Pan (poem)

His face with countless deep wrinkles; a groove for every
Era. Far from ancient times, but still young, his nimble caper.
The untameable Ancient God, forever young. Always there
his cry for desire, unstoppable lust and never-ending
eagerness.

His yellow eyes – was it yesterday – still can see the neolithic
time. Pan’s birth is shrouded in fog. He cannot be the son
of Penelope and Hermes. Because in the Egyptians pantheon,
the Lord of the Forest, he already jumped around.

The messenger God, the one of the golden winged dreams,
his father? Could be! But, Penelope always virtuous behind
her loom, remove the shroud at night. And again, she lived
in different times. Her moral compass, her loyalty, is beyond
His tempting heart.

Thamus sailed at Paxus, with seaweed in his ears, still confused
by The Sirens call. Perhaps enticed by the sound of the jealous
Poseidon; Amphitrite fled this God before. No, The Goat horned
God is not dead. He lives forever.

He is alive! Pan lures and dances; his Syrinx, his desire
caught in a three-quarter time. The thin sound of Debussy’s
solo piece, softly sad, grief of centuries in just three minutes.
The God is trapped in Arcadia in a perpetual mobile of
flute playing.

Come, oh Pan, the world old and grey, needs you.
Come out of your forest, the world misses your youth.
Come; it is time, seduce us with your spell.

Statue of Pan

Foto Annemarie

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Pan (gedicht)

Zandplooien sieren zijn gezicht; elk Era zijn eigen groef.
Oudheid, wereldspracht, de bokkensprong symbool van
jeugd. Het ontembare, de oude God voor altijd jong. De
roep naar begeerte, niet te stillen lust, het verlangen
– dat blijft.

Zijn gele ogen zagen – was het gister? – nog de prehistorie.
Pans’ geboorte in mistflarden gehuld. Onjuist is de Mythe:
Het is de zoon van Penelope en Hermes.’ Hij, de boodschapper
van de goudgevleugelde dromen? Het kan! Maar zij?

De twintig jaren weefster van de deugdzaamheid, het uitgehaalde
lijkkleed? Zij leefde in een andere tijd, later. Haar moreel kompas,
haar trouw, leeft niet in zijn verlokkend hart. Al in het Pantheon
van de Egyptenaren sprong de Heer van het Woud in het rond.

Thamus bij Paxos was nog verward van de sirenes roep, had
vast zeewier in zijn oren; of werd verlokt door de stem van
de jaloerse Poseidon. De Zeegod zijn Amphitrite ontvluchtte hem
al eerder. Nee, de Geitenhorens God is niet dood, hij leeft voort.

Pan lokt en danst; zijn Syrinx, zijn begeerte, gevangen in
een driekwartsmaat. Debussy’s solostuk van ijle klank, zacht-
treurig, smart van eeuwen in slechts drie minuten. De God
zit vast, in een perpetuum mobile van fluitspel, in Arcadia.

Kom, oh Pan, de wereld oud en grijs heeft je nodig.
Kom, uit de bossen, de wereld mist jouw jeugdigheid.
Kom, verleidt ons met je spel(l).

Tekening van de god Pan

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Review: Washing Rituals from Bulgaria

Deze galerij bevat 2 foto's.

Georgi presents us with more stories from eyewitnesses of performing often complex ‘Washing Rituals’. Lees verder

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Review: The Horns of the Moon: Wicca – Portrait of a Nature Religion

The Horns of the Moon: Wicca – Portrait of a Nature Religion
Merlin Sythove

Published by Silver Circle Publishing as an e-book. To order a copy, please use the Donation button on the Silver Circle website.
The guideline is EUR 7,50. Then send me an email so that I can complete the order <morgana@paganfederation.org> Thanks!

In March 2025, Martika and I travelled to the Netherlands to celebrate the Silver Circle 45th anniversary.  Needless to say, we had a fantastic time catching up with old friends and making some new ones.  When we returned home, I was delighted to find that Morgana had sent us a copy of the eBook Horns of the Moon by Merlin.

