“When all is said and done I think every Witch should, at some time, face the moon alone, feet planted on the ground, with only his or her voice chanting in the starry night.”
–Laurie Cabot, Power of the Witch
I will never forget the first time I heard someone recite the Charge of the Goddess from memory. Bare-breasted, she strode around the fire in sacred circle at a large goddess festival in Kansas, delivering the words with power, grace, and confident resonance. I thought: I will do that someday.
In February of this year, we took a family trip to Dauphin Island. While there, the afternoon of the full moon, I
decided that the time had come. I was going to memorize the Charge of the Goddess. First, I thought I would only memorize it a piece at a time. It seemed “too big” to do in a single sitting. I had it printed out on a piece of paper that rapidly became damp with the salty sea air. I drew a labyrinth in the sand with my toes, set one of my goddess sculptures at its entrance, and drew a Womanrunes card.
One stanza at a time, slowly I began to repeat the poem* aloud:
hear ye, the words of the star goddess
the dust of whose feet are the hosts of heaven...
Over and over, I said the words, letting them twine around my tongue and in the air, experimenting with cadence and rhythm. After I could reliably repeat one section, I’d move to the next, letting it build in my memory until I could put the two together confidently and then moving to the next.
I am the beauty of the green earth
the white moon amongst the stars..
I stared into the waves, listening to them rise and fall along with my words. My three older children dug in the sand.
My husband fished. My toddler toddled around and then came to sit on my lap and nursed to sleep for nap time:
before my face
beloved of all…
I whispered into his damp hair. I felt in an altered state of consciousness. The words began to wind their way through me, becoming a part of me, embedded in me. I danced with them as I have never danced with another piece of writing. I felt them merging with me. I sang them aloud. I stated them fast and slow and I built, adding the next line and then the next…
for behold, all acts of love and pleasure
all my rituals.
I turned over hard thealogical questions as the words spun their magic through the air. What does it really mean that “all your learning and seeking shall avail you not, lest your know the mystery.” Do I really feel the goddess within? Do I find her within myself or is she only outside and if she is only outside, does she really exist at all? Tears came to my eyes: do I even like myself?
Two hours passed. My baby awoke and returned to digging in the sand. My husband packed up his fishing gear. The sky began to darken and spit rain. I stood and danced the words into the sand with my feet.
let your divine innermost self
be enfolded
in the rapture
of the infinite
I felt rapturous. I felt triumphant. I had done it. Faster and faster my feet stamped the sand as I called the words into the waves. I spun in circles with my toddler chanting and laughing and offering my devotion before the sea, beneath the moon.
the mystery of the waters
the desire in human hearts…
*I used Shekhinah Mountainwater’s adaptation of the Charge, originally by Doreen Valiente, as included in the book Ariadne’s Thread.
Molly has been “gathering the women” to circle, sing, celebrate, and share since 2008. She plans and facilitates women’s circles, seasonal retreats and rituals, mother-daughter circles, family ceremonies, and red tent circles in rural Missouri and teaches online courses in Red Tent facilitation and Practical Priestessing. She is a priestess who holds MSW and M.Div degrees and recently finished her dissertation about contemporary priestessing in the U.S. Molly and her husband Mark co-create original goddess sculptures, ceremony kits, and jewelry at Brigid’s Grove. Molly is the author of Womanrunes, Earthprayer, and The Red Tent Resource Kit. She writes about thealogy, nature, practical priestessing, and the goddess at her Woodspriestess blog.
As I mentioned in my January 30, 2016 post, Grace Jantzen in Foundations of Violence makes a compelling case that Diotima is a fictional figure. She does not, however, adequately distinguish her from the poetizing female figures Parmenides and Boethius portray as instructing them in their respective works. If nothing else, the quality of the poetry of Parmenides and Boethius betrays the influence of a very real woman: Sappho.
