship: They were used as a means of honoring and praising the gods, expressing devotion, and strengthening the connection between the worshippers and the divine.

Initiation: In mystery cults, such as the Orphic or Eleusinian Mysteries, the hymns may have been used as part of the initiation process, helping to guide initiates through the symbolic journey and impart sacred knowledge.

Contemplation: The rich symbolism and enigmatic language of the hymns could serve as a tool for spiritual contemplation, allowing practitioners to delve deeper into the mysteries of the divine and the nature of the universe.

In modern times, Orphic Hymns continue to be studied by scholars of ancient religion and literature. They are also used by some contemporary spiritual practitioners, particularly those involved in Hellenic polytheism or other forms of paganism, as a means of connecting with the Greek gods and goddesses and as a tool for personal spiritual growth and ritual practice.

How is it used?...

Here is a traditional Orphic Hymn to Hecate, translated from the ancient Greek text:

"Hecate, bearer of light, who holds the keys, Goddess of the crossroads, revered and mighty, In the sky, on earth, and in the sea, You dwell in the souls of the dead. Chthonic and Celestial, you are the beginning and the end, Alone you wield the scepter of command. You favor the brave in battle, And in the contests, you grant the prize. You nurture the young, you give abundance in good measure, And when life ends, to you we go. Hail, Goddess, and attend your supplicants with favor, With joyful heart and gracious to our prayers."

This hymn is used to invoke and honor Hecate, the Greek goddess of magic, witchcraft, ghosts, and crossroads. The hymn highlights her various roles and attributes:

It addresses Hecate as a "bearer of light," referring to her association with torches and illumination, both literal and metaphorical.

The hymn emphasizes Hecate's liminality, as she presides over crossroads and thresholds, and is connected to the realms of the living and the dead.

It acknowledges her power and influence in all spheres - the sky, earth, and sea - and her role as a psychopomp, guiding souls in the afterlife.

The hymn also recognizes Hecate as a goddess of abundance, bravery, and nurturing, reflecting her complex and multifaceted nature.

In ritual practice, this hymn would be recited as a means of calling upon Hecate's presence, seeking her blessings, and honoring her power. It might be used in magical workings, especially those related to transition, transformation, or communication with the dead. The hymn could also be recited as part of a devotional practice, as a way of expressing reverence for Hecate and strengthening the practitioner's connection to her energy and mysteries.

Other Orphic Hymn God's & Goddesses you can invoke:

Here are 38 traditional Orphic Hymns, each dedicated to a different Greek deity or concept:

To Hecate

To Prothyraia

To Night

To Heaven

To Aether

To Protogonos

To the Stars

To the Sun

To the Moon

To Nature

To Pan

To Hercules

To Dionysus

To the Curetes

To Athena

To Victory

To Asclepius

To Health

To the Seasons

To the Fates

To the Graces

To Themis

To Nemesis

To Justice

To Equity

To Law

To Mars

To Vulcan

To Esculapius

To Hygeia

To the Furies

To the Fates

To the Graces

To Prosperine

To Bacchus

To Mercury

To the Muses

To Memory

Please note that these are the titles of the Orphic Hymns, and each hymn has its own unique text in ancient Greek. The exact content and length of each hymn vary, with some being more extensive than others. These hymns were used in ancient Greek ritual worship and are attributed to the legendary poet Orpheus, though their actual authorship is unknown.

[mahayanapilgrim]

Exploring Ösel: Clarity, Luminosity, and Reflexive Apperception in Vajrayana and Bon

In the Shangpa tradition’s collections of the early masters’ life stories, Kunga Ö’s Biography of the Wisdom Dakini Niguma covers a mere six pages, most of which amount to verses of praise. Only the following words are pertinent to her life:

This wisdom dakini was born the daughter of the great Brahmin Shantivarma [Zhiwé Gocha] and the Brahmini Shrimati [Palgyi Lodrö]. Her name was Shrijnana [Palgyi Yéshé]. She was pandit Naropa’s sister and a member of the Brahmin caste. During three previous incalculable eons of time, she actualized her training on the spiritual path.

In the continuity of that path, during this lifetime she received a little instruction from a few accomplished spiritual masters and, based on their teaching, directly saw the truth of the nature of reality. Her illusory body of obscuring emotions appeared as a pure body of enlightenment. Having reached awakening’s three pure stages, she actually met the great Buddha Vajra Bearer [Dorje Chang, Tib, Vajradhara. Sanskrit] and received from him the full four empowerments of Great Way tantra within an emanated sacred circle of deities.

The wisdom of her understanding of every sacred teaching, such as Buddha’s discourses and tantras, profound instructions, and treatises, flowered to include direct [knowledge and sight] of the nature and multiplicity of all phenomena. She reached awakening’s tenth stage, Cloud of the Doctrine.

Her obscurations of knowledge became finer and finer until no veils remained; she became one with enlightenment, an epitome of the three bodies of enlightenment. She reached perfection in renunciation and realization, the achievement of her own goal. Her enlightenment’s two form bodies appear for the benefit of others until the end of existence and bring benefit to beings in ways that can purposefully guide them. In åparticular, she watches over those who preserve her lineage with a compassion that knows no distance; she blesses them and ensures the success of their enlightened activity.

The Collection of Shangpa Masters’ Biographies, pp. 40-42

Ösel, often translated as "Radiant Light" or "Inner Radiance," is a profound concept and practice deeply rooted in Vajrayana and Bon traditions. This essay aims to delve into the intricacies of Ösel, its significance, and its various aspects. We will explore its meaning, the practices associated with it, its place in the Six Yogas of Naropa and the Six Yogas of Niguma, as well as its connection to rang rigpa or "reflexive apperception." Additionally, we will discuss the nomenclature, orthography, and etymology of this term.

1. Ösel: Meaning and Significance

- Ösel, derived from Sanskrit prabhasvara, refers to "Clarity" or "Luminosity." It symbolizes the intrinsic purity of the mindstream.

- It represents a state of luminous clarity that practitioners aspire to attain, highlighting the radiant nature of the mind.

2. Ösel as a Sādhanā

- Ösel is a fundamental practice in Vajrayana and Bon traditions. It serves as a sādhanā, a spiritual path or method.

- The sādhanā of Ösel focuses on realizing and experiencing the innate luminosity and clarity of the mind.

3. Variations and Derivatives

- Ösel has evolved over time, resulting in numerous versions, derivatives, and accretions of the sādhanā.

- Different lineages and schools may have their own interpretations and practices related to Ösel.

4. Ösel in the Six Yogas

- Ösel is typically included among the Six Yogas of Naropa, a set of advanced tantric practices.

- It is also part of the Six Yogas of Niguma, a sister tradition, emphasizing its significance in Tibetan Buddhism.

5. Ösel and Rang Rigpa

- Ösel is not merely a practice but an experience of rang rigpa or "reflexive apperception."

- Rang rigpa involves the direct recognition of the nature of mind, which is often described as pristine awareness.

6. Nomenclature, Orthography, and Etymology

- The translation of Ösel into English as "Inner Radiance" reflects an attempt to capture its essence.

- Understanding the technical terms and their origins is crucial for a comprehensive grasp of Ösel.

