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DRUIDOSOFIA Libro VIII De Druidosofía Espiritualidad Y Teología Druídica Conceptos Sobre La Divinidad Iolair Faol
DRUIDOSOFIA Libro VIII De Druidosofía Espiritualidad Y Teología Druídica Conceptos sobre La Divinidad Iolair Faol Nota sobre las imágenes: Las imágenes de este libro han sido están tomadas de Internet. En ninguna de ellas constaba autor o copyright. No obstante, si el autor de alguna de ellas, piensa que sus derechos son vulnerados, y desea que no aparezcan en este libro, le ruego, se ponga contacto con [email protected] Gracias. Todas las imágenes pertenecen a sus legítimos autores. Nota sobre el texto: En cualquier punto del presente libro se pueden usar indistintamente, tanto términos masculinos como femeninos para designar al género humano e incluso el uso del vocablo “druidas” “bardos”, “vates”, etc., para designar tanto a los hombres como a las mujeres que practican esta espiritualidad, especialidades o funciones. El autor desea recalcar que su uso no obedece a una discriminación sexista, sino que su empleo es para facilitar la fluidez en la lectura, englobando en los términos a ambos sexos por igual. Iolair Faol Está permitida la reproducción parcial de este libro, por cualquier medio o procedimiento, siempre que se cite la fuente de donde se extrajo y al autor del presente libro. Para la reproducción total de este libro, póngase en contacto con el autor o con la persona que posea los derechos del Copyright. El autor desea hacer constar que existen por Internet, muchas webs y blogs, que han usado total o parcialmente, capítulos enteros de éste u otros libros y escritos varios del autor, sin respetar la propiedad intelectual, sin citar autorías, ni reconocer los esfuerzos de ningún autor. -
The Thirteenth Mt Haemus Lecture
THE ORDER OF BARDS OVATES & DRUIDS MOUNT HAEMUS LECTURE FOR THE YEAR 2012 The Thirteenth Mt Haemus Lecture Magical Transformation in the Book of Taliesin and the Spoils of Annwn by Kristoffer Hughes Abstract The central theme within the OBOD Bardic grade expresses the transformation mystery present in the tale of Gwion Bach, who by degrees of elemental initiations and assimilation becomes he with the radiant brow – Taliesin. A further body of work exists in the form of Peniarth Manuscript Number 2, designated as ‘The Book of Taliesin’, inter-textual references within this material connects it to a vast body of work including the ‘Hanes Taliesin’ (the story of the birth of Taliesin) and the Four Branches of the Mabinogi which gives credence to the premise that magical transformation permeates the British/Welsh mythological sagas. This paper will focus on elements of magical transformation in the Book of Taliesin’s most famed mystical poem, ‘The Preideu Annwfyn (The Spoils of Annwn), and its pertinence to modern Druidic practise, to bridge the gulf between academia and the visionary, and to demonstrate the storehouse of wisdom accessible within the Taliesin material. Introduction It is the intention of this paper to examine the magical transformation properties present in the Book of Taliesin and the Preideu Annwfn. By the term ‘Magical Transformation’ I refer to the preternatural accounts of change initiated by magical means that are present within the Taliesin material and pertinent to modern practise and the assumption of various states of being. The transformative qualities of the Hanes Taliesin material is familiar to students of the OBOD, but I suggest that further material can be utilised to enhance the spiritual connection of the student to the source material of the OBOD and other Druidic systems. -
Trilithon E Journal of Scholarship and the Arts of the Ancient Order of Druids in America
Trilithon e Journal of Scholarship and the Arts of the Ancient Order of Druids in America Volume VI Winter Solstice, 2019 Copyright 2019 by the Ancient Order of Druids in America, Indiana, Pennsylvania. (www.aoda.org) All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. ISBN-13: 978-1-7343456-0-5 Colophon Cover art by Dana O’Driscoll Designed by Robert Pacitti using Adobe® InDesign.® Contents Editor’s Introduction....................................................................................................I Letter from the New Grand Archdruid: Into the Future of AODA............................1 Dana O’Driscoll Urban Druidry: e Cauldron of the City..................................................................6 Erin Rose Conner Interconnected and Interdependent: e Transformative Power of Books on the Druid Path...........................................................................................................14 Kathleen Opon A Just City.................................................................................................................24 Gordon S. Cooper e City and the Druid.............................................................................................28 Moine -
John Cowper Powys's Porius: a Reader's Companion
