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Samhain/Álfablót

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Samhain is a time when the spirits of nature, the dead, and the gods are most likely to emerge to interact with the living. During these days, when daylight becomes shorter and shorter, nature around us seems to die and shed its vitality, leaving stalks, trunks and branches barren, resembling bones protruding from the soil. This is a time when we are meant to shift our focus from outdoors to indoors and shed our dead weight from the previous year, like the trees shed their leaves. By doing this, we are mirroring the process of nature and turning our energy inward. With Samhain come the final harvests, meaning that soon the workload will be drastically cut down and many daily activities will change. This time is to now be replaced with indoor tasks such as tending to animal pens, preserving food, repairing tools, spiritual practice, and performing various crafts such as woodworking, writing, or blacksmithing.

It is customary to make offerings to the deities, ancestors, and wandering spirits during this time in order to receive their favors, blessings, and good luck. We please the spirits to avoid their wrath. We offer to the ancestors to uphold family honor. We give our veneration to the gods to gain their power and visage. By performing rituals during this particular time of year, one enables themselves to better access various forces and gain insight into the past, future, and matters regarding cause and effect within the present which will aid one’s progress moving forward.

In “A History of Pagan Europe” by Jones & Pennick, they write:

“Samhain (1 November). This was the most important festival of the year, showing the pastoralist, rather than agricultural, origin of the calendar. Samhain was the end of the grazing season, when flocks and herds were collected together, and only the breeding stock set aside from slaughter. It was a time of gathering-together of the tribe at their ritual centre for rituals of death and renewal, dedicated to the union of the tribal god (in Ireland, the Daghda) with a goddess of sovereignty, the Morrigan, or, more localised, Boann, deity of the River Boyne.”

As the last of the great harvests, Samhain brings reward and celebration, the end of one year and the transition into the next. According to many European tribes, Samhain marked the turning point between the years and represented the New Year celebration of their cultures. With Samhain we descend into “night,” resembling the womb of the goddess or the abode in which she resides. The goddess reigning over this time of year was almost always in the form of a grim, fate-controlling hag or crone, such as Hel, Frau Holle, or the Morrigan.

In “Celtic Mythology and Religion,” Macbain writes:

“Equal to Beltane in importance was the solemnity of Hallowe’en, known in Gaelic as Samhuinn or ‘summerend.’ Like Beltane it was sacred to the gods of light and of earth; Ceres, Apollo, and Dis also, must have been the deities whose worship was honoured. The earth goddess was celebrated for the ingathering of the fruits; Apollo or Belinus and Proserpine were bewailed for their disappearing from earth, and Dis, who was god of death and winter’s cold, and who was especially worshipped by the Celts, as Caesar says, was implored for mercy, and his subjects, the manes of the dead, had special worship directed to them. It was, indeed, a great festival—the festival of fire, fruits, and death.”

In reference to Norse and Germanic paganism, we see the worship of elves and land spirits was also common during this time. In modern Germanic paganism, many people celebrate Samhain under the name Álfablót (Elf Sacrifice), which is when harvests are reaped and sacrifices are made to the elves and gods. Elves and the dead are strongly connected to the ancient burial mounds of the Pagans, therefore, much of the activity surrounding this festival would have likely involved distributing offerings to the gods and conducting sacrifices directly upon the mound (or grave) of the dead. This is where the elves were thought to reside.

In our own Samhain/Álfablót practice, the fair-weather god Freyr, king of the elves, is given one last celebration of reverence, being the center focus of the rites and rituals of the two-day celebration. He is invoked and offered substantial food and drink, as well as prayers and songs, showing devotion and thanks to the spirits and deities of abundance and prosperity. The event begins on the last day of October (Halloween) and ends the night of November 1st, when Freyr is returned to his resting place until the first of May. This cycle is reflected in “Myths and Symbols in Pagan Europe,” where Davidson writes:

“He [Freyr] is said to have brought good seasons and prosperity to the land, and so when he died the Swedes brought great offerings to his mound, and believed that he remained alive and potent in the earth. The connection which seems to exist between Freyr and the elves and land-spirits thus provides an additional reason to associate them with the dead in their graves.”