Ösel, with its deep-rooted significance in Vajrayana and Bon traditions, represents the pursuit of clarity and luminosity within the mindstream. As a sādhanā, it guides practitioners towards experiencing the radiant nature of their own consciousness. Its inclusion in the Six Yogas of Naropa and the Six Yogas of Niguma underscores its importance in Tibetan Buddhism. Moreover, Ösel's connection to rang rigpa emphasizes the direct recognition of the mind's pristine awareness. While its nomenclature and orthography may vary, the essence of Ösel remains a beacon of inner radiance for spiritual seekers in these traditions. Exploring Ösel offers a profound journey into the depths of consciousness and self-realization.

[knuckleduster]

Seán Hannan, Luck (details), 2022

LUCK (2022) is a film and installation about a cursed egg, revolving around piseógs, an ancient form of Irish folk magick (spelled here with ck to refer distinctly to spiritual magic). Nowadays, piseógs are mostly associated with harmless superstitions such as turning your socks inside out when you are lost to find your way back home, or opening the back door if you hear a knock on the front door, to let the fairies through. Piseógs have a far darker history, however, involving specific types of curses or spells that can cause harm to another person, or steal their luck. This powerful magick was generally cast by breathing intentions into an object that once lived or might have brought forth life. Often, this object would be an egg. Hannan travelled to Ireland to work on LUCK with Tara Tine, a songstress, storyteller and practitioner of Irish folklore and magick with old knowledge on how to cast piseógs. Together, they designed a piseóg especially for the Stedelijk Museum Amsterdam. The curse is now housed in an egg and displayed in the exhibition space. Having carefully transported it from Ireland to the Netherlands in a special flight case, the artist placed the egg in the museum. The details of the piseóg it contains remain ambiguous. ​ It is vital to this work that the curse is positioned as a poetic intervention rather than purely a bearer of bad intentions. The Irish tradition of piseógs presupposes that incorporating one’s intent into a curse makes it possible to steal luck and prosperity from some other person or place. The piseóg for the Stedelijk Museum was designed to take effect only if the egg containing the curse should break, and concerns the restoration of a kind of natural balance: should the egg break, the Stedelijk’s luck and prosperity will be transferred to those in greater need of it. ​ Although the installation is accompanied by a film documenting Hannan’s journey for this project, it is the egg itself that forms the center of gravity of this piece. This ethereal object transcends its mundane nature through its transformation into the bearer of an ancient and disappearing Irish tradition. In the video component of the work, Hannan documents the process of creating the piseóg and expands on Irish oral history and other forms of knowledge exchange that do not involve written sources.

artist website

[japamala0]

Website : https://www.japamala.biz/

Address : Prague, Czech Republic

Japa Mala necklaces were born out of a passion for creating handmade jewelry that is original and meaningful. They are designed with love and according to the client's wishes. My goal is to provide beautiful jewelry that not only looks good, but in which you will feel good. My necklaces are designed to increase vibrations through the healing properties of gemstones, which are not only nice to look at, but also have the power to heal. I create my jewelry to inspire and support your connection to yourself, and to support your mindfulness journey. Slow down, breathe and come back to yourself. Use Japa Mala necklaces or ""Buddhist rosary"" (as they are often called) to focus your energy and attention.

What Are Mala Beads?

A mala is simply a string of beads that are used in meditation practice. Sacred Buddhist mala beads have been used for centuries by many spiritual traditions as a tool to help to calm the mind, center oneself, and connect the best that is within us.

""Mala"" means ""meditation garland"" in Sanskrit, ""Japa"" means to repeat a mantra or prayer. Malas are typically made with 18, 27, 54, 81, 99, or 108 beads. But mostly they are a strand of 108 beads, which are traditionally used in Buddhist and Hindu practices of meditation and prayer.

These necklaces, sometimes called “Buddhist rosary”, are traditional tools used to count the number of times a mantra is recited or breaths we've done, it is a tool that acts as a tactile guide as you sit in silence…

Benefits Of Mala Beads

Mala beads have been used in so many different spiritual traditions for so long because these beads have many powerful benefits for the body, mind, and spirit. Some of the below eight benefits are universal for all types of prayer or counting beads but several of these benefits are specific to mala beads.

Increases focus during mantra meditation.

An efficient and practical tool to count mantras.

An easy way to keep track of the number of mantras recited.

Physical contact with prayer beads transmits their inherent healing powers.

Once mala is empowered it can be used for even more powerful healing of yourself and others.

Choosing a mala to purchase can help in the process of determining goals and intentions and spiritual pursuits.

Seeing or wearing a mala can serve as a reminder of one’s intention and goals. It can also be used as a reward or symbol for accomplishing a difficult task.

Mala Beads In Modern Yoogi Time

Malas are growing in popularity and can be used not only for your meditation practice but also as decorations or jewelry. You may see malas adorning the wrists, necks, and altars of meditation devotees and at the top of mats of yoga practitioners. These beautiful necklaces often hold special significance for the bearer based on where they got it, why they chose the stones, and the energy resonance they feel with the beads.

People more and more love malas because they can combine fashion and function. Malas can be made out of any number of materials including rudraksha tree, the wood of the tulsi plant, lotus seeds, sandalwood, or precious gemstones.

These days people choose to wear Mala Beads for a number of reasons: as part of meditation practice; to benefit from the energy of the crystals and gemstones; as a reminder of intentions they've set; because of a meaning they've associated with them; or simply because they're beautiful…

The History Of Mala Beads

Mala beads are used in other cultures and religions but are known by different names, such as prayer beads, rosary beads, and worry beads. Over two-thirds of the world’s population employ some type of counting beads as part of their spiritual practice. The use of beads in prayer appears to have originated around the 8th century B.C.E. in India.

Beads by themselves have had a powerful influence and importance in human history. The oldest beads found to date are approximately 42,0000 years old. Beads have been used throughout our history as talismans for protection, amulets for luck, status symbols for wealth and authority, spiritual and religious tools, and as a form of barter. The meanings and use of beads have changed significantly over time—they have been used to symbolize personal and cultural relationships, physical, magical and supernatural power, and common cultural world-views.

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[irunevenus]

The Legend of the Black Cat: Mysteries and Superstitions of Halloween

The legend of the black cat is one of the most well-known and feared associations with Halloween. This small feline, often linked to superstitions, magic, and the supernatural, has a rich history that spans centuries and cultures. In this article, we will explore the origins of the black cat legend, its associations with Halloween, and the significance it carries in popular traditions.

The Origin of the Black Cat Legend

The association between black cats and superstitions dates back to ancient times, especially during the Middle Ages when witch hunts and beliefs in magic were at their peak. Cats, especially black ones, were often seen as companions of witches and other practitioners of magic. It was believed that these felines possessed supernatural abilities and could communicate with the spirit world.

In European culture, the color black was associated with death and the unknown, reinforcing the idea that black cats were harbingers of bad luck. In many regions, the presence of a black cat was considered a sign that a witch was nearby or that something sinister was about to happen.

The Black Cat and Halloween

Over time, the legend of the black cat became intertwined with Halloween traditions. During this celebration, which marks the end of the harvest and the beginning of winter, the line between the world of the living and the dead becomes thin. It is believed that spirits and supernatural entities are more active on the night of October 31, and black cats, with their mystical associations, become symbols of this intersection.

Many people still fear encountering a black cat, especially on Halloween. This superstition is so strong that in some places, the adoption of black cats is discouraged before Halloween, fearing that they may become targets of rituals or malicious pranks.

Symbolism of the Black Cat

While often seen as a symbol of bad luck, the black cat also holds positive symbolism in some cultures. For example, in Ancient Egypt, cats were revered and considered sacred. The goddess Bastet, often depicted as a woman with a cat's head, was the goddess of protection, motherhood, and fertility. Thus, in some traditions, black cats are seen as protectors and bringers of good fortune.

