A Druid Wedding Ceremony

Opening Processionals

Processional of Family Blessings and Guests
(Musical Accompaniment - “Concerning Hobbits” Lord of the Rings Soundtrack, 2:50)

Led by Officiant, MoB and FoB process down the boardwalk and onto the beach at the head of the guests. MoB carries a basket of sea shells; FoB carries handfasting cord and rings. Officiant proceeds to the front to stand before the altar, accompanied by the FoB who places cord and rings on the altar. MoB stands at the top entrance to the circle, offering a shell to each guest as they enter. Siblings (plus family) of Bride and Groom bring up the rear of guest processional and take their seats nearest the front of the altar on either side. After all guests have entered the circle and been seated, MoB and FoB take their seats next to the Sibling of the Bride.

Processional of the Elements
(Musical Accompaniment - “The Black Isle/Brunswick Street,” 4:10)

Fire and Water | Together, the Fire-bearer (Savanah) and Water-bearer (Josh) process down the boardwalk and onto the beach. Upon approaching the circle, they proceed around the outer rim in a clockwise direction, the Fire-bearer holding the lantern aloft while the Water-bearer sprinkles drops of water (sparingly!) onto the sand. Upon reaching the top of the circle again, together they process down the center aisle to place Fire and Water onto the altar, then take their seats.

Air and Earth | Together, the Incense-bearer (Jerilynn) and the Flower-girl (Fiona) process down the boardwalk and onto the beach. Upon approaching the circle, they proceed around the outer rim in a clockwise direction, the Incense-bearer holding the bowl of incense aloft while the Flower-girl scatters flower petals and herbs onto the sand. Upon reaching the top of the circle again, together they process down the center aisle to place Air and Earth onto the altar, then take their seats.

Bride and Groom Processional
(Musical Accompaniment - “Inner Light/Picard Flute Solo”)

Together, the Bride and Groom process down the boardwalk and onto the beach. Upon approaching the circle, the proceed around the outer rim in a clockwise direction, pausing at each of the four directions to whisper prayers of peace and welcome to the elements. Upon reaching the top of the circle again, together they process down the center aisle to stand before the Officiant at the altar.

Welcome & Invocations

Welcoming

Officiant rings a small bell to mark that the rite has begun.

OFFICIANT:

Today, we gather together - family and friends - to celebrate the loving union of Jeff and Alison. On this threshold of Land, Sea and Sky, we welcome the blessings of the Three Realms into our lives.

I invite you all to close your eyes for a few moments and simply be present to all who are gathered here today. Feel the sands beneath your feet, firm and soft. Like the sacred oak, we sink our roots deep into the soil to seek nourishment and support. We drink deeply of the waters that flow beneath us, refreshed by the rains that fall and soak into ground. Above us, the sun’s light energizes and warms us, feeding our spirits. The breeze caresses us as it dances by, carrying the many scents and sounds of the life all around us. Here on this shore, the Three Realms mingle their voices in a single song - the Song of the World - in which the melodies of our lives are joined.

[pause]

Open your eyes.

Invocations with Offerings

OFFICIANT:

In Druidry, we honor the many relationships that shape our lives. Just as Jeff and Alison have gathered their family and friends here to witness and share in their joy today, so do they also welcome the presence of the gods, the memory of their ancestors and the spirits of the living land as members of this sacred community.

BRIDE & GROOM:

We welcome and honor the gods, you who are sources of guidance, love and inspiration. Accept this offering as a symbol of our gratitude and praise.

Bride and Groom each offer a pinch of herbs to the incense.

BRIDE & GROOM:

We welcome and honor the ancestors, you who came before us in wisdom, memory and courage. Accept this offering as a symbol of our gratitude and praise.

Bride and Groom each offer a few drops of melted butter to the fire.

BRIDE & GROOM:

We welcome and honor Mama Anu, Mother Earth, and all the beings of this land, you who dwell in air, fire, water, earth and spirit. Accept this offering as a symbol of our gratitude and praise.

Bride and Groom pour a libation of water to soak into the sands.

Readings & Reflection

A Reading

“The Ponds,” by Mary Oliver - Read by Savanah


A Meditation on Love

Personal reflections on the seasons of love by the Officiant


A Song

Adapted from “Turn the World Around,” by Harry Belafonte - Sung by Jerilynn

Commitment & Vows

The Handfasting

Fiona takes the handfasting cord from the altar and presents it to Officiant.

OFFICIANT:

Alison and Jeff, please join hands.

Officiant drapes the handfasting cord across the joined hands of Bride and Groom. With each affirmation, Officiant loops the handfasting cord (loosely) once more around the couple’s joined hands.

OFFICIANT:

The swift hawk of dawn rides the currents of Air,
sharp in wit, far-sighted and clear in her will.
The rising sun illuminates her golden wings.
Her cry is a call of freedom on the winds.

Alison and Jeff, you stand here today
to pledge yourselves in marriage and love.
Do you come to this union freely,
guided by wisdom and clarity
and the true calling of your will?

BRIDE & GROOM:

We do.

OFFICIANT:

The bright stag of noon crests the hill as a leaping red Fire,
courageous and strong beneath a high, hot sun.
Through passion, he leads the hungering soul
on a wild chase across the threshold into new worlds.

Alison and Jeff, you stand here today
to pledge yourselves in marriage and love.
Do you come to this union bravely,
strong in your passion for one another
and ready to pursue it into a new life together?

BRIDE & GROOM:

We do.

OFFICIANT:

The wise salmon of dusk lingers in deep, cool Water
close to the secret, nourishing wellspring of the heart.
Her every movement embodies gentleness and grace.
Her gifts are compassion, kindness and attention.

Alison and Jeff, you stand here today
to pledge yourselves in marriage and love.
Do you come to this union gently,
attentive to each other's deepest needs
and open to the secrets of each other's hearts?

BRIDE & GROOM:

We do.

OFFICIANT:

The great bear of midnight moves slowly over the Earth,
lumbering through lush forests beneath a star-studded sky.
Close to soil and stone, rooted in the land,
his patience and loyalty shine like jewels in the dark.

Alison and Jeff, you stand here today
to pledge yourselves in marriage and love.
Do you come to this union steadfastly,
with commitment firmly rooted
in loyalty and mutual support?

BRIDE & GROOM:

We do.

With their final statement of intent, the Officiant knots the handfasting cord.

The Vows

With hands joined together by the handfasting cord, the Bride and Groom exchange the vows of their union. (Officiant speaks vows line by line, Bride and Groom repeat each line in unison.)

OFFICIANT:

This couple stands before you today with courage and commitment, with open eyes and open hearts, to affirm their love for each other. Jeff and Alison, please repeat after me.

VOWS:

I promise you a love as steady as the Land beneath us.
I promise to share with you the bounty of good times,
and to support and comfort you in times of need.
I promise to honor the mystery of individuality within you
and to respect your independence,
as you honor and respect my own.
I will rejoice in our differences as much as in our similarities
and cherish the love that grows between us.
This I promise, by stone, by calas (CAH-lahs), by bone, and by the sacred Land.

I promise you a love as boundless as the Sea that surrounds us.
I promise to share in your simplest joys and wildest hopes,
and to buoy you up when sorrow threatens to overwhelm you.
I promise to listen with understanding and attention
to your deepest desires and your darkest fears,
as you attend to mine.
I will always return to that love and gratitude
that is the source from which our union flows.
This I promise, by water, by gwyar (GOO-yar), by blood, and by the sacred Sea.

I promise you a love as eternal as the Sky above us.
I promise to carry the light of our love with me wherever life might take us,
and to be guided by that love as a traveler is guided by the faithful stars.
I promise to encourage you in your striving,
and to challenge you when you need a challenge,
as you encourage and challenge me.
I will join my life with yours as one melody
in harmony with the Song of the World.
This I promise, by fire, by nwyfre (NOOiv-ruh), by breath, and by the sacred Sky.

I promise to love and honor you all the days of my life.
By Land, Sea and Sky, this I vow.

OFFICIANT:

Though you cannot always be physically joined in this way, your vows and the love they promise remain true. [Officiant removes the handfasting cord from the joined hands of Bride and Groom, without untying the knot.] The cord is removed, but the bond remains strong and unbroken.

Officiant places the handfasting cord back upon the altar.

Exchange of Rings

Josh takes the rings from the altar and presents them to Officiant.

OFFICIANT:

These rings are a symbol of the vows you have made today.

Officiant presents each ring to Bride and Groom to place upon the other’s finger.

GROOM:

Alison, you are my best friend, my partner in life. Accept this ring as a reminder of my love and my promise.

BRIDE:

Jeff, you are my best friend, my partner in life. Accept this ring as a reminder of my love and my promise.

Blessings & Pronouncement

Blessing by Officiant

OFFICIANT:
[Personal blessing by the officiant.]

Pronouncement

OFFICIANT:

By the power vested in me by the State of North Carolina, it gives me great pleasure to pronounce you united in marriage!

Bride and Groom kiss!

Family Blessing with Seashells

Immediately following the pronouncement and kiss, Officiant asks guests to bless their shells with all of their joy and well-wishes for the newly-wed couple. Officiant then invites all guests to leave their seats and follow Bride and Groom down to the water’s edge. Guests toss their shells into the ocean on the couple’s count of three.