By contrast, Plato essentially portrays Diotima as the personification of his philosophy–his metaphysics–and it is hard to believe there was such an ancient Greek woman. Although the term ‘metaphysics’ derives from a neologism coined in Greek centuries after Plato and Aristotle lived, its meaning (‘beyond’ (meta) the ‘natural,’ or ‘embodied’ world (physics)) appropriately characterizes what Diotima and hence Plato’s philosophy is all about. A key passage is where she characterizes the most intense love as “gazing at and being with” the beloved, without even the need to “eat or drink.” That leads her to ask rhetorically whether it would not be best to gaze at what is not “infected” by flesh and blood (Symposium (211 d-e)).
Niamh (meaning ‘bright’ or ‘radiant’) of the Golden Hair, one of the Tuatha de Danann and daughter of Mannanan mac Lir, Celtic God of the Sea, was Queen in the land of Tír na nÓg (pronounced Tear na Noge), the most famous of the Celtic Otherworlds.
Of the many letters Caroline wrote to her lifelong friend Luise, one of the most intense (the 57th Letter) dates from seven years after the 4th Letter discussed in my last post. By then both were married; only a few months earlier Caroline had given birth to her first child (Auguste); though Luise already had children, Caroline knew that one of them was terminally ill. In the first paragraph Caroline describes how difficult Auguste’s birth was for her; in the second she consoles Luise over the impending death of her child. She thus subtly parallels birth with death and hence the labor for one with mourning over the other.
Fifteen years later, only a few months after the death of Auguste–the last of her four children to die–Caroline’s generally positive disposition evidenced in the 4th Letter and her experience in grappling with birth and death evidenced in the 57th Letter were being put to the test. Though she was holding up well, Friedrich Schelling (Friedrich), the man who was to be her third husband, seems to have been suicidal from feeling guilty (rightly or wrongly) for having failed to do enough to cure whatever illness killed Auguste. Caroline wrote frequently and urgently to him, offering advice and comfort. In one of those letters (274d) she characterizes the challenge of overcoming grief as a formula to be solved: “(death/pain) x (love/bliss) = (life/peace).” She terms this one of her ‘primal axioms’ (the “Ursatz”), although she seems playfully to concede to Friedrich that he or perhaps someone else shares responsibility for it.Continue reading “Caroline Schelling on Birth & Death by Stuart Dean”
The power of the divine feminine taps into the power of life. The power is accessible to everyone as the equal opportunity energy surrounding and connecting all living things. The power is ancient, and meditative practices such as yoga, which in Sanskrit means linking to the divine, can connect us to this power. When we make the connection, we find the balance we need to realize our highest selves, and through that balance we can realize the highest self of the larger society. To reclaim the divine feminine, we need only remember, and as more and more of us remember, we heal first ourselves, and ultimately the planet.
1. She is the route back to the self.
In her mother aspect the divine feminine offers a route back to the self and She is all-inclusive. She embraces all of creation, men, women and nature, and we find Her when we reach back far enough into history and our own consciousness. She was there from our very beginning, through the Paleolithic and the Neolithic, when we celebrated her in carved figurines. She was there when we made the shift to agriculture, clear as the full moon, the goddess with her circular all encompassing worldview, birth, life, death and birth again. The goddess as mother, the goddess whose body is the earth which nurtures us all. She is there now in your deepest consciousness, you need only remember, and when you do, She will guide you back to yourself.
Many years ago, in the group of women I work with, we all had a marvelous epiphany. It was spontaneous combustion that fueled our collective desire to learn about the “Nine Maidens.” It was as though some unknown force was driving all of us to seek out and to know.
I would like to share what we collected:
“… My poetry, from the cauldron it was uttered. From the breath of nine maidens it was kindled….”
“… ygkynneir or peir pan leferit. O anadylnawmorwyngochyneuit.”
(Preiddeu Annwn or The Spoils of Annwyn from ‘Llyfr Taliesin’ 9th to 12th c. CE.)
Anadyl = breath
Naw= nine
Morwen= maiden
These lines are from the poem, the Spoils of Annwyn, where Arthur and seven knights raid the rotating island fortress of Caer Sidi in the Otherworld for possession of the Cauldron of the Head. Continue reading “The Nine Maidens by Deanne Quarrie”
You will be reading this Feminism and Religion the day before I turn sixty. For the past two decades I have had parties the night before I leave a decade—and “crossed over” at midnight, with the requisite amount of candles—forty, fifty and now sixty. I have everyone under the decade (in this case 60) on one side and those 60 and over on the other side and I will cross from my 50s to my 60s. And so…I will also be doing that this year, the evening on which you read this. I will be crossing from one decade to the next.