Moreover, in contemporary popular culture, black cats are frequently represented in fiction as characters that challenge stereotypes and superstitions. Horror films and books often use black cats as symbols of mystery and magic, perpetuating both the fear and fascination they evoke.

Conclusion

The legend of the black cat is a rich tapestry of superstitions, fears, and symbolism that endures over time, especially in the context of Halloween. While many still view these felines as bearers of bad luck, it is important to remember that throughout history, they have also been revered and respected in various cultures. Ultimately, the black cat has become an icon of both fear and magic, eternally linked to the tradition of Halloween and the mystery surrounding the scariest night of the year.

[didanawisgi]

FRANCES YATES AND THE MNEMONIC WORKS OF GIORDANO BRUNO 

After Warburg's death in October 1929 and the migration of the Institute to London in 1933, Brunian studies at the Warburg Institute took a very different direction thanks to the research of Frances Yates (1899-1981). While Warburg's interest in Bruno and image-based thinking brought his philosophy towards the present, Frances Yates' hypothesis of an Hermetic Bruno rooted his thought in a distant and partly mythical past at the antipodes of modern times. Nevertheless, while her Giordano Bruno and the Hermetic Tradition (1964) takes a different path from that traced by Warburg, her other Brunian study, The Art of Memory (1966), is perhaps her book closest to Warburg's preoccupations. Indeed the history of mnemonics practices, by means of which mythological figures lived from the Antiquity onwards as animated bearers of learning in the intimacy of the human brain, had everything to interest Warburg. In fact the  Art of Memory was written in close consultation with Gertud Bing as confirmed by this excerpt from the preface:

Now that the Memory Book is at last ended, the memory of the late Gertrud Bing seems more poignantly present than ever. In the early days, she read and discussed my drafts, watching constantly over my progress, or lack of progress, encouraging and discouraging by turns, ever stimulating with her intense interest and vigilant criticism. She felt that the problems of the mental image, of the activation of images, of the grasp of reality through images – problems ever present in the history of the Art of Memory – were close to those which preoccupied Aby Warburg, whom I only knew through her.

Frances Yates expounded the first results of her research on Bruno's art of memory in a seminar at the Warburg Institute in 1952. She showed her reconstruction of the wheel described in the De Umbris Idearum, Bruno’s first mnemonic work published in Paris in 1582. The two wheels illustrated below are part of the same work and serve as an introduction to using the larger wheel.

In the first fixed ring the practitioner will assign a mythological or heroic figure to each letter. Bruno provides some examples : A Lycaon; B Deucalion; C Apollo; D Argos ... (see De Umbris Idearum, pp. 107 ff). The letters of the second ring correspond to an action or a scene associated with each figure. The examples provided are: AA Lycaon at a banquet; BB Deucalion and pebbles; CC Apollo and Python; DD Argos and some cattle (ibid, p. 112). Thus rotating the first inner ring operates permutations between the figures and their action. Further permutation occurs when the third wheel is set in motion. It contains attributes or enseignes which can be easily passed from one figure to another. Bruno provides only four examples and leaves the rest to the imagination of his reader. These are : AAA, Lycaon at a banquet with a chain; BBB, Deucalion and pebbles with a headband; CCC, Apollo and Python with a baldric; DDD, Argos and some cattle with a hood. This way the systems makes it possible to create combinations of letters representing words, acronyms or syllables to be remembered by means of animated images mixing the attributes and accustomed actions of familiar mythological figures.

BAA: B Deucalion A at a banquet A with a chain  MAD: M Perseus A at a banquet D with a hood CAD: C Apollo A at a banquet D with a hood COD: C Apollo O and Proserpina D with a hood 

To approach the larger wheel Bruno advises his reader that `...it is necessary to dilute the printed page into an immense space'. The last section of De Umbris idearum describes the content of  the larger wheel over 40 pages. It consists of five concentric rings divided into 150 rays each subdivided in 5 cells. On the outer rings are numbers, letters, the name of inventors followed by four more wheels of words corresponding to the categories of agent, action, enseignes, attributes (adstans) and circumstance.Frances Yates reconstruction of Giordano Bruno memory wheel from `De Umbris Idearum' - Click the image to access full version (PDF 1.5 mb)

`How did the system work? By magic of course, by being based on the central power station of the … images of the stars, closer to reality than the images of things of the sublunar world, transmitter of the astral forces, the `shadows’ intermediary between the ideal world above the stars and the objects and events in the lower world.’ (The Art of Memory, p. 223)

This interpretation, based on a misplacing of the images of the planets, was first revised by Rita Sturlese in her critical edition of the De Umbris  of 1991 (pp. LXVIII ff.) and later by Francesco Torchia (‘La chiave delle ombre’, Intersezioni, 1, 1997, pp. 131-151). Both scholars strip Bruno’s construction of its magical character. According to Sturlese the wheel is in fact an adult toy conceived to learn foreign words. Here each ray corresponds to a set of syllables combining one consonant with one vowel. Thus reconstructing a word with its phonetic constituents amounts to combining the various elements of each section. The addition of the images described in the last ring before the hub creates in the end a mnemonic background by means of which new words can be remembered. For instance to remember the word Numeratore you should pick the first syllable in the outer ring, NU, which corresponds to `Apis’; the second syllable in the second ring, ME: `in tapeta ’; the third syllable, RA, in the third ring: `deploratus’; the fourth syllable, TO, from the 4th ring: `compedes’; and finally RE in the 5th ring. This last ring  provides a background against which to set the image thus created:  `…mulier super hydram tres cervices e quarum singulis septem exiliunt capita habentem, vacuas antrorsum tendens manus’ (De Umbris, p. 151). 

Thus you can remember the word numeratore through the following image composed by the combinatory wheel:`the god Apis weaving a rug and wearing rags with wood blocks on his feet, with, in the background, a woman stretching out her hands and riding an hydra with many heads.’

Torchia's objections to this system are too long to be listed here. His main point, following the traditional criticism of classical mnemonics, is that it requires far more cognitive effort to memorise the images than the words themselves. His observation that the figures placed on the outer ring of the wheel represent all the inventors of all the arts suggests that Bruno's object could serve as a means of discoursing on and memorising any subject, very much in the spirit of Giulio Camillo del Minio's memory theater (ibid. p. 146). This interpretation places a central importance on the images of the planets. The practitioner of the art will himself select the agent and the actions for memorising an argument and associate his selection with the astral image corresponding to the figure of inventors selected on the first outer ring (see Torchia p. 148). In this interpretation the image composed is associated with a narrative, now embedded in the astral figure. 

Such object can in fact be put to many uses. To the sources used by Bruno and listed by Mino Gabriele (Giordano Bruno: Corpus Iconographicum, pp. 36-40) could be added Leon Battista Alberti's ingenious system, expounded in his book on ciphers, by which wheels very similar in appearance to those illustrated in the De Umbris Idearum serve the purpose of coding and decoding messages - a method that can be applied to Bruno's mnemonic system. Thus while Frances Yates's earlier reconstruction is not completly accurate, and her assumption that the wheel worked by magic as an inner talisman is no longer tenable, it still offers a useful visualisation of the complex and powerful system Bruno had in mind. 

