The Proof Of The Pudding

Somehow I missed the usual social media ruckus around St Patrick’s Day this year. I’m not entirely sure how, as it wasn’t intentional. But somehow I did.

(Algorithms. It was probably the algorithms.)

A week-or-so later though, my feed was full of it. All the same arguments, all the same misconceptions recycled from year-to-year. And of course, I also saw the same people valiantly wading in to stem the tide of bad information.

You know, the usual story.

Arguing about this stuff seems to have become something of a tradition nowadays, and an unwanted one at that. Once upon a time, I would have been out there as well, but nowadays I’m just glad to have missed the whole thing. (If only the same were true for Ostara!)

You see, one thing I’ve realized over the years is that these arguments really aren’t about the topic at hand for the most part. In my experience, they’re usually about something much deeper. And until we address that something, no amount of good information is going to turn back that tide.

Conversion

As I explained in this previous post, facts and logic do poorly against narrative. Unlike data, story is an immersive experience that speaks to both the heart and the mind. A well-crafted story can summon tears and devastation, affection or hatred for protagonists, exultation and joy. But if we’re not careful, a story can become bandaid for whatever bits of brokenness or lack we perceive in our lives and selves. Other times, stories can function as narrative bridges between our areas of perceived lack and what we think we need to feel whole. I have no way to prove this, of course. But I suspect that this is what underlies much of the modern Pagan/Heathen tendency to cling to inaccurate narratives.

Nowadays, religious conversion is mostly thought of as a ritual. Depending on the faith or denomination in question, there may be some training beforehand. But even in those instances, it’s still the ritual that makes the convert. A few words and a Jesus-powered supersoaker to the face (or whatever), and boom, you’re saved!

Sounds simple, right?

If only! Unfortunately, that blessed bukkake is really just the beginning of a constant and unending process. Real talk, but pretty much none of us—even those of us who’ve been doing this for decades—will develop a truly Pagan/Heathen worldview within our own lifetimes. That’s not just me being negative, it’s the truth. In this case though, I think it’s pretty freeing.

Believe it or not, but it took the early English church centuries to fully stamp out the Heathen worldview among their people. Conversion wasn’t just a case of some monks rolling up, selling people some Jesus, and everything falling into place. Christianity was largely an alien worldview to them. All of which meant the church first had to build entire conceptual frameworks to fully transition their flocks to their new faith.

So, why would we expect it to be any different for us now? If anything, I would argue our path is much harder after a millennia-and-a-half of Christianity shaping our cultural default. (And yes, that includes the parts we consider “secular” as well.)

Conversion: Hard Mode

Those aforementioned challenges aside though, the early English church had something we don’t—something that gave them a serious advantage.

They had the support of a religious institution with at least a few centuries already under its belt.

It’s never easy stepping onto a new path, but it’s much harder when that path is either doesn’t exist or is mostly buried under dirt. There’s a saying that the difference between dialect and language is an army and navy. I think we can apply a similar framework here too.

So, what is the difference between a religion with roots and whatever “dialect” we have? Well, fully developed systems of support and institutional control, for a start. Clear boundaries that—yes, contain—but also comfort and convey a feeling of certainty to those on the inside.

A Catholic (for example) never has to worry about whether they’re “doing it right” or the veracity of a saint’s hagiography. Not only do they have religious training in the form of catechism classes, they have various flavors of clergy to guide them as well. Their religion boasts entire toolboxes of responses to the uncertainties of life. Set prayers and rituals, a constellation of saints for whatever the need, and the many benefits that come with a somatic practice like praying with beads. Finally, they have the comfort of belonging to a tradition that stretches through time, and the sense of security that can bring.  (#NotAllCatholics)

And as long as they stay within the boundaries delineated by their church, they never need to worry they’re doing it wrong, or whether what they’re doing is even <em>real</em>. And why would they? The Roman church is old as shit. And as we all know (heavy sarcasm here) age always confers legitimacy.

Now, consider our own traditions, practices, and communities for a moment—our various toolboxes for this journey through life. What do we have, and what do we lack? All things considered, I think it’s hardly surprising that so many of us cling to false narratives and dream up links to ancient traditions. Belonging, security, and connection are after all core human needs.

Walking A Path With No Path

Another story now.

I’m old enough to remember when Triumph of the Moon by Professor Ronald Hutton made its way into the world. I’ve never been Wiccan in the modern sense (the OG definition though, is another matter). But I can only imagine how it must have felt for those who were at the time. Here was this scholar disproving the foundational lore of their tradition—lore that had no doubt gave many of them that sense of belonging and connection to older roots. (With all the security and legitimacy that apparently implies).

I could go on about the downstream effects of this shift, but that would be one hell of a digression. More to the point though, it would also likely lead back to arguments surrounding historicity and legitimacy when I think we’d really be better off looking for the proof in the pudding instead.

Where I’m from, any dessert can be “pudding,” therefore I dedicate this spot to a piece of lemon pound cake.

You probably already know the old saying that “The proof of the pudding is in the eating.” Simply put, you have to try something to know its flavor or worth. Is it good? Bad? Does it belong in the bin, or can it be saved? This is what I’ll be referring to as “pudding proof,” from here on out.

