Tag Archive: Ireland


Beautifully written! Whenever I think of Lughnasadh, I not only think of Lugh, but of the Goddess Tailtiu and Her great sacrifice. It was on Her deathbed that Queen Tailtiu asked that funeral games be held annually on the ground that She cleared that ultimately caused Her demise.

“Tailtiu was the last queen of Her kind, a feminine energy that felt the longing of humanity. When the time is right, She gives birth, delivers the sheaves of wheat, then She dies, a need fulfilled….but soon She will rise again.” ~ MXTODIS123

Deanne QuarrieWe are approaching the season of Lughnasadh, also known as Lammas.  This is the first of three harvest festivals.  This one focuses on what we call the “first fruits”, those fruits, vegetables and grains ripening early in the season. The other two are Mabon and Samhain, one celebrating the harvest of the last crops and the next that of the herd animals sacrificed to feed the tribes.

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Goddess Oonagh

Art by Howard David Johnson

“Oonagh’s themes are fairies, nature, devotion and relationships. Her symbols are all fairy plants, silver and dew.  This ancient Irish Queen of the Fairies is also a potent Goddess of magic. In Irish legends, Oonagh is a faithful wife and the most beautiful of all Goddesses, having long silky hair and a robe of silver and dew. Today She brings the fey into our lives to remind us of the unseen worlds and to awaken the child within each of us that dares to dream and wish.

Sometime in November, the people of ancient Ireland celebrated a day for the ‘wee folk’ known as the Lunantishees.  This was a time to revel in fairy folklore and superstition.  We can honor Oonagh and Her children by following suit. Today wear green, which is a favorite fairy color. Don some pleasant-sounding bells that tinkle lightly when you walk. Fairies love this sound.  Or, carry a staurolite stone, also known as the fairy cross. This stone not only brings luck but also helps in controlling elemental beings such as the fey.

To see fairies today, find a four-leafed clover and lay seven kernels of grain beneath it. Or go to an area where oak, ash and thorn trees grow together. This is said to be sacred ground for both the fey and Oonagh.

If you’re concerned about fairy mischief, wear red for protection. Or, carry some flint as the Irish did to keep fairies at arm’s length.”

(Patricia Telesco, “365 Goddess: a daily guide to the magic and inspiration of the goddess”.)

Art by Gloria Scholik

Patricia Monaghan tells us that Oona (pronounced OO-nuh) was “the most beautiful of Ireland’s fairy queens.  She was said to have golden hair so long it swept the ground; She flew through the earth robed in gossamer silver bejeweled with dew.  Oona lived with the fairy king Finnvara [High King of the Daoine Sidhe] who was constanly unfaithful to Her with mortal women; She retained, nonetheless, an even, benevolent termperament” (p. 239 – 240).

Judika Illes adds that “Oonagh is a Goddess of love and protectress of young animals.  Oonagh may also have influence over the realm of death.  She is Mistress of Illusion and Glamour: Her silver gossamer dress appears to shimmer with diamonds, but it’s really sparkling dew.  Oonagh’s blessings are invoked to find true love and to experience romantic happines.

Manifestation: Oonagh is described as so beautiful that no one (at least no mortal) can look at Her without being awed and amazed.

Consort: Fionnbharr

Metal: Silver  ”  [2]

 

 

Sources:

Illes, Judika. Encyclopedia of Spirits, “Oonagh“.

Monaghan, Patricia. The New Book of Goddesses and Heroines, “Oona”.

 

 

Suggested Links:

Carleton, William. Sacred-texts.com, “A Legend of Knockmany“.

Eric (Coolsite-DS). Daoinesidhe.net, “Daoine Sidhe means“.

Esotericonline.net, “The Fey” (includes rules you need to abide when journeying with the Fey about half way down the page – GOOD STUFF!)

Lindemans, Micha F. Pantheon.org, “Daoine Sidhe“.

Lindemans, Micha F. Pantheon.org, “Lunantishee“.

Moonsong, Jasmeine. Wiccanmoonsong.blogspot.com, “Oonagh“.

Shee-eire.com, “Úna“.

Virtue, Doreen. Archangels and Ascended Masters, “Oonagh“.