Scholarship has greeted Yates's views on Bruno and Hermeticism with considerable scepticism while less specialised literature continues to repeat her findings thanks undoubtedly to the greater diffusion of English language literature as much as to the outstanding clarity of her style. She nevertheless remains one of the first English speaking scholars to have highlighted the importance of early modern mnemonics. Writing in the early 60s, and criticised for detaching the past from Modernity, she could not anticipate that the art of memory would experience a true renaissance. Today thanks to recent technology a single individual can carry several thousands of texts, sounds and images in a container smaller than a pack of cigarettes and access them through a screen. Thus Frances Yates's studies on the survival of the Ancient art of visually organising, combining and retrieving knowledge may now be apprehended as early modern solutions to eminently contemporary problems. 

François Quiviger

[fishrpg]

2024-08-16: Hex 16 (Forest)

Fallen leaves from crowded trees cover the damp ground, each one part of steady whisper of secrets known only to the trees. The way to the southwest is difficult.

Notable Feature: Dungeon (Raider Blockade)

Small dungeon, 7 areas

The Conlan Pirates, a group of raiders that prowl the rivers and wilderness looking for “donations” from individuals burdened by material possessions, have created a blockade on the main thoroughfare, just south of the only river crossing on the Vazon River for at least 30 miles. The blockade has multiple layers spread across different parts of the thoroughfare. For those willing to pay for a “protection escort,” the pirates will escort the party through the blockade. However, wagons, horses, carts, stagecoaches, and any other conveyance beyond walking will be confiscated by the pirates and not returned. Attempting to resist brings violence and attracts the attention of the pirates elsewhere in the blockade. The blockade has been active long enough and confiscated enough items that it has a fair amount of guns that can rival the armory of Fort Sebastien.

Now the victims of the pirates have a potential plan to evict the pirates, but need a small group of capable adventurers willing to execute the plan. A stagecoach will be provided to the party, and the coach is outfitted with a safe that looks sturdy but is made of much thinner metal. The safe contains some brass ingots that are plated in gold leaf to look valuable, as well as a dynamite mechanism that will activate when a certain ingot is removed or the safe is lifted from the floor of the stagecoach. The leader of this band of pirates will likely be at the center point of the blockade, and if the party can get the safe delivered there, it will throw the pirates into disarray when it goes off and allow a secondary squad of mercenaries to clean up the pirates.

However, there is one scheme that the pirates have that may disrupt the plan. The leader of the pirates is disguised as a priest who has been taken hostage by the pirates. It’s a scheme designed to get leverage on intruders, and if the “priest” is rescued, he can surprise attack the party. But if the party succeeds in this mission, they will be given loot from the pirate hoard, including guns and several consumable magic items. Most of the magic items are in the form of bullets/shells with a bonus to hit, while another is a preserved horse’s tail that allows the bearer to summon a riding horse once a day for up to four hours.

Secret: A Matter of Honor

There exists a dueling tradition among practitioners of the Old Ways, where people who have a disagreement that is both large enough and acrimonious enough to risk the injury or death to loved ones can can decide who is in the right. After giving the offending party a token symbolizing the intent to duel (usually an animal bone with their name etched into the bone), witnesses are then selected and a date/time is set for the duel. Because of the nature of magic and curses, the targets of the duel's violence are not usually the direct participants. Other quirks about this type of duel are that the duel itself is magically cloaked so that only a small number of people can witness the event (and also so that law enforcement won't try to intervene in the bloody affair). The other, and perhaps most unusual attribute of this duel is that the participants are trying to injure themselves quickly (often resulting in a self-amputation) to maximize the damage the curse inflicts upon the opponent's loved ones.

A duel is unfolding on the roadway, and those who possess the magical tokens to witness the event see two people readying their daggers for a duel. The participants are a hotheaded young man named Raymond Gaudet, and a slightly-older and nigh-unflappable woman named Vivienne Picou. If the party decides to intervene, they must get past two armed witnesses (one for each participant) who are there to shoot anyone who tries to stop the duel before someone yields (or dies). If the party manages to stop one of the participants, the other will complete their proposed curse, and winner of the duel will provide some goods from their respective business as a gesture of thanks for helping them win. Raymond runs a carpentry shop that will use its employees to build something that the party wants, though it must be primarily made of wood and no larger than a small cabin. Vivienne is a seamstress who can provide the party with clothes that provide camouflage in a particular type of terrain or fine clothing that is befitting a noble's status (though she can't stop the enforcement of any sumptuary laws that might be in effect wherever the party goes).

[culturaldiversityday]

Inclusion : paving the way for plural, equitable and resilient societies.

Promoting the respect and appreciation for cultural diversity is a growing imperative for many countries in today’s multicultural societies and expanded mobility, which was underlined as a main cross-cutting priority of culture and arts education by respondents to the 2022 global survey. How can countries better equip learners with the knowledge and skills for social cohesion and conflict prevention through culture and creative expressions, and cater to learners from different backgrounds and with varied needs, ensuring that all learners have a fair and equal chance of succeeding in life?  

[currenthunt]

Mera Gaon, Meri Dharohar (MGMD) Programme

Government of India has decided to map and document all villages under the Mera Gaon, Meri Dharohar (MGMD) Programme.The program seeks to compile comprehensive information detailing the life, history, and ethos of Indian villages and make it available to virtual and real-time visitors. The Ministry of Culture is preparing mapping and documentation of all the villages under the 'Mera Gaon, Meri Dharohar' (MGMD) programme. The National Mission on Cultural Mapping is being run in coordination with Indira Gandhi National Center for the Arts (IGNCA) under the Ministry of Culture. A web portal on MGMD was also launched on July 27, 2023.A web portal on MGMD has also been launched. MGMD aims to compile comprehensive information about Indian villages, covering aspects of life, history, and ethos, accessible to both virtual and real-time visitors. Under the MGMD, information is collected under seven broad categories - Arts and Crafts Village - Ecologically Oriented Village - Scholastic Village linked with Textual and Scriptural Traditions of India - Epic Village linked with Ramayana, Mahabharata and/or Puranic legends and oral epics - Historical Village linked with Local and National History - Architectural Heritage Village - Any other characteristic that may need highlighting such as fishing village, horticulture village, shepherding village etc. MGMD is a component of National Mission on Cultural Mapping (NMCM), undertaken as a part of Azadi Ka Amrit Mahotsav (AKAM).Under the MGMD cultural mapping of 6.5 lakh villages is being carried out and more than 2 Lakh villages have already been mapped and uploaded on the Mission portal that serves as the National Cultural Work Place. National Mission on Cultural Mapping - NMCM has been set up by the Ministry of Culture, to identify and document India’s cultural heritage and its creative potential to regenerate and revitalise rural economies, thereby making Village India self-reliant. The Cultural Mapping will function at three levels - National Directories of artists and living human treasures of cultural industries. - Creation of National Digital Inventories/Registers of art expression and artist communities/bearers of tradition. - Evolve policies toward the preservation of art practices and develop welfare schemes for their practitioners. Mission Mandate - To create a national database through Cultural Mapping with the aid of extensive ground surveys and documentation. - To Preserve, safeguard, revitalise and disseminate the rich cultural heritage of this country for future generations. - To create a strong “Cultural Vibrancy” throughout the nation with the help of digital platforms and outreach activities. Scheme of Financial Assistance for the Promotion of Art and Culture - It is a central sector scheme, that aims to support various cultural activities and organizations in the country. The scheme has 8 components, each with a different objective and funding amount. - The scheme for Financial Assistance for the Promotion of Art and Culture consists of 8 Components, they are: - Financial Assistance to Cultural organizations with National Presence: - Provide financial support to reputed cultural organizations with a national presence to disseminate and propagate art & culture. - This grant is given to such organizations that are properly constituted managing bodies registered in India with an All India Character and have adequate working strength and a track record of spending Rs. 1 crore or more during any 3 of the last 5 years on cultural activities. - Maximum Grant: Up to Rs. 1 crore. Read the full article