First published in 1998, this is a concise yet informative book on the type of Wicca I grew up with.  From its evocative cover (designed by Alexandra Cichecki), the Horns of the Moon is a refreshing read, beginning with a forward by Rhianne, Merlin’s daughter.  Merlin begins by discussing the word Wicca itself, pointing out that the word originally referred to the people of the Craft, rather than the religion/spiritual tradition itself.  He points out that Wicca is an initiatory tradition, and as an initiate, a person becomes a Wicca priest/priestess and witch.  Merlin discusses what is meant by modern Witchcraft as well as distinguishing between revelatory religions such as Christianity and experiential religions like the Craft.

In the first part of the book, Merlin considers the history of Witchcraft from the pagan past through to the witch trials of the early modern period.  He is careful to point out that the women and men killed in the witch trials were the victims of a miscarriage of justice, rather than being actual witches.  This leads to a brief discussion of the father of modern witchcraft, Gerald Gardner, and the role of other important contributors to the Craft, like Alex Sanders and Doreen Valiente.

Merlin then discusses what is meant by a mystery tradition, pointing out that experience is key to understanding what is meant by mysteries.  Merlin uses the excellent analogy of the marriage, explaining that although it is a common thing, the only way to really get the mystery of marriage is to experience it, and in experiencing it, there is no adequate way of explaining that experience to others who have not.  This leads to a discussion on what is meant by Wicca being a nature religion.  The nature aspect of Wicca, like that of the mysteries, is an important part of my experience and practice of this tradition, and so it is refreshing to read such a lucid explanation.

The next two chapters explore the Goddess and the God as the triple Goddess and the dual nature of the Lord of death and life.  Merlin discusses the importance to the Divine Feminine and Divine Masculine, hinting at that which transcends them both.

In the next chapter, Merlin discusses the Wiccan view of the afterlife, explaining some key concepts like the myth of Summerland, Reincarnation and Karma.  The Wheel of the Year is covered in the chapter on annual festivals.  Merlin outlines the four greater sabbats using the Celtic names of Imbolc, Beltane, Lughnasadh and Samhain, relating them to the archetypal stages of life and the mysteries associated with them.  The lesser Sabbats are also covered, before moving onto the lunar festivals.  Here is where Merlin introduces something new and unique by giving a European version of the names of the moon, and also relating them to the tides and seasons of the year.

Merlin briefly discusses the role of ritual nudity and the role of ritual as symbolic actions that enable to the witch to out themselves in accord with the powers of nature.  He describes the process of casting the magic circle, explaining some of the visualisations that go with the process.  Next, he talks about magic, something that is intimately connected with the concept of the witch.  Again, Merlin takes time to dispel myths, before talking about what magic is.  In a nice turn of phrase, he describes it as “using the laws of nature to bring about certain changes”.

The next chapter looks at initiation, outlining how the first degree introduces the new witch to the work within the circle and the coven.  Once mastered, they may then go on to take the second-degree initiation.  Here they become elders who can take on some responsibilities from the High Priestess and High Priest, such as training seekers, new to the Craft.  Finally, Merlin briefly outlines the third degree, but is clear to state that these degrees are not ranks in a hierarchy.

After discussing rites of passage such as naming ceremonies, handfastings and funerals, Merlin then goes on to say something about coven life.  He outlines the role of the High Priestess as the leader of the coven.  The final chapters look at Wicca in the Netherlands before concluding that Wicca belongs to the realm of night and the emotions.

Merlin has skilfully provided us with a primer for those people who want to find out what Wicca is all about.  He lays out the importance of Wicca as an oral tradition.  His writing style is informative and accessible, and he provides signposts for readers who want to look more deeply into the topics he describes.  For example, in the chapter on the history of Wicca, he recommends the books of Ronald Hutton and Phillip Heselton.  He takes the parts of the Craft, both well known, but also innovative such as the lunar festivals based on European moon names, and illuminates them with lucidity and charm.