Presentation

Officiant rings the bell signifying the ceremony’s end.

OFFICIANT:

I present to you, Alison and Jeff Lilly!

Recessional/Receiving Line

(Musical Accompaniment - “Saltatio Vita” Omni, 4:34 + other songs)

Brighid and Poetry

A post I made on TC in the Cauldron Cill SIG, where folks were discussing Brighid's connections to poetry in response to this quote:

I'm with Juni in interpreting the concept of poetry to include all learning, education, wisdom, and arts. From what we know about the ancient Celts, poetry was mostly the domain of the druids, and so much of their learning and teaching was wrapped up in poetry.

So, for me, when I think about poetry in the context of Brighid, I think of learning, education, and wisdom, as well as written poems and other kinds of creative writing. And even performing arts. (Dance = "poetry in motion")

I tend to take a broad view like this of all of Brighid's traditional associations. Healing is so much more than curing an individual's physical illness or injury. Smithcraft can encompass many kinds of shaping, creating, joining together, etc. That's how I arrived at the idea of Brighid as a "patron" of social justice and advocacy. Advocates look at the parts of society that are broken and work to fix them through joining with other groups, forming coalitions, and developing better policies and laws. That process includes -- in a metaphorical sense -- healing (fixing society problems), smithcraft (building coalitions and creating policy), and poetry (learning about problems, educating the public and policy-makers about issues and solutions, crafting legislation and supporting material).

I couldn't figure out what to quote from your post, Aster, because all of it seems to relate really well to what I was going to write!

I've been thinking a lot about Brighid's triple character. (Cosmological tangent: So, for me, Brighid has different... levels (eh, I don't like that word but it's the best I can do right now). At one level, she embodies a kind of polarity or duality, fire and water, light and dark intermingling. At another level, she has this triple aspect or character, that for me is related somewhat to the three Druidic elements (nwyfre, gwyar and calas, which I think of as force, flow and form) and the three realms (land, sea, sky). These aspects find expression in the "ten thousand things" of the natural world, human culture and experience, etc., but they also lead back to or are a part of an original Mystery of creativity or unity as well, giving her a kind of primordial/cosmic nature. Sorry if this doesn't make any sense... I'm only just beginning to articulate it.) So - where was I? Oh yeah! In thinking about Brighid's triple character, I see poetry, healing and smithcraft as kind of metaphors or symbols of three broader aspects: inspiration, integration and transformation.

For me, poetry is a symbol of inspiration. Inspiration is like the sudden spark of insight or vision, the in-breath of spirit or deity into our lives. It can be completely disruptive and transgressive, coming in and tearing down our assumptions about how the world works and how things fit together. I think the best poems are the ones that juxtapose radically different ideas or images, that play with the sound and meanings of words in ways that allow us to see and hear them in completely new ways. In modern poetry (in a literate society like ours), another defining feature of a poem is often its structure or format on the page - it's set off in verses and stanzas, so that the white, empty space of the page makes a kind of frame around it and sets it off as something special, not just ordinary prose. Oral performances of poetry are a kind of performance art themselves, in which the voice of the poet weaves a vision out of surrounding silence for those who are listening. This is like inspiration - it can come unexpectedly out of an empty sky!

So when I think about Brighid's aspect as patron of poetry, I think of it in this broader sense - whatever is inspiring and allows us to see things in radically new ways. Music, art, storytelling, education and learning all fall under that aspect to a certain extent.

But I also see inspiration - because it is something radically different, something that can seem to come from "outside" ourselves - as being part of a process, and integration and transformation are the two other aspects of that process. With the in-breath of divine inspiration, we're left with a rift in our old worldview that requires us to seek healing (even if only metaphorically), so that we can establish a new sense of wholeness or completeness that now includes the insight or vision we've gained from inspiration. When we find that new wholeness or integration for ourselves, we can then bring that vision out into the world around us - we become active participants in transformation, changing and shaping others. When we do this, though, we are actually creating new opportunities for inspiration - we bring something new and unique to others that might become a spark for them, and we also will face new challenges that will be new sources of inspiration for ourselves, so there's a cycle or process there that feeds itself.

Inspiration that isn't followed by healing and integration, on the other hand, can lead to madness. I think that's why there's such a strong link between poetry and madness in Celtic mythology, with divinely inspired poets and seers being driven mad and fleeing society to live in the wilderness among the wild beasts. It's almost as though the vision and insight of divine inspiration breaks open the ordinary human mind.... and maybe spending time in solitude out in the wilds is actually one way of coping with the necessary process of healing and becoming whole again (especially if you're seeking a wholeness which remains open and doesn't require you to shut back down, which I think sometimes living in "civilized society" with its laws and restrictions and social boundaries can cause people to do).

Anyway, so that's my rambling. :) I don't know if it was helpful or not... I tend to think that anything that helps us break open our expectations of the world and inspire new insights into how things are and how we fit into it all is an expression of Brighid's "poetic" side. :)

Follow-Up Letter to Mentor

B--,

Thanks so much for your response - and so quickly! I know you've been busy with your own work. :)

It's very reassuring to know that my variation/approach to the Three Realms Working practice is not only acceptable but welcome, and your description of how it fits in with the overall DOTR philosophy is refreshing. As you probably know, I've been stung before by banging heads a bit about "how things are done" within a certain Ancient Order That Will Not Be Named… One of the things I appreciate most about DOTR is the openness and flexibility - but not just in a wishy-washy kind of way that says, "We're accepting of everyone as long as you stay at 'newbie' level." That's something I have run into in other Druid groups, and it's made me a bit gun-shy about sharing some of my more in-depth thoughts. I know I can get very intense about my work, and sometimes that intensity can come off as over-bearing! So it really is a relief to be reassured on that matter and not feel pressure from DOTR to keep my enthusiasm in check lest I wander off the Approved Path. ;)

The points you brought up in your letter have given me a lot to think about. Your first point, about each of the Three Realms being connectors or bridges, is definitely something that resonates with my experience/understanding of them. To me, the Three are incredibly dynamic, though each in its own way, and they also all lead outward to each other even as you follow them more deeply inward… if that makes sense. So I think you're right that this is a key to my understanding, and keeping that in mind when trying to work with them in a "linear" meditative practice will definitely be helpful.

I think it's interesting that you said my description of Sea is almost completely metaphor compared to the other two Realms. I went back and reread what I wrote to see what you meant, and it seemed to me like they were all pretty evenly balanced (though maybe all of them tending a bit more towards the metaphorical). I remember when I was trying to articulate what I meant in the original letter that it actually helped a lot to go back and forth between my descriptions of each of the Realms looking for patterns of meaning as I wrote them out. I think your point about keeping the material realities of the Realms in mind is really important (and even though I'm, sadly, landlocked where I'm living right now, my dreams very often involve landscapes dominated by the ocean and the shoreline!)… But I wonder if the drought you're experiencing in GA means you're even more sensitive to the material reality of Sea in particular! :)

Your question about the gestures for the Three Realms practice is actually something I've been playing around with for a while, and still trying to work out. The way I do it right now (and it's been a while since I read the DOTR version, so I forget if this is basically the same or modified a little bit) is this:

- Begin with my hands resting lightly, palms down, on my knees (I almost always do this practice sitting cross-legged so that I can physically touch the ground/floor wherever I am).
- After centering through breath meditation, I lower my left hand to touch the ground to my left (palm down and flat), drawing up "blue" energy of the Sea to circulate through my body.
- When ready, with my left hand still touching the ground, I raise my right hand up above my head to my right (palm up and open, fingers extended upwards), drawing down "yellow" energy of the Sky to circulate through my body.
- When ready, I bring both hands together into namaste/prayer position just in front of my solar plexus (blending blue and yellow energy into the "green" energy of the Land).

After the Three Realms working, I sometimes move into another prayer honoring what ADF calls (I think) the "three hallows" of Tree, Fire and Well, using a prayer I adapted (though I forget from what source) and gestures I made to go with it. Either way, I end up in the namaste/prayer position at the end, and afterwards, I lower my hands again to rest, this time palms facing upwards, on my knees for any trance or energy work I'm doing for the session. If I don't do the Three Hallows prayer with gestures, then the energy from the Three Realms working I can either kind of "expand" into a surrounding, misty sphere (and then release/dissipate after my meditation) or I can direct it to a particular purpose/object for blessing/consecration or such.

I hope that gives you some idea of how it goes. :) If I remember right, the version in the Aspirant Lessons calls for turning in a circle at one point, but I've found that in our tiny apartment doing ritual work standing up and turning different ways just isn't practical (though if I'm directing the energy into an object, I will sometimes use the circular motion around it). I've also noticed that using the gestures with the left and right hands during the Three Realms working, the result of holding the position for any length of time is that my left arm (drawing up Sea energy) starts to feel loose and cool from resting relaxed, while my right arm (drawing down Sky energy) begins to feel tense and warm from the effort of holding my hand aloft. When I bring them together, my left hand feels warm to my right hand, and my right hand feels cool to my left hand (because blood has been leaving the right, raised up, and pooling in the left), so it's like a visceral, palpable experience of the energies mixing and exchanging.