[dayshoroscope]

Exploring the symbolism of the 12 zodiac signs in astrology

Exploring the symbolism of the 12 zodiac signs in astrology is a belief system that suggests a connection between celestial phenomena and human experiences and personality traits. The 12 zodiac signs are a fundamental part of astrology, and each sign is associated with specific symbolism and characteristics. Here's an exploration of the symbolism of the 12 zodiac signs in astrology:

Aries (March 21 - April 19):

Symbol: The Ram

Element: Fire

Key Traits: Aries is known for its boldness, leadership, and initiative. It represents the start of the astrological year and is associated with energy, enthusiasm, and courage.

Taurus (April 20 - May 20):

Symbol: The Bull

Element: Earth

Key Traits: Taurus is associated with stability, determination, and sensuality. It symbolizes the earthy and material aspects of life, as well as a strong sense of determination.

Gemini (May 21 - June 20):

Symbol: The Twins

Element: Air

Key Traits: Gemini is characterized by adaptability, curiosity, and communication. It represents duality and often reflects a dual nature in individuals.

Cancer (June 21 - July 22):

Symbol: The Crab

Element: Water

Key Traits: Cancer is associated with emotions, nurturing, and intuition. It symbolizes the protective and maternal instincts, as well as sensitivity.

Leo (July 23 - August 22):

Symbol: The Lion

Element: Fire

Key Traits: Leo is known for its creativity, leadership, and charisma. It symbolizes self-expression, confidence, and a desire for recognition.

Virgo (August 23 - September 22):

Symbol: The Virgin

Element: Earth

Key Traits: Virgo represents practicality, attention to detail, and a desire for perfection. It symbolizes service, organization, and analytical thinking.

Libra (September 23 - October 22):

Symbol: The Scales

Element: Air

Key Traits: Libra is associated with balance, harmony, and diplomacy. It symbolizes a strong sense of justice, fairness, and a love for beauty.

Scorpio (October 23 - November 21):

Symbol: The Scorpion

Element: Water

Key Traits: Scorpio represents transformation, intensity, and depth. It symbolizes power, passion, and the ability to navigate the depths of emotions.

Sagittarius (November 22 - December 21):

Symbol: The Archer

Element: Fire

Key Traits: Sagittarius is known for its adventurous spirit, optimism, and love for exploration. It symbolizes a quest for knowledge and personal growth.

Capricorn (December 22 - January 19):

Symbol: The Goat

Element: Earth

Key Traits: Capricorn represents ambition, discipline, and responsibility. It symbolizes a strong work ethic, goal-setting, and achievement.

Aquarius (January 20 - February 18):

Symbol: The Water Bearer

Element: Air

Key Traits: Aquarius is associated with innovation, independence, and humanitarianism. It symbolizes unconventional thinking and a desire for social change.

Pisces (February 19 - March 20):

Symbol: The Fishes

Element: Water

Key Traits: Pisces represents compassion, intuition, and artistic creativity. It symbolizes a connection to the mystical and the fluidity of emotions.

It's important to note that astrology is not a science, and its interpretations and beliefs vary among practitioners. Many people find personal meaning in their zodiac sign and use it as a tool for self-reflection and guidance, while others view it as a form of entertainment or a cultural tradition.

[ouroboros8ontology]

The Ba’alei Shem

So far we’ve only spoken about healers in general, but a variety of Jewish and non-Jewish folk medicine practitioners and healers flourished in the Pale for centuries: alchemists, pharmacists, shamans, and physicians all prescribed variations of local folk medicine. Foremost among the healers of many Eastern European Jewish communities were itinerant Kabbalists, or ba’alei shem, men who traveled widely, dispensing charms or incantations, amulets, and herbal remedies to combat the evil eye and other diseases for anyone in need of their expertise.

The ba’alei shem, “masters of the name (of God),” were a prominent feature of the Pale as both religious leaders and healers. The singular title ba’al shem signifies its bearer’s ability to manipulate holy names, including those of God and angels, along with the names of Satan and malevolent spirits, in order to conjure desired results. The ba’al shem, as a cultural universal, served largely the same role or function as the shaman or “medicine man“ in traditional societies the world over, mediating between the profane and the sacred, as an intercedar between the living and the dead. Ba’alei shem were syncretic healers: relying upon the Kabbalah (writing of the Jewish mystical traditions) for guidance, and dispensing remedies both magico-religious and herbal, including amulets, traditional plant knowledge, and pharmacopeia of the era to heal the individual and honor the Jewish mandate of tikkun olam, “repair of the world.“

Deatra Cohen and Adam Siegel, Ashkenazi Herbalism; Rediscovering the Herbal Traditions of Eastern European Jews

[lailoken]

'The Witch's Nowl'

Hallowing of the Working Ground’

“Whether it is for use by a solitary practitioner, or by an assembly of the Craft, a special place will be sought for the working of magic and rites of the Arte. It is essential that such a place is as secluded and as private as is possible, and far from the world of men', so as to be a place of wild nature and spirit forces; a place of potency. It is for these reasons that such a place might referred to as 'the lonely place', 'the secret place', 'the hidden place' or the 'haunted place'.

Where the chosen location possesses also the blessing of remoteness, journeys to visit the working ground will embody an act of magical and sacred pilgrimage. Journeying and wandering in this manner is, for the witch, a meditative and power gathering act so useful to the rites and workings of the Arte. The chosen place will also be perceived to be possessed of some special or uncanny virtue, spirit presences, and natural potency, and thus described by some as ‘pulse spots'. Such virtues are of course highly useful to the work of the witch, and places with a proximity to water are highly regarded for their liminal quality, whereby the Otherworldly may be all the more accessible.

The Wise will visit the potential working ground upon numerous occasions, there entering into exploration via contemplation and meditation, to imbibe of and engage with the spirit and essence of the place through all of the senses. Signs that a suitable place has indeed been found may take the form of the location arising in one's dreams, indicating perhaps that a deeper, working interaction is being invited.

The working ground having been positively identified, a rite may be performed in order to set the ground 'apart' and dedicate and empower the place unto its new purpose. Such a rite may also serve to forge and seal the working relationship between the Wise and the spirit of place.

Central to the rite here given for this purpose is the witch's nowl; a large nail of iron employed by some practitioners and lineages of the Craft. The witch's nowl is associated primarily with power and potency; such associations arising quite naturally from its form and the substance from which it is created. The form of the nowl is of obvious phallic nature with its attendant virtues of fertility and life giving force. Akin to the knife, the pin and the thorn, its use in magic often employs the nowl's ability to penetrate and to fix in order to convey and impart the intent and of the spell or rite, and give life and fertility to the working. Its substance, being of iron, has its old associations with power, blood and with fire; telluric and heavenly. The Nowl within witch rites, along with other items forged of iron, is regarded also as deeply emblematic of Old Tubal Cain; the ‘Hairy One', born of the ‘Serpent Blood', the first smith and bearer of Craft, skill and power.

