Showing posts with label pagans. Show all posts
Showing posts with label pagans. Show all posts

Thursday, February 14, 2008

Valentines Day Hour Of The Wolf

The ancient Roman orgiastic festival of Lupercalia, was transformed into St. Valentine by Christianity and then into Valentines Day by the English finally to become dominated by commercial American Greeting Card and Confectionery interests in the 19th Century.


The youths then donned loincloths made from the skin of the goat and led groups of priests around the pomarium, the sacred boundary of the ancient city, and around the base of the hills of Rome. The occasion was happy and festive. As they ran about the city, the young men lightly struck women along the way with strips of the goat hide. It is from these implements of purification, or februa, that the month of February gets its name. This act supposedly provided purification from curses, bad luck, and infertility.
http://www.jonfoster.com/illustration%20images/illustration%20images1%20copy/lupercalia.gif

LUPERCAŹ¹LIA, one of the most ancient Roman festivals, which was celebrated every year in honour of Lupercus, the god of fertility. All the ceremonies with which it was held, and all we know of its history, shows that it was originally a shepherd-festival (Plut. Caes. 61). Hence its introduction at Rome was connected with the names of Romulus and Remus, the kings of shepherds. Greek writers and their followers among the Romans represent it as a festival of Pan, and ascribe its introduction to the Arcadian Evander. This misrepresentation arose partly from the desire of these writers to identify the Roman divinities with those of Greece, and partly from its rude and almost savage ceremonies, which certainly are a proof that the festival must have originated in the remotest antiquity. The festival was held every year, on the 15th of February,a in the Lupercal, where Romulus and Remus were said to have been nurtured by the she-wolf; the place contained an altar and a grove sacred to the god Lupercus (Aurel. Vict. de Orig. Gent. Rom. 22; Ovid. Fast. II.267). Here the Luperci assembled on the day of the Lupercalia, and sacrificed to the god goats and young dogs, which animals are remarkable for their strong sexual instinct, and thus were appropriate sacrifices to the god of fertility (Plut. Rom. 21; Servius ad Aen. VIII.343).b Two youths of noble birth were then led to the Luperci, and one of the latter touched their foreheads with a sword dipped in the blood of the victims; other Luperci immediately after wiped off the bloody spots with wool dipped in milk. Hereupon the two youths were obliged to break out into a shout of laughter. This ceremony was probably a symbolical purification of the shepherds. After the sacrifice was over, the Luperci partook of a meal, at which they were plentifully supplied with wine (Val. Max. II.2.9). They then cut the skins of the goats which they had sacrificed, into pieces; with some of which they covered parts of their body in imitation of the god Lupercus, who was represented half naked and half covered with goat-skin. The other pieces of the skins they cut into thongs, and holding them in their hands they ran through the streets of the city, touching or striking with them all persons whom they met in their way, and especially women, who even used to come forward voluntarily for the purpose, since they believed that this ceremony rendered them fruitful, and procured them an easy delivery in childbearing. This act of running about with thongs of goat-skin was a symbolic purification of the land, and that of touching persons a purification of men, for the words by which this act is designated are februare and lustrare (Ovid. Fast. II.31; Fest. s.v. Februarius). The goat-skin itself was called februum, the festive day dies februata, the month in which it occurred Februarius, and the god himself Februus.

http://www.greeklandscapes.com/images/athens_museum/DSC00839.jpg
Robert Esiner in his provocative study; Man into Wolf associates the Lupercalia leather eros and public S&M rituals with the modern phenomena of lycanthropy;werewolfism and vampirism. Which was brilliantly portrayed in the movie the Howling, one of the most under-valued cult werewolf films of the eighties.