Now obviously, Hutton’s Triumph of the Moon didn’t break Wicca. Like I said, I’ve never been that kind of Wiccan myself, but I suspect there was enough pudding-proof to sustain the tradition regardless. In other words, the pudding proved good enough in the eating to keep making it.

Hooray for that Wicca-pud!

But what do I mean by “pudding” in this context? Well, it’s your rituals, workings, and practices. But more importantly, it’s the results and experiences you get from them.

Sir, Your Pudding Is Lacking!

Now, that may sound like “hopium,” but really it’s not. Once upon a time, even the Roman church was new. Their path wasn’t just wrecked or hidden, they were cutting it as they went. Christianity was far from the “full-service” religion it is now.

The Pagan shrines and temples on the other hand were community hubs, offering services like healing, oracular wisdom, dream incubation, and divination by lots. They were places of poetry and music, drama and dance, art, sculpture, and rhetoric (MacCullen, p. 150-159).

So you know, pretty neat places to hang out.

The cults the early Christians left had centuries-old rituals, entire languages of symbolism and ritual gestures. They had play, dance, and celebration—all of which were missing from the new Christian faith.

Hell, they weren’t even supposed to light candles in their churches unless they needed light!

“We do not light candles, as you vainly and untruly allege, in the daytime but only to lessen the darkness of the light. And bear in mind that we are not born Christians, but reborn: and because we once worshipped idols, are we now not to worship God? —lest we appear to venerate him with the same honors accorded to idols?”

Jerome to Vigilantius, 4th/5th century (MacCullen. P. 116)

Even something as foundational as prayer was an unknown language to them. They knew how to address the older divinities through speech, song, sacrifice, and dance, but their new god was entirely another matter (MacCullen. 150-159). The line between piety and idolatry was still taking shape.

But do you see what I mean? The early Christians were once where we are now (albeit traveling in the opposite direction). They, too, felt gaps in their new faith—areas of lack that sent many-a-convert back to their local Kalends and New Year’s celebrations (Ibid).

The question now then is what kept them on their new path? Obviously, the threat of persecution would come to play its part, as would the eventual transition to a “full-service” religion. But what about for those who were Christian before they won an emperor to their faith?

On Pudding Proof

Well, this is where that “pudding proof” I mentioned earlier comes in.

Again much like us, the early Christians couldn’t exactly make appeals to history or tradition. They would have been sitting on a throne of lies and they knew it. So how does a religious new kid on the block attract converts and keep them?

They focus on who is right, on whose god is a true god as opposed to a demon.

In other words, the early Christian case for conversion hinged on proving their “pudding” was good (MacCullen. p.11-12).

The Demon In The Martyr’s Pudding

According to Peter Dendle in Demon Possession In Anglo-Saxon England, exorcism was one of the main “selling points of early Christian evangelism.” Yup, much like today, turfing out demons was one of their main (if not the) kinds of pudding. A point the 2nd century bishop Irenaeus also acknowledged (Dendle. p. 54).

Now curiously, tales of demonic possession and exorcism are arguably absent from in Greco-Roman sources prior to the first and second centuries (Dendle. pp.52-53). That’s not to say that there weren’t any, of course. But the earlier references that do possibly exist are hotly debated by scholars.

The first clear example of possession and exorcism in Pagan literature appears in a 2nd century account of a Syrian exorcist from Palestine, suggesting these beliefs had their origin in the near east (Ibid). That may seem a leap until we consider the writings of the second century philosopher Plutarch. Not only did he feel the need to interrogate the origins of such beliefs, implying a lack of familiarity with them on his part, he presumed a non-Greek origin from the start (Ibid).

Weird, that!

It kind of reminds me of how the possession and exorcism narratives in early English sources were all written between the 670s and early 700s (Dendle. p.170). Though there are some later mentions, they are only ever in passing—usually while referring to a saint. A far cry from the dramatic tales of those earlier times. I’m sure that Pagan resurgence post the plague of 664 was also just a coincidence—just like that suppression campaign by the Christian kings beginning around 650 (Dendle. Pp. 146-148). Probably all just coincidence.

Right? All I’m saying is it just seems a bit convenient, you know?

Well anyway, back to those early Greco-Roman Christians. You see, not only were they slinging this (probably) new-to-their-target-audience kind of “pudding.” They marketed themselves as the best demon-pudding slingers to boot. According to the second century martyr known as Justin, Christian exorcism was the only kind that always workedeven when the possessed person was a Pagan. While he conceded that exorcisms done in the name of Abraham/Isaac/Jacob/God might sometimes work, only those done in Jesus’ name were certain of success (Dendle. p. 54).

“Just Justin!”

The demon, the mark, and the audacity of that zealot, amirite?

Ironically, Justin went on to literally lose his head for the crime of impiety. As someone who refused to offer to the gods, he was considered an atheist. After all, that Pax Deorum (“peace of the gods”) wasn’t going to do a Pax Romana (“peace of Rome”) without some offerings greasing the wheels (Kirsch. pp. 108-109). From the perspective of Roman society, the dude was falling short of his civic duty, so it was off to the forever box with him. (Click here for an account of his trial.) 