Because of these associations, we place the death and rebirth of Freyr (the power of good weather and abundance) within this span of time (Nov 1-May 1). However, this is not the only way to do things nor is it recommended to everyone, as how one celebrates these sacred events revolves much around one’s lifestyle, geography, deity devotion, and overall means. For us in Western New York, this timeline coincides seamlessly with the natural cycle of the weather, and therefore is easy to follow. For those in a different climate or location, this may not make as much sense, and it is recommended to follow the patterns around you regarding these things.

In “Sorcery and Religion in Ancient Scandinavia,” Vikernes gives us further examples pertaining to the Nordic new year and pre-Christian Halloween customs. He writes:

“The first holiday of the year was New Year’s Day, better known in English as Halloween (“initiation evening”), and in Gaelic as Samhain (“summer’s end”). The sorcerers and later the gods (i, e. religious kings) and their challengers dressed up as different creatures with access to the realm of the dead. They fasted and hung their clothes in a tree or the gallows, to make it look as if they had hanged themselves. They wounded themselves with a spear, to bleed, smeared ash or white mud all over their bodies to look like the dead, they put on masks and sacrificed a cow or an ox on the grave mound, so that the blood poured down and into the grave underneath; into the realm of the dead. They then blew a horn, in the Bronze Age a lure, to open up the entrance to the realm of the dead. They then travelled into hollow trees, caves in the mountain, holes in the ground, or more commonly into the burial mounds. These were all seen as entrances to the realm of the dead. Inside, in the darkness of the grave, a woman was waiting for them, sprinkled in the sacrificed animal’s blood and dressed like the queen of death. They then took at least some of the objects their dead forebears had been buried with and brought them back out.”

As we can see, Samhain (or Álfablót) type celebrations were not only distinct to Celtic and Germanic culture, but rather appear as a pan-European tradition representing a celebration of the dead, the ancestors, and the final harvests of the year. It is clear that no matter which form of paganism(s) one practices, the celebration and event known to us now as Halloween is of very ancient and sacred importance. Not only as a transitional period between the seasons, but as a time when it was believed to be easiest to pierce the veil between dimensions and interact with beings outside of our normal cognition. It is because of the superstitions and Pagan worldviews of the past that we have many (if not all) of our current yearly celebrations in the West.

Nauthiz

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Spring Equinox/Ostara

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Hagalaz : ᚺ

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The second group of 8 runes, falling under the domain of Hagal, begins with the rune Hagalaz. This rune, on its outer surface, means “hail” and represents the violent, intense transition of forms from liquid to solid. This, of course, has entirely metaphysical applications as well, representing changes in our lives that are brought upon us suddenly and ferociously. Hagalaz, in this way, is mostly associated with harsh or cruel magic, curses, and bad luck. The “Early Modern Swedish Rune Poem” perhaps gives us the best look at this rune through the eyes of the common folk, as it simply says:

“Hail is best from in the house.”

From the viewpoint and practice of the skilled rune sorcerer, however, Hagalaz embodies a much “brighter” and more crystalline element of the Futhark, where the harshness of change can be focused, utilized, and directed where we wish to develop further. Through the hailstone, we can (with haste) change the parts of ourselves that we must in order to gain a new form. One that strikes with more potency than before. This destruction, like that which is brought about by hail, also brings forth new life, watering the earth under the bent and broken stalks it leaves behind. Hail is still water and will nourish, but not before it destroys that which lies in its path.

Something else that must be noted is the relationship or shared energy between Hagalaz and the next rune in the Futhark, Nauthiz, which represents need. Hagalaz, as experienced by those who have dealt with it firsthand internally, also carries within it a certain “needed” shift, representing a catalyst for significant change to occur. This is something that separates the developing rune sorcerer from the average rune worker. The developed runic initiate can use Hagalaz directly, transforming it into a positive practice while remaining aware of its seemingly destructive presence and power. Subconsciously, the sorcerer searches and strives for encounters with Hagalaz, as each one gives another glimpse into what changes must be made immediately to achieve a more refined version of Self.

The “Old Icelandic Rune Poem” says:

“Hail is cold grain,

And shower of sleet,

And sickness of serpents.”