MAN INTO WOLF 

AN ANTHROPOLOGICAL INTERPRETATION

OF SADISM, MASOCHISM, AND LYCANTHROPY

In analysing the basic factors leading to sadism and maso-
chism Dr. Eisler draws attention to what he describes as 'a feeble
sympathetic resonance', the lack of emotional response, the
insanity affecting altruistic feeling which forms so large a part
of the constitution some of us describe as the psychopathic per-
sonality. This, however, according to Eisler, is not simply a
throw-back to primeval savagery, for, as he shows, primitive
man in his primeval forest was not a killer but rather a peaceful
creature le bon sauvage. In confirmation of this fact the author
mentions numerous small tribes who have never as yet heard
of or encountered war. Killing and being killed has been a
developmental process whereby the carnivorous, predatory
packs, the ancestors of the hunting and game-seeking tribes,
have preyed on the vegetarian, frugivorous, peace-loving herds.
Eisler elaborates his theme by utilizing Jung's conception of
archetypal race memories. Such memories may be not only
ancestral, but may occur even in the sub-human animal strata



So this valentines day let your inner wolf out.

http://www.jayfife.com/images/art/werewolf.jpg

SEE:

A Little Eros For Valentine's Day


Passover Song




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Friday, December 21, 2007

Fiat Lux


Let There Be Light

The winter solstice — what many refer to as the shortest day of the year — arrives on Friday at 11:08 p.m. Of course, the day still has the same amount of time but the amount of daylight is at its least. Sunrise on the solstice is at 8:10 a.m. and the sun sets at 4:36

It is the longest night of the year but it has been celebrated by humans since the beginning as the rebirth of the sun. It fills this season with that most ancient human aspiration; hope.

SEE

Happy Solstice

Tannenbaum

Keeping the 'X' in X-MAS

The Monument Builders

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Sunday, September 02, 2007

Bush Apologizes to Witches


Good news Wicca has been officially recognized by the U.S. Military as a religion.
In this BBC report an update on the recent recognition of Wicca as a religion by the U.S. military.



Pagan branch gains strength

31 Aug 2007

Image: Pagan branch gains strength
Small Video Icon

Followers of Wicca, a branch of paganism, have stepped up efforts for recognition of the religion.
Of course considering the U.S. military operates from the Pentagon, itself a form of Pentagram, and uses the Star on as its symbol on its equipment, perhaps they realized how silly this was. Or perhaps their reluctance was that they were afraid of being outed as a Satanic conspiracy like poor old Procter and Gamble.

A Wiccan military family who got dissed last week by President Bush when he was meeting with military families who lost loved ones in Iraq, gains an apology from the Pres.

Americans United for Separation of Church and State today commended President George W. Bush for his apology to a Wiccan war widow who was excluded from a private meeting with veterans and their deceased family members in Nevada earlier this week.

Roberta Stewart, whose husband Sgt. Patrick Stewart was killed in combat in Afghanistan, was not invited to meet with Bush and other family members of soldiers who have died in combat. Other members of Sgt. Stewart's family were invited to the meeting.

"He apologized for the exclusion and the error that was made and said that he admired me for my spirit and thanked me for accepting his apology and said that he hoped he would have the opportunity to someday meet me," Stewart continued. "I was very pleased with the way the conversation went, very pleased that he did call and put this right."

Lynn asked Stewart if the president touched upon her Wiccan faith. She replied that the president told her that "he would not discriminate against someone because of their religion."

Unlike other Born Again Christians who are still at war with the Old Religion.

The Return of the Old Gods: A Challenge to Green Evangelicals
Just as they are against secular society which allows Wicca and other alternative religions to flourish in spite of Christian Hegemony.



See:

Gone to Croatan

Whitman Wicker Man

The Wicker Man Review

Wicca

Pagan




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Friday, May 18, 2007

Gone to Croatan

I will not be blogging for the next few days as I am off to present a paper on; The Book of Vles and Ukrainian Neo-Paganism at the Gaia Gathering; The Canadian National Pagan Conference in Winnipeg over the long weekend. This is the third year this conference has happened.

Abstract

Discovered in a Ukrainian bombed out home at the end of WWI a set of wooden boards inscribed in runes was translated in the 1950’s and transcribed into English in the 1970’s. Known as the Book of Vles (or Veles[1]) the translator purports it to be the oldest known written account of pagan pre-Christian beliefs in the Ukraine.

The pagan traditions of the Ukraine being largely undocumented meant The Book of Vles was mired in controversy. Its discovery by a White Russian officer associated with the counter-revolutionary forces of Denikens[2] White army has led critics to devalue its authenticity. More modern writers use this dubious origin in an effort to associate it with modern racialist nationalists and Anti-Semites.