Wikipedia, “Fairy Queen“.

Goddess Tailtiu

“Demeter” by InertiaK

“Tailtiu’s themes are the first harvest and excelling in a craft or sport. Her symbol is bread.  The Irish Goddess Tailtiu was the foster mother of the god of light, Lugh, whom this date venerates. Lugh held Her in such high regard that he created the Tailtean games, which took place during Lammas (rather like the Olympics). This honor may have also had something to do with Tailtiu’s association as an earth Goddess.

In Wiccan tradition, and in many others, today is a day for preparing food from early ripening fruits like apples. it is also a time for baking bread in honor of the harvest. Combining the two, make applesauce bread. Stir the batter clockwise, focusing on any craft or sport in which you wish to excel. As you stir, chant,

‘Flour from grain, the spell begins, let the power rise within; Apples from trees, now impart, Tailtiu, bring _________ to my heart.’

Fill in the blank with a word that describes the area in which you want to encourage improvements or develop mastery. Eat the bread to internalize the energy.

Time-friendly alternatives here are buying frozen bread and adding diced apples to it, having toast with apple butter or just enjoing a piece of bread and apple anytime during the day. Chant the incatation mentally. Then bite with conviction!”

(Patricia Telesco, “365 Goddess: a daily guide to the magic and inspiration of the goddess”.)

“Lughnasadh” by NicoleSamlinski

Patricia Monaghan tells us that Taillte was “the Goddess of August in ancient Ireland [who] was said to be foster mother of the light, embodied in the god Lugh.  One of the great Irish earth Goddesses, Taillte lived on the magical Hill of Tara, from which She directed the clearing of an immense forest, the wood of Cuan.  It took a month to clear the Plain of Oenach Taillten, where Taillte then built Her palace; it remains on Irish maps today as Teltown, near Kells.

A festival was celebrated annually in Her honor, lasting the whole of August. For generations it was celebrated, complete with mercantile fairs and sporting events; even into the medieval times Taillte’s festivities were held. Eventually, they died out, but in the early part of this century the Tailltean Games – the Irish Olympics – were revived in an attempt to restore Irish culture” (p. 290).

According to a Teltown/Meath tourism site: “The hill of Tailtiu is one of the most celebrated spots in Ireland, for it was here that the celebrated Aonach Tailteann, the Lughnasa Festival was first held.

Tailtiu was the learned daughter of Mag Mor, a distinguished king of Spain, and married to the last great Fir Bolg king, Eochaid mac Eirc, who named his palace after Her, and She was also the foster-mother of the great hero Lugh Lámfhota.  Tailtiu lived in Her palace on Ráth Dubh and She led Her people in the clearing of the forest of County Meath, some of Ireland’s best farmland. But the work of clearing proved so onerous as to break Her heart, in the words of the text.

“Lammas” by Wendy Andrews

Queen Tailtiu took the trouble to select a particular spot in which She wished to be buried. It was located on the side of a hill, covered with dense forest; but because of its sunlit and beautiful situation She had chosen it, and Her husband, in compliance with Her wishes, had it cleared of the timber. It took a host of stalwart men nearly a year to accomplish the task.

In this spot Tailtiu desired Her Leath, or tomb, should be made, Her Cuba, or public lamentations, recited, and Her Nosad, or funeral rites and games, duly celebrated, according to the recognised customs of the country.

On Her deathbed Queen Tailte asked that funeral games be held annually on the cleared ground. King Lugh came from his great palace at Nas (now Naas, in Co. Kildare), and had Tailtiu interred in Her ‘green circle on the distant hills.’ Legend says She was buried in a royal state, with impressive druidical rites, on the side of Caill Cuain (now called Sliabh Caillighe), in what is known now as ‘Cairn T‘.

When summoned by the Ard Righ, or High King, such assemblies were of the greatest national importance, and as such were attended by all the minor kings, chiefs and nobles, as well as by vast multitudes of the people from all parts of the five provinces.  Participants came from all parts of Ireland, Scotland, and further afield, making Tailtiu the equal of Tara, Tlachtga, and Uisnech.