Here we see just how much of an ominous, cold “darkness” this rune carried in the minds of our Icelandic ancestors. We can see the 3 main outer concepts in full light here, as the “cold grain” (hail), “shower of sleet” (ice), and the “sickness of serpents” (destroys crops). Among most Indo-European cultures, serpents were traditionally associated with earthly and chthonic powers opposite to that of the celestial powers of the sky, usually represented by the eagle. Many occult orders aim to yoke these together, as we see in the ancient symbol of the dragon or “Winged Serpent.”

In the “Old English Rune Poem” we read:

“Hail is the whitest of grain,

It is whirled from the vault of heaven,

And is tossed about in gusts of wind;

And then it melts into water.”

Again, we have the outer concepts coming to light in the first line, alluding to the “grain” of ice. The next line introduces the celestial or “heavenly” aspect we approached in the eagle/serpent motif, although, this line is referring to the sky itself as Heaven. There is much evidence that the Anglo-Saxon (and greater Indo-European) conception of Heaven was linked with the sky, referring to “meadows” and “fields” in the sky. The Old English word heofon, from which our modern English heaven derives, has a dual meaning of “Heaven” and “sky.”

Another piece of evidence can be found in the Proto-Germanic hagô which refers to “yards, enclosures, and pastures.” Strangely enough, although contested, Heaven and Hagalaz have a similar origin in the Proto-Indo-European word h₂éḱmō, which means “stone.” This is where the modern English word hammer also stems from. This could imply the concept of the “hail-stone/crystal from Heaven” that has recurred throughout the work of many prominent runologists of the past, most notably in the “Uthark” system of Sigurd Agrell. We see the addition of the “fertility” element within the last line of the poem, as although the hail destroys, it turns to water and makes the ground fertile. Hagalaz, in many ways reflected here, is a rune of very tough love and nourishment.

One more possible origin for Hagalaz lies in the Proto-Indo-European word kagʰlos, meaning “pebble.” It seems the Dutch (and some other Germanic languages) took this word and applied it further into modern times, as the Dutch hagel also represents small balls of metal ammunition. I also find it amusing to see this connect to the modern Icelandic haglabyssa, meaning “shotgun.”

Even after Christianity had taken hold in the north and the old gods were largely demoted, we see much emphasis in esoteric circles to associate the Hagal rune with Christ and Heaven, something we’ve explored in the prior paragraph. The Swedish Christian-occultist and Gothic revivalist Johannes Bureus claimed that the Hagal rune is “that which encloses everything,” something we remember from ancient conceptions of Heaven being an enclosure in the sky. In the rune poems, this association with Christ in particular is found in the “Old Norwegian Rune Rhyme” where it says:

“Hail is the coldest of kernels;

Christ created the old world.”

I believe the converted Pagans still retained the esoteric function of this rune through the metaphor of Christ, still carrying with it celestial importance. The Hagal-stone personifies crystal memories and thoughts from Heaven itself; gifts to man from God. In Heathen thought, this can be attributed to the head of Mimir, whom Odin addresses for advice and counsel; as Mimir (memory) holds knowledge of all things. There’s further connection here in the Old Norse heill, Proto-Germanic hailaz, and Gothic hails, all meaning “whole, unbroken, pure, healthy, well, entire, complete” etc. This reinforces the crystalline “completeness” of Hagalaz. Another word showing connection between Hagalaz and Heaven is the Proto-Germanic hailagaz meaning “holy, sacred.” This is further developed in hailagōną meaning “to sanctify, make holy, hallow.”

Now that we’ve peeled away some layers of Hagalaz, we must look at this rune in its darker and more “sinister” aspects. As stated earlier, this rune has long been used in curses and black magic by some practitioners. We have the Proto-Germanic word hagaz meaning “skilled, crafty, able” and hagatusjō meaning “witch.” Of course, this later forms our English word hag, generally meaning “ugly old woman” or “witch.” The ancient “witches” of the Pagan north were associated with a practice called seiðr, which is a widely discussed and extremely broad spectrum of practices related to prophecy, divination, spirit walking, and weather manipulation. In the context of Hagalaz, seiðr can be connected in the fact that these witches were able to manipulate the weather if necessary; having the ability to send storms if they so desired.