John Cowper Powys: Porius A Reader’s Companion Updated and Expanded Edition W. J. Keith April 2009 “Reader’s Companions” by Prof. W.J. Keith to other Powys works are available at: https://www.powys-society.org/Articles.html Preface The aim of this “Companion” is to provide background information that will enrich a reading of Powys’s novel/romance. It glosses Welsh, classical, biblical, and other allusions, identifies quotations, explains geographical and historical references, and offers any commentary that may throw light on the more complex aspects of the text. (When a quotation is involved, the passage is listed under the first word even if it is “a” or “the.”) It was first made available on the Internet and in booklet form in 2004, and has subsequently been updated and revised from time to time. The present version has been thoroughly reset and expanded. Numerous errors discovered in the intervening years have been corrected. All page-references are to Judith Bond and Morine Krissdóttir’s edition published by Overlook Duckworth in 2007, with those to Wilbur T. Albrecht’s 1994 edition from Colgate University Press following in square brackets. Since the latter contained many errors and inconsistencies, the words listed often appear there in somewhat different form. Moreover, because the editions are based on different copy-texts, some references appear only in one of the editions; when those occurring in only one version require separate annotation, they have been identified and glossed. References to other JCP books published during his lifetime will be either to the first editions or to reprints that reproduce the original pagination, with the following exceptions: Wolf Solent (London: Macdonald, 1961), Weymouth Sands (London: Macdonald, 1963), Maiden Castle (ed. -
Robert Graves the White Goddess
ROBERT GRAVES THE WHITE GODDESS IN DEDICATION All saints revile her, and all sober men Ruled by the God Apollo's golden mean— In scorn of which I sailed to find her In distant regions likeliest to hold her Whom I desired above all things to know, Sister of the mirage and echo. It was a virtue not to stay, To go my headstrong and heroic way Seeking her out at the volcano's head, Among pack ice, or where the track had faded Beyond the cavern of the seven sleepers: Whose broad high brow was white as any leper's, Whose eyes were blue, with rowan-berry lips, With hair curled honey-coloured to white hips. Green sap of Spring in the young wood a-stir Will celebrate the Mountain Mother, And every song-bird shout awhile for her; But I am gifted, even in November Rawest of seasons, with so huge a sense Of her nakedly worn magnificence I forget cruelty and past betrayal, Careless of where the next bright bolt may fall. FOREWORD am grateful to Philip and Sally Graves, Christopher Hawkes, John Knittel, Valentin Iremonger, Max Mallowan, E. M. Parr, Joshua IPodro, Lynette Roberts, Martin Seymour-Smith, John Heath-Stubbs and numerous correspondents, who have supplied me with source- material for this book: and to Kenneth Gay who has helped me to arrange it. Yet since the first edition appeared in 1946, no expert in ancient Irish or Welsh has offered me the least help in refining my argument, or pointed out any of the errors which are bound to have crept into the text, or even acknowledged my letters. -
Brought to You by Druidic Dawn ( Aontacht
AontachtVolume - ISSN 3, Issue2044-1339 2 Aontacht creating unity in community Volume 3 Issue 2 Aontacht • 1 Brought to you by Druidic Dawn (www.druidicdawn.org) aontachtcreating unity in community Volume 3, Issue 2 Z Autumn - Spring Equinox 2010 3 Alexei Kondratiev 3 Isaac Bonewits 40 Living With Honour Maya St. Clair (Cuardai) 41 Deep Ancestors 10 Sydney Lancaster (Sidhe) Maya St. Clair (Cuardai) Featured interview 44 A Passion for Justice Druidic Dawn community Maya St. Clair (Cuardai) 16 On the Nature of Sovereignty 4 Aontacht Contributors Earrach ADF From the community 26 Sovereignty at Avalon 7 From the Desk ... Morgaine ADO letter from the Aontacht Production Team 35 Sovereignty of the Land 8 Keeping Up With the Shaun Hayes OBOD Management Team latest news & updates at Druidic Dawn 46 Community Events Calendar 22 A Wildcrafted Spirituality find gatherings and rituals near you part two: in the bush of ghosts 50 Coming Next Dr. Kenneth Proefrock a peek at the succeeding issue & our submission guidelines 38 The Cooking Cauldron recipes from the community 29 The Motif of Sovereignty in Irish Poetry C.S. MacCath-Moran Cover photo: © Druidic Dawn CIC O Aontacht • 2 Volume 3, Issue 2 In Memoriam Phillip Emmons Isaac Bonewits Alexei Kondratiev 1949 - 2010 1949 - 2010 Reverend Isaac Bonewits passed over on August 12, Alexei Kondratiev passed over in May, 2010 of an ap- 2010 after a brief, but hard fought battle with Colon parent heart attack. Cancer. A noted scholar and linguist, Mr. Kondratiev taught Rev. Bonewits has authored many books on Paganism, Celtic languages at the Irish Arts Center in New York bringing about a better understanding of the practices from 1985 until his untimely death in May of 2010. -
Chapter on History of the Otherworld