I want to own all of the years of my life as deeply as possible.
And yet…there is and continues to grow now –“a bucket list.”
A bucket list seems to be analogous to the idea of heaven or “the end times.”
Arduinna, Gaulish Goddess of Forests and Hunting is one of the many Celtic Goddesses who is associated with a particular region or body of water. She was worshipped in the heavily forested regions of the Ardennes, located in what is current day Belgium and Luxembourg with small portions found in France and Germany. She was also associated with the Forest of Arden in England. Her name has its roots in the Gaulish word “arduo” meaning “height”.
If you ever eavesdrop on a conversation between my husband and me around the clamor of our four children’s voices, you will probably hear me making a tired lament: “All I want is a broad swath of uninterrupted time.” In listening to Elizabeth Gilbert’s newest book, Big Magic, on audio book I was interested by her mention that many creative people lament not having long stretches of uninterrupted time available in which to work. She quotes a letter from Herman Melville to Nathaniel Hawthorne, lamenting his lack of time and how he is always pulled “hither and thither by circumstances.” Melville said that he longed for a wide-open stretch of time in which to write. She says he called it, “the calm, the coolness, the silent grass-growing mood in which a man ought always to compose.”
…I do not know of any artist (successful or unsuccessful, amateur or pro) who does not long for that kind of time. I do not know of any creative soul who does not dream of calm, cool, grass-growing days in which to work with- out interruption. Somehow, though, nobody ever seems to achieve it. Or if they do achieve it (through a grant, for in- stance, or a friend’s generosity, or an artist’s residency), that idyll is just temporary—and then life will inevitably rush back in. Even the most successful creative people I know complain that they never seem to get all the hours they need in order to engage in dreamy, pressure-free, creative exploration. Reality’s demands are constantly pounding on the door and disturbing them. On some other planet, in some other lifetime, perhaps that sort of peaceful Edenic work environment does exist, but it rarely exists here on earth. Melville never got that kind of environment, for instance. But he still somehow managed to write Moby-Dick, anyhow.
When I create a new sculpture, I am most often creating something that I need to remember or want to learn. The original figures for my Centered Mama sculpture and my Meditation Goddess sculpture were both created while at a friend’s house for a weekend work exchange as my baby toddled around. While I love making figures of mothers and babies, I was feeling a strong urge to make a goddess representation complete unto herself. It felt like a reclaiming of my non-maternal identity and a declaration of self-sovereignty. She turned out a little bigger than some of my other figures, strong and secure and independent. Then, the baby crawled over and knocked off one of her breasts, knocked her over on the tray, smashing the side of her head. I came close to crying. I felt annoyed with my husband who’d “let” him come over and destroy my work rather than noticing him doing it and stopping him. I was frustrated, dismayed, and my feelings felt hurt in a sense. First I felt like, Argh! This is a metaphor for life! And, then I realized it was not just a metaphor for life, it is my actual life! I pouted a bit and said I was just going to smash her and give up and I made some bitter faces at my husband and some long-suffering huffs and signs, but then the baby fell asleep in the Ergo, held close against my chest. I kissed his soft hair and I took my clay and started again. I reclaimed her from the smashed parts and she sat stronger and taller than ever.
She reminds me not to give up and that beautiful work can come from struggle, but also of interdependence (not just the independence I was going for!), co-creation, and tenacity. When the finished version of her, cast from the original sculpt, sits by my bed at night or overlooks my dinner preparations, she reminds me that I am strong and that persistence is worthwhile. She also tries to remind me to be calm and steady, centered and Zen, even though I more often feel like a whirlwind.