And once again, it seems I've written a lengthy letter without meaning to! I hope this has been helpful for you - I know it has for me. :)

A few last things: Jeff's and my wedding will be in North Carolina, on the Outer Banks, on September 16, which is a Friday. It would be lovely if folks in the Order wanted to do a working to bless our marriage, and we would be very grateful! :)

Also, congratulations on the position at Cherry Hill Seminary! I definitely know about CHS (my friend, Cat, was heavily involved in its founding and early years). Every once in a while, I dream about applying to attend - especially once they get accreditation - but I always seem to have too much to do and not enough money. ;) If they're bringing you on and trying to incorporate Druidry a bit more into the curriculum, that sounds like something I'll definitely have to keep my eye on. I saw that you posted on the DOTR network about the course you're developing, so I'll go check that out - sometimes I think "intro" courses are the hardest ones to do, so I'm really interested in seeing what you do with it. :)

All right, that's all I have for now. Hope this letter wasn't too long!

Blessings,
Ali

Pilgrimage to the Angel Oak (and Folly Beach)

I didn't have my camera out very much during this trip (except for this first one, a photograph of the Angel Oak I took before we left), but there were a few occasions when Jeff snuck a few quick shots of me.



The Angel Oak







Me in meditation beneath the Angel Oak, performing the DOTR Three Realms Working (my version, with the Tree as bridge).







At the beach on Jeff's birthday — a few pictures of me enjoying a rare chance to swim in the ocean. (I couldn't see anything because I couldn't wear my glasses!) Apparently, I was out in the water for more than an hour.

Diary - Pilgrimage

Days of Note: Flamekeeping, Pilgrimage to the Angel Oak

Sun: gemini (mutable air), 6:15am - 8:19pm (Summerville, SC)
Moon: waning crescent, pisces (mutable water), VOC (through tomorrow evening)
Earth: another hot, sunny day down in South Carolina, with the air thick and muggy and a possible thunderstorm this afternoon (we can only hope); even when the sun is high, the sunlight is not the clear, bright sunlight of farther north, but a damper, heavier, somehow darker kind of light through which everything seems hazy - or perhaps it's only that even in the shade the heat dominates, so that nowhere is safe from the sunlight


Brigid always has a trick up her sleeve for me, it seems. I now have a Brigid's Cross burned between my breasts… or to be more precise, a pale uneven-cross of skin surrounded by the red-pink of sunburn. Last night at sundown when I began my Flamekeeping shift, I asked her to accept the gold Brigid's Cross pendant I always wear as a symbol of her flame because I could not keep a physical flame for her during this shift (even lighting a candle at all in our B&B room was technically not allowed, though I risked it for half an hour for my opening rite). The handmade flame pendant I usually wear is back home, embedded in wax where my usual Flamekeeping candle spilled over into the offering dish without my noticing. I'm not sure if I'll be able to get it out again without ruining it, since it didn't have any kind of protective finish on it, but in any case it was too late to try to salvage it just then when I was packing. I'm not sure if the sunburn is a sign of acceptance or a light slap on the wrist for not being better prepared to travel-while-Keeping. In any case, it wasn't entirely unexpected, considering we were out on the beach without sunscreen during the most intense part of the day….

I'm feeling slightly scatter-brained at the moment, which I expect is mostly from the heat and general late-afternoon fatigue. Both mornings we've been here now, we've been up at dawn to do some yoga and then gone running in the surrounding neighborhood, coming back to the B&B to shower and have a delicious breakfast downstairs. We're the only people in the house right now, though there's a man in the cottage apartment out in the backyard (we haven't seen him yet, but we've seen his car in the drive). We basically have this entire gorgeous French-style southern mansion to ourselves, and it's absolutely lovely. Getting out early in the morning to go running while it's still relatively cool (in the 70s) has me feeling so completely energized and fantastic, I'm hoping I can hold on to that habit when we get back home. Yesterday morning after a shower and breakfast, I spent some time in the lush, steamy garden in the back of the house while Jeff got some work done on the computer inside. I spent time in meditation sitting on a stone bench by one of the small fountains (guarded by a small moss-covered frog and a statue of the Amitabha Buddha).

This morning, though I was technically on Flamekeeping shift, I held off on my morning meditation because right after breakfast we made the hour-long drive to John's Island to see the Angel Oak tree. Last year we visited the tree on Earth Day in April, in the early evening just as the sun was in its golden hour (and the trip also happened to be during a Flamekeeping shift!). This year, we made it to the oak by mid-morning and again the sunlight was all golden and soft through the branches. There was hardly anyone around, and so Jeff and I split up and found spots to sit near the tree to do some meditation. The same feeling I had last year — of immensity and power and life-force emanating from the tree enough to make my heart quicken — was there again this morning. I noticed that the other tourists who wandered up to see the tree during our time there all had a tendency to lower their voices to a whisper, as if out of respect, and there was a natural hush about the place. Even though it's a tourist attraction now, it's hard for me to believe that it's not also a sacred place of power in spite of that. Even the way people arrived, a couple at a time but in a steady stream so that there was almost always at least one person around, a new person arriving just as the other was leaving, though you couldn't ever say the place was busy, and always it had that same hush and quiet and presence to it…. it almost seemed as though the tree were drawing people to it, few by few, like pilgrims attending to it, murmuring appreciative prayers of awe and praise. To sit under the tree for any length of time and watch this process was amazing, and just as it did last year, it left me with this strange sense that the tree was a sacred center or power or axis mundi around which the rest of the world turned, with us little humans coming to stand tiny at its feet and arrange our lives like love-worn dolls….

When we first arrived, a couple with a young toddler were just leaving and for a time we had the place all to ourselves. I sat at the base of the tree while Jeff wandered off somewhere else, and I sat in meditation for twenty minutes or so. First just breathing my awens and allowing myself to relax into the energy and presence of the place, then reaching out to perform (my version of) the DOTR Three Realms workings. The Tree as center and bridge between the watery depths of soul and the celestial heights of spirit was especially effective when I could feel the vast trunk of the Angel Oak behind me, lending support to my spine. During this meditation, my sense of grounding was so powerful, I felt as though I could sit there forever, still and unmoving, so solidly was I rooted in the earth. It's one of the most effective grounding experiences I've had in recent memory. I also experimented with Erynn Rowan Laurie's take on the Three Cauldrons meditation - though I used different hand gestures adapted from the "peace sign" meditation I'd been working on (with both hands placed on the ground to either side, then raised to the center in a namaste/prayer position, then raised up again — in this way, the gestures not only mimic a transformation of the peace sign from despair to rejoicing, but they also echo the Awen symbol in both invoking and evoking form).

A side note: part of me feels bad that I feel such an urge to adapt and change the practices I learn from others. Often the people teaching these techniques will say that they can be adapted or changed to suit personal approaches… but I often feel like this is more an attempt to be tolerant of diversity, and not really a whole-hearted encouragement to actually go about changing things. I do want to trust that certain ritual techniques have stood the test of time and have something to teach me… but it was easier to trust this way in Catholic rituals which really were hundreds, even thousands of years old. Druidry (and Paganism generally) is still so new, and there's a lot of variation in technique. I see similarities between different types of meditations and energy work that I can't overlook, and so these end up blending together in my practice to create rites and gestures that make sense to me. The way I perform a Three Realm Working is derived in part from Orion Foxwood's exercising in connecting to the local land (I forget its name at the moment), in which the "streams" from below and above are joined in the heart. It seems the Three Realms working is also similar to the ADF Two Powers meditation…. except in the Three Realms (both in the DOTR version and my adaptation) there is a blending of the two energies to create or express a third. I never quite understood why a tradition like ADF, with such emphasis on the three realms, the three hallows and other triads, would have a fundamentally dualistic meditative practice as a core technique…. connecting Earth and Sky, but where is Sea in this? This is the same trouble I had with the three Druidic elements in their relation to the four classical elements. If you can arbitrarily drop or add an aspect to a system, then it wasn't a stable or complete system to begin with. In the Three Realms, Land, Sea and Sky seem all to be of equal importance and significance…. and simply dropping Sea and connecting only to the other two doesn't make much sense to me. Similarly, dropping (or combining) Fire and Air from the four classical elements to get the three Druidic elements — as though they were nearly interchangeable otherwise — is deeply dissatisfying to me. So I have to figure out a way to make that change.