“Oh, miserable men! If you wish to die, you have precipices or halters.” 

Roman proconsul stuck dealing with people like Justin.

Sourcing, Tweaking, And Tossing Pagan Pudding

But what about our Pagan Pudding? We already have quite a lot (some of it actually good), but something tells me the recipe isn’t quite there for a lot of us. So, what now?

Nowadays, we have an entire genre of horror linking Christianity with possession and exorcism narratives. The early Christians though, were far from the first demonologists. People in the ancient near east had been casting out demons for millennia before the advent of Christianity. I mean, the ritual technology of exorcism was first attested in Sumer from around 2500 BCE (Dendle. P. 42).  Borrowing has long been a source of “pudding,” and frankly the same can be said for just making shit up. How many of those early exorcism narratives do you think were true, and how many were bullshit? Given the convenient dating of those narratives, I’d say the answer to the latter part of that question was “a lot.”

Having said that, there can be a fine line between invention and inspiration, especially when we walk that line in a playful manner. Play often makes doorways for true inspiration where it would otherwise struggle to slip in. We should lean into it! It also needs to be said that there’s nothing inherently wrong with outright making shit up either. Read up on basic ritual structure and magic, and you can make some really excellent pudding! We just need to be honest about what we’re doing.

For me personally though, the rubber really meets the road when working in collaboration with the Dead, Divine, and Otherworldly. Over the years, I’ve been lucky to have teachers in each group and have received some absolute gold from all three. Pretty much all of my experimentation revolves around inviting that collaboration, deepening those connections, and finding ways to intensify my experiences. I may jokingly refer to it as “magical FAFO”, but in truth, it’s the work of relationship and revival. A sacred thing.

No matter the source of our “pudding,” however, we do have to actually give it a try once made. This may seem obvious, but since becoming an author, I’ve had more than a few folks express genuine surprise that I test everything I put out into the world.  So clearly, the expectation of testing isn’t universal when it really should be.

Another important point: we need to be honest about our results, even if only to ourselves. Here I’m reminded of the saying that “tradition is not the adoration of ashes, but the preservation of fire.” Now, this may just be me, but I feel like a lot of us have piles of ashes we should really toss out. And yes, that does also apply to the practices and rituals we perceive to be more historically accurate (ergo “legitimate”) too. If it ain’t working, it ain’t working. Sometimes we may tweak and find an ember to kindle; other times though, they’re just plain dead. (Assuming they even worked in the first place.) Either way, we need to be clear-sighted about what we have and to act accordingly. All these piles of dead ashes do for us in the end is waste our time and take up space.

Perceptions Of Worship

Equally important to consider is how our former religions have shaped and continue to shape our understanding of worship, for that, too, influences the pudding we make. For the Pagan of Rome “joy was worship,” to quote Ramsey MacMullen. ”At the Kalends or Attis day as at Easter, it was an offering of faith to show one’s happiness” (MacMullen. p. 109).

Now ask yourself, when was the last time you felt true joy in your worship? What about love? When was the last time you sang to your Holies, danced, played an instrument in their honor, or engaged in sacred play? More importantly, how do you feel when you think about those things?
What feels “allowed” or “proper” to you within the context of worship, and what feels “taboo”?

Because I suspect a lot of us are still closing ourselves off to some degree, perhaps giving ourselves over to instinct and inspiration only rarely. While I believe my holy powers are patient and fully understand that humans now are not as they once were, I also often find myself wondering whether we can truly worship any divinity with a heart half-caged by the “Thou shalt nots” of another faith. And the whole thing just makes me feel so sad for us all, you know?

In many ways, we’re just like those early Christians with no idea how to pray, and no real systems of support. But unlike them, we also have to contend with the added challenge of materialism as well. That, too, has shaped our modern consensus. In some ways, the line between “acceptable” modes of worship and “THESE PEOPLE ARE FUCKING CRINGE/INSANE/WEIRDOS” has never been finer. And the upshot of this? Well, how often do we see aesthetic put before devotion? In other words, often people worry more about how a ritual or practice looks than what it actually does.

Final Words

Believe it or not, I didn’t write this to make you feel hopelessquite the opposite! Our paths may currently suit goats better than humans, but that doesn’t make them impossible. No, I wrote this because there is a way forward. We just have to lean into the doing—eat that pudding and keep tweaking until it’s actually good.

Simply put, our rituals and practices need to connect us to something bigger, however that looks for us. If we’re going to survive, we need pudding that’s good eating, and lots of it. Oh, and our spells need to get the goods as well.

Because at the end of the day, it’s experience and relationship that really grow and sustain a faith. So, the sooner we stop looking to history for legitimacy, the better. Now, don’t get me wrong; I fucking love history and often find it sparks inspiration. But those sparks need feeding, and all our wood is decidedly modern. Moreover, as I said at the beginning, a lot of people also mistake history for a bandaid for lack, which can then leave them susceptible to false histories and fake lore.

Far better to focus more on the doing and see what rolls out. After all, it worked out well for the Christians.

Now, go stuff yourself with pudding. (And I hope it proves good.)
Bon appetit!

Books Cited

Dendle, Peter. Demon Possession In Anglo-Saxon England.