That same Saturday at my friend’s house, as my baby tentatively toddled around the kitchen, chewed on a piece of watermelon, and snoozed on my chest, I felt moved to begin creating a new Centered Mama sculpture. I had been going through an emotional rough patch, feeling buffeted by variable emotions and erratic and unpredictable in my enthusiasm and confidence. I was also feeling impatient, snappy, and irritable.
“I will be gentle with myself. I will be tender with my heart. I will hold my heart like a newborn baby child.”
This song by Karen Drucker replayed in my mind as I sculpted. The baby woke, the watermelon got dragged along the floor collecting dust, and it was time for our collaborative dinner, so I had to put her away unfinished. When we got back to our own home, I was compelled to finish her, working feverishly as the baby pulled on my legs and I said, “just a few more minutes!” to the older kids who were trying to play with him to let me work. Again and again I re-rolled the clay baby’s head, trying to make it “perfect,” and worked to lay down the strands of her hair, against of the backdrop of this often-chaotic, noisy, home-based life we’ve consciously and intentionally created together. She was created to represent holding my own center in the midst of motherhood. I will be tender with my heart. I don’t create sculptures like this because I AM so “Zen” and have life all figured out, I make them to remind me what is possible if I listen to my soul.
As I do extensive rearranging, construction, and reconstruction on my slowly ongoing dissertation project, I typed out a quote from the book Priestess: Woman as Sacred Celebrant by Pamela Eakins about her past life memories of making clay goddess figures as a temple priestess:
…to me it brought a continuation of the energy of the sacred objects of the grandmothers. I contained this energy in a new form in the dolls that would be placed upon the altars and in the graves of the daughters living now and the daughters to come…
I felt this process made my own clay stronger, too. Some of the pieces cracked in the fire because of the added ‘impurities’…but, in this case, I felt the impurities were the purest of pure and I worshipped each crack knowing the crack contained the wisdom of the priestesses who had occupied the doll-making table for more moons than I could even imagine. It contained too, the devotional energy of every grandmother who had held it in her hands or placed it on her altar. Sometimes ‘impurities’ sanctify further that which is holy to begin with.
While I tend to have a knee-jerk skepticism about past-life memories, there is something in Eakins’ words that I know at a bone-deep level as I do my own work with goddesscraft:
…Each goddess was imprinted with the sound of sacred life coursing through the Universe. I changed with the priestesses as the figures came through my hands. Each doll received the sacred vibration of life…For seventy-seven moons I made the dolls at the long table with the young Sisters of Nun. My hands were so fast. I made thousands of figures: beautiful little faces, etched collars of gold plates, pubic hair swirled into tiny rows of connecting spirals. They were so precious. At the end of the day, my baked clay shelves were covered with little women.
The clay goddesses healed…
This is how I apprenticed. I learned, in this manner, the art of healing. I learned that to heal means to make whole, and that becoming whole involves learning many levels of purification, balance, and reformation” (p. 32-33).
In Anne Key’s marvelous priestess memoir, Desert Priestess, she makes this important point: “It is of course no small wonder why graven images are so tightly controlled by religious traditions.” (p. 52) Sometimes I feel like this is what I’m tapping into when I make my own goddess sculptures—a resistance to tight control over graven images and over personalization of divinity as male.
I occasionally get requests to make bigger goddesses–-people ask about figures that are large altar pieces 12-18 inches tall or taller. The goddesses I make are all about three inches tall and there’s a reason for that: they fit in the palm of my hand. When I create them, I feel as if I’m part of an unbroken lineage stretching back 30,000 years to the person who carved the Goddess of Willendorf. I feel connected to the priestesses of the Mesopotamian temples who sculpted hundreds upon hundreds of tiny clay goddesses. Someone commented on my sculptures once saying, “echoes of Mesopotamia.” And, I said, “exactly.” I feel the connection between the clay in my hand and the clay in their hands, running through the ripples and eddies of time.