It is a tradition found within some lineages of the Craft that a potent fire, power often depicted as a serpent, dwells within the earth, animating and empowering the land with life. This fire flows also within the body of the witch as the ‘Serpent Blooď and is itself of the Divine Fire which fell to earth from the heavens. Witch-blood, the bloodline of the Serpent, is said to have been initiated by primordial union between man and the Old Ones, the bearers of light, thus is the mystic fire often depicted betwixt the horns of the Horned One; the awakener, illuminator and forefather of the witch.

It is this Serpent Fire which shall be employed within the rite here given via the use of the witch's nowl. Within acts of operative witchcraft and cunning, the nail is often pushed or struck into the ground for various purposes. As Steve Patterson, a witch and traditional magician in Cornwall explains, the iron nail may be used to ʻpin down’ your magic onto the land, and Cecil Williamson spoke of witches putting a nail to the ground in graveyards in order to listen to the spirits of the departed.

Another item employed within the rite here given is the 'Devil's Scourge'. Within some traditions and lineages, this scourge has horse hair in place of the leather or silken thongs more often encountered in some expressions of the Craft. To many Crafters, the horse represents not only witch-divinity in both its male and female aspects, but a symbolic vehicle for magical power and force itself. It is for these associations that items relating to horses are to be found employed as magical and ritual tools within some Craft circles. Such items of course often relate to the tame or harnessed horse, and so symbolise the harnessing of power unto the will of the witch, and its conjuring into, or sending forth from the witch's circle.

The nail of course is also part of the magical symbolism of the horse, harnessed and shod. This symbolism is exemplified in the practice, found in some Craft traditions, of 'shodding the stang' whereby a nail may be ritually struck into the base end of the stang; the forked staff, sometimes called 'the Horse', representing the presence of the divine and Otherworldly power within the circle. Thrust into the earth, the nail within the stang's base represents the fallen telluric fire below to be drawn upon to empower the magical rites and workings of witchcraft.

Reified within the form of the 'Devil's Scourge' is the Serpent, thus it is a tool emblematic of telluric potency, as well as witch-power and divine force. Snake and scourge alike being also phallic in form, it too is emblematic of fertility and enlivenment. Like the iron of the nail, the fiery scourge is also exorcising and punishing in nature and so has its place within rites of banishing and blasting.

Within the empowering of the working ground however, the 'Devil's Scourge' may be employed to ritually and symbolically 'strike’ the ground in order to stir and raise the Serpent Fire of the land, to conjure forth the 'steed of power' into the circle, and to impart fertility and potency to all magical and ritual acts performed therein. Within a rite of assembled Crafters, the scourge would be employed by the presiding witch in the role of the Old One, yet is of use also to the solitary practitioner. Again, the rite here given should easily be adaptable for both circumstances.”

—

The Devils Dozen:

Thirteen Craft Rites of the Old One

‘The Witch’s Nowl’

by Gemma Gary

[oextasedeafrodite]

Myrrhophores (myrha priestess)

   A long, long time ago, there was an ancient tradition of women who worked with sacred oils for the highest good of All. These women were called Myrrhophores, also known as myrrh-bearers or mistresses of the oils. They were priestesses of an even older order whose time has returned and is with us once again. The work of these women was to anoint those approaching death and to prepare the way for the soul to soar. The sacred oil would realign people with their true soul essence, and carry them to 'other side'. The Myrrhophore would hold a vigil (usually three days) whilst praying and uttering the intonation of the oil. The combination of softly spoken voice and perfume healed the wounds in the soul caused by events not only in this life but also in the past.

This myrrh-bearing tradition has its earthly roots in the ancient temples of Egypt and is still kept alive by a few practitioners today. However, the oil itself is the High Priestess and gateway to the inner temple. Mary Magdalene was a Myrrhophore. Isis was a Myrrhophore. Cleopatra, Hatshepsut..., the names are many, and the tradition is one. The myrrhophore not only works with dis “ease” in the spirit and soul but also the disharmony within the environment. She tunes in to the subtle discordance and acknowledges its unrest. Turning to the oils, and its pure expression of the Divine, she offers herself as a bridge bringing the gift of wholeness and healing. 

In the Eastern Orthodox and Greek Catholic churches, the Third Sunday of Pascha (i.e. the second Sunday after Easter) is called the 'Sunday of the Myrrhbearers'. It is clear that during the time of Christ being a Myrrhophore was a very esteemed and honourable position to hold. So much so, that it was the most famous Myrrhophore, Mary Magdalene that got to see and speak with the resurrected Christ. We also understand that Mary Magdalene held a vigil outside the tomb for 3 days and 2 nights. Was she just sat there making sure no one entered the tomb? Or was she sat there uttering the voice of the oil, speaking the words that bridge the worlds, weaving a realm for Yeshua to travel? I have been writing about Myrrhophores for a while and have been noticing the overnight longing that arises in women when they read these words. There seems to be a quickening, a remembering and an intense desire to acknowledge that this is what we are! This is heart medicine, streaming through the soul from the Temple of the Oil. 

TRADUÇÃO

Portadoras da myrra

Há muito, muito tempo, havia uma tradição antiga de mulheres que trabalhavam com óleos sagrados para o bem maior de todos. Essas mulheres eram chamadas de miróforos, também conhecidas como portadoras de mirra ou amantes dos óleos. Eram sacerdotisas de uma ordem ainda mais antiga, cujo tempo voltou e está conosco novamente. A obra dessas mulheres era ungir os que se aproximavam da morte e preparar o caminho para que a alma voasse. O óleo sagrado realinhava as pessoas com sua verdadeira essência de alma e as carregava para o 'outro lado'. O Myrrhophore realizava uma vigília (geralmente três dias) enquanto orava e pronunciava a entonação do óleo. A combinação de voz suave e perfume curou as feridas na alma causadas por eventos não apenas nesta vida, mas também no passado.

Essa tradição carregadora de mirra tem suas raízes terrenas nos antigos templos do Egito e ainda é mantida viva por alguns praticantes hoje. No entanto, o próprio óleo é a Alta Sacerdotisa e a porta de entrada para o templo interno. Maria Madalena era uma mirfóforo. Ísis era um mirróforo. Cleopatra, Hatshepsut ..., os nomes são muitos e a tradição é uma só. O mirróforo não atua apenas com doenças no espírito e na alma, mas também com desarmonia no meio ambiente. Ela sintoniza a discordância sutil e reconhece sua inquietação. Voltando-se para os óleos e sua pura expressão do Divino, ela se oferece como uma ponte trazendo o presente da totalidade e da cura.

Nas igrejas ortodoxas orientais e católicas gregas, o terceiro domingo da Páscoa (ou seja, o segundo domingo após a Páscoa) é chamado de 'Domingo dos Portadores do Mirra'. É claro que, durante a época em que Cristo era um mirróforo, era uma posição muito estimada e honrosa de se ocupar. Tanto que foi o mais famoso Mirrhóforo, Maria Madalena, que viu e falou com o Cristo ressuscitado. Também entendemos que Maria Madalena manteve uma vigília fora do túmulo por 3 dias e 2 noites. Ela estava apenas sentada lá, certificando-se de que ninguém entrasse na tumba? Ou ela estava sentada lá proferindo a voz do óleo, falando as palavras que unem os mundos, tecendo um reino para Yeshua viajar? Eu tenho escrito sobre Myrrhophores por um tempo e tenho notado o desejo noturno que surge nas mulheres quando lêem essas palavras. Parece haver uma aceleração, uma lembrança e um desejo intenso de reconhecer que isso é o que somos! Este é o remédio para o coração, fluindo através da alma do Templo do Óleo.