Kirsch, Jonathan. God Against The Gods.

MacCullen, Ramsey. Christianity And Paganism In The Fourth To Eighth Centuries.

Heathen Magical Perspectives: Breath

Breath is sacred to me. And not just because I rely on it to stay alive.

As a Heathen, breath was the first life-bringing gift given to humans in the poem Völuspá. These first humans (at least according to this mythological account) began their existence as “trees”. In Gylfaginning, these “trees” are found on a windswept beach, I imagine them as logs possibly washed up by the sea.

So three gods happen upon these dendrous layabouts, and decide to give them life. And this is where Óðinn steps up and breathes önd into them.

Just imagine for a moment – the cold and unyielding wood somehow coming to breathe. I have to imagine those first breaths to be creaking and harsh, possibly even painful.

But then comes Loðurr with what might have been heat and color. (I say ‘might’ here because there’s some discussion about the ‘heat’ part.) I now imagine the harshness of creaking wood softening to flesh, and those harsh gasps becoming sighs of relief.

It’s probably a kindness that Hœnir’s gift came last really. Because he gave them óðr or mind, and presumably only then, an awareness of self.

There’s a lot to be said about these gifts and their relevance to magic. Today though, I’m going mostly to focus on Óðinn’s gift of önd.

Breath and ‘Soul’

You may have already inferred from the retelling above that önd is breath, and it is. But önd wasn’t just speaking to the breath that oxygenates the body. In both the Zoega and Cleasby-Vigfusson dictionaries, it is also translated as ‘soul’ too.

For me though, önd is also the steed upon which inspiration, or óðr rides. A fitting gift from the god of Skalds.

The Nature of Inspiration

But before we follow that thread any further, we first need to take a look at what inspiration may have originally been.

Unfortunately, the Norse and Germanic corpus isn’t particularly forthcoming on the nature of inspiration. We know that there are poetic meters associated with magic and necromancy. And we can infer that Skaldic craft was itself considered magical. We can also look at the story of Egill Skallagrimson covering his head with his cloak in order to compose poetry in Egill’s saga, and possibly infer certain practices related to the getting of inspiration (as Jón Hnefill Aðalsteinsson theorizes in <em> Going Under the Cloak</em>).

However, in my opinion, our best clues come from the Welsh sources.
Like the Norse, the Welsh had an advanced culture of poetry (as too did the Irish). To be a poet, was to be capable of magic, and poets possessed of awen had the ability to influence kings.

The Welsh word awen, or ‘poetic genius’ carried supernatural and magical connotations, and was associated with spiritual enlightenment and wisdom. This was not “inspiration” as we know it today. This was inspiration associated with ideas of ‘spiritual wind’ and ‘divine breath’. The words ‘awen’ and awel (a Welsh word meaning ‘wind’ or ‘breeze’) are both derived from the Indo-European *uel, or ‘breath’. (You can find out more about awen in this video by Welsh scholar, Dr Gwilym Morus-Baird here.)

But it’s when we get to the purported origin of awen that things become interesting. Because in the Welsh sources, awen comes from the Welsh Otherworld, or Annwfn, the ‘Very Deep World’, rising up as a ‘spiritual wind’ or ‘divine breath’ to fill the poet, bringing vision and other spiritual gifts.

As one might expect of the ‘Very Deep World’, Annwfn is often depicted as a chthonic realm in the medieval Welsh textsan underworld, if you will. It is a realm connected with spirits, both Otherworldly and dead alike. An idyllic realm, a perfected realm. And it’s here with this idea of inspiration that comes from spirits and is breathed in (inspired) where we come crashing back into the Norse sources.

The topic of spirits entering a person for prophecy or other purposes can be quite controversial in modern Heathenism – taboo in some circles even. But as Eldar Heide demonstrates in Spirits Through Respiratory Passages , there is ample evidence of spirits entering a person through the breath. The evidence presented by Heide in the paper is primarily concerned with hostile attacking spirits who enter by forcing a yawn in their victims and enter on the in-breath. But an example given from Hrólfs saga kraka, shows that ingress by spirits may have also been a part of seiðr. In the account given in Hrólfs saga kraka, a seiðkona is depicted yawning before giving (or attempting to give) prophetic answers. Moreover, it was not uncommon This occurs multiple times in the account. Could this be a potential parallel to the awen-filled speech of the Welsh poets?

Working with Breath

In the magico-religious practices that I’ve developed over the years, breath is one of the key ways through which I connect with Óðinn. For many people who work with this god, he is called Allfather because of his role in enlivening Askr and Embla. However, for me, he is the Allfather because as the giver of breath, he is the giver of the one gift that all humans share regardless of ethnicity. We all breathe from the same air when we take our first breaths as newborn infants, and our final breaths will leave us to mingle once more with the winds. This is one of the main ways in which we are all connected, and it is with that understanding that I explore the breath in my work.

Meditation

There are many ways in which you can work with breath in Heathen magic and magic in general. But today I’m going to begin with meditation.

Many types of meditation work with the breath. Usually, it is used as a vehicle for changing one’s mental state and/or as a focus or support for meditation. But breath can also be used as a medium for exploring that sense of interconnectedness I mentioned above.