As a national institution, the Aonach fulfilled three important public functions in the lives of the people. Its first objective was to: do honour to the illustrious dead; secondly, to promulgate laws; and, finally, to entertain the people. Presiding at the Tailtiu assembly or fair became the prerogative of the king of Tara.

“Medieval Tournament” by C. L. Doughty

Lugh lead the first funeral games at the time of Lughnasa (1 August; Lammastide, now Lammas), which consisted of hurling, athletic, gymnastic and equestrian contests of various kinds, and included running, long-jumping, high-jumping, hurling, quoit-throwing, spear-casting, sword and-shield contests, wrestling, boxing, handball, swimming, horse-racing, chariot-racing, spear or pole jumping, slinging contests, bow-and-arrow exhibitions, and, in fact, every sort of contest exhibiting physical endurance and skill.   A universal truce was proclaimed in the High King’s name, and all feuds, fights, quarrels and such-like disturbances were strictly forbidden and severely dealt with; and all known criminals were rigorously excluded from both the games and the assembly.

In addition, there were literary, musical, oratorical, and story-telling competitions; singing and dancing competitions, and tournaments of all kinds. Also, competitions for goldsmiths, jewellers, and artificers in the precious metals; for spinners, weavers and dyers; and the makers of shields and weapons of war. The fair lasted for a fortnight.

(At the hill of Tailte is one of the most celebrated spots in Ireland, for it was here in 1420 BCE the celebrated Aonach Tailteann the Lughnasa Festival was first held.)” [2]

“Tailtiu was the last queen of Her kind, a feminine energy that felt the longing of humanity.  When the time is right, She gives birth, delivers the sheaves of wheat, then She dies, a need fulfilled….but soon She will rise again. Over the centuries, with the advent of patriarchy, Divinity began to rise towards the heavens, and Lughnasadh, the feast that was once a funerary fair in honor of Tailtiu, now became a celebration of the Sun God, Lugh.” [2]

 

 

 

Sources:

Meath.ie, “HISTORY & LEGEND ABOUT THE TAILTIU & THE TAILTEANN GAMES (A SNIPPET)“.

Monaghan, Patricia. The New Book of Goddesses and Heroines, “Taillte”.

MXTODIS123. An Inner Journey: The Moon, Mythology, and You, “Tailtiu“.

 

 

Suggested Links:

Ancientworlds.net, “Tailtiu and the Tailtian Games“.

Brandon-Evans, Tira. Goddess Alive! Goddess Celebration and Research, Issue No. 18 – Autumn/Winter 2010, “Tailtiu: Harvest Goddess“.  (HIGHLY RECOMMEND!)

Shee-eire.com, “Tailtiu“.

Tuathadebrighid.net, “The Story of Tailtiu“.

Wikipedia, “Tailtiu“.

Goddess Macha

“Macha’s themes are victory, success, protection, fertility and fire. Her symbols are red items, the acorn and the crow.  Macha means ‘mighty one.’ Macha used Her potency to clear the land for wheat, giving Her associations with fertility. She also used Her might to protect the Celts’ lands agains invaders, thereby becoming a war Goddess and guardian. Art shows Her dressed in red (color abhorrent to evil) and with blazing red hair, forever chasing off any malevolence that threatens Her children’s success.

Bonfire Night in Scotland takes place around May 22 and is a festival that originally had strong pagan overtones, the fires being lit specifically for ritual offerings that pleased the Gods and Goddesses and invoked their blessings. Additionally, the bright, red fire looked much like Macha’s streaming red hair, and thus it banished any evil spirits from the earth. So don any red-colored clothing today, or maybe temporarily dye your hair red to commemorate this Goddess and draw Her protective energies to your side. Eating red foods (like red peppers) is another alternative for internalizing Macha’s victorious power and overcoming any obstacle standing in your way.

Or, find some acorns and keep them in a Macha fetish bag (any natural-fiber drawstring bag). Anytime you want her power to manifest, simply plant the acorn and express your wish to it. Macha’s potential is in the acorn, ready to sprout!”

(Patricia Telesco, “365 Goddess: a daily guide to the magic and inspiration of the goddess”.)