PERCEPTIONS OF ANNWN: THE OTHERWORLD IN THE FOUR BRANCHES OF THE MABINOGI Rhian Rees MA Celtic Studies Dissertation Department of Welsh and Bilingual Studies Supervisor: Dr Jane Cartwright University of Wales Trinity Saint David, Lampeter 2012 2 ABSTRACT There is little description or positive information about the realm of Annwn in the Four Branches, and relatively few publications have explored the Otherworld in the Mabinogi in any depth. The redactor presumably did not deem such detail necessary since in his time the Otherworld was a place familiar to his audience from many other stories and folk-tales which have not survived to inform our own times. The objective of this thesis, therefore, is to establish the perceived location of the Celtic Otherworld, its nature and topography, and to obtain descriptions of its people, buildings and animals and any distinctive objects or characteristics pertaining to it. The ways in which Annwn influences each of the Four Branches are also considered. Some sketchy evidence is available in Welsh poetry, mostly various descriptive names reflecting different aspects of Annwn, but for more detailed information it is necessary to trawl the waters of early Irish literature. The Irish poems and stories give much fuller particulars of all characteristics of the Celtic Otherworld, though they do suggest that there was more than one such other world. Some parallels from Norse literature and the Lais of Marie de France also reinforce certain themes of this thesis, such as magical tumuli and magical bags and -
BDO Grove Guidelines
BDO Grove Guidelines (extracted from Druidry: Rekindling the Sacred Fire, BDO, 2002) These guidelines were originally composed by Emma Restall Orr, based on discussions between her and Greywolf over a number of years. The notes in brackets here and there have been added to explain how and why various clauses came to be included. Various alterations reflect changes in the structure of the BDO since this was written more than a decade ago. To honour individuality means that we must be tolerant of different ways within our tradition, so to lay down rules or dogma here would be anathema. However, bringing together the experience of running groves, of attending others, and what we have been trying to achieve through the BDO, we’ve put down here some ideas of what we’d like to see happening in a grove affiliated or joined to the BDO. - The festivals of the modern Druid tradition should be acknowledged, the turning of the solar and lunar tides, even if not all these days are celebrated by the grove as an open group. - The essentials of Druid ritual should be used, calling for peace, casting the circle, honouring the elements of creation, the spirits of the directions, the gods and the ancestors. - It is not necessary for grove members to be members of the BDO, though the grove organizers should be members in order to keep in touch with BDO ideas and programmes; it is not seen to be necessary by us that those who attend grove rites even term themselves Druids, though the grove organizers should find no problem in doing this. -
Thomas Stephens and the Abergavenny Cymreigyddion: Letters from the Cambrian 1842–3
Thomas Stephens and the Abergavenny Cymreigyddion: Letters from the Cambrian 1842–3 Considerable information regarding cultural and intellectual habits may be gleaned from the extensive archive of nineteenth-century newspapers and periodicals held by The National Library of Wales. Sometimes a series of articles or letters reveals so much about both the form and content of contemporary public discourse and the personalities involved that it deserves to be made more publicly accessible. The acerbic letters written by Thomas Stephens (‘B.C.D.’) of Merthyr Tydfil to the editor of the Cambrian between November 1842 and March 1843, and the vigorous replies they received from prominent contemporary figures, among them Thomas Price (‘Carnhuanawc’), Taliesin Williams (‘Taliesin ab Iolo’) and James James (‘Iago Emlyn’), constitute such a collection. These ‘public letters’ bear testimony to the emergence of Thomas Stephens (then only twenty-one years old) as an astute, unyielding and harsh cultural critic.1 They illuminate the fierceness of the debate about the function and conduct of eisteddfodic prize competitions in the decade before the ‘Treachery of the Blue Books’ in 1847 subdued such public dispute, at least in the English language. They also shed light on the ideas of a group of Welsh middle-class ‘progressives’ who sought to replace the reigning paradigm of romanticism in Welsh culture with a more scientific approach to history and national culture.2 In addition, they reveal attempts to establish cultural rules to govern the ‘fair’ use of bardic names and pseudonyms in Victorian Wales. Last, but not least, references to the continuation of the debate in other newspapers, such as the Merthyr Guardian and the Silurian, as well as at public meetings and in a high-street pharmacy, demonstrate how consensus 3 was reached in the ‘walking town’ of Merthyr Tydfil in the 1840s. -