The first time I experienced this, I was stood at the side of Goðafoss waterfall in Northern Iceland. I’d just been under the cloak and was thinking about the stories surrounding the falls when I found myself wondering about Óðinn in Iceland. Suddenly, my attention was drawn to the sound of heavy wing beats that somehow sounded louder than the roar of the waterfall. Two ravens were flying across the width of the falls and their wings were all I could hear. Time became weighty and the world more ‘real’. I became intensely aware of my breath, and suddenly I was not just myself anymore but engaging in a communion of sorts with the winds, the world around, and a certain one-eyed god. I was a part of the whole rather than a singular being. The ravens turned and flew towards me until they drew level and veered away, taking the moment with them.

It is this experience I try to replicate when I meditate in this way. I begin with offerings and a prayer before taking a few moments to calm myself and fall into a light trance state. Then I focus on my breath as a connecting medium. Each time I breathe in, I do so with the awareness that I am breathing in a substance of winds, spirits and inspiration shared by everybeing else that breathes as I do. Then I release it back into the wholeness of the world completing the circle once more. Each breath is a micro-reenactment of life from birth to death. On good days, I focus so completely on the breath and what it carries that I no longer feel the separation between myself and the whole, and that is when the real magic happens.

In my experience, this exercise is the most satisfying when performed in a high place where the winds blow free, but you do not need to be on a mountaintop to do this. Your backyard or sitting indoors near an open window will work just as well.

A Story in Parts

In this post, we’ve covered a lot of ground. We began in mythological time, with three gods on a windswept beach giving life to the first humans, and followed the breath to its connections with spirit-gotten inspiration in the Welsh tradition before returning to the North and the theme of spirits through respiratory passages. Those of you who are more familiar with the ON material will have probably noticed that the more typical word for both ‘inspiration’ and possibly also ‘possession’ too. There is no doubt that there is some overlap here, but we’ll be getting into that further in the next post.
Speaking of the next post, we’re going to be taking a look at the other gifts of life, some of their most important uses in magic, and the possible connections between those gifts and the most common elements found in Old Norse magic. Well, at least as I see them.

Until we meet again, friends!

Be well.

Law and the Dead

An Encounter with the Restless Dead

The saga refers to what happened as wonders, but I would not call them such. After all, people had died. Oh, it wasn’t just those who had initially died. No, they had returned, others had fallen sick, and more had joined their ranks.law - farmstead

Unlike the dead of other Indo-European descendant cultures, the dead always walked in Iceland. Draugar, they were called, revenants. Other places had them too – the Greeks, for example. They too knew revenants and practiced arm-pitting dead enemies, severing the vital tendons that would allow ambulation should the deceased arise to walk and seek revenge (Ogden 162). But the Greeks also had ghosts; the preference for cremation during the Archaic Era coincided with a diversification of Greek underworld beliefs. The previously faceless dead that existed unaware of the living world above now understood that their descendants poured out and burned offerings for them. The expansion of cremation burial also coincided with the arrival of the psychopomps – a role which would be extended during the Classical Era (F. P. Retief “Burial Customs”).

The Icelanders though, they did not burn their dead, and so their dead walked as you or I do (Davidson 9).

The Court is Convened

But these were not the mindless rotting zombies of movies; let’s not think that they were. No, draugar didn’t rot, and were fully capable of thought and action, passing through the earth of their mounds to visit and all too often harass the law - doorliving. But their visits also brought sickness, and that’s just what they brought to the people of a place called Frodis-water.

So the people of Frodis-water decided to hold a dyradómr, a kind of door-court during which the dead would be judged in accordance with the law, and hopefully sent on their way. Now doorways are significant; they’re liminal places where living and dead can meet. To keep your beloved dead close, you might bury them in a doorway, and the door post holes found before Bronze Age burials could not have been a coincidence (Hem-Eriksen “Doorways”). So they held their door-court at the doorway and called the dead to them to hear their judgement.

Surprisingly, the dead took their judgements and left without argument. But that was the power of the law, and no one living or dead, wants to reside outside of the protection of the law.

The Law is Sacred

You see, law – or at least a certain kind of law – was sacred. It was the difference between order and chaos, between thriving and destruction, and as such, it was valued. It is the ŗta of the Vedic texts and the asha known to the Zoroastrians. These were in turn cognate with the Greek aristos, ‘the best’; harmonia, ‘harmony’; and ararisko, or ‘to fit, adapt, harmonize’. All though, can probably be traced to the same Proto-Indo-European root word, *H²er-, or ‘to fit together according to the proper pattern’ (Serith 30).

The First Rule?

We don’t know that “proper pattern” though, and we cannot claim to know it despite the fact that it would be useful to anyone who follows any traditions inspired by pre-Christian IE cultures. However, we can perhaps infer what law - noosesome of those laws might be. I am going to infer one right now: that our rights to this world are lost when we breathe our last.