On the other hand, Erynn Rowan Laurie's Three Cauldron's meditation makes a lot of sense to me, with the Cauldron of Warming (being associated with the realm of land/earth and the Druidic element/principle of calas) the lowest of the three, the Cauldron of Motion (sea/gwyar) near the heart, and the Cauldron of Wisdom (sky/nwyfre) near the head/crown/third eye. This makes intuitive sense to me, and aligns pretty well with both T. Thorn Coyle's "three souls" meditation and with my Peace of the Three Realms meditation that I developed a few years ago (in which each of the… let's call them "cauldrons," though I originally called them simply "centers," are infused specifically with energies from the Three Realms in a kind of rippling out/up of energy). I don't have any struggle in figuring out why, during the Three Realms working, gwyar/sea is "below" and calas/land/tree in the center, while in the Three Cauldrons working this is reversed. It just… makes sense to me that way. Perhaps because the Three Realms working is a kind of orientation, connecting us with the Tree as axis mundi and bridge of soul and spirit… while the Three Cauldrons/Peace of the Realms practices are more about activating our own ("internal") energy centers. With this inner work, we naturally start from a "base line" of calas, the realm of land that we're so used to and probably most immediately connected to through our physical senses. From there, we kind of "drop" into the gwyar/emotional center of movement and exchange — that is, our experience of form and limit naturally gives rise to an urge to connect, and this is a kind of deepening at the same time that it's a rising up…. almost as though our heart calls our attention to it precisely at that moment when it is spilling over — we are called inward at the same time that we feel the ache of going outward. The final center of nwyfre/wisdom is an ascent to pure force and initiative, as well as breath. Both boundaries and the interweaving or connection of those boundaries are overcome or swept up in the unity of "oneness," to some extent.

I'm not at all convinced this makes much sense… I'll have to keep playing with these ideas. In any case, I'd like to find a way to integrate the Peace Prayer practice with the Three Realms working (and the Three Cauldrons practice as well, perhaps) in a way that leads naturally from one into the other without having to drastically altar the energies I'm working with for each one. ADF describes the Two Powers practice as like to "grounding and centering." I'm not sure which one people traditionally do first among other Wiccan/Pagan groups… but I always understood that centering was the first step (a kind of inward turning and cultivation of stillness and attention that was the prerequisite for any meditative work) and grounding was the second step, a moving outward again from that established center to "ground" that center in the living earth, as though planting a seed, or the moment when that seed germinates and sends out roots. In any case, it always seemed to me an inward/outward movement of focus, rather than an up/down focus the way the Earth/Sky approach suggests. In my own practice, I've gotten so used to centering and grounding that I hardly notice it as an initial step before my other meditation work. I center through some meditative breathing, cultivating a stillness between breaths (which the awen breath can be particularly helpful for), and then reach out to ground myself in the earth and further open myself to the living presences around me. In this sense, then, centering/grounding is a first step, and the natural next step after grounding (reaching out to the earth surrounding me — for we do not only live "on" the earth, but more precisely we live in it, surrounded by its landscapes and climates) is to begin (my version of) the DOTR Three Realms working. When we ground, like a tree putting down roots and sending up shoots, we are not seeking merely earth beneath us… we are seeking the water and the exchange of nutrients below, and the sunlight and air that fuels us from above. These we transform into the living matter of our bodies. So the Three Realms working is a natural follow-up to the centering/grounding opening work.

In that case, then, the Peace of the Realms and the Three Cauldrons meditations are not so much about who we are or where we locate/orient ourselves in the currents of the world… but more about what we do in the world, how we approach our activity. Once we center and ground ourselves in our enspirited-bodies, then what is it we do with those bodies? Finding our foundation, cultivating our work and releasing our love-guided efforts into the world (or warming, motion and wisdom) are the three processes or activities we undertake. They may have affinities with the Three Realms… but they are not merely equivalent. Which is why the Peace of the Three Realms actually "activates" each of the three realms or their currents/elements/principles in each of the three activity centers. So if this is the case.. then a natural order to the practices would be: starting with centering and grounding, then the Three Realms working to orient and establish our selves within the three realms of the world, then the Three Cauldrons meditation to "activate" or energize the three "centers" or cauldrons within the self, then the Peace of the Three Realms prayer to articulate and express the purpose towards which those three center of activity might be directed.

I'll have to experiment with this order to see how it works in practice as well as in theory… but I'm actually quite pleased with this approach. It makes some gut-level sense to me, and incorporates at least some sources of legitimate ancient Celtic culture. I would want to read more about the Cauldron of Poesy text that Erynn Rowan Laurie mentions, if only to seek out some confirmation of this approach.

It seems to be almost 8 PM now and I've been writing for at least two hours…. I had more to talk about, but my shift is coming to an end, so I should probably wrap things up. I'm feeling especially tired and I should probably be sure to drink some more water and apply some more aloe gel to my burn so I'm not regretting my silliness in the morning.

It occurs to me that I forget to explain how I got the sunburn! After staying by the Angel Oak for an hour or two, we thought we would try to find the nearest public beach access, which ended up being Folly Beach. We spent about an hour strolling along the shore, feet in the warmest ocean water lapping up around our calves. Before finally returning to the car, I waded out deeper until I was standing in waters mid-thigh and waves were getting the hem of my sundress damp. By that point, though, I'd already been out long enough to get a burn on my shoulders and chest. We're thinking of going back to the beach tomorrow, after spending a morning in Charleston looking at all the ancient homes built right up on the shoreline by slave labor (Jeff's love of this beautiful human tragedy reminds me of that Doctor Who episode, Blink: "Sad is like happy for deep people.")

We'll see. Tomorrow we're taking a day off from running, though we're hoping to still do some sun salutations to great the new day. It's Jeff's birthday, so we'll have an official day off to do whatever we want before heading back to Pittsburgh on Friday. I may or may not have a chance to write again before we get back home. We'll see.

DOTR Lesson 4: Air

Sun: taurus (earth/fixed), 6:07am - 8:26pm
Moon: waxing gibbous, virgo (earth/mutable)
Earth: gorgeous and sunny, bright morning, with an afternoon getting up near 80º with thundershowers

I've done a pretty poor job of keeping up with this diary over the past month or so, but that doesn't mean I haven't continued my spiritual work, as well as work more specifically pertaining to DOTR. Sometimes it's difficult to remember to journal here, just because so much of my work seems to tie back in to my spiritual life and path in one way or another, though perhaps not always in clearly definable ways. In any case, I just finished some meditation on Air (for Lesson 3), and I wanted to spend some time noting a few important bits. But (as to be expected, I suppose), I'm feeling a bit "air headed" and scatter brained at the moment, so don't expect too much coherence.

First, a reflection on Air as an element. On Monday morning, I sat outside and did a simple ritual of meditation and connection with the element of Air (though, thanks to the brilliant weather we've been having, I also made passing acquaintance with Fire in the form of sunlight and, subsequently, sunburn). I haven't been keeping up with my meditation as much as I would like, and there have been plenty of things to distract me (more on that later), so I wasn't able to sink deeply into trance or anything like that. But rather than force it, I simply allowed myself to spend time with the element as it expressed itself in my immediate landscape. I felt the breeze on my skin, listened to it play through the wind chimes in the backyard, and watched as it moved the spiraling incense smoke this way and that, turning first away from me, then surrounding me, then lifting up to disappear into the air above me.

Sitting inside this morning to do meditation, I again watched the incense and not for the first time marveled at how solid the forms of smoke seemed, how they kept their shape (though that shape was definitely mutable and spiraling and every-changing) and I could watch one bend or curl of smoke as it wafted on its own unique journey through the barely moving currents of air in the room until it slowly faded — not so much dissipating as simply disappearing, fading away.

This brings my mind back to the relationship between the four classical elements (earth, air, fire and water) and the three Druidic elements of nwyfre, gwyar and calas. In JMG's Druidry Handbook, I always found the explanation rather dissatisfying. It seems to me that these three v. four are distinct systems of understanding the world, with their own implications, and if that's true then one should be able to bring them to bear on one another. Instead, in the Handbook, the four seem simply an extension of the three — so that the implication is the three are somehow incomplete — and nwyfre seems to morph and change not in any essential way, but more as a matter of convenience, taking on whatever extra role seems necessary. Really, the three Druidic elements as JMG presents them seem like a hobbled version of the four classical elements, less like a three-legged stool than a four-legged chair you've taken a saw to. In our teaching work with Savanah, Jeff and I have tried to develop both an understanding of the three elements as complete in themselves, and an understanding of how the four elements can be understood in relation to the three. Anyone who talks to a twelve year old probably knows that you need to know your shit and have your explanations clear if you want to escape endless scrutiny. It took a while to explain why gwyar was different from water, for instance, and calas not quite the same as earth, and so on. But it's been helpful work, and has forced me to articulate some things in my own approach.

The approach I use now is that the three Druidic elements can be understood as guiding principles or aspects of the world. I understand them, most simply, as form, flow and force (for calas, gwyar and nwyfre). Thus, calas is the principle of form, manifestation, boundaries, limits, distinction and individuality. Gwyar is the principle of flow, exchange, movement, communication, connection and freedom. And nwyfre is the principle of force, energy, initiative, desire (and repulsion), drive and life-force in the kind of spiritual sense. Each of these describes aspects that can be found in absolutely everything in the physical (and nonphysical) world.