With modern research being conducted in the fields of ethnography, anthropology, archaeology, religious studies, and the opening up of the Ukraine to Europe as a democratic regime, the pagan lore in the Book of Vles is being validated by new discoveries.

This paper looks at the Book of Vles in light of the information we have on pagan traditions in the Ukraine, and in light of the work of Maria Gimbutas who herself was no stranger to controversy.



[1] Vles or Veles refers to a particular Ukrainian pagan diety.

[2] Deniken led the White Army a counter revolutionary force against the Ukrainian Anarchist Army of Nestor Makhno and the Bolsheviks Red Army under Trotsky, another Ukrainian, in the Russian Civil War 1918-1921.


See ya next week.


Oh yeah about Croatan;

TAZ: "Gone to Croatan"

The Search For Croatan

Gone to Croatan: Origins of North American Dropout Culture

Preface to Gone to Croatan

Gone to Croatan: Origins of American Dropout Culture. - book reviews


COMIN' HOME
Defining Anarcho-Primitivism with John Moore

Interview--John Zerzan

THE TEMPORARY AUTONOMOUS ZONE



Gone to Croatan



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Monday, April 30, 2007

Tax Time and Walpurgisnacht


There is something sinister about the Canadian Tax system. It is declared that we must file taxes by Midnight April 30. This is Walpurgisnacht, or night of the witches, the ancient pagan festival of fire; Beltane, and consumption of the last of the salted meat from harvest in celebration of the new life of spring.

Death and Taxes as they say. Leads to rebirth new life.

Walpurgisnacht,night of the witches the celebration of the end of darkness and the fire rituals of spring. We pays our taxes and hopes we gets some back from the tax man. A sacrifice, even if it is in coin, as the season demands.

Goethe and Mendelssohn express this Euroean pagan tradition in verse and song.
Mendelssohn's Choral arrangement is a modernist paenan to paganism. But damn we still must give unto Caesar; the real meaning of the festival of fools........

Mendelssohn’s Walpurgisnacht
Conductor :
ValƩrie Fayet
Walpurgis Night, based on a work by Goethe, celebrates the popular tradition which talks about pagan gatherings taking place on the “witches' mountain” during the night of May 1 st.
Mendelssohn's work is admirably clear, colourful and full of energy.

Die erste Walpurgisnacht Op. 60: So weit gebracht, dass wir bei Nacht
Listen
Die Erste Walpurgisnacht, cantata for chorus & orchestra, Op. 60 So weit gebracht, daƟ wir bei Nacht
Composed by Felix Mendelssohn
Performed by Chamber Orchestra Europe
Conducted by Nikolaus Harnoncourt

A period of travel and concert-giving introduced Mendelssohn to England, Scotland (1829) and Italy (1830-31); after return visits to Paris (1831) and London (1832, 1833) he took up a conducting post at DĆ¼sseldorf (1833-5), concentrating on Handel's oratorios. Among the chief products of this time were The Hebrides (first performed in London, 1832), the g Minor Piano Concerto, Die erste Walpurgisnacht, the Italian Symphony (1833, London)


6533 Mendelssohn: Walpurgisnacht

5. Die Erste Walpurgisnacht, Op. 60: Ouverture: 1. Das schlechte 2. Der Ubergang zum Fruhling -
6. Die Erste Walpurgisnacht, Op. 60: I Es lacht der Mai! -
7. Die Erste Walpurgisnacht, Op. 60: II Konnt ihr so verwegen handeln? -
8. Die Erste Walpurgisnacht, Op. 60: III Wer Opfer heut' zu bringen scheut -
9. Die Erste Walpurgisnacht, Op. 60: IV Verteilt euch hier -
10. Die Erste Walpurgisnacht, Op. 60: V Diese dumpfen Pfaffenchristen - Kommt mit Zacken und mit Gabeln -
11. Die Erste Walpurgisnacht, Op. 60: VII So weit gebracht - VIII Hilf, ach hilf mir, Kriegsgeselle - IX Die Flamme reinigt sich vom Rauch -
O+1+2.nwc:0: Overture
:1: Now may again
:2: Know ye not a deed so daring?
3+4.nwc :3: The man who flies
:4: Disperse, ye gallant men
5+6+7+8+9.nwc:5: Should our Christian foes assail us
:6: Come with torches brightly flashing
:7: Restrain'd by might
:8: Help, my comrades
:9: Unclouded now, the flame is bright


