January 27, 2009
Fire's dare of forbidden wine our lips tasted in each other.
Hot beneath the flicker light of passions summer night.
Open souls for communion with one another.
Hands that touched body flesh and reached beyond to touch the spirit direct.
Hands that softly caressed the skin of the spirits human body.
Hands that filled me inside deep and full--complete submission of soul and body.
Our dance within the circle standing as one in the South of the summer moon.
Her light casted vision on the unseen part of my deepest self.
Making seen that which could not be seen in light of day or artificial.
Only by the spotlight of the moon to offer cover for the magic of surrender.
Oh, the loss of any spirit innocence given for the blessing of the Mother Witness.
Making energy to cast the circle of us for infinity.
Together dancing in the South of summers moon...
January 20, 2009
This circle cast is for but those who can see. Who would know the meaning of the words without the need of interpretation. If it is thee, Merry Meet. I am Sybella a name given to me within a dream passed down from those who came by blood before me.
The steps before this have been a body's life journey. The house of the spirit that is Sybella not called or known by many in this name. I have been on something of a path of discovery. A solitary walk of spirit with the body named a different name then I am known. I have mastered this part of life's long journey and live the seeing worlds vision of envy. Oh, that it was as real as that it appeared.
It is real and for the body named another name it is safe, secure and complete on all the levels of the earths measure. For the body it is perfection what is seen but, for Sybella it is not. Sybella is all that is not the body seen.
Sybella is unseen. The spirit widow of another once know both in spirit and in our body's named a different name. Left without one or the other not by death and life seen moved to make the matter right. Sybella left alone.
January 3, 2009
For so long it has been the unseen of my footsteps and journey of my spirit that have been left denied. It was by magic that I cast the plan, I have followed well alone in the spirits journey. Intentional and deliberately living seen and unseen.
The physical world seen has been built on stable ground. Solid and strong by those things measured with the eye of the body. Complete and normal by the judgements and standards of the society for which my body is seen by others.
In thisworld I do not travel alone and am able to be the physical body I am. A choice I made some years ago when my soul lost the other half of it. When by the air of lies we were mates torn from one another. My balance and my magic ever lacking for the loss. I have been alone one half of another in the spirit. Solitary in the magic of my wisdom.
It is as if there is no other half that will complete me, I am a widow to the love of my soul mate in spirit. As some who know this love in life's real day know--true love cannot replace what love was true. There will not be second chances once the sweet taste of it has been upon the lips. Best to move along life's journey long without--then try to make another stand in obligation of fulfilling the true magic of the spirit bond.
I knew this when I cast the path that I am living in the world known and seen. I knew that my soul was a widow for the loss of my other half of me. It is well, my life that those who see me envy and admire. Oh, that this could have been shared on the highest levels. It cannot be. I never set out to make the magic that it would be. I am fine seen in this life I have made happen.
My soul has been left without it's mate. Death didn't separate by the human body. It was the magic of the lies the body's seductress took from the mate of my spirit. The false euphoria offered by the lies of substance without a soul in anyway that, took him. The lies of air and tricks of immature magic he went to find the bottom of it's filthy tricks. He left me for a lover of deception and tricks of air that only wanted what I had. My soul mate and counter part... the spirit of the passion and all connection only shared with the one of it.
Solitary as I stood within the circle cast. Where once he stood there with me in the south and then his hand I lost.
So, this is the story of the love that was of spirit...the life's lonely widow of the soul and what it is not seen in the journey.
January 1, 2009
Copyright 1988 by Anna Korn. May be reproduced if credit is given.
Among the distinguishing features of the Faery tradition is the use of a Faery Power which characterizes the lineage. It is an ecstatic, rather than a fertility, tradition. Strong emphasis is placed on sensual experience and awareness, including sexual mysticism, which is not limited to heterosexual expression. In this, as in the general spirit of spiritual exploration, there is more risk-taking encouraged than in other Wiccan traditions which may have specific laws limiting behavior, and there is a certain amorality historically associated with the Tradition.
We see ourselves, when enchanted, as "fey"--not black, not white, outside social definitions, on the road to Faeryland, either mad or poetical. We are aware that much of reality is unseen, or at least has uncertain boundaries. As in all the Craft, there is a deep respect for the wisdom of Nature, a love of beauty, and an appreciation of bardic and mantic creativity. The Gods are not just constructs or psychological forces from the collective unconscious. The Gods are real, with a system of morality different from our own, and we have a responsibility to them. The Faery Tradition, in common with itiatory lineages of the Craft which practice possession, is a mystery tradition of power, mystery, danger, ecstacy, and direct communication with divinity.
This is in contrast to traditions which practice psychodrama or pychotherapy through ritual. The negative side of this style of working is that we have a lot of initiates who did not return unscathed from between the worlds. The tradition is not for everybody, and it is not amenable to mass attendance, like many Pagan paths.
There is a specific corpus of chants and liturgical material, much of it temming from Victor Anderson and Gwydion Pendderwen, which provides a frame for many Circle-workings, and poetic creativity is highly valued. The magical practices of the Faery (or Feri, as Victor spells it) Tradition are heavily invocatory, to encourage possession, which relies mainly on psychic talent or sensitivity to occur. Rites are stylistically diverse, and may draw from many sources. There is an initiatory lineage, traceable to Victor or Cora Anderson or Gwydion Pendderwen. Victor tells of antecedents of the present tradition in the coven in which he was involved in the l920's and 30's in Oregon. Hallmarks of the tradition are possession of secret names, energy-working using pentacles and visualization of blue fire, a body of poetic and liturgical material, deities and archetypes specific to the tradition, the doctrine of the Three Selves, a cingulum of a specific color, a "tribal" or "clan" feel to the coven, the use of the horned (sometimes called "inverted") pentagram, and the honoring of a warrior ethic. For example, we are urged not to coddle weakness, support others in insincerities or self-deceptions, or to submit one's own Life force to anyone or anything, which leads to a fierce openness called the "Black Heart of Innocence." The Faery Tradition is gender-equal, and all sexual orientations seem able to find a niche. For many, there is a strong identification with the realms of Faery and with shape-shifting. Although Victor is universally recognized as the founding teacher of the tradition, it is possible to identify influences which shaped the tradition before its present form evolved. There is a strong African diasporic influence, primarily Dahomean-Haitian, and the Three Selves theory is an outgrowth of Huna beliefs. Neither is Victor the only source for material presently within the tradition. Each initiate seems to draw the tradition in a new direction and uncover new ground.. Some practitioners, such as Gwydion and Eldri Littlewolf, went deeply into shamanic forms. Gwydion also worked extensively with Celtic religion, even learning Welsh early in his Wiccan training. Other influences (Arica, Tibetan meditation, and Ceremonial Magick) entered as Gabriel Caradoc began teaching. Victor, Gwydion, Caradoc, Brian Dragon and Paladin wrote darkly beautiful ritual poetry and liturgy. Gabriel's classes provided an excellent training in magical visualization and his students continue his teachings. Poet Francesca De Grandis and songwriter Sharon Knight have added their inspiration to the corpus of material. Starhawk has used concepts developed in the Faery Tradition in expressing her beliefs and practice, and has given the clearest explanations widely available of concepts such as the Three Selves or the Iron Pentacle.