For Becoming an Acely-Paced Poet Top Tips... Aneirin Karadog's
Aneirin Karadog’s Top Tips... ...for becoming an Acely-Paced Poet 1. Have something to say – think what you are trying to convey in your writing. A poem that carries a message can be a powerful thing that gets people thinking, that can even achieve change for the better, or touch someone’s heart. 2. Say what you see – how can you communicate the idea that has inspired you? The most effective way is to paint pictures with words. By using similes, metaphors and word play, your poem will stand out. Can you find an effective comparison to what you are writing about? E.g. does the university you are visiting resemble a boat, a starship or even an animal or an outlandish creature? 3. So, how does it sound? – this is where the music in your poetry comes into play; make use of what you have learned about Cynghanedd to make your poetry sound amazing. Llusg: These lines contain an Cynghanedd: Create internal rhyme. The end of the your own Kung-fu first half of the line rhymes Cymraeg with the penultimate syllable in the final word of the line. Remember that Cynghanedd belongs to our ears – we see To begin / at the beginning it by listening! So listen to your Time to face / the chaser lines as you write. Be brave / like a raven! Do they sing? Do they contain internal music? Sain: This Cynghanedd combines rhyming and alliteration or assonance. Rhyme + Rhyme + Alliteration (single syllable word) Make fish / the dish / of the day Think / before you drink / and drive Yabba / dabba / do! Are you a chancer / or a dancer / Dave? Traws / Croes / Cytseiniol: These lines are split into two parts and answer the consonants in both half around the emphasis of words. -
INDIGENOUS Medicine
INDIGENOUS medicine I’ve been presented with opportunities during the course of my life, and I’d like to think I learned from them. I have touched the earth and learned from Her, touched the people and learned from them and, having been touched, I touch those helping spirits who have guided and supported me since I’ve had memory. I have sat in synagogue with my Jewish elders, teachers of my spiritual lineage, praying in the ancient tongue of the Tribe of Israel; I have sat in the zendo with my Roshi, balanced stillness at my center, chanting phrases from sacred Buddhist texts; I have sat in countless teaching circles, wise men and women drumming guardrails for my world-walks to remembered realities; I have sat in sweat lodge with my tiospaye, offering up timeless prayer songs in the eternal language of the Lakota; I have sat at the side of beloved teachers of Mayan, Mexihka and Huna traditions, to whom I was led, whispering voiceless gratitude as times past and present merged; and I have sat in the ceremonial circle with my community as a Druid and spiritual teacher, speaking sacred words in the tradition of my Indo-European Indigenous ancestors. Not an academic undertaking by any means or experience from afar— the “joy of the journey” often became “where the rubber meets the road”— and each experience has led me deeper into my heart, deeper into relationship with that Something Greater and deeper into the Truth. Through the act of embracing the spiritual traditions of my genetic, historical and soul’s lineage, I have gained a deep understanding of the empowerment and healing that can come from acknowledging and connecting with one’s cellular memory, tribal ancestry and cultural history—and keeping it alive. -
The Eleventh Mount Haemus Lecture
THE ORDER OF BARDS OVATES & DRUIDS MOUNT HAEMUS LECTURE FOR THE YEAR 2010 The Eleventh Mount Haemus Lecture Druidry & Transpersonal History by Dr Thomas Clough Daffern Table of Contents 1. Introductory: Transpersonal history, Druidry, and Synchronicity 2. Jung on the Transpersonal and on Druidry 3. Druidry in transpersonal history in general 4. The Druid revival in modern history: looking back through the lens of transpersonal history 5. Druidry and the transpersonal history of philosophy 6. Druidry and Philosophies of history through the lens of transpersonal history 7. Druidry and the history of suppressed narratives 8. Philosophies of history, revolutions, counter-revolutions and Druidry 9. Druid history and biblical history: Druidry and Judaism 10. Druid history and Christianity: 11. Druidry and freemasonic history 12. Druid history and Islamic and Sufi history 13. Druid history and Indian history – Buddhism, Jainism and Hinduism 14. Druid history, transpersonal history, the history of religions and religious education 15. Druid history, transpersonal history and the Arts 16. Druidry, transpersonal history, ecology and the history of the sciences 17. Druidry, peace history and the transpersonal: conclusions 1. Introduction Firstly, what exactly is “transpersonal history” ? I defined it during my doctoral research as the combination of the entire gamut of professional historical scientific research plus the added-in extra of the insights culled from modern transpersonal psychology. That is, it is a branch or sub-discipline of the historical