"...don't you think this could become a new kind of cantata?" Rituality, Authenticity and Staging in Mendelssohn’s Walpurgisnacht

Assuming a potential analogy between art and ritual, or between art and the interpretation of ritual as a Gesamtkunstwerk,
the question arises as to what degree boundaries or transitions between aesthetic presentation, staging and identification with ritual can be determined in art. This topic could be discussed in terms of reception-aesthetics, with the question of the participation of an implicit or exclusive audience in ritual or in art. On the other hand, the perspective of this question can also be developed, as in this article, in terms of production-aesthetics, using the model of a musical composition based on a preexisting literary text. In Goethe's and Mendelssohn's texts,' not only their cultic-religious rituality will be investigated, but also the problem of how far beyond the cultic subject the immanent formative principles of ritual in terms of music are effective. Although in his early ballad Die erste Walpurgisnacht (The First Walpurgis Night) of 1799 Goethe distinguished the pagan Walpurgis night from the classical and romantic in both stages of Faust, in his own way Mendelssohn related these three forms of ritual directly to one another within one work.

Cantata - LoveToKnow 1911

In modern times the term cantata is applied almost exclusively to choral, as distinguished from solo vocal music. There has, perhaps, been only one kind of cantata since Bach which can be recognized as an art form and not as a mere title for works otherwise impossible to classify. It is just possible to recognize as a distinct artistic type that kind of early r9th-century cantata in which the chorus is the vehicle for music more lyric and songlike than the oratorio style, though at the same time not exclude ing the possibility of a brilliant climax in the shape of a light order of fugue. Beethoven's Glorreiche Augenblick is a brilliant "pot-boiler" in this style; Weber's Jubel Cantata is a typical specimen, and Mendelssohn's Walpurgisnacht is the classic.

The Jews seem fated to wanDer forever among other nations and be faced perpetually with minority status and a legitimate pressure to acculturate and assimilate. If one compares the ending of The Eternal Road to Felix Mendelssohn's setting of Goethe's Die erste Walpurgisnacht, one is struck by a vital difference. Mendelssohn, although bearing the most celebrated name in early nineteenth-century German-Jewish history, had been converted and become a devout Protestant. Nevertheless through his music he celebrated with empathy and pride the courageous resistance of the Druids to the siege on their traditions and beliefs laid by violent Christian attackers. In contrast, The Eternal Road ends much more ambiguously with a vague hope for a return to Zion among a defeated and divided community, bowing to a fate of perpetual exclusion, persecution, and powerlessness.


Mendelssohn, Goethe, and the Walpurgis Night

The Heathen Muse in European Culture, 1700-1850
John Michael Cooper


Mendelssohn, Goethe, and the Walpurgis Night is a book about tolerance and acceptance in the face of cultural, political, and religious strife. Its point of departure is the Walpurgis Night. The Night, also known as Beltane or May Eve, was supposedly an annual witches' Sabbath that centered around the Brocken, the highest peak of the Harz Mountains.
After exploring how a notoriously pagan celebration came to be named after the Christian missionary St. Walpurgis (ca. 710-79), John Michael Cooper discusses the Night's treatments in several closely interwoven works by Goethe and Mendelssohn. His book situates those works in their immediate personal and professional contexts, as well as among treatments by a wide array of other artists, philosophers, and political thinkers, including Voltaire, Lessing, Shelley, Heine, Delacroix, and Berlioz.
In an age of decisive political and religious conflict, Walpurgis Night became a heathen muse: a source of spiritual inspiration that was neither specifically Christian, nor Jewish, nor Muslim. And Mendelssohn's and Goethe's engagements with it offer new insights into its role in European cultural history, as well as into issues of political, religious, and social identity -- and the relations between cultural groups -- in today's world.