This is why the dead must be dragged by fetters or snares from the world of the living. It is why the Rig Veda refers to the “foot fetter of Yama” (the Lord of the Dead); why there are hel ropes in the Sólarljóð; why Horace wrote of mortis laqueis, or “snares of death; and it is why Clytemnestra had a net (Giannakis “Fate-As-Spinner”). The dead do not wish to go, so they must be dragged. It is noteworthy that they only return at the end of all things (Ragnarök), or that their return brings sickness and death. This is one law we can infer; this is part of the proper pattern.

The Rule of Law

Another is that nothing exists outside of this. To be removed to the Underworld is not to be removed from the reach of law. The Underworlds are varied, and descendants would not have made ancestor offerings were those ancestors truly gone and wholly disconnected. We must always remember that a human community has two sides: the living who dwell in the Middle Earth, and the dead who dwell below.

law - gibbetThe story of the door-courts suggests that both living and dead are equally bound by the law. We also see this reflected in the burial customs of those deemed to exist outside the protection of the law. These were often the criminals left to rot at the crossroads, those buried in unhallowed grounds, and those who were too young at the time of their passing to be formally accepted in a community (Petreman “Preturnatural Usage”). Is it any coincidence that the materia magica sought from the human body came most often from these sources? Is it also coincidence that those were the sources thought by the Ancient Greeks to carry the least miasma (Retief “Burial”)? To exist as dead inside the protection of the law is to sleep soundly – or at least it should mean that. Of course, there have always been violations as Burke and Hare could well attest.

From these perspectives, the case against the dead at Frodis-water may already seem airtight. After all, we’ve already established that by virtue of being dead they’re not supposed to be in the world of the living, and that they are just as subject to this “proper pattern” law as we ourselves are. However, there is one more legal argument pertinent to the dead that we have not yet examined, and that is the law of possession.

Claiming and Keeping Space

Fire has always been sacred to the various Indo-European descendant cultures, and was considered to have various functions. We’re perhaps the most familiar with fire as a medium through which offerings may be made to law - firethe holy powers, but fire also played an important role in property ownership too. For the Norse, carrying fire sunwise around land you wished to own was one method of claiming that land (LeCouteux 89), and under Vedic law new territory was legally incorporated through the construction of a hearth. This was a temporary form of possession too, with that possession being entirely dependent on the ability or willingness of the residents to maintain the hearthfire. For example, evidence from the Romanian Celts suggests that the voluntary abandonment of a place was also accompanied by the deliberate deconstruction of the hearth. And the Roman state conflated the fidelity of the Vestal Virgins to their fire tending duties with the ability of the Roman state to maintain its sovereignty. The concept of hearth as center of the home and sign of property ownership continued into later Welsh laws too; a squatter only gained property rights in a place when a fire had burned on his hearth and smoke come from the chimney (Serith 2007, 71).

Sovereignty and the Dead

There is more here too – the matter of sovereignty looms large. So too perhaps is a form of imitation of the relationship between king and goddess of sovereignty played out here between men and the wives who keep the hearthlaw - hearth fires burning. To maintain the hearth was to maintain possession of property, and to maintain the hearth, a woman was required. (Or several, if you happen to be the Roman state.)

And here is where I come to my final argument regarding law and the dead: the dead keep no fires in the habitations of the living. Without the ability to maintain a hearth fire, the dead cannot claim sovereignty in the land of the living, and this is an important point to bear in mind. Because while we often joke that possession is nine tenths of the law, thankfully for the people of Frodis-water, it most likely was that which saved them.

Sources

Davidson, H. R, Ellis. The Road to Hel: A Study of the Conception of the Dead in Old Norse Literature. Cambridge: Cambridge UP, 2013. Print.
Giannakis, George. “The “Fate-as-Spinner” Motif: A Study on the Poetic and Metaphorical Language of Ancient Greek and Indo-European (Part II).” Indogermanische Forschungen Zeitschrift Für Indogermanistik Und Historische Sprachwissenschaft / Journal of Indo-European Studies and Historical Linguistics 104 (2010): 95-109. Web.
Hem Eriksen, Marianne. “Doorways to the Dead. The Power of Doorways and Thresholds in Viking Age Scandinavia.” Archaeological Dialogues 20.2 (2013): 187-214. Web. 31 Mar. 2017. <https://mariannehemeriksen.files.wordpress.com/2014/04/eriksen-marianne-hem-2013.pdf>.
Lecouteux, Claude. Demons and Spirits of the Land – Ancestral Lore and Practices. Inner Traditions Bear And Comp, 2015.
Ogden, Daniel. Magic, Witchcraft and Ghosts in the Greek and Roman Worlds: A Sourcebook. Oxford: Oxford UP, 2009. Print.
Petreman, Cheryl. “Preternatural Usage of Human Body Parts in Late Medieval and Early Modern
Germany.” Diss. U of New Brunswick, 2013.
Retief, Fp, and L. Cilliers. “Burial Customs, the Afterlife and the Pollution of Death in Ancient Greece.” Acta Theologica 26.2 (2010): n. pag. Web.
Serith, Ceisiwr. Deep Ancestors: Practicing the Religion of the Proto-Indo-Europeans. ADF Pub., 2009.