While there are literally hundreds of books on the market about the various different forms of Witchcraft, there are very few which introduce Initiatory Wicca to the reader.  This may be because of the nature of Initiatory Craft as an esoteric mystery tradition, or the fact that it is a long-term commitment and so not very marketable.  However, along with a few other authors, Merlin has created a book that is a perfect introduction to Initiatory Wicca.  As someone who spends a great deal of time training people for this tradition, it is a gift to have an excellent book to recommend to students.

 

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Review: Witch Bottles – History, Culture, Magic

Witch bottles. History, culture, magic
Daniel Harms
Avalonia Books, October 31, 2022, 118 p.
Paperback & Kindle editions available. ISBN 978-1-910191-00-2. 

This is a concise yet richly detailed study of the folk‑magical practice known as “witch bottles”. It offers a thematic and chronological exploration of this artefact, as an aspect of domestic magic. The book begins with a foreword by Alexander Cummins, who characterises the unearthed witch bottle as a “murky treasure” encapsulating historical strategies for counter‑witchcraft. Harms defines the essential elements of a witch bottle: typically involving a sealed vessel containing urine plus sharp objects (pins, nails, thorns), employed to trap or repel malefic intent.

Through meticulously referenced scholarship crossing folklore, archaeological findings, and historical records, Harms traces the origin and evolution of witch bottles. He notes, “Witch bottles are rapidly becoming part of the heritage, not just of one person, but of the world, and granting them to our public institutions and museums will do much to help us to unlock their meaning, to the people of both the past and present.”

He covers the period from 17th-century England, particularly East Anglia, where many early examples arise, through the 18th and 19th centuries, with case studies including buried artefacts found in homes, hearths, and public buildings; and cross-geographical extensions into Scandinavia and North America.

The book includes chapters on typology, ritual use, geographic distribution, modern-day usage, and the cultural significance of witch bottles. Harms integrates folklore, archaeology, legal records, and material culture insights, with detailed footnotes and an extensive bibliography.

With illustrations by Emily Carding (Cover), Heloisa Saille and design by Avalonia, the book is both informative and aesthetically pleasing.

It is strongly recommended for folklorists, historians and anyone interested in how tangible objects — urine‑filled, pin‑studded bottles — encode beliefs about protection, witchcraft, and their usage in domestic rituals. Its concise size makes it an excellent entry point, while its references pave the way for further research.

About the author

Dan Harms is a librarian and author living in central New York. He has a master’s in anthropology from the University at Buffalo and a master’s in library and information science from the University of Pittsburgh. His fascination with magical belief and practice has led him to research and publish a great deal in the areas of folklore, ritual magic, and their appearances in literature.

His past works include The Cthulhu Mythos Encyclopedia, The Necronomicon Files (with John Wisdom Gonce), The Long-Lost Friend (editor), The Book of Oberon (with Joseph Peterson and Daniel Clark), William Dawson Bellhouse, Wax Images, Of Angels, Demons, and Spirits (with Daniel Clark), Balloonists, Alchemists, and Astrologers, and The Book of Four Wizards (with S. Aldarnay, forthcoming).

His articles have been published in Abraxas, Folklore, Fortean Times, The Journal for the Academic Study of Magic, The Journal of Scholarly Communication, The Journal of the Western Mystery Tradition, Thanatos, and The Unspeakable Oath. He has spoken at Treadwell’s in London and at conferences at Oxford, Western Michigan University, and Waterloo University, among others. He is also an avid roleplaying gamer, and occasionally writes for publishers including Chaosium, Arc Dream, and others.

References

This 17th-century Bellarmine jug from Lincoln, United Kingdom, features the iconic bearded face of a “Bartmann”. Often used as ”witch bottles”, these stoneware jugs were filled with sharp objects or bodily fluids to ward off curses and malevolent forces.