The Morrigan

“Macha (pronounced MOCK-uh) is an Irish war Goddess, strongly linked to the land. Several Goddesses or heroines bear Her name, but She is generally thought of as one aspect of the triple death-Goddess the Mórrígan (the “Great Queen” or “Phantom Queen”), consisting of Macha ‘Raven’, Badb ‘Scald Crow’ or ‘Boiling’, and Nemain ‘Battle Fury’. Macha is associated with both horses and crows.

The Mórrígan is both sex and battle Goddess, and Her personality is usually described as both war-like and alluring. She is known to be a prophetess: the Washer at the Ford is said to be one aspect of Her, who appears to those about to die. She is commonly shown washing bloody clothes at a river ford; when approached, She tells the enquirer the clothes are theirs. Like the bean sidhe (banshee), who She is believed related to, She is an omen of death.

As Goddess of the land, the Mórrígan are said to be cognate with Ana or Danu, and Macha is said to be one of the Tuatha de Danann.

Three other aspects of Macha feature in Irish folklore, which likely derive from a common Goddess, as they are all said to have a mother named Ernmas (also considered to be the mother to Ériu, Banba, and Fódla, sacred names for Ireland). One Macha, a seeress, was the wife of Nemed ‘Sacred’, who invaded Ireland and fought the Fomorians in Irish legend. Emain Macha, a bronze-age hill fort in Northern Ireland, and legendary capital of Ulster, is said to have been named for Her.

The second Macha, titled Mong Ruadh (“red-haired”), was a warrior and Queen, who overpowered Her rivals and forced them to build Emain Macha for Her.

“Curse of Macha” by Stephen Reid

The third Macha, and probably the most well-known, was said to be the wife of Crunniuc. Like many supernatural lovers, She warns him to tell no one of Her existence; but he boasts to the king of Ulster that his wife can outrun the fastest chariot. The king then seizes the very pregnant Macha and forces Her to run a race, against Her protests. In spite of this, She does win, and as She crosses the finish line She gives birth. In Her dying pain and anger She curses the men of Ulster to nine times nine generations, that in their time of worst peril they should suffer the pain of childbirth.” [1]

The Goddesses of Ireland and their “fall” as Christianity spread into Ireland

“The Goddess was a ‘dual-natured female figure, beautiful and hag-like by turns in whose gift was great power’.  The Goddesses were especially depicted in three’s, such as Eriu, Banba, and Fotla, all Goddesses of sovereignty. In the 11th century, Ireland was often called Eire (a form of Eriu) and also called ‘the island of Banba of the women’. Goddesses were often hybridized by Roman and Greek influences, but this did not seem to obscure the native elements. For example, Julius Caesar likened one Celtic Goddess to Minerva, a classical deity. In fact, some Celtic Goddesses seemed to share certain of their characteristics. However, there were no Celtic Goddesses of love. There were Goddesses more often associated with fertility and the natural cycle of life, including death. Perhaps most importantly, the Goddesses represented creativity especially as it related to giving life, in all its aspects.

The female warrior Goddesses respect for death, as a natural part of life, which seemed in translate into ‘real’ life as well. This is best seen in the symbolic marriage between the king and the Goddess of sovereignty. This union was to ‘ensure fertility for the land and for his people in the year to come.’

“Triple Goddess” by Amy Swagman

The role of the Goddess in Celtic Ireland was important in to the inter-relatedness with human woman: ‘Since the source of life was so integrally associated with women, it would seem to follow that the origins of life were female. At times of joy or moments of pain, humans would turn to the Goddess who was honored in Her many guises’ (Condren). It would not seem strange then to worship a female deity and consequently treat her female subjects with respect and honor. Descent was also often traced through the mother and a strong emphasis was placed on the mother relationship. However, conservative scholars are quick to point out that the power did not entirely rest on women, rather the focus appears to be on women. Life was of tremendous value in what appears to be the most natural, physical sense. Hence the importance of the woman, Goddess or human.

‘Women were highly honored, female symbolism formed the most sacred images in the religious cosmos, and the relationship with motherhood was the central elements of the social fabric the society was held together by common allegiance to the customs of the tribe loosely organized around the traditions of the Goddess’ (Condren).