Fonte: anaiya sophia

Jeshua ressucita junto a natureza na primavera (páscoa).

O título do famoso hino catolico abaixo:O título pode ter sido tirado da Segunda Epístola de São Paulo aos Coríntios, 6:18 "Vós sereis meus filhos e filhas", diz o Senhor Todo-Poderoso. " O início do hino se refere às "mulheres mirofóricas" (em grego: carregando mirra) que vieram ungir o corpo de Jesus.

O fílii et fíliae

Rex caeléstis, rex glóriae

Morte surréxit hódie, alleluia

Et mane prima sábbati

Ad óstium monuménti

Accessérunt discípuli, allelúia

Et María magdaléne

Et jacóbi, et salóme

Venérunt córpus úngere, allelúia

In álbis sédens ángelus

Praedíxit muliéribus

In galilaéa est dóminus, allelúia

Et joánnes apóstolus

Cucúrrit petro cítius

Monuménto vénit príus, allelúia

Discípulis adstántibus

In médio stétit chrístus

Dícens: Pax vóbis ómnibus, allelúia

Ut intelléxit dídymus

Quía surréxerat jésus

Remánsit fére dúbius, alleluia

Víde, thóma, víde látus

Víde pédes, víde mánus

Nóli ésse incrédulus, alleluia

Quando thómas chrísti látus

Pédes vídit átque mánus

Díxit: Tu es déus méus, allelúia

Beáti qui non vidérunt

Et fírmiter credidérunt

Vítam aetérnam habébunt, alleluia

In hoc fésto sanctíssimo

Sit laus et jubilátio

Benedicámus dómino, alleluia

De quíbus nos humíllimas

Devótas átque débitas

Déo dicamus grátias, alleluia

Filhos e Filhas

Ó filhos, ó filhas

O Rei celeste, Rei da Glória

Da morte hoje ressuscitou! Aleluia!

E na manhã depois do sábado

Para a entrada do túmulo

Foram os discípulos, Aleluia!

E Maria Madalena

E Tiago e Salomé

Vieram o corpo ungir. Aleluia!

Em vestes brancas o anjo

Disse às mulheres

"O Senhor está na Galileia!" Aleluia!

E João apostolo

Correndo ao lugar mais que Pedro

Chegou ao túmulo primeiro. Aleluia!

Aos discípulos reunidos

Entre eles estando Cristo

Disse: Paz a vós todos! Aleluia!

E a compreensão de Dídimo

Que Jesus ressuscitara

Permaneceu em dúvida. Aleuia!

Vê, Tomé, Vê o lado

Vê os pés, vê a mão

Não seja incrédulo. Aleluia!

Quando Tomés de Cristo o lado

E os pés viu e a mão

Disse: Tu és o meu Deus! Aleluia!

Felizes os que não viram

E firmemente acreditaram

Vida eterna terão. Aleluia!

Nesta festa santíssima

Seja o louvor e o júbilo

Bendigamos o Senhor. Aleluia!

Que nós humildes

Devotas e devidas

Graças demos a Deus! Aleluia!

Composição: Preacher Jean Tisserand

[adapembroke]

Icelandic Sagas and Norse Culture: A Conversation with Jared Juckiewicz

There are some people who are so interesting and knowledgeable about a fascinating subject that I wish it was culturally acceptable to hand them a lectern and microphone in social settings and ask them to give an impromptu lecture. My friend Jared Juckiewicz is one of those people.

Jared’s knowledge of Norse history and culture is legendary in our circle, and it was a privilege to have the opportunity to chat with him about the Icelandic Sagas, Jared's class on the Sagas for Nameless Academy, and why you shouldn't carry a magical banner with a raven on it into battle if you value your life.

Ada: For those who are new to the subject, what are the Sagas? 

Jared: So Merriam-Webster defines a saga as “a prose narrative recorded in Iceland in the 12th and 13th centuries of historic or legendary figures and events of the heroic age of Norway and Iceland” which is actually bang on for my definition of the historical Icelandic sagas. (I’d class things like Beowulf and the Nibelungenlied as sagas as well, but epic sagas rather than historical ones.) Most of them are attributed to one writer, an Icelandic gentleman by the name of Snorri Sturlisson, who took advantage of his position in the Icelandic Diocese to record as much of Iceland’s Oral History as he could. Each one is basically the history of one of the important families in Iceland at the time, typically going back a generation or two or three before the settlement of Iceland.   

Ada: I’m surprised that the dictionary defines “saga” as Icelandic specifically. I always thought “saga” was a synonym for “very long poem.” I’m learning something already! 

Was there something about the settlement of Iceland that inspired the Icelanders to write down all of these stories, or is it more that more of the oral tradition survived than it otherwise would have because of Snorri? 

Jared: I mean, I would definitely quibble with the definition being specific to Iceland myself. But then again, I don’t work for Merriam-Webster, so you know. Not my say.

So, it’s definitely a case that more of the oral tradition survived thanks to Snorri than it otherwise would have. Admittedly, he did impart a lot of his biases to them, given that he was Christian, in fact being heavily involved in Iceland’s organised Church, and a lot of his subject matter predates the Christianisation of Iceland. But it’s less of an issue in the historical sagas than in things like the Eddas. I suspect a part of his motivation is that the 13th Century was around the time we start to see the emergence of true national identities in northern europe, and a recorded history tends to be a large part of those. 

Ada: What sorts of challenges do readers have to be aware of accounting for Snorri’s biases, and why are those biases less of an issue with the sagas?

Jared: So the sagas are more of a historical account than the Eddas, which are a record of the icelandic forms of Norse myth. Being a historical account, there’s less room for interpretation, whereas most scholars agree that Snorris Eddas were revised, by him, to make them more palatable to the Church. So when reading the Eddas, it helps to be aware that the person recording them was a Christian, had been raised Christian, and so had certain views regarding morality and cosmology that may have (Read almost certainly did) differ significantly from how the Norse viewed things. Less of an issue with the historical sagas because history is less open to interpretation. His biases may have coloured his description of people’s motivations, but the events are likely accurate, as are the depictions of things like cultural mores and the like. 

Ada: What is your story with the sagas? How did you get interested, and what fascinates you about them?

Jared: So, I’ve always had a bit of a fascination with history. When I was at University, a friend dragged me along to a meeting of what became our local Historical Reenactment Society by dint of showing up to class with a wooden shield on his arm and a wooden sword in his belt. 

Ada: Best. Marketing. Ever.

Jared: I was hooked. Still am. Anyway, I’m like, 5’7” and am lucky if I weigh more than 120lbs. To be effective on the field of battle, I have to go for a mix of speed, savagery and complete disregard for my own personal safety. Four years of getting referred to as ‘The littlest Berserker that could’ lead to finding out everything I could about said Berserkers, which lead to the Icelandic sagas. They’re great stories. Dry reads, cause, you know, the 13th Century wasn’t known for popular fiction. But they’re very… human. Stories. Like you read them and it’s like “I can understand why that person would respond that way.” The culture is at enough of a remove that it feels fantastical, but because we’re talking about real people, and their emotions and their triumphs and their failings, it’s easy to emphasize with them, I find. 

Ada: How did you get from berserkers to the sagas?