Among some of his (Goethe’s) most engaging/compelling musical experiences of his late maturity were the visits of Felix Mendelssohn, who was 12 years old in 1821 and had been introduced to Goethe personally in Weimar by his (Mendelssohn’s) teacher, Zelter. Further visits took place in 1822, 1825, and 1830. Goethe had Mendelssohn play for him and explain to him technical matters concerning music and music history. This relationship became one of tender devotion on the part of Goethe towards Mendelssohn: in 1822 Goethe said to Mendelssohn: “I am Saul and you are my David,” and in his last letter to Mendelssohn, Goethe began with “My dear son.” Mendelssohn dedicated his Piano Quartet in B minor, opus 3 to Goethe and composed music for “Die erste Walpurgisnacht” (1st version in 1832)…. Goethe was eager to hear instrumental music which was played by Reichardt, Kayser, Zelter, Eberwein, Hummel, Spohr, Beethoven, Baron Oliva, Szymanowska (female pianist), J. H. F. SchĆ¼tz, and finally by Mendelssohn whom he repeatedly asked to play something for him.”]


Mendelssohn's Die erste Walpurgisnacht, one of his greatest cantatas, was based on Goethe's Faust, and on Goethe's personal interpretation of the scene (Grove Dictionary 146). Mendelssohn's friendship with the poet lasted for a great many years, up until Goethe's death in 1832.

The first Walpurgisnacht

The Ouverture represents the transition from the winter to spring. The beginning in A-Moll is overwritten with “the bad weather”, while with the idiom into the Dur variant approaching the Walpurgisnacht in spring is announced. It is described in the following, as the priests and Druiden of the Celts meet secretly in the inhospitable mountains of the resin, in order to address after old custom with fire their prayer to the all father of the sky and the earth. Since their rites are forbidden by the Christian gentlemen however, everything must happen in the secret one. With cheat and to linings the soldiers of the Christians were frightened in such a manner that the Celts in peace can celebrate their Walpurgisnacht.
There are two WalpurgisnƤchte in Goethe's work. Admits is above all that from that fist I, in which a typical Hexensabbat is sworn to in visionƤr grotesque way. On the other hand Goethe takes poem the first Walpurgisnacht a heidnisches victim celebration developed to 1799 in that during thunderstorm eight to the cause to confront two incompatible ways of thinking and being LV each other.
Whole 19. Through century the romantic composers let themselves fist be inspired again and again from the picture world of the I and fist II, while the first Walpurgisnacht remained almost unknown. Only Carl Friedrich Zelter, Goethe friend and musical advisor, have try, the poem tone. It kept full fifteen years it under its papers, before it took distance finally from a project, which exceeded its imagination.
That was introduced by Zelter at that time twelve-year-old boy Mendelssohn with around sixty years the older Olympier Goethe, whom time and fame had coined/shaped. By Beethoven and Schubert to judge, understood the old gentleman not much about music. In its youth he had heard some of the Mozarts' works, whose clarity and harmony it zollte still at the age attention and acknowledgment; and it found favours to feel with the citizen of Berlin miracle child from good family the aftereffect of those melodies in those the ideal of its own youth lived. It would be inaccurate to speak of a co-operation between Goethe and Mendelssohn. The first important piece, to which the poet energized the young musician, was the OuvertĆ¼re sea silence and lucky travel, which arrived only in the year 1832, Goethe's death year, at the public performance. That Goethe would have known to appreciate a music, so clearly under Beethovens the influence is to be doubted. Just as little it the score of the first Walpurgisnacht would have probably behagt. The work, in which orchestras and voices verwoben closely into one another are, becomes not completely fair the central thought of the artist Philosphen. From its “Faible for witches” seduced, Mendelssohn stated little interest in the deeper meaning of the poem: the always-lasting conflict between the instinktiven natural forces on the one hand and the mental clarity of a thought world coined/shaped by the clearing-up on the other hand. With the primarily romantic treatment of the article it remains on the level of a descriptive poem and tears us in tumbles uncontrolled thunderstorm eight.
The 1831 completed first minute of the score experienced substantial changes, before she arrived to 1842 at the premiere. Goethe did not experience no more, which regulation to his verses assign became, whose Vertonung lends a fascinating juvenile fire to them. Mendelssohn proves here as genuine romantics. It uses a pallet of magnificent tone qualities, lets the horns from the supple fabric of the Streicher step out and gives to the HolzblƤsern a most personal note. The choirs are from a Schlichtheit, which lends occasionally the serious character of a Volksliedes to them, while proper large airs are assigned to the soloist.
The whole wealth of the romantic opera is united in this musical illustration of a poem, which reminds at the Feenzauber of shakespearscher scenes. The choir of the Druiden (No. 6 of the score) is from an imaginativeness, which only the late Verdi in the last act of its Falstaff reaches again. The composer, at whom Goethe estimated the causing its own youth, somehow not completely up-to-date one, appears here surprisingly as one of the prophets of the music 19. Century. With deciveness it secures the transition from Beethoven to the large rhapsodies of Brahms.
Jean Francois Labie
(Translation: Ingrid trusting man)