How do these relate to the four classical elements of earth, air, fire and water? Here I borrow an understanding from astrology (and as I study more, the more I see how much insight this approach has to offer!). The three Druidic elements can be likened to the three qualities in astrology known as cardinal (corresponding in my understanding with nwyfre), mutable (with gwyar) and fixed (with calas) — for each of the twelve zodiac, a sign is a combination of one of these three aspects with one of the four classical elements. Thus, you have Taurus as fixed earth while Virgo is mutable earth, Leo is fixed fire while Aries is cardinal fire, and so on. The three combined in this way with the four create twelve, each with its own particular expression. Taking a cue from astrology then, I see the three Druidic elements as principles or aspects, and I see the four classical elements as qualities or "building blocks," so to speak. Each of the four classical elements has a quality to it that can be expressed by any of the three principles. Thus earth is dark, cool, dry and heavy; air is bright, light, hot and moist; fire is bright, light, hot and dry, water is dark, cool, moist and heavy. These combination of qualities mean each element has particular associations as well — times, places, objects, tools and other symbols that best exemplify or embody the quality particular to that element. (So, for instance, the seasons: spring as warm and moist, summer as hot and dry, fall as cool and moist, winter as cold and dry.)

But the key here is that each of the elements can be expressed through any of the principles represented by the three Druidic elements. Thus, we can have fire as a quality expressed in calas - that principle of a physical fire which gives it shape and definition in our experiential engagement, which imbues it with a kind of perceivable form, that gives it an edge and a boundary. Fire expressed in gwyar is the process of combustion and consumption, the transformation of fuel into flame through a reaction and exchange. Or, another example, earth in calas is, most simply, the material world itself, all around us, which we experience as a realm of form and manifestation, full of distinct entities with limits, boundaries that bump up against one another. Earth expressed by the principle of nwyfre, on the other hand, is the urge in Spirit itself to manifest through form and limit. It is the spark, the initiative, the force of life that gives rise to form, that seeks to consolidate itself into particular organized entities. It is the energy of nwyfre expressed through the quality of darkness and opacity and heaviness.

These are just preliminary thoughts, and I have work to do to tease out the details and how each combination really works. Some qualities (four elements) seem to have particular affinity with certain principles (three elements). (For instance, the element of water is deeply related to the element or principle of gwyar.) So one thing I want to do during this time of revisiting the four elements through the DOTR work is to explore how each of the four elements is expressed or exemplified or affected by the three Druidic elements as principles of being. I'm hoping my divination work will help with this as well. Not only do I plan to keep studying astrology during this time, but I'm also looking into Erynn Rowan Laurie's book on the ogham, in which she talks about using three full sets (of 20) for three "currents" — chthonic, oceanic and celestial — corresponding to the three realms. My understanding of the three Druidic elements of calas, gwyar and nwyfre is that they also correspond to the three realms… though exactly how they correspond is something I'm still working out, and some of it will depend on my deeper research into this approach to ogham.

In particular, on that note, I find myself wavering between associating calas or gwyar with the chthonic/earthy realm. My two patron deities, Brigid Star Fire and Manannan, seem to dwell in tension with each other, with Brigid very much a deity of sky and the celestial, while Manannan is not only a deity of the ocean, but of the depths and the darkness, so that he also seems connected to the "underground" (as well as the mists that rise from the earth to obscure our way, and the rain that pours from the sky and soaks into the earth, seeking its depths). This is another issue that I have with the DOTR Three Realms practice itself. Maybe because of my aesthetic sense of my need for balance (or because I am overly analytical about these things) — I find myself wanting to reach down to connect with "water" (or more specifically, with gwyar) below instead of with "earthy" aspects associated with calas and the land. For me, the blue, deep, dark, heavy, moist, watery qualities below can then be brought into relationship with the yellow, high, bright, light, dry, fiery celestial energies of nwyfre above…. mixing and mingling and expressing themselves in the green aspects of calas and the land, the realm of form and manifestation.

The tree then, a mighty presence of the land, is a symbol of that bridge and that relationship — reaching its branches and leaves up into the sky for sunlight and air, and reaching its roots deep into the earth in search of water and nutrients…. at both these extremes, you have fluidity, exchange, change and a kind of blurring of boundaries, a liminality where Tree merges with that which is seeks. And then, having received the gifts of the heights and the depths, the fire and the water, these extremes, opposites, are integrated and brought into relationship in such a way that you have the "middle earth," the land we walk upon as a meeting place of these other realms, the realm of unique manifestation and expression, individuality and boundaries. The individual can be lost in the mysteries of the depths just as in the celestial mysteries — there is a dark mysticism as well as a bright mysticism. But the "real world" of sensual, sensory experience, where we know ourselves as distinct entities for the most part (only sometimes sinking into depths or rising to heights where we forget our "selves" completely in union with something greater)… that's the realm of calas, of the land, and the Tree. It seems to me that a daily spiritual practice works best (in my experience, anyway) when it teaches us how to bring the more liminal, fluid mysteries of the depths and the heights and integrate them and express them in the everyday world around us. In Kabbalism, as I understand it, there's the idea of climbing up the tree to reach those heights, and then bringing that energy back down "the lightning strike zigzagging through the ten sefirot. But in this idea, the tree not only reaches up towards the celestial, but down as well, into the depth and darkness of the "underworld," and that energy and experience is brought into relationship from both directions into a center. (Plus, blue + yellow = green, duh!)

Is this "underworld" of watery depths and darkness most appropriately called "chthonic"? I'm not sure — I haven't ever used that term much. Perhaps "oceanic" makes more sense, especially since we tend to think (even if just metaphorically) of the lands kind of "floating" on the oceans (and understanding the underground lakes and rivers, the moistness of caves, and even the liquid molten rock below the earth's crust, it makes a kind of literal sense as well). If that's the case, then, does chthonic fit well with the idea of the Tree as bridge between celestial and oceanic, and the land as a kind of "middle ground" where these two Mysteries are brought into manifestation? I can't answer that, because I don't know enough about what the word "chthonic" is supposed to imply (though my first instinct is to answer no, it doesn't quite fit). Still, the relationship between "fire" and "water" (not as elements, now, but as symbols or representatives of the realms, I guess) is something that seems to rest at the core of my Celtic spirituality…. So it's worth exploring. Perhaps I'll tidy this up a bit and post it to the DOTR group blog for some feedback.

This became a long, rambling exploration in a rather more abstract way than I'd originally intended. This was all sparked by my observation during meditation of the way the incense smoke hung together, spiraling around itself — or, the other day, cast shadows on my arms and chest as I sat in the sunlight — bringing to mind again that this smoke, and the air currents themselves, are still very much expressing themselves in calas. The air currents, though they seem invisible to the human eye, are just as distinct, real things as fire or earth (or water and its slightly less invisible currents). To the birds who fly through the air, or the dogs and other animals navigating by scent, the currents of air are palpable presences, distinct bodies with their own boundaries. A story David Abram tells in his book, Becoming Animal, illustrates this point nicely — he describes one time watching ducks flying into a hard wind, dipping here and there, testing to find the edges of the strongest current of air and where there were slips and gaps in the wall of wind coming at them that they could push their way through. For the ducks, the air was as solid and bounded a thing as the landscapes of hills and valleys, forests and fields that we walk through, looking for our own slips and gaps to help us make our way. So air has expression in calas, in the realm of form and manifestation. The invisible, the unseen still has an active presence in and engagement with the manifest world. And as I watched the incense smoke, I understand that the element of Air, too, has its limits and boundaries.

I did want to talk a little bit about some other work I've been doing, but it seems that most of the morning has passed while I've been writing this (and I haven't even done a tarot card reading!). So I'll wrap things up here and maybe come back to it later. I am going to try to be more diligent in writing down these various reflections and experiences. I swear!

DOTR Lesson 2: Entering the Order as an Aspirant

Tonight during the Druid Order of the Three Realm Mother Grove's winter solstice ritual, I was officially welcomed into the Order as an aspirant working through the Nine Lessons with the intention of becoming a full Druid member after a year's time of study. Though the ritual took place down in Georgia where the Mother Grove is located, my mentor asked me to spend some time in silent Awen meditation between 7:30 and 8:00 pm, to connect with the ritual in my own way.

I also took this opportunity to complete the final section of Lesson Two, the "mini" three realms working. Reaching up to touch sky and down to touch earth, I brought them together through the flow of the sea to create a sacred space in which I infused my intention with energy and enchantment, naming my formal dedication to the work of the aspirant.

Before this, however, I spent some time acknowledging my gods, and in particular Brigid, by pouring some libations and reciting the Druid Prayer for Peace. After some time in meditation, I allowed myself to slip further into trance (though this was a little difficult because Jeff's voice drifted up from downstairs where he sat reading to the children before bed). Deeper in trance, I seemed to stand as part of a circle of shadowed, half-seen figures gathered around a central flame. It seemed to me these figures moved and turned with the gestures of solemn rite, and murmured prayers of awen and welcome. I could not see them well, but it seemed to me that this was the Druid Order of the Three Realms gathered together, some in body and some only in spirit, working together the rituals of the turning year. I asked that I may enter more fully into the Order as an aspirant member, and for a moment the figures seemed to come into sharper focus and full color, before the trance slipped too quickly away and I was spun back into ordinary consciousness. The experience was too fleeting to be sure of anything, but still, it had the feeling of a confirmation and welcoming to become a member of the group.

Following this brief meditation, as the end of the ritual was drawing near, I drew a divination reading using my tarot deck. Using a three-card spread, I asked three questions:

(a) What gift do I have to share with the Order?

(b)What gift does the Order offer to me?

(c) What sign will be my guide and help me along this path?

