Contemplative Inquiry

This blog is about contemplative inquiry

Tag: Goddesses

ANIMATE, INANIMATE AND INTENSELY ANIMATE

The wood thrush has a complex throat that allows it to sing two notes at the same time and harmonize with its own voice.

“Ancient poets in Sumer composed in more than one dialect, and the dialects were gendered. … For example, in Inanna’s Descent when a god or the (male) narrator speaks they use one dialect; when a goddess speaks, her words are in another mode. Noticing the difference between their tongues was a breakthrough that led to the decipherment of broken clay tablets that had long laid separated in museums across the world. I wonder how the artists performed the voices when poetry was sung.

“The score of musical Sumerian speech expands still further. ‘Wood’ had its own symbol in Sumerian, distinguishing it from the other raw materials or swaying trees. Signs expressed the difference between what is animate, inanimate, and intensely animate, in other words, divine.

“Intensively alive clay tablets on museum shelves burrow between Mesopotamian stone seals and terra cotta plaques, bearing nature symbols everywhere. We find compassion, delight, and danger in them: sea-Nammu, storm-Enlil, date palm-Inanna. Bird men on trial before bull-helmeted gods. Feather-skirted goddesses brandishing clusters of heavy fruit. Out of their shoulders leap lightning, grain, sunrays, and fishy streams.

“Humbaba* radiates melam, the vigor of being intensely alive, and Inanna radiates date palm blossoms, arrows, or bolts of energy from her shoulders. The symbol for divinity looked like a star. It radiated the vigor of uniquely dynamic forms of life.

“Look deep into life forms and see shimmering, pulsating cell membranes, the ceremonial fringed dancing-capes of being. Long before we saw a cell shimmer under a microscope, we saw life shimmer in myth”.

Dianna Rhyan Staff of Laurel, Staff of Ash: Sacred Landscapes in Ancient Nature Myth Winchester, UK & Washington, USA: Moon Books, 2023 (I plan to write a review of this book when I have had more time to digest it: see https://contemplativeinquiry.blog/2023/06/14/

*Humbaba is a ‘monstrous, though anthropomorphic, guardian of the Cedar Forest in Lebanon, equipped with superhuman powers in the form of 7 ‘auras’ (or ‘terrors’). In the Epic of Gilgamesh He is defeated (in some versions through trickery) by Gilgamesh and his companion Enkidu, who go on to cut down the forest. The domain of the ‘intensely animate’ is thereby shrunken as heroic ‘civilisation’ marches arrogantly on. Gilgamesh will learn lessons later in the epic.

See: The Epic of Gilgamesh: The Babylonian Epic Poem and Other Texts in Akkadian and Sumerian translated by Andrew George Penguin Random House UK, 2020 (2nd ed. First ed. 1999)

ANGLO-SAXON PAGAN GODS

This post is based on Ronald Hutton’s third lecture in the Gresham College series on early Pagan history in Britain (1). Hutton notes that the Anglo-Saxons arrived at a later date than the Romans, but with a religion that is less well-known. Why? He explains that it came as a foreign importation that did not mix well with existing traditions, whether Christian or Pagan. Moreover the Pagan Anglo-Saxons left no written records about their own practices, and their conversion to Christianity came too soon for a substantial body of archaeological evidence to accumulate.

Nonetheless the early Anglo-Saxons have had a lasting influence on English culture. They occupied a land that had experienced a major system collapse. A place which had once had towns, stone buildings, country houses, factories, substantial military installations and a money-using, trading economy, now made do with subsistence farming and wooden buildings, ruled over by rival petty kings. On the whole, the Saxons didn’t bring this about. It’s what they found, and they were troubled by the ruins of past power and prosperity as an example of what fate (wyrd) could do. They wondered, too, what had happened to the people (giants?) who had built the now ruined structures that they saw around them. Anglo-Saxon poetry (for example The Wanderer) reflects on this poignancy.

To get glimpses of Anglo-Saxon religion, Hutton says, we look to Roman accounts of their continental ancestors in Germany, narratives from later English Christians, and still later Icelandic sources describing a world view that is seen as cognate with the early English one. Their most important god was Woden, evidenced in place names and the family trees of early English kings. He is described as the King of the Gods, and patron of rulers, voyagers, and skills. He is a wisdom figure who can also be a cunning deceiver and an enchanter. In this he resembles the Norse Odin, the German Wotan – and also, in certain respects, the Roman Mercury. But this doesn’t mean a one-to-one correspondence: Woden, unlike Odin, is shown with the full use of both eyes. Other significant gods were Thunor (with similarities to Thor, Donner, Taranis and Jupiter), Tiu the war god (compared to Mars) and Frigg – goddess of love, fertility and abundance (like Freya, and Venus).

Other gods are named, though we know little about them – Seaxnet, Ing, Geat, Hreda (a goddess of the earth) and Eostre (concerned with dawn and spring). The names of more local and tribal deities are lost. There were sacred places – on hills (Hearg = modern English Harrow) and on level ground, especially near roads (Weoh). There were specific places linked to deities near burial mounds. The only known candidate for a Pagan Anglo-Saxon temple is Yeavering in Northumberland, but even that might be a royal hall. Little is known about the priesthood. There was no equivalent knowledge-bearing class like the Celtic Druids. Kingship was a semi-sacred role and kings could be blamed for disasters. Shadowy non-human figures (elves) co-existed with humans in the world and were seen as harmful. They lacked the glamour found in Irish and Welsh stories about such denizens of the wild places – forests and hollow hills.

We have a wealth of information from grave goods. There is a fairly even split between burial and cremation. Ashes from cremations tended to be kept in urns. These were decorated, primarily with serpent imagery. The swastika was also popular, as a fire image. In the case of inhumations, people were buried facing east, accompanied by grave goods that would be useful for an afterlife. These included crystal and glass beads, combs and razors, belts and knives (as eating utensils). There is relatively little gender distinction in the choice of goods, except that weapons were associated with men. (Even here Hutton notes the revision now being brought about by DNA examination of bones in Scandinavia, and confirming the presence of high status women warriors: could the same be true of the Pagan English?) From the sixth century, the Pagan Anglo-Saxons used burial mounds. Towards the end of the Pagan period, high status burial could be rich and elaborate – the most famous example being at Sutton Hoo in East Anglia, first excavated in 1939. This can be seen as a response to growing prosperity and the rise of Christian competition.

597 CE marks the first mission from Rome to the southern English. (Northumbrians were first introduced to the new religion by Celtic monks based in Iona.) In 665 CE the last English kingdom was formally converted. Penda the powerful Pagan Mercian king fought the Christian kingdoms, but for loot, power and glory, not for his religion. He did not stand in the way of his son’s conversion. There were no wars of religion or clearly identified martyrs on either side. Christianity offered many political, diplomatic and commercial advantages to the ruling class. The Christians were highly organised, determined and had a unified creed to rally around. These characteristics seem largely absent on the Pagan side. Official Paganism was over in the Anglo-Saxon world until it faced the Viking invasions that began in the 790s. Even then, the now Christian Anglo-Saxons did everything they could to resist them, partly as a matter of faith.

(1) https://gresham.ac.uk/watch-now/anglo-saxon-gods/

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