Thursday, February 12, 2009

Berkana Rune Of Fertility And A New Start

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


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

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

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

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


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

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

Wednesday, February 11, 2009

The Sons Of Odin A Heroic Analysis Of The Volsunga Saga

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

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

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

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

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

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

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

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Monday, February 9, 2009

Common Germanic Deities

Common Germanic Deities Image

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

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

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

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

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

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

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Saturday, February 7, 2009

Goddess Freya

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

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

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Monday, February 2, 2009

What Is A Warlock

What Is A Warlock Cover

Book: What Is A Warlock by Lil Bow Wow

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

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Sunday, February 1, 2009

Who Were The Viking Gods

Who Were The Viking Gods Cover If you want to remember the main Viking gods, just think of the days of the week. Tuesday was once Tyr's Day after the god Tyr. Wednesday was once Odin's Day, after the god Odin. And Thursday was Thor's Day, after Thor. Friday was Freya's Day, after Freyr, or Freyja. These names came down from early English, which was strongly influenced by Norse names and other words dating to the times of these gods. The Vikings believed in these and other lesser gods, as did other people in Northern Europe at the time. In Germany, for example, Odin was Wotan or Wodan, as known in the myths and gods of the Wagnerian Operas. Odin was the god of death or battle, ruling over Valhalla where warriors went after heroic death. Tyr was the god of the sky, bringing daylight and dark. Thor, or thunder god, was the god of war, the storm god, and a mighty warrior whose weapon was Thor's Hammer. Njord was god of the sea, bringing luck to sailors. He was the father of Freyr and Freyja. Freyr and his sister Freyja were the gods of harvest and fertility. Other lesser gods & heroes included Loki, god of mischief and trickery, Heimdal, guardian of the rainbow bridge into Asgard, dwelling place of the gods, Aegir, Ran, Hoenir, and others. There were also giants, dwarfs and monsters. Most of these gods were known to have evolved well before the Viking age which was mainly the ninth and tenth centuries. Some say they are roughly equivalent to and derived from the ancient Greek gods known in southern Europe. These gods all existed in a world known to the Vikings, mainly as great heroes of an earlier time. Vikings would often choose from these gods one of special appeal to them, to honor and to ask for good luck, victory in battle, bountiful harvests, and the like. Many wore a miniature Thor's hammer on their necks as a good luck charm. By the eleventh century, Christianity had spread into most of Scandinavia and was replacing these older beliefs. In some remote areas, however, older practices and superstitions continued among the people for several hundred years, often alongside Christianity.

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