(a) Queen of Wands: A figure of poise and grace within skillful activity and commitment, the Queen of Wands brings dedication and enthusiasm to her work, as well as a self-confidence grounded in experience and sincerity. She can be an energizing presence for those around her as she follows her natural penchant for energetic involvement in the activities she finds engaging. This card suggests that it is my self-disciplined dedication and steady involvement in the Order that may be my most valuable gift, especially if it comes through the skills and talents that I am most passionate about and have worked hard to cultivate (for instance, my writing and poetry). My energy and enthusiasm for the work may engage others, stimulating them into renewed activity and engagement with the work as well.

(b) Four of Pentacles: This card is often interpreted as one of stagnation and immovability, especially when it comes to securing financial or material wealth. There is a suggestion with this card that things have become too stiff and unchanging, and that we may be clinging to "the way things are" in order to protect our material gains at the expense of openness, receptivity and generosity with others. The spirit of growth and exploration may be missing, as we lock down on our possessions and create a trap or cage of our own making with our covetous spirit. It is not exactly a card you might expect in a reading about gifts. This may mean two things. The first is that, perhaps, the Order itself is perhaps, even if only to a small extent, "locked in" to a particular way of doing things and has grown protective of this structure and approach to the detriment of new growth and experimentation. It may be that the gift the Order has to offer me is in the confrontation with this attitude, in which I may learn to navigate and negotiate with it to both my own benefit and the benefit of the Order itself. The second possibility is that this card is meant to present both stability and protectiveness, especially when it comes to community. The number four represents the stabilization and concretization of the active patterns of three into matter and form, and the pentacles especially is a card of earth, the material world and its manifestation. Thus, this card may indicate that what the Order offers me is a place of stability and structure that is protected by those who have cultivated it and feel deeply invested in it personally. It may offer a "concrete" real community that is close-knit and which gathers regularly to practice together in the physical world, something that is not necessarily true for the groups I've been involved with until now. I am not sure which of these interpretations will prove to be the correct one, or if there will be a mixture of the two that will provide both gift and challenge.

(c) Queen of Pentacles: Grounded in the strength and stability of the earth and the mighty oak tree, this Queen is one of creative energy and harmony that stretches out in all directions, connecting all creatures and beings of the world. Cheerful, though also often humble (from humus, "of the earth") and inwardly turned, she takes great pleasure and enjoyment in the beauties of the world, and shares these joys with others in ways that encourage involvement and growth. She provides a warm embrace for others that encourages them to be themselves, though in ways that express maturity and consideration for the greater world that we share with one another. This card seems to suggest to me that my "guiding sign" as I work through the Nine Lessons towards becoming a full member of DOTR will be a more open, mature, creative and joy-filled engagement with the physical world and the community I am now entering. Together with the Four of Pentacles, it suggests that perhaps this sign is meant to point the way, not necessarily indicate where I can expect to start out, and that there may be a journey ahead of me to move from the more possessiveness and stagnation of the Four of Pentacles, to the receptivity and creativity of the Queen of Pentacles. Because this card also appeared in my full moon ritual dedicated to Brigid of the Star Fire, and because the figure in this deck is depicted in a way that reminds me so much of Brigid, I also understand this card to mean that I should continue my devotions to Brigid and the Lady of the Stars group as an important part of my DOTR aspirant work.

Having completed my divination reading, I then performed the "mini" Three Realms Working found at the end of Lesson Two, setting my intention to commitment to this work and follow the path towards becoming a full member of the Order in a year.

Some time this week or next, hopefully, I will have time to go for a walk in the woods to gather a stone for the final rite of Lesson Two and then move on to Lesson Three. Because of solstice, Christmas, family obligations and travel, and I am not sure how easy this will be. However, I'm hoping that perhaps while I am in Lancaster, I might be able to gather a stone from the local landscape where I was born, to connect to the energies of my family and my ancestors.

Savanah's Year: Calas of Earth, Week 2

So, of course, this week I was able to take some time and prepare a lesson plan for Savanah — and we barely had time to hold the actual lesson. We were late getting back from the library, where Jeff spent a lot of time talking to a librarian trying to find some more challenging books for Savanah (who is reading books slightly below her reading level at this point), and so we barely had half an hour for this week's lesson. What made this even more difficult was that Savanah forgot and/or lost her Druid journal and so spent a few panicked minutes looking for it before settling down with us. When we tried to go over her journal questions from last week, she admitted that she hadn't written down her answers but had only "thought about them." But getting her to give more complex answers than one or two words was like pulling teeth.

This is an issue that I suspect will keep coming up for us. As I said before, sometimes I'm at a loss as to how to ask questions in a way that will deepen the responses they evoke. Questions like "what kinds of things prevent us from appreciating our kinship with the earth?" seem really wonderful and full of complexity when I think about how I might answer them — but perhaps they are a bit too vague or too broad to elicit a response from a twelve year old. (Savanah's response was, "Money." When we prompted her further, she said, "Because people want money, and they have to do things that are bad for the earth in order to get money.") Or maybe it's not twelve year olds in general, but something more specific to Savanah and how she reasons. What I do know is that the word-matching exercises prompted a great deal of really insightful and interesting discussion, as she gave her reasons for her choices and explained her thought processes. So I know that she has some complexity of thought in her, it's just a matter of figuring out how to prompt her and getting her to articulate it on her own without so much prompting.

In any case, today's lesson was a bit rushed and there was a bit more of Jeff and I "lecturing" than of mutual discussion. We talked about the body as a scared landscape, the expression of our soul in the world; we also used the metaphor of the body as a work of art that the world and the soul are creating together through their interaction (which got her to ask a really intriguing question about whether genes and the "instructions of the body for how to grow" counted as part of the world or part of the self — see! a fantastic question!). We discussed the idea of the body being an instrument of the soul-song, and the reasons why it's so important to take care of the body by listening to its needs, giving it plenty of rest and exercise, feeding it well and not putting too much stress (physically or emotionally) on it. She seemed less engaged with this conversation, even a bit intimidated by it. I tried to talk a little bit about why these things were important, and how as she grows older she will sometimes find that other people put pressure on her to ignore her body and its needs and take it for granted or treat it as a tool or an object, and how it is important for her to be able to make decisions about her body from a place of strength and love, knowing how to honor her body as a sacred home for her soul and an expression of her self. I'm not sure how much of this meant anything to her, and how much of it was over her head. I hope some of it will sink in or stick for her to at least remember in the future.

Because we'll be missing next weekend with her because of Thanksgiving, we wanted to give her some extra assignments to do over the course of two weeks. So in addition to two more journaling questions, I made up some more elemental exercises similar to the word-matching exercises.These involve brainstorming images, symbols, plants, animals and places and mapping them onto a wheel of the elements (earth, air, fire and water placed in on the top, right, bottom and left of a circle and connected by lines intersecting through the middle of the circle). The third exercise asked her to use the images, creatures and places from the previous two and try to write a story about a character going on a "journey through the elements" around the circle, meeting different creatures and beings in different places and having different experiences along the way. I thought this might be a fun exercise that would get her imagination going and give her some room to play and be creative...

I was totally wrong. About half an hour after Jeff returned from dropping off the kids, Emily called to say Savanah was up in her room crying because of her Druid assignment. She put Savanah on the phone and Jeff talked to her about what was wrong — apparently, she was feeling very intimidated by the assignment to write the story and was worried she couldn't do it (well, she outright stated that she knew she couldn't do it). So we talked about it with her and what she might like to do instead, and came to a compromise — she'll be drawing pictures for each of the elements based on her word associations and brainstorming. Jeff and I are hoping that perhaps we can work up to the story-telling, maybe having her do one section of it as part of the review for each of the elements after the three months of work for each one. Or perhaps we can come up with some other kind of large project that she can slowly build over time, incorporating writing and drawing and other forms of self-expression.

What does concern me a little bit is the fact that she felt so intimidated by the assignment. Granted, I don't have a lot of experience with pre-teens and all, but I didn't think the story-telling exercise was that far beyond her and I know she's tried to do some writing in the past. So I'm surprised by her reaction (though Jeff seems to think it was at least in part because she was feeling tired and rushed, and maybe she'll feel more confident about it tomorrow or as the week goes on). But coupled with our trip to the library, where she picked out books that were a reading level down from where she probably should be at (and not because she can't read harder books, I think, but just because those books were a series she enjoyed).... it makes me wonder a bit if she's being challenged enough by homeschooling. She has three younger siblings that her mother is also trying to teach at the same time, after all. Jeff and I were trying to remember the types of school assignments we had at her age, and both of us seem to recall much harder assignments than a simple story-writing exercise with two full weeks to complete it. Of course, both Jeff and I are writers at heart, and we're very much aware of not wanting to push our passions onto her. (That's why I suggested the alternative of drawing some pictures — she seems much more into the drawing, and has been working slowly through a book of mine about how to draw whenever she's over at our place.) On the other hand, writing is such an essential skill for almost all walks of life, and if her reaction to an assignment like this one is to get so upset, it really does make me worry about her eventually confronting challenges in school will not go very well. Emily seemed a bit annoyed that we "made her cry".... which is, granted, a mother's natural reaction and we certainly felt bad about it. At the same time, this year is about teaching her how to confront those challenges and even the ups and downs of her own emotions and to be okay in learning how to deal with them in healthy ways. So I think working up to a story-writing project, and having her work through her fears that she "can't do it," will both be good for her.