Clowns, Masks, and Ritual

masks - death masks

A Time of Madness, Masks, and Clowns

On the 20th of August 2016, some clowns allegedly tried to lure a kid into the woods near his apartment complex in masks - wasco clownGreenville, South Carolina. Over the course of the next week, a further five sightings were reported to the local police department. Those of us who didn’t live in Greenville, especially those of us raised on Stephen King’s IT, were relieved to not be there. Over the course of the coming weeks, the number of sightings grew – as did the number of locations. People speculated that it was all some kind of publicity stunt for the upcoming IT remake, but the movie’s producer denied all. A kind of paranoia and hysteria grew around the clowns, and as the reports grew, so did the debate around just what the clowns were and why they had masks - evil clownstarted to become so prominent. Some people pointed out the Fortean aspects of these crazes (which happen periodically), whereas others just stuck to more mundane explanations of creepy attention-seekers in bought or rented suits and masks. In a kind of collective madness, exacerbated by the fever of the late election cycle, we hurtled towards Halloween and rumors of a ‘clown purge’. With the exception of one Halloween night attack on a family by a gang of clowns that thankfully left them with comparatively minor injuries, there was no purge. Then as quickly as it began, it was all over and the clowns disappeared from the news.

But regardless of whether some of the clowns were supernatural as some claimed, or simply fucked up people in scary masks, there is a curious history to clowns and the act of masking that deserves some examination. Because sometimes, as the saying goes, you have to dress for the job you want.

A Dichotomy of Clowns

Believe it or not, but as creepy as clowns are, the original clown (at least in the Anglosphere) was supposed to be a kind of harmless rustic fool. According to the Etymological Dictionary Online, the word ‘clown’ (as ‘cloyne’ or ‘clowne’) is theoretically derived from various Scandinavian language words for ‘clumsy’, and was first used in the 1560s to denote a ‘rustic boor, peasant’. (1) However, the word is not the thing, and the history of the ‘rustic fool’ figure in entertainment settings goes back to the Ancient Greek sklêro-paiktês, a word which comes from the verb paizein ‘to play like a child’. (2) This is not the only word for this kind of performer in Greek theater, but I do not need to include them here to further make the point that this figure of a ‘rustic fool’ that we call ‘clown’ is quite ancient.

Ancient Greek theater was inextricably tied up in acts of ritual, Aristotle even cited the cult of Dionysius as being the origins of drama.(3) While this is a claim that is still debated, it does illustrate that theater was not merely a form of entertainment for the Greeks (although it was undoubtedly that too).

The clowns, or rather ‘clown-like’ performers of today arguably have their origin in the Zanni of the 16th century Italian Commedia dell’Arte. There were essentially two types of Zanni: the stupid and boorish ( in other words, those we would recognize as being clowns today); and the intelligent trickster types. Strangely, it is the more threatening Zanni, the member of the Zanni known as Arlecchino – despite his somewhat darker theorized origins – who is considered to be among the stupid. To quote Jennifer Meagher from the Metropolitan Museum of Art:

” The zanni (servants) were in many ways the most important—and certainly the most subversive—characters of masks - harlequinthe commedia, as their antics and intrigues decided the fate of frustrated lovers, disagreeable vecchi, and each other. Perhaps best known of these is Arlecchino, or Harlequin (1974.356.525), a character whose origin is contested. It is likely that he derived either from Alichino, a demon from Dante’s Inferno (XXI-XXIII), or from Hellequin, a character from French Passion plays, also a demon charged with driving damned souls into Hell. Arlecchino is characterized as a poor man, often from Bergamo, whose diamond-patterned costume suggests that he is wearing patchwork, a sign of his poverty. His mask is either speckled with warts or shaped like the face of a monkey, cat, or pig, and he often carries a batacchio, or slapstick.”(4) (Emphasis is my own.)

Also worthy of note here, is the fact that “All characters except Pedrolino and the innamorati wore masks, a tradition deriving from ancient Roman comedies, Atellanae Fabulae, that featured character types similar to those of the commedia.” (5) The Commedia has its roots in old old custom.

To return to that first quote though, and Arlecchino’s connection with hell in both of his origins stories, there is a far richer history to be found here that makes this hellish connection, and especially with the dead especially apt.

Harlequin and Herela Cyng

Harlequins are curious things, both in terms of their dress as the black-masked performer in checkered material carrying a club, and the history suggested by the etymology of their name. The most complete exposition of the history of both the name and character comes from Flasdieck in his 1937 article entitled “Harlekin. Germanischer Mythos in romanischer Wandlung”. In it, the origins of the word ‘Harlequin’ are traced back to the OE *Her(e)la cyng, or ‘King Harilo’, which is itself a by-name of Wodan – a god connected with leading the dead in the form of the Wild Hunt. (6) In turn, Flasdieck traces ‘Her(e)la’ back to *Xarilan – a word deriving from *Xaria, or ‘army’. This is synonymous with Herjann, and leads us to the Germanic tribal name, the Harii. (It’s all a lot more complex than that, I’m trying to condense about seven pages of etymology into less than a paragraph. Seriously, get Kershaw’s book if you can.)