Jared: There are a number of sagas where major characters are berserkers, or berserkers are mentioned. Viga-Glums Saga mentions a Berserker who made a living challenging farmers to Holmgangr (a sort of duel where the victor took the losers property. Given they were generally to the death, the loser didn’t tend to object). The eponymous Egil Skallagrimsson is also described as being a Berserker in some translations. As well as a Skald (poet), Sorceror, and what passed for Nobility in his period of Iceland. Part of it is also a dearth of other sources. You have some mention in the Anglo-Saxon chronicle and in similar Scots and Irish records from the time, but they mostly complain about the Norse being evil pagans come to destroy the Christians (When they aren’t complaining that the Vikings only bathe so they can get laid). There’s Adam of Bremen, but he didn’t talk much about the military side of things, which is where berserkers come in, and there’s Ibn Fadhlan, but until recently translations of his manuscripts were a bugger to get a hold of. 

Ada: What is it about the sagas that feels fantastical to you?

Jared: Everything is so much… MORE. If that makes sense? Like, there’s an account of a trial in Njall’s Saga where the defense witness perjures himself by libeling one of the victims, and the prosecuting attorney (Who happened to be related to said victim. No conflict of interest, it’s how things were done at the time) responded by impaling the witness, fatally, with a spear throw. And got away with it. They solve their disputes, when talk fails, with broadswords and battle axes. 

Ada: It’s like they actually do the things we’re all imagining doing when someone does something that’s completely out of line.

Jared: Certainly the things I imagine doing.  Although, I now realise I could explain it easier. Tolkien was a scholar of the Norse Sagas, and drew heavily on some of Snorri’s other works (particularly the Eddas) for the Hobbit and Lord of the Rings. So part of why they feel fantastical is that the definitive work for High Fantasy is based on them. 

Ada: Other than weapons, what Tolkienesque things can readers find in the sagas?

Jared: So the sagas are maybe less of an influence on his works than the Eddas, but he drew heavily on the mythology, and there are bits where that crops up in the sagas. There are also references to things like rune-carving as a means of casting spells, and at least one instance of a magic banner. Bear in mind that this was back when magic was an accepted fact of life (in fact at the time, the Catholic Church was heavily involved in magical research. There are guides on things like alchemy and necromancy and rune magic that were written in monasteries at the time). Poetry, I suppose. The Norse were big on poetry. 

Ada: I would love to dive into the intersection between history and mythology with you, but I’ll restrain myself. What’s an example of the intersection of history and myth in the sagas?

Jared: The above mentioned magic banner, actually. It crops up in Njall’s Saga and the Orkneyinga Saga, and belonged to the Jarl of Orkney. Jarl Sigurd of Orkney, to be precise. It was a Raven Banner, sewn by his mother, who was reputed to be a Volva, which was a Norse term for a female magic practitioner, particularly one who practiced fibre magics. It was, reputedly, enchanted to draw the attention of Odin and his aid, and whatever army carried it into battle would have victory, but the bearer of the banner would be slain. Well, the Battle of Clontarf in 1014 was particularly hard fought, and after he’d gone through several standard-bearers, none of Sigurd’s companions was willing to pick it up. He informed them that by spurning Odin’s gift, the battle was lost, tied it round his waist like a belt, and led his final charge. Sigurd’s side lost the battle, and the few of his immediate companions were hunted down shortly thereafter by Kari Solmundsson (admittedly for unrelated reasons).

Ada: One of the reasons I wanted to have this conversation with you is because you are going to be teaching a class on the sagas at the Nameless Academy in February. 

I’m really excited to have the chance to sit in on your class because you are a person who I regularly want to hand a lectern and microphone because you have so much knowledge and so many stories.

What is this class, and what will you be teaching?

Jared: So the class is called Íslendingasögur 101: Norse Polytheism and Medieval Culture in Icelandic Sagas.It’s a mouthful I know. Really, it’s just an introduction to pre-Christian Iceland. There’s a lot of misinformation floating about regarding the Norse. I’m not going to name any names. *Cough* Wagner *Cough* Victorian England *Cough* 

Ahem. Don’t worry, it’s not Covid, I promise. 

But no, there’s a lot of misinformation about the Norse out there, and it’s only in the past five or six decades that we’ve started to undo that. The thing is, the corrections started in Academia, and it took three or four decades before accurate information began to be easily available to the general public. So while we’re doing away with the popular image in peoples heads of the ravening barbarian with the horned helmet, it’s slow going. 

I’m hoping in future semesters to do guided self-study of some of the Icelandic studies, but because I do not want to spend all my time correcting common misconceptions, I decided to teach this first, so that anyone looking into the sagas themselves, either under the aegis of the Nameless Academy, or by themselves, is doing so with at least a basic understanding of the culture those sagas concern. 

Ada: Other than the horned helmet ridiculousness, what is a common misconception that tends to trip up newbies to the sagas?

Law. The Norse had the greatest respect for their Laws, even if they didn’t always follow them. Because of how sparsely settled Iceland was, and given the lack of urbanisation, they didn’t have permanent courthouses like you find nowadays. Instead they all met up at regular intervals at what was known as a ‘Thing’. No that is not a typo, it was actually called a Thing. The big one in Iceland was held at Thingvellir or “Place of the Thing”. “Field of the Thing”? I do not (yet) speak Old Norse and I’ve seen multiple translations. It was sort of a combination of court and county fair, that was opened by a member of the community, the Lawspeaker, reciting a portion of the legal code to all assembled. It was a great honour to be chosen as the Lawspeaker, even if it also meant moderating all the suits. 

One of the most famous Sagas (and my personal favourite) actually focuses heavily on the Laws and Legal matters. In fact, more attention is paid in most sagas to legal nitty-gritty than to pitched battles. 

Ada: Other than an interest in history, why might people want to take your class?

Jared: Perspective. People don’t change, even if the places and laws and the cultures do. It’s also a conversation piece. I mean, you can back me up on this. I can relate almost anything to the Sagas.

Ada: That is absolutely true. I feel sometimes when you're talking like they're stories that are happening now.

If people wanted to read the Sagas, where do you suggest they start?

Jared: So, if you prefer Dead Tree Editions, most of my hardcopies were released by either Penguin Classics or Oxford University Press. They tend to be older translations, but still very good, and I’ve never had a problem finding them at good second-hand bookstores or my local library. Well. Never had a major problem. And in this time of Covid, if you don’t want to go out or have someone bring a copy to your door. 13th Century is pretty much Public Domain now, so there are a few of the sagas available as ebooks through Project Gutenberg. Alternately, there’s an Icelandic Non-Profit that hosts a website, sagadb.org which hosts all the extant Icelandic sagas in a variety of languages and formats (although not all of them are available in English). If I do manage to lead some guided self-study it’s likely to be the SagaDB translations I use. Amongst other things, they’re free. 

Ada: Thank you so much for talking with me, Jared. 

How can people who are interested in learning more about you and your class find you?

Jared: So I’m on Tumblr. At present I’m A-Krogan-Skald-And-Bearsark, and if that changes, only the article and the first identifier will change. Admittedly, I don’t curate my Tumblr AT ALL. So there’s a bit of everything on it. 

I’m also on Discord, and you can reach me there on the Nameless Academy server as Jared, or on Polytheists or Diviners Anonymous as JehanCriec. Mind you, my internet access can be sporadic, so if you don’t hear back from me right away, don’t take it as a slight, I’m just on a boat and will respond as soon as I get a chance.