This is good learning experience for me, trying to figure out what kind of pace to move at. I'm sure it will be different with the other kids, too, which is why I want to take notes on all of this and be able to compare notes in future years. So, all in all, a rushed lesson this week but still hopefully not a waste. Next week the kids will be out of town for Thanksgiving family visits, and then the week after that we'll have them back and Savanah's next lesson in Calas of Earth will be thinking about her home environment and living space as sacred. So we'll see how that goes (and I have plenty of time to both prepare that week's lesson and finish the full outline of the months and weeks to come).

DOTR Lesson 2: Sea

It began with a few tenuous notes turning and echoing out across the waters, the keening of the violin striving against its own tension and yearning. I was there, on the same familiar rocky cliff that curved in around a small bay, the dark waters of the ocean stretching out far beneath me. The murmuring wash of waves among the pebbles of the beach below, rocking in rhythm until the music faded again into silence.

Above me, the stars began to slip out into the night, one by one, as though disrobing from the dark veils of the night sky. One by one, they turned and shot a gasp of brilliance blazing out in a spiny halo of light around them, then pulled back again, glistening and humming with a silent energy. I lifted my head to ask them for their wisdom. It seemed as though one beckoned to me, glimmering more brightly than the rest. The vertigo of a wild night sky thrown open from horizon to horizon swept over me as my gravity seemed to shift — and then before me, solid as stone it seemed, a staircase spiraled upwards into the starscape. Step by step I climbed, my feet steady, my eyes on the scattered specks of light. Each step fell thick and heavy as though on stone draped over with the deep, plush fabric of night and darkness and stillness. As I reached the final stair, the star before me stepped close as a woman, dark and brilliant with features that seemed to shift as she turned, as though I gazed into her eyes from across countless light years. She smiled, and lifted her hand to caress my cheek and temple.

Then all at once, her other hand was at my throat, grasping my jaw firmly. With one quick motion she wrenched my face away, palm hard against my forehead, and I felt my spine snap as my body crumpled beneath her hard, cold fingers.

My body tumbled as it fell from the sky, loose and undone. I felt almost relaxed, my body buffeted and slowed by the wind, as though some tension in me had snapped and let me drop. I fell like a limp dead thing, which is what I was, and when I hit the ocean's surface, it gave way with almost as little resistance as the air, opening its dark mouth in a crater-like wave that closed over me again as I sank down beneath the waters.

Down and down I sank, making no attempt to swim or even draw a breath. My body became as heavy and dark as the oceans themselves, and creatures glided past me in the dark glistening a wet gold, slipping in and out of sight almost like stars. It seemed to me that all this time, I could see the stars shining above me, above the surface of the water, though only dimly — so dim that perhaps it was no more than a memory. My body lay on the rough bottom of the sea for a long while, its limbs swayed only by the slow, sluggish motions of the currents. I do not remember making the decision to move again — and maybe it was only the ocean itself that gradually pushed and pulled and turned me towards the shore — but eventually I found myself on hands and knees, stumbling and crawling up the pebbled beach, waves dragging at me as I gasped and sought for a hold.

Exhausted, I could not go far, but sat just above the highest reach of the waves where they ran themselves out between the wet, rounded stones. I sat for a while, catching my breath as it returned and letting the ocean water drip from me until I found I was quite dry, though chilled beneath the night sky once more. Then down the beach came the white hound, old companion of this place, bounding with joyful greeting towards me. I flung my arms around her in an embrace and buried my face and hands in her warm, dog-scented fur. Life, with that warmth and panting breath and bounding joy, began to return to me and I felt happy and grateful to have found her again after so long an absence.

Yet, in the midst of our joyous reunion, she stopped — and a low growl began to build in her throat. At first, I thought she was growling at me, and a moment of panic at another betrayal swept through me. But then I realized she was looking past me, towards a figure that loomed up out of the dark some ways down the beach. I turned and ventured closer — the dark figure outlined against the sky seemed huge and thin, featureless as worn stone, and I soon realized it was not a person, but a statue: a thin, lank, faceless man standing on a dais, like an oscar carved from rock and weathered by the sea and wind. I turned to reassure the white hound by my side, who glanced up at me with a look of that showed a clear dislike for the figure — then the dog squatted and pissed on the dais and trotted off up the beach again as though her sentiments had been made clear. I followed her back to where we had been, and sat down once more on the pebbly shore, the dog curled up on my left while my hand ran over her long, white fur in gentle strokes.

Then there was the dark star goddess beside me again, sitting with her knees drawn up to her chest, feet bare against the wet rocks, the hem of her deep blue robes clinging with damp to the stone. I was not afraid, but comforted as she drew my head down to rest on her shoulder and she stroked my cheek again just as I stroked the dog's warm fur. Though she did not say a word to me, I came to understand the killing blow she'd dealt me was not a violence or punishment, but her gift to me: a change in perspective that sent me plummeting into the depths. Too many are striving towards the stars, climbing those steep ladders and struggling with all their might towards the heights to catch a glimpse of something marvelous.

She turned a little so that we could look one another in the eye. Sitting there on the beach, she was barely taller than I was, her face shifting in and out of shadow, her eyes shining, her hair seeming sometimes wet and dark as to be almost black in long, flowing locks, and sometimes like a liquid fire, deep amber and auburn, strands curling and licking along the pale, perfect skin of her face and shoulders like tongues of flame. Leaning forward, she pressed her little lips against my forehead in a lingering kiss. I felt the warmth of that kiss seep into the depths of me, blossoming and opening outwards from within. The sky above me seemed expansive and infinite in the darkness. The ocean spread like a black, rippling plain of reflected starlight so vast and great and deep that it stole all breath from my body. The stone and earth below me shuddered with solidity and power, hard and warm and heavy like a great weight on which I walked like some delicate, fragile thing. The three realms loomed in majesty, surrounding me in glory where I sat stunned in awe on the threshold, that liminal space where land and sea meet sky. I was so utterly small — and yet, a witness to this greatness, I held all this in the intimacy of my own body, concentrated and unfurling through the three realms, the elements of my being a microcosm of this larger world.

The goddess of starlight and transformation leaned away from me, a small, slight figure full of power and primordial energy churning in the dark. This is it, she seemed to say, this is what you are here for. To be the witness to the wild, overwhelming wonder of the world — to be small and simple beneath the sky, to drift light and buoyant upon the sea, to dance fragile and always half-rootless across the land. No other view is better than this one right here, no other view is meant for you. You cannot become big by strife and struggle. You can only participate in the vastness of creation, you can only join in relationship with the greatness of the world, by staying here to attend to your place in it with openness and gratitude. You are not in service to your self alone; you are in the service of greater things than you.

The kiss lingered still, flooding my senses with the slow opening of light and energy and song. I felt as though I were slipping into deeper trance... yet soon I found myself opening my eyes, the meditation over, the mundane room around me and the candle flickering in its holder, amber-rose in the bright sunlight thrown in slanted rays across the coffee table. Still, the energy flowed through me, and the vision remained.

Savanah's Year: Calas of Earth, Week 1

Just finished this week's lesson with Savanah, which went very well despite her having a pretty icky head cold.

To begin, we went over her "homework" from the previous week, matching up different associations and words for the four classical elements of Earth, Air, Fire and Water and the three Druidic "elements" or aspects of Calas, Gwyar and Nwyfre. Surprisingly, she did better on the three aspects than on the four elements, although I think most people assume the four elements are more widely-known and more natural for people. We spent a lot of time talking about what mistakes she made with the associations with the four elements and what her reasoning was. Sometimes her thoughts were very sound (matching "east" with water and "west" with air because, where we live, the ocean is towards the east and our winds and weather come from the west), and other times they made less sense (matching "salmon" with air instead of water). She's already doing some really excellent work, though, in thinking things through and understanding how to make the associations and connections, though. For instance, her reasoning for putting salmon with air was because she knew air and "intellect" matched up and she remembered the Celtic tale of the Salmon of Wisdom, so she connected the salmon with intelligence. This gave us the opportunity to talk about "wisdom" and "intelligence" and ways in which they might be different; we discussed how a "wisdom of the heart" understands and appreciates the connections and relationships between things, and how patterns of relationship flow into one another. Not all wisdom is the impersonal calculations and measuring of the intellect, but each has their place.

So in general, that exercise went very well and opened up a lot of opportunities for discussion, which was fantastic. I think Savanah is really into the work so far and has a lot to say about her own thought processes, and her own worries. We moved on to this week's work, which was Week 1 of "Calas of Earth," in which we began by talking about the basic foundation of our spirituality as rooted in the sacred earth and a reverence for the five senses and the physical world around us. The nature of calas as "form" which gives rise to relationship, and thus to boundaries and limits and the importance of negotiating these with honor and love, brought up her anxieties about not knowing what "her calas" was yet, and so worrying that she might not know how to engage with others'. That's fantastic! I mean, of course she doesn't know all of her talents, gifts and limitations yet, but this year is in part about finding out what those are, and learning what our relationships with others and with the natural world can teach us about our own "calas," our own form in this world.