G O E T H E ' S   P A G A N   P O E T R Y

Goethe, a genius with unmistakable Pagan sympathies,
excelled as a poet, dramatist, novelist, essayist,
philosopher and scientist (his works occupy 140
volumes!). Here are several of his Pagan poems,
including his ballade "The First Walpurgis-Night," in
which the Pagans score a Discordian victory over their
oppressors. (I'm sure Goethe now dwells happily among
the Pagan Gods.) The ballade has been set to music by
Mendelssohn (Die Erste Walpurgisnacht), which is quite
good, but not suitable for small group performance.
Perhaps the Muses will help some modern Pagan to
compose a version for contemporary witches' sabbats.
Although only the God (Allvater) is mentioned, I've
left Goethe's text unchanged; it's easy to substitute
"Mother" for some or all of the "Father"s if you like.
-- John Opsopaus


THE FIRST WALPURGIS-NIGHT
Johann Wolfgang von Goethe

A DRUID.

Sweet smiles the May!
The forest gay
From frost and ice is freed;
No snow is found,
Glad songs resound
Across the verdant mead.
Upon the height
The snow lies light,
Yet thither now we go,
There to extol our Father's name,
Whom we for ages know.
Amid the smoke shall gleam the flame;
Thus pure the heart will grow.

THE DRUIDS.

Amid the smoke shall gleam the flame;
Extol we now our Father's name,
Whom we for ages know!
Up, up, then, let us go!

ONE OF THE PEOPLE.

Would ye, then, so rashly act?
Would ye instant death attract?
Know ye not the cruel threats
Of the victors we obey?
Round about are placed their nets
In the sinful Heathen's way.
Ah! upon the lofty wall
Wife and children slaughter they;
And we all
Hasten to a certain fall.

CHORUS OF WOMEN.

Ay, upon the camp's high wall
All our children loved they slay.
Ah, what cruel victors they!
And we all
Hasten to a certain fall.

A DRUID.

Who fears to-day
His rites to pay,
Deserves his chains to wear.
The forest's free!
This wood take we,
And straight a pile prepare!
Yet in the wood
To stay 'tis good
By day till all is still,
With watchers all around us placed
Protecting you from ill.
With courage fresh, then, let us haste
Our duties to fulfil.

CHORUS OF WATCHERS.

Ye valiant watchers now divide
Your numbers through the forest wide,
And see that all is still,
While they their rites fulfil.

A WATCHER.

Let us in a cunning wise,
Yon dull Christian priests surprise!
With the devil of their talk
We'll those very priests confound.
Come with prong and come with fork,
Raise a wild and rattling sound
Through the livelong night, and prowl
All the rocky passes round.
Screech-owl, owl,
Join in chorus with our howl!

CHORUS OF WATCHERS.

Come with prong, and come with fork,
Like the devil of their talk,
And with wildly rattling sound,
Prowl the desert rocks around!
Screech owl, owl,
Join in chorus with our howl!

A DRUID.