Remember the black mask of the Harlequin? Maybe it’s no coincidence – per Tacitus in Germania 43 (emphasis is my own):

“As for the Harii, quite apart from their strength, which exceeds that of the other tribes I have just listed, they pander to their innate savagery by skill and timing: with black shields and painted bodies, they choose dark nights to fight, and by means of terror and shadow of a ghostly army they cause panic, since no enemy can bear a sight so unexpected and hellish; in every battle the eyes are the first to be conquered.”

Masks and Ritual

masks - death masks
Image from here: http://bit.ly/2nBmA5a

Returning to the ancient classical world though, and this time the funerals of Rome, we see the act of masking in impersonation of the dead. One of the living would wear a death mask and clothes of the newly deceased, and impersonate them as much as they could. To clarify a little here, by ‘death mask’, I mean masks molded from the actual face of the deceased usually after death. Other mourners would similarly impersonate the ancestors of the deceased with their own respective masks. (7) Viewed from this perspective, the funeral then becomes a drama in which the decedent is escorted to the grave by the dead themselves.

To quote Kershaw in her ‘The One Eyed God: Odin and the (Indo) Germanic Männerbünde’, “It is the nature of the dead that they are not seen”, and yet there were times during the ritual year when the dead very much needed to be present. So how to solve a problem like that? How to give form to the unseen?(8)

Again from Kershaw (emphasis is my own): “The means by which they become the dead are Masks. By mask we do not necessarily mean something which covers the face. The most primitive form of masking is simply painting the face (and body). And while we have, from Scandinavia, representations of cultic dancers wearing very realistic wolfs’ heads and fur garments reaching to the knees, as in the helmet plate from Torslunda described in 1.4.3 above, other masks consist of (or are made to look like ?) parts of an animal’s head, or the whole head with the jaws agape and the masker’s face showing, as in the pictures of Herakles in his lion skin or Hades in his ????….The mask shows that the wearer is a dæmonic, or more-than-natural, being. He is no longer himself: he is an Ancestor.” (9)

Though Kershaw was writing about the embodiment of ancestors by living warriors by means of donning masks, this same principle applies equally to the impersonation of the deceased at the Roman funeral – the belief in possession by ghosts or the ‘more-than-natural’ is quite ancient.

Exapanding the ‘More-Than-Natural’

Earlier on in this post, I made the joke that sometimes you have to dress for the job you want, hopefully that joke ismasks - werewolf becoming somewhat clearer now. But I do not believe that this principle applies solely to the dead, and that we can see a form of this kind of embodiment of the ‘more-than-natural’ in some of the sources on shapeshifting too. For example, Sigmund and Sinfjötli of the Volsunga Saga become wolves through the donning of skins, and this theme survived into the 17th century when Thiess the self-described werewolf of Livonia testified that he and his fellow werewolves [on their journey to hell to retrieve seeds stolen by a sorcerer called Skeistan] had to strip off and don skins. (10)

Conversely, a person might return to the human state by either shucking the mask or skin, and/or dressing once more in the clothes of man. We see this at play in Petronius’s Satyricon in which a soldier protects his clothes by magically turning them into stone before turning into a werewolf. To protect one’s clothes is to protect one’s ability to return to the human state. This theme is also present in Marie de France’s 12th century lay Bisclavret (a Breton word meaning ‘werewolf’) in which a werewolf’s clothes are stolen him from returning to his human form.(11) This is not so different from the protective powers of cultivated land when being pursued by the Other in the wilds, the clothes acting as a civilizing influence in much the same way as working the land does a field.

Of Masks and Clowns

The 2016 spate of clown sightings were noteworthy in numerous ways, not in the least because every single clown described was of the ‘horror’ variety. They were embodying the Pennywise, the sick, murderous clown that goes out of its way to terrify children and adults alike, and all during a time of high passion and acrimonious national discourse. Given the historical use of masking within ritual contexts, and the meaning of that act of masking, a whole new dimension is added to the question of just what possessed those people to don those masks and go out behaving in ways they perhaps wouldn’t normally. Now obviously, I’m not suggesting that all of those clowns were possessed by some spirits stirred up by the then-zeitgeist, but it is an interesting thought, isn’t it?

Sources
(1) Etymological Dictionary Online – Clown
http://www.etymonline.com/index.php?term=clown
(2) Etymological Dictionary Online – Coulrophobia
http://www.etymonline.com/index.php?term=coulrophobia
(3) The Origins of Theater in Ancient Greece and Beyond: From Ritual to Drama – Eric Csapo, Margaret C. Miller P
(4)+(5) Commedia dell’Arte – Jennifer Meagher
http://www.metmuseum.org/toah/hd/comm/hd_comm.htm
(6) The One Eyed God: Odin and the (Indo) Germanic Männerbünde – Kris Kershaw (Pp 11, 15-19, 38-40)
(7) Impersonating the Dead: Mimes at Roman Funerals – Geoffrey S. Sumi
(8) The One Eyed God: Odin and the (Indo) Germanic Männerbünde – Kris Kershaw (p26)
(9) Ibid.
(10) Witches, Werewolves, and Fairies: Shapeshifters and Astral Doubles in the Middle Ages – Claude LeCouteux (Pp 118-121)
(11) Witches, Werewolves, and Fairies: Shapeshifters and Astral Doubles in the Middle Ages – Claude LeCouteux (Pp113-116)