Her "assignment" for this coming week is to spend some time thinking about, talking to and listening to her (rather extensive) plant collection, and to journal about her relationship with the creatures, plants and people in her life. She also has two questions to answer: what kinds of things can interfere with our ability to appreciate the natural world, and what kinds of limits do we as human beings experience when trying to live honorably and in harmony with the natural world? I'm really looking forward to next week's lesson and hearing some of her thoughts on these topics.

Savanah's Year

We just finished our first official lesson with Savanah for her "Year of Druidry," and I'd decided previously that I wanted to try to take notes and keep a record of how things go. So here goes.

She seemed both excited and a bit intimidated, though she brightened up when I told her she would be allowed to light the candle at the beginning of every lesson (a red pillar candle that we'll leave burning during each lesson — the red and the fire both seem appropriately symbolic of the fiery, passionate energy of puberty and adolescence that she'll be entering). We began today's lesson by talking a bit about her Tarot Deck, our gift to her for her twelfth birthday a couple weeks ago. Along with the deck, we gave her three "assignments" to complete before her next weekend with us: pick out her favorite card, pick out her least favorite card, and pick a card that represents "what she wants to be when she grows up." Then spend some time journaling about the reasons for each of her choices.

I think it's appropriate to keep her choices private, so I won't discuss them here. But it was quite surprising what she chose and I may want to do some meditation on her choices over the next week (or month, or year) to explore some of their potential meaning. What was most obvious was that she chose cards based on who the figures reminder her of in her own life. One card reminded her a a friend's mother, another because it reminded her of Jeff.

One thing I have realized is that working with a girl Savanah's age, I may need to get more creative (and more literal, or specific?) in the kinds of questions I ask. Jeff participated in this lesson with us, and he seemed very good at asking Savanah questions that got her thinking or responding (whereas once or twice, I actually accidentally interrupted her, not realizing she was done with her response). I tried to ask questions such as, "What about the card do you like?" But that question seemed too broad and she would struggle to answer. Jeff would ask questions like, "Is the figure alone, or with people? What do you think the person in the card is thinking about? What is important to that person?" Sometimes these questions got "I don't know" responses, but more often Savanah seemed to know or at least have an idea or a guess. This strikes me as very interesting — almost as though, at her age, she still doesn't have as much self-awareness as she has awareness of others. One of our goals with this year of work is to help her foster some self-awareness, to cultivate her inner life so that she can seek that foundation as she gets older and has more independent interaction with peers. I have a feeling this will be a challenge for Savanah the way it might not be for some of the other kids.

After discussing the Tarot cards, we used the suits as a jumping off point to talk about the four elements of earth, air, fire and water. We were able to point out how we used each of these elements in our Samhain family ritual last night — a candle for fire, a bowl of water, incense for air and bird seed for earth. I talked a bit about the elements as being "building blocks" that make up the world we live in, and how we can use them as symbols for things that might be more difficult to pin down when we want to prayer, meditate, do ritual or magic or talk to our gods. Cu Gwyn, who was prowling around during the lesson, became an example of how we might symbolize his playful, energetic personality with "fire" and so choose a candle to represent him in a prayer or ritual. We did some brief discussion about the basic correspondences, and then I gave her a word matching exercise, with a list of about thirty words (directions, seasons, times of day, colors, animals, etc.) to match up each with one of the four elements.

We then very briefly talked about the three "Druidic elements," or as I like to call them, the three aspects or qualities: calas, gwyar and nwyfre. We talked a bit about how they matched up with the three realms of land, sea and sky (which she figured out based on the literal translations of the Welsh words), and then some other qualities that might match up well with each. We gave her a similar word-matching exercise to do for the three aspects.

Although she may not get all of the correspondences right just by guessing (and using her Tarot deck to look for hints in the imagery and symbolism), hopefully it will get her thinking in the right way about how the elements and aspects function as symbols or paths of the sacred. Also, it gives her a very basic starting place for how the year of study will be organized (we'll be devoting one month to each aspect of each element — so, f'ex, month one will be calas of earth, month two will be gwyar of earth, month three nwyfre of earth, then calas, gwyar and nwyfre of water, etc.). She doesn't have to have the correspondences memorized right now, because she'll be growing familiar with them as the year goes on, but it will give her some simple "tools," a framework in which to organize the following lessons. That's the hope anyway.

Next week's lesson, we'll start with Calas of Earth, taking a month to look at the foundations of Druidry expressed through an awareness of the sacredness of physical forms (spending a week each on the natural world, our own bodies, our home and living space, etc.). I hope to spend some time in meditation and preparation before next week's lesson, instead of feeling rushed like I did this week. Hopefully I'll be able to do some simple divination as well.

DOTR Symbol Craft Project

As part of my aspirant work for Lesson 2, I've been experimenting with ways to create a wooden plaque with the DOTR symbol to include on my altar. I had at first thought of doing a combination wood-burning/acrylic paint technique (such as the one I used on my travel altar), but the redesigned and touched-up version of the three realms triquetra/triskele that Christopher did for me was so stunning, I wasn't sure my mediocre talents would be able to do it justice. I was curious to see if there were any techniques that would allow me to transfer the image more directly to the plaque.

After some brief investigating online, I stumbled upon this page over at matsutake, which provides a tutorial on how to transfer inkjet printer images onto wood. I thought to myself, hey, I have an inkjet printer... I have wood... I have Elmer's Glue and Mod Podge... I have a tiny modicum of talent and patience, but most importantly, I have an ass-kickingly beautiful graphic image that might just work. Even if the results weren't as stunning, or the process as easy, as the tutorial implied, I thought I'd give it a shot.

For full instructions, check out the tutorial itself (and be sure to let the blogger know how awesome it is), but briefly, here's what I did:

Step One: Gather supplies. Not hard. Mod Podge (I used a "hard coat" kind especially designed for furniture and wood that will provide a nice, waterproof seal once it's cured), water-soluable Elmer's Glue, card stock, a bit of wood, a sponge brush or applicator. O yeah, and an inkjet printer. That's it!


Step Two: Coat the card stock with a thin, smooth layer of Elmer's Glue. You don't have to cover the entire sheet if you don't want to waste glue, but be sure to cover the area that you'll be printing on. Allow the glue to dry completely.

Step Three: Use an inkjet printer to print the image you intend to transfer onto the glue-covered side of the card stock. (I was worried about running a glue-covered paper through the printer, but as long as the coat is smooth and completely dry, it's no problem at all.) Be sure the image you print is the reverse of the intended final design. Yup, this means words have to be backwards.

Step Four: Cover the wood surface with a thin, smooth layer of Mod Podge, press the card stock image-down onto the wood. Press hard and smooth out any wrinkles or bubbles.


Step Five: Let dry overnight. Seriously, do not rush this step.

Step Six: To remove the card stock from the wood, soak the wood in a bowl of water or hold it under running water until it is completely soaked all the way through. The card stock should, in theory, peel right off. You should also be able to rub away any glue residue without any part of the image lifting off.

I'm not sure exactly how this works, but I know it depends on the fact that Mod Podge dries (semi-)waterproof, while Elmer's Glue remains water-soluble even after drying. This means the ink, printed on top of the glue of the card stock, soaks into the Mod Podge layer rather than sticking to the paper — then, after thorough wetting, the card stock peels away and the remaining water-soluble glue dissolves, leaving nothing but the ink "glued" to the wood.



As you can see, the color is not quite as bright as the original print-out, and there are some places where not enough Mod Podge coated the wood so the ink did wash away. Also, this won't just transfer printer ink but any ink. You can see in the picture above that I outlined the image with a pen to help me orient the graphic on the wood, and some of the pen lines were transferred as well. But other than that, it seems to have been surprisingly successful!

This is just a first attempt, an incomplete project. I'm hoping to touch it up with some paint — including a simple design on the reverse side of the wood plaque as well as some kind of border to cover up the accidental pen lines — and then adding a final layer of Mod Podge as sealant. I'm also going to experiment with other kinds of designs and photographs to see what types of effects I can get. But for now, I'm pleased with the result.

Variations on the DOTR Symbol

Interweaving the Three Realms

This design is based on the Druid Order of the Three Realm's design of the combined triskelion and triquetra. The effect of the spiraling curves in the original symbol is so dynamic and yet so simple and elegant. Though I liked that design as it is, in some ways I felt like the spirals were too "outwardly" focused, if that makes sense. I wanted to bring each of the spirals in the interlace with the others... The idea of adding the flare to symbolize each of the three realms kind of came to me while I was doodling.

I'm not sure what I'm going to do with the design, but it's been bouncing around in my brain for at least a week and when I did finally get a draft down I was pretty pleased with it. However, it's the best I could do without a compass and, you know, talent... I'm thinking of eventually turning it into an altar tile or plaque, and maybe even a tattoo.

After putting out a request on Facebook for folks interested in touching up the design and going for a more professional "look," I received two beautiful renditions. The first, from Christopher Lee Horne:

As you can see, I incorporated this image into the header of this blog.

The second came from Dylan Thomas:

Also quite striking. I want to express my gratitude and appreciation to both!