Photograph by Sabena Jane Blackbird, Alamy

See: https://www.nationalgeographic.com/history/article/witch-bottles-rituals-superstition-17th-century

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Review: Pagan Roots – Reclaiming Concepts of the Sacred

Pagan Roots – Reclaiming Concepts of the Sacred
Yvonne Aburrow
1000 Volt Press, April 2025, approx. 400 p. ISBN 979-8-9921834-0-5
Cover artwork by Lydia Knox, Book design by Keifel A. Agostini
Available online via Amazon and as e-book via Bol.com.

Yvonne Aburrow is not new to WRonline. In 2015, their book ‘All Acts of Love & Pleasure’ was reviewed. Their philosophy of inclusiveness — particularly in Pagan, Wiccan, and interfaith contexts — is rooted in the belief that spirituality must reflect and affirm the full diversity of human experience. Their approach is informed by feminist theology, queer theory, and personal experience as a bisexual, non-binary, Pagan.

In the book All Acts of Love and Pleasure: Inclusive Wicca (2014), Yvonne lays the foundation of their inclusivity model:

“Inclusive Wicca is about including all participants regardless of gender, sexual orientation, disability, or other differences, and affirming the validity of all identities.” They challenged the heteronormative structures often found in traditional Wiccan rituals, especially regarding the polarity between a male and female practitioner (e.g., high priest and priestess).

This new book continues to explore these ideas and is a thoughtful and timely contribution to Pagan literature. Yvonne, a seasoned Pagan and Wiccan with an academic background in Contemporary Religions and Spiritualities, brings both intellectual depth and spiritual insight to this work. Yvonne encourages readers to explore and reclaim sacred language through a Pagan lens.

The book spans approximately 420 pages and is divided into three main parts:
1. The Pagan Journey – provides historical and conceptual foundations.
2. Pagan Concepts – explores words integral to Pagan thought and practice.
3. Reclaimed Concepts – reinterprets terms commonly used in Christianity and other religions.
Each section ends with journal prompts, rituals, and exercises to integrate the ideas into personal practice.

Table of Contents

  • Introduction
  • Part I: The Pagan Journey
  • The Pagan Journey
  • The Quest for the Authentic Self
  • The Pagan Psyche
  • Connecting with Nature
  • The Old Gods
  • Folklore and Mythology
  • The Wheel of the Year
  • The Cycle of Birth, Life, Death, and Rebirth
  • Gender and Sexuality
  • The Structures of Pagan Religions
  • Part II: Pagan Concepts
  • Apotheosis, Darkness, Embodiment, Eudaimonia, Fertility, Immanence, Land, Liminality, Merry, Mystery, Myth, Nature, Pagan, Polarity, Reciprocity, Sacred, Sovereignty, Spirituality, Wild, Wyrd
  • Part III: Reclaimed Concepts
  • Belief, Charity, Devil, Faith, God, Goddess, Deity, Grace, Heresy, Holy, Hospitality, Perfect, Pilgrimage, Prayer, Priesthood, Pure, Religion, Sacraments, Theology, Tradition, Transcendence, Virtue, Worship

At its core, Pagan Roots seeks to reclaim the spiritual vocabulary often inherited or misunderstood within contemporary Paganism. Yvonne delves into the etymology and evolution of terms such as ‘sacred,’ ‘polarity,’ ‘virtue,’ and ‘grace,’ offering a Pagan reinterpretation rooted in lived experience and inclusive theology.

In conclusion, Pagan Roots is an insightful and enriching resource for anyone seeking to deepen their Pagan spirituality, refine their understanding of sacred language, or contribute to interfaith dialogue. Yvonne’s work is both accessible and profound, offering a bridge between historical roots and contemporary practice.

Fun fact: There is also a ‘Pagan Roots Playlist’ on Spotify: https://open.spotify.com/playlist/1utzxiIyRU4o8RJoCo31cA, which includes one of my favourite songs, The Fabled Hare by Maddy Prior.