This far 'tis right,
That we by night
Our Father's praises sing;
Yet when 'tis day,
To Thee we may
A heart unsullied bring.
'Tis true that now,
And often, Thou
Favorest the foe in fight.
As from the smoke is freed the blaze,
So let our faith burn bright!
And if they crush our olden ways,
Who e'er can crush Thy light?

A CHRISTIAN WATCHER.

Comrades, quick! your aid afford!
All the brood of hell's abroad:
See how their enchanted forms
Through and through with flames are glowing!
Dragon-women, men-wolf swarms,
On in quick succession going!
Let us, let us haste to fly!
Wilder yet the sounds are growing,
And the arch fiend roars on high;
From the ground
Hellish vapors rise around.

CHORUS OF CHRISTIAN WATCHERS.

Terrible enchanted forms,
Dragon-women, men-wolf swarms!
Wilder yet the sounds are growing!
See, the arch fiend comes, all-glowing!
From the ground
Hellish vapors rise around.

CHORUS OF DRUIDS

As from the smoke is freed the blaze,
So let our faith burn bright!
And if they crush our olden ways,
Whoe'er can crush Thy light?

[Bowring translation]


THE CONSECRATED SPOT

When in the dance of the Nymphs, in the
moonlight so holy assembled,
Mingle the Graces, down from Olympus in secret
descending,
Here doth the minstrel hide, and list to their
numbers enthralling,
Here doth he watch their silent dances'
mysterious measure.
[tr. Bowring]


[All selections from "The Poems of Goethe," New York:
John D. Williams, 1882.]

finis



The Romantic Mendelssohn: The Composition of Die erste Walpurgisnacht

JSTOR: The Music of To-Day

THE FAUST LEGEND IN MUSIC



SEE

Paganism


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Thursday, February 08, 2007

Halloween Election?

So much for Ontario's historic first "fixed" election date.
Premier Dalton McGuinty's government has switched the much-ballyhooed Oct. 4 provincial election to Oct. 10 because of a conflict with the Jewish holiday of Shemini Atzeret.
With the change, this year's election will fall on a Wednesday, instead of a Thursday, the traditional day for votes in Ontario. Democratic Renewal Minister Marie Bountrogianni said that's because Ontario's chief election officer, John Hollins, was concerned Oct. 11 might infringe on that week's Eid al-Fitr holiday, which marks the end of the Muslim holy month of Ramadan. "The Jewish holiday pre-dates Dalton McGuinty's legislation. You think they would have figured this out from the beginning. This is incompetence."Hudak said, noting the holiday concern has been raised for two years.


Oh heck hold it on Halloween.

I am sure most pagans wouldn't mind, and besides it would be appropriate.

After all politicians are masters of disguising their true intentions.

And like ghosts and goblins they go door to door seeking to trick or treat.

And it is a celebration of ancestor worship and the dead, oh sorry that's the Senate.



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Thursday, February 01, 2007

Pagans Party


The discovery of an ancient village at Stonehenge proves what neo-pagans have known all along, we know how to party!

After 4,600 years, we still gather for festivals.
The discovery reconfigures the geometry of Stonehenge, indicating that it is not an isolated monument but part of a larger religious complex that may have encompassed the area. It also casts the people who built the monument in an unexpected light, indicating that they were not only the somber worshipers of Stonehenge but also a raucous, hard-partying group who gathered for regular festivals.
An earlier discovery found that the village at Stonehenge may have been a gathering place of pagans from across Europe.

This is demonstrated by the 'Amesbury Archer', recently found in a 4,000-year-old grave, one of Europe's richest, near Stonehenge.

He was surrounded by about 100 items, including golden hair ornaments - some of the earliest gold objects found in Britain.

But his teeth provided the real surprise. Tests on their enamel, formed in early childhood and which contains telltale chemical signatures from local soil and rocks, showed the archer came from the Alps while the ornaments found in his grave were traced to Spain and France.

This discovery suggests that metalworkers from the Continent had already begun to trade and work in tin, copper and other metals in Britain 4,000 years ago and may have played key roles in building Stonehenge. The monument appears to have been the centre of major activity by travellers roaming across Britain, Ireland and the Continent.



See

The Monument Builders

Here Comes The Sun

Pyramid in Ukraine




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