What appears to have dismantled this society was the warrior culture and the spread of Christianity into Ireland. The story of Macha is an instructive example of the ‘fall’ of the Celtic Goddess and in some sense the fall of the Celtic woman. Macha (Ulster Epona, the horse Goddess) marries Crunnchua mac Angnoman a rich widower. The two prosper together until one day, Crunnchua wishes to go to the annual assembly of the Ulsterman. Macha pleads with him not to go, but Crunnchua insists. While at the assembly, Crunnchua witnesses a horse race. Those in attendance with him, including the king himself, declare that none can run faster than these horses. Crunnchua knows that his wife can outrun these horses with no problem and decides to challenge the declaration. The king, angered at Crunnchua’s arrogance insists that Crunnchua bring Macha to them for a match. Macha comes reluctantly, but before doing so, pleads, ‘Help me, for a mother bore each of you. Give me, oh, King, but a short delay until I am delivered.’ Macha is pregnant.

“Macha” by Caroline Bradley

This request and the king’s subsequent refusal are striking reminders of the changes that took place not only in the Irish sagas such as this one, but also the changes in the societies that ‘authored’ such work that became, significantly, myth. The king’s ultimate responsibility was to allow the ‘creativity of women to prosper.’ Kings were to promise that no one would die in childbirth, food should grow plentifully, and the traditional dyeing (a woman’s art) would not fail. These promises were related to the ‘needs and concerns of women, and unless the king could be seen to take care of the cultural and fertility needs of the clan, symbolized by these women’s activities, the king would be overthrown’. The king as evidenced in this story, violated the promises he made and instead of being overthrown, is permitted to continue his reign with no apparent resistance from his constituents. This portrayal of Macha is actually the last of three major cycles. In the first She is a brilliant, strong mother-Goddess. In the second She is a helpless (but wise) wife, and the third She is relegated to an existence of shame and forced to abandon Her life-giving gifts, adapting to the new warrior ethos. This is how She had traditionally become associated with the three war-Goddess spiral, joining Badb and Morrigan. The appearance of the war-Goddess appears to develop as a result of the change in Celtic society to one of violence and paradoxically, Christianity.

“Gift of Peace to a War Goddess” by Portia St.Luke

Macha evolves into a warrior-Goddess as the simultaneously the status of women decline in societies constantly under attack, where emphasis is placed on death and bloodlust rather than on life and respect for death. With this, men began to feel threatened by women as well, by any force seen as competition. Importantly another aspect of the decline of Macha (and other Goddesses) was the Christian clerics who began to satirize the Goddesses because their patriarchal system of beliefs stood in direct contrast especially to the worship of a female deity. Goddesses were becoming as violent as the society that ‘created’ them. They were raped, murdered and often died in child birth.

Peter Berresford Ellis in his book, Celtic Women, Women in Celtic Society and Literature, concurs with Condren that Goddesses in literature were often raped, died in childbirth and their status was destroyed by the symbolism of the rape.

The Goddesses, however, gave birth to great men who would in turn become great warriors. Indeed, ‘the famous warrior society triumphed over the culture of the wise women’. Several sources consulted point to the war-Goddess as a symbolic adaptation to the culture who called on Her to wreak death and destruction. The war-Goddess is often portrayed too with a voracious sexual appetite. Ellis quotes Moyra Caldecott:

‘Her twin appetites for sexual gratification and for bringing about violent death are a travesty of the very necessary and natural forces of creation and destruction that keep the universe functioning and imbalance of which brings about disaster’. [2]

Wow…After reading this excerpt from the University of Idaho’s site, it all made so much more sense and brought it all home for me.  I had read in several books that stated that many peaceful agricultural societies worshipped a mother Goddess type deity(ies) who presided mainly over life cycles, vegetation, and agriculture; that it wasn’t until the invasions of the violent war-faring Indo-Europeans that “swept through Old Europe, the Middle East and India bring[ing] their priests, warriors and male gods of war and mountains” [3] with them that the Goddesses started becoming less important, more subservient and taking on more violent and warlike qualities.  Truly, this is not limited to the Celtic culture – look at Inanna for example; or Minerva who evolved from an Italic moon Goddess, into an Etruscan virgin Goddess of poetry, medicine, widsdom, commerce, weaving, dyeing, crafts, the arts, science and magic and later, the Romanized Goddess became associated with war.  Venus who originally was a vegetation Goddess and patroness of gardens and vineyards who had no original myths of Her own became associated with love, fertility and even war under the name Venus Victrix, the Goddess of victory in war.  And let us not forget how Goddesses like Inanna, Asherah and Lilith were demonized by the Abrahamic patriarchal religions for refusing to submit to them and their “all powerful” male deity.