About the author:

Yvonne Aburrow has been a Pagan since 1985 and a Wiccan since 1991. They have an MA in Contemporary Religions and Spiritualities from Bath Spa University (UK), and live in Cambridge, Ontario, Canada. They have written four books on the mythology and folklore of trees, birds, and animals, and two anthologies of poetry. Their most recent books are Changing Paths, published by 1000 Volt Press in 2023, and Dark Mirror: the inner work of witchcraft and The Night Journey: witchcraft as transformation, with revised and expanded second editions published by the Doreen Valiente Foundation in association with the Centre for Pagan Studies in 2020. They blog at Dowsing for Divinity.

Yvonne has also been engaged in interfaith dialogue. They have written extensively on respectful interfaith practice, and their work promotes inclusive theology and supports meaningful interreligious conversation. They are also currently a member of Interfaith Grand River in Ontario, Canada.

See also: https://yvonne.carnelianwebservices.ca/

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Review: Ritual & Epiphany in the Mysteries of Mithras

Ritual & Epiphany in the Mysteries of Mithras – The Secret Cult of Saturn in Imperial Rome
Peter Mark Adams
published in Europe from Theionpublishing.com.
In the UK, available from Watkins Bookshop, London, or Courtyard Books, Glastonbury. In the USA from: Miskatonic Books, Edge of the Circle Books

From the website: https://theionpublishing.com/shop/pma-ritualepiphany/

Fine Hardcover Edition (in stock)

  • Bound in high-quality tangerine-colored fine cloth, manufactured in Germany.
  • Features a printed and embossed cover, lettering on rounded spine.
  • Limited to 888 copies.
  • Price: 78,- EUR + shipping (incl. VAT if applicable).

(The Hardback version)

Peter Mark Adams challenges current academic conventions by restoring the term ‘mysteries’ to the cult of Mithras, placing it firmly within the esoteric traditions of the ancient world. A thought-provoking and invaluable contribution to Mithraic studies. ’Ritual & Epiphany in the Mysteries of Mithras’ is a bold and compelling reassessment of Mithraic initiation and cosmology. Adams’ work stands out for its profound exploration of Orphic influences and theurgy, breathing new life into long-overlooked aspects of the cult.

(A. A., The New Mithraeum | mithraeum.eu)

It is a fantastic book. Such a great resource to truly grasp the role of Mithraism in the evolution of Western esotericism. Adams manages to pack so much information into his writing and yet retains a certain levity and readability despite the staggering amount of research and thinking that it is based upon.

(H. L., Mithraic Researcher)

From acclaimed esoteric scholar Peter Mark Adams — author of The Game of Saturn, Mystai, Hagia Sophia / Sanctum of Kronos, Two Esoteric Tarots (with Christophe Poncet), and The Power of the Healing Field — comes a landmark study that redefines our understanding of Western Europe’s most enigmatic mystery cult.

Ritual & Epiphany in the Mysteries of Mithras – The Secret Cult of Saturn in Imperial Rome takes readers deep into the heart of the Mithraic mysteries, offering a profound exploration of the cult’s ritual practices and transformative visionary experiences. Blending cutting-edge scholarship with first-hand accounts of initiation and contemporary ethnographies of ritual performance, Adams provides an unparalleled glimpse into this ancient esoteric tradition.

Approaching the material from an emic (insider’s) perspective, the author examines the cult’s hierarchical grade structure, ceremonial roles, and ritual mechanics, revealing how initiates invoked the serpent power and encountered the awe-inspiring epiphany of Saturn-Kronos, the sovereign time-deity. Through a richly interdisciplinary lens — drawing on Orphic metaphysics, Greco-Roman ritual theory, art history, and comparative ethnographies of initiation — Adams vividly animates Mithraic iconography, frescoes, and reliefs as ritual grammar encoding the lived phenomenology of participation.

Richly illustrated, beautifully presented and deeply insightful, this volume revives the Cult of Mithras as Western Europe’s preeminent mystery tradition, offering readers both scholarly rigour and spiritual resonance.