I’ve been inspired recently to re-read Starhawk’s The Spiral Dance, finding new bits of wisdom from it that speak to something different in me than they did the first time I read it. She writes of the attempts to discredit Goddess religion by invalidating the historical narratives or archaeological evidence: “The idea seems to be that if they can disprove our origin story, they can invalidate our spirituality…Is Buddhism invalid if we cannot find archaeological evidence of Buddha’s existence? Are Christ’s teachings unimportant if we cannot find his birth certificate or death warrant?…the truth of our experience is valid whether it has roots thousands of years old or thirty minutes old…a mythic truth whose proof is shown not through references and footnotes but in the way it engages strong emotions, mobilizes deep life energies, and gives us a sense of history, purpose, and place in the world. What gives the Goddess tradition validity is how it works for us now, in the moment, not whether or not someone else worshipped this particular image in the past” (p. 4).
The ancestry of my goddess sculptures may not be the same energy that raised temples and built monuments (or walls), it is the energy that carried a baby on one hip and a basket of supplies on the other and needed a goddess just the right size to tuck down the front of a shirt…
Sometimes I describe my life in the woods as being held in the hand of the goddess. And, I make goddesses that I hold in my hand. Am I in the palm of her hand or is she in the palm of mine? The answer is both.
(One of my all-time favorite fan photos–a rainy day traveling goddess picture, taken by my friend/SIL (this one is only an inch tall, but look how she calls in the waters of the world!)
Molly has been “gathering the women” to circle, sing, celebrate, and share since 2008. She plans and facilitates women’s circles, seasonal retreats and rituals, mother-daughter circles, family ceremonies, and red tent circles in rural Missouri. She is an priestess who holds MSW and M.Div degrees and she is finishing her dissertation about contemporary priestessing in the U.S. Molly’s roots are in birth work and in domestic violence activism. She has worked with groups of women since 1996 and teaches college courses in group dynamics and human services. Molly is the author of Womanrunes: a guide to their use and interpretation, Earthprayer, Birthprayer, Lifeprayer, Womanprayer, and The Red Tent Resource Kit, as well as three social service oriented booklets and a miscarriage memoir. She has maintained her Talk Birth blog since 2007 and writes about thealogy, nature, practical priestessing, and the goddess at her Woodspriestess blog. Molly and her husband Mark co-create original birth art, goddess sculptures, ceremony kits, and pendants at Brigid’s Grove.
When I teach my Human Spirituality course to college students, I include a section on factory farming. Merriam-Webster defines factory farming as “a large industrialized farm; especially: a farm on which large numbers of livestock are raised indoors in conditions intended to maximize production at minimal cost.”
This sterile definition does not reflect the barbaric conditions in which chickens, pigs, cows, and sheep are raised in order to “maximize production at minimal cost.” For example, chickens are kept in cages with slanted floors, their beaks removed without anesthesia, and artificial lights kept on most of the day in order to increase egg production. Sows are kept immobile in metal cages, unable to nurse their young except through the slats of those metal cages. Male calves are taken away from their mothers at birth and placed in small cages to become veal after a few months. Male chicks, having no “value” in a factory farm setting, are placed on a conveyor belt that leads to being “ground up” alive. I’ve only scratched the surface of the horrors. Continue reading “But…They’re Just Animals by Esther Nelson”
As I mentioned in 
Niamh (meaning ‘bright’ or ‘radiant’) of the Golden Hair, one of the Tuatha de Danann and daughter of Mannanan mac Lir, Celtic God of the Sea, was Queen in the land of Tír na nÓg (pronounced Tear na Noge), the most famous of the Celtic Otherworlds.
(Spoiler alert: She’s already here)
“If there is one chant in the universe it is to create.”
inches tall or taller. The goddesses I make are all about three inches tall and there’s a reason for that: they fit in the palm of my hand. When I create them, I feel as if I’m part of an unbroken lineage stretching back 30,000 years to the person who carved the Goddess of Willendorf. I feel connected to the priestesses of the Mesopotamian temples who sculpted hundreds upon hundreds of tiny clay goddesses. Someone commented on my sculptures once saying, “
When I teach my Human Spirituality course to college students, I include a section on factory farming. Merriam-Webster defines factory farming as “a large industrialized farm; especially: a farm on which large numbers of livestock are raised indoors in conditions intended to maximize production at minimal cost.”
Feminism and Religion 