“Morrigan” by Michael C. Hayes

I think it only appropriate to conclude with some words from Jani Farrell-Roberts, “Women often had to fight in the wars. They needed a Goddess of the Battlefield as did the men (thus their talk of heads being ‘the mast of Macha’) – and so grew the myth of the Morrigan into which the kinder harvest Goddess Macha was subsumed as part of a triple Goddess with Her two sisters, Badb and Morrigan. In Britain She was probably Morgan. The Morrigan however came to be hated by men who dreaded the female power She represented – so men tended to depict Her as a hag – or as three hags (perhaps as reflected in Shakespeare‘s Macbeth).

But in the old sagas Her role is much more that of the healer of the wounded and of the taker of the spirits of the dead into the next world. For example, Macha is depicted in these myths as the Sacred Cow whose milk is an antidote to the poison of weapons. She had become the Mother on the Battlefield.” [4]

ASSOCIATIONS:

Pantheon: Celtic

Element: Earth

Sphere of Influence: Protection and sex

Preferred Colors: Red, black

Associated Symbol: Raven

Animals Associated with: Raven, crow

Best Day to Work with: Monday

Strongest Around: Lughnasadh

Suitable Offerings: Acorns

Associated Planet: Moon      [5]

 

 

And now, a tribute to the great Goddess Macha and Her stories…

 

 
Sources:

Eisler, Riane. Iowa State University, “The Chalice and Blade“.

Farrell-Roberts, Jani. The Web Inquirer, “Macha, Brighid, the Ancient Goddess of Ireland“.

PaganNews.com, “Macha“.

Took, Thalia. A-Muse-ing Grace Gallery, “Macha“.

University of Idaho, “Celtic Women: Myth and Symbol“.

 

 

Suggested Links:

Aisling. Order of the White Moon, “Macha“.

AncientWorlds, “Epona“.

Bar, Tala. Bewildering Stories, “Goddesses of War“.

Jones, Mary. Maryjones.us, “Macha“.

Shee-Eire.com, “Macha“.

Skye, Michelle. Goddess Afoot!: Practicing Magic with Celtic & Norse Goddesses, “Macha” (p. 166 – 181).

Wikipedia, “Macha“.

Goddess Banba

Banba is the Celtic Goddess of the spirit of Ireland. She is one of the Tuatha de Danaan.

“Banba’s themes are protection. Her symbol is soil. A Celtic war goddess, Banba extends safety to those who follow her, wielding magic in their support. In Irish tradition, she protected the land from invaders. As a reward for her sorcery’s assistance, Banba’s name became linked with ancient poetic designations for parts of Ireland. Interestingly enough, Banba translates as ‘unploughed land’, meaning it is left safe and untouched to grow fertile.
Considering crime and other societal problems, a little extra protection from Banba seems like something we could all use year-round. Think of your home and possessions as the ‘land’ she guards. Gather a pinch of dirt from near your residence, take it inside, and keep it in a special spot. Light a candle (white is good) near this anytime you feel you need Banba’s diligent sheltering.

On this day the Scots burn a pole attached to a barrel of tar (a Clavie) and take it around town to banish evil influences, especially magical ones. The Clavie’s remaining ashes are gathered by people as an anti-curse amulet. In keeping with this custom, burn a small bit of wood (perhaps oak) on a safe fire source. As it burns, recite an incantation like this:
‘Banba, burn away negativity, burn away mal-intent
Let the energy return from where it was sent.’

Keep the ashes as an anti-negativity talisman.”

(Patricia Telesco, “365 Goddess: a daily guide to the magic and inspiration of the goddess”.)

For more information on Banba and her sisters Eriu and Fodla who make up their powerful triad, click here.

There are claims that this Banba may have been worshipped as Macha which would’ve given her associations with war as claimed by Seathrún Céitinn.

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