Reviews: See also the video: Ritual and Epiphany in the Mysteries of Mithras by Peter Mark Adams 

References/ earlier reviews:

Review: Mystai – dancing out the mysteries of Dionysos

Review: Mystai – dancing out the mysteries of Dionysos

Review: Two Esoteric Tarots:

Review: Two Esoteric Tarots

Review: The Power of the Healing Field:

Review: The Power of the Healing Field

 

 

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Review: The Witches’ House – Cecil Williamson & his museums

The Witches’ House – Cecil Williamson & his museums
Rupert White
Foreword by Graham King.
Antenna Publications, April 2025, pages: 300 (approx.) Paperback  ISBN 9798313403335  Price: £14.00 (UK), £ 16 (Europe), £18 (elsewhere)

In The Witches’ House, Rupert White presents a meticulously researched and richly illustrated study of one of the most enigmatic and influential figures in the history of modern witchcraft and magical heritage in Britain: Cecil Williamson. As the founder of the Museum of Witchcraft and Magic, Williamson’s life and legacy are central to any serious exploration of how folk magic, witchcraft, and rural spirituality have been collected, interpreted, and displayed in the 20th century.

White has drawn on a trove of primary sources — including Williamson’s unpublished writings, private correspondence, interviews, and rare photographs — to construct a compelling and often surprising biography. The result is not merely the story of a man, but of a cultural moment: the evolution of esoteric belief, folklore, and public perception from the interwar period to the edge of the 21st century.

Williamson’s multifaceted character is explored in depth. He appears as a folklorist, covert operative, showman, and solitary magical practitioner, often ahead of his time and occasionally at odds with the growing formalisation of modern witchcraft movements. His nuanced — and sometimes contradictory — views on magic, religion, and authenticity are presented without judgment, allowing readers to encounter the complexities of a man both passionate and paradoxical.

The book’s structure is thematic, supported by a generous selection of images and excerpts from archival documents. White’s prose is careful and grounded, allowing the source material to take precedence. For scholars of esotericism, folklore, or museum studies, The Witches’ House offers a vital contribution to understanding not only Williamson’s life but also the shifting representations of witchcraft in the public sphere.

That said, the book assumes a degree of familiarity with the landscape of British esotericism and may at times challenge the general reader with its detail and specificity. I was at times reminded of Philip Heselton’s style of writing, often meandering off in detail. Nevertheless, it remains accessible to anyone with a serious interest in the subject and is particularly valuable for researchers, curators, and practitioners seeking to understand the roots of contemporary magical heritage work.

(Above: Cecil Williamson photographed during his research of witchcraft practices.)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“Eventually, Cecil settled in the Cornish village of Boscastle and opened the Museum of Witchcraft in 1960. The Museum Boscastle Harbour in 1962”

 

 

 

 

 

 

 

 

 

In sum, Rupert White has done the academic and esoteric communities a great service in preserving and presenting the story of Cecil Williamson with such care and integrity. The Witches’ House stands as a definitive resource and a fitting tribute to a man whose museums invited thousands to engage with the hidden histories of magic and belief.

Highly recommended!

References:

Note: I couldn’t find a table of contents, which I found slightly annoying, so please use the Index. When looking up ‘Gardner, Gerald’, for example, there are many references… but you have to know what to look for… 🙂

Images of Cecil Williamson and the Museum Boscastle Harbour – https://museumofwitchcraftandmagic.co.uk/history/

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Recensie: Heilige botten, magische botten

Heilige Botten, Magische Botten
Ness Bosch
A3-boeken, 160 p.,
ISBN 978-9491557897

 Recensie: door Serotia 15-07-2025

“Ik voel het aan mijn botten” is een uitdrukking die in het Nederlands wordt gebruikt om aan te geven dat iemand een sterk voorgevoel heeft over iets, vaak iets onheilspellends of onplezierigs. Het is een figuurlijke uitspraak die suggereert dat het gevoel zo diep zit, dat het lijkt alsof het in de botten wordt gevoeld.

Er zijn heel veel spreekwoorden die gaan over botten en hun betekenis, dat geeft al aan hoe diep deze mystieke kennis zit. Ness Bosch vertelt dan ook hoeveel kennis er in onze botten zit, terwijl wij er echter nooit direct mee in contact komen, normaal gesproken.

Ze vertelt over haar connectie met botten, hoe ze een rol spelen in haar leven.
Waar ze woont, vlak bij de zee, zijn er vele te vinden op het strand, schelpen en exoskeletten.
Ze legt ze op haar altaar, maakt er orakels van, gebruikt ze in spreuken, in wierook, ze is een echte bottenverzamelaar, een bottenvrouw.
Ze vertelt ook over de godinnen die in haar beleving linken aan botten, zoals Baba Yaga en Cailleach. Wat er met botten gedaan wordt. Culturen die van voorouderlijke botten relikwieën maken, over de doden die begraven werden in huis om ze dicht bij hart en haard te houden. Wat een mooie verhalen over tradities vertelt ze, en hoe ze graag werkt met dierlijke botten en hun energie.
Wij zijn geneigd om alles wat dood is eng te vinden, althans de meeste mensen. Dus maar weinig personen zullen graag wroeten in de grond naar skeletten en botten, laat staan bewust dode dieren begraven om later hun botten op te graven.
Maar denk eens hoe intens het is om op deze manier met de spirits van de dieren te mogen werken. Ik lees over liefde en respect, over voorouders, rituelen die al in de prehistorie een feit waren. Maar denk ook eens aan Egypte, de mummies.
Botten zijn magisch, ze bevatten de energie of de kracht van de oorspronkelijke eigenaar.
Maar ook schelpen die al sinds de oudheid door de mensen als gereedschap of betaalmiddel werden gebruikt.
Ze geeft tips hoe je botten kan schoonmaken, zodat je ze voor magisch werk kan gaan gebruiken. Er staan zelfs recepten in, welk bot je gebruikt voor welke magie, van bezweringen tot beschermingsamuletten.

Ness heeft met haar boek mij toch op een wat andere manier naar botten laten kijken. Nou moet ik eerlijk toegeven dat ik de schedel van twee mij onbekende honden op mijn Hecate altaar heb staan, maar dat ik na het lezen van dit boek ook met de gedachte speel om mettertijd, en hopelijk duurt het nog heel lang, een van mijn huisdieren te laten prepareren tot schone botten. Het gaat mij qua gevoel nog even te ver om dat zelf te doen, omdat er dan ook een emotionele band in de weg zit. Maar het lijkt mij toch wel heel bijzonder om in de plaats van de as retour te krijgen van mijn geliefde huisdier, een mooie pot met diens botten te mogen koesteren. Dus ik kan mij toch wel verplaatsen in haar manier van beleven en werken met botten. Kortom, een prachtig boek, dat mij een heel mooi beeld geeft van de magische en heilige betekenis van botten. En ik ga ook zeker op zoek naar een aantal skeletten en botten om ritueel werk mee te doen. De eerste slangenwervels heb ik al binnen.

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De dans

De dans, de dans, de wervelende dans, Zij danste aan het begin, Het Oer.

Zij was het die blootsvoets, getooid in al haar zwart en al haar wit, aan het begin stond. Vloeiende Wervelende bewegingen maakte Zij en schiep de Oneindigheid; Haar Oneindigheid in alle kleuren van de regenboog.

Met draaiende rokken, in al die kleuren, tolde Zij rond. Zij tolde en tolde, haar hoofd achterover, de ogen gesloten, glanzende zwierige zwarte lange haren, soepele polsbewegingen; met lichtvoetige huppelpassen maakte Zij, met haar witte hielen diep in het oerstof, het begin van de spiraalvormige oneindige nevels.

En overal èn steeds als Zij haar voeten neerzette, kwam energie vrij, en ontstonden sterrenstelsels, donkere materie en nevels van schijf- en bolvormige structuren.

Het was haar dans, haar dans, die wervelende dans.

Annemarie Kruit

NB Naar de Mythe van Eurynome, Godin van Alle Dingen

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