As with the Gebo rune, Hagalaz falls into the group of runes known as “Odin’s 9.” This is because Hagalaz, whether upside down or right-side up, retains its shape and form, meaning its’ implication is concrete, single focused, and based on the ironic phenomenon of the “permanence of impermanence,” or rather, the ever-present force of change. When looking for a “Hagal” in the myths, we are left with just one vague reference to a foster father of the legendary Helgi in the “Lay of Helgi Hundingsbane II.” Perhaps the significance of this character has been lost, leaving us to only theorize why the second row is named after this rune, aside from the obvious observation of it being at the beginning.

To conclude, Hagalaz is a rune of unique beauty; one that destroys but also mirrors the glory of Heaven. We see this rune associated with celestial enclosures and paradise within the sky. Whether interpreted through the eyes of the Heathen or the Christian, this rune applies to a holiness present in the crystal, a certain wholeness represented by the “whitest grain.” Although hail is a destructive force, our ancestors viewed this in a sacred light; a fitting start to the second 8 runes of the Futhark, bringing “ice” to the fertile, earthly runes of Freyr; radically shifting perspective but concealing new life under its sudden ambush upon the Earth. Hagalaz is the wrath of the heavens, holding enormous power to transform and also to destroy.

Máni, Hati, and the Procession of Time

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Autumn Equinox

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The Autumn Equinox is the turning point in the year when daylight and darkness are equal once again, tipping the scales towards the darkest period of the year when the nights grow longer and the weather gets colder. Traditionally, harvests would be reaped during this time and various rituals were conducted for the gods and spirits residing over abundance. Attention was given to the wights and ancestors, as it was believed that this time was liminal and that other realms were accessible. At the cusp of Equinox, the dark half of the year begins to slowly gain dominance.

Bonfires are especially common as well as sacrifices, whether physical or symbolic. People give thanks and ask for future harvests, ensuring a healthy stock of goods for the upcoming Winter months. Much depended on this pivotal time of year and many rites were undertaken to guarantee success. Feasts would be widespread as well as games, echoing other Summer and Fall festivals in atmosphere. For us here in the Northeastern United States, many crops are ripening during this time such as squash, corn, and apples. With this comes canning and drying goods to stock pantries for the Winter.

In “Teutonic Mythology” by Grimm, it says:

“In some parts of northern England, in Yorkshire, especially Hallamshire, popular customs show remnants of the worship of Frieg. In the neighborhood of Dent, at certain seasons of the year, especially autumn, the country folk hold a procession and perform old dances, one called the giant’s dance: the leading giant they name Woden, and his wife Frigga, the principal action of the play consisting in two swords being swung and clashed together about the neck of a boy without hurting him.”

As seen above, many early English (and Germanic) peoples would honor the god/goddess Frieg (Frigga) and Woden (Odin) during this time. Woden/Wotan in early Germanic belief was sometimes associated with wheat fields, where offerings were left for his horse Sleipnir during pivotal moments of the year. Certain epithets of Odin give reason to believe that he has been worshipped as a benevolent god to some extent, reigning over wealth, fate, and general prosperity. Names like this include Farmatýr (Lord of Cargoes) and Óski (God of Wishes).

Regarding Odin and continental Pagan belief, Grimm also states:

“As these names [Woden/Mercury/Hermes], denoting the wagon and the mountain of the old god, have survived chiefly in Lower Germany, where heathenism maintained itself longest; a remarkable custom of the people in Lower Saxony at harvest-time points the same way. It is usual to leave a clump of standing corn in afield to Woden for his horse.”

Of all the ancient celebrations, the Autumn Equinox was the most difficult one to find any references for. My belief is that it was a lesser celebratory event and more centralized in each community, where the harvest would be brought in and the local spirits offered to. People were likely working hard and didn’t have time to prepare for anything extravagant like they would during the last harvest of the year (Samhain), which certainly would have taken the forefront in terms of importance, at least to the Pagan Celts.

In “The One-Eyed God” by Kershaw, it says:

“These times of transition are strange times, whether the transition is from month to month, or season to season, or year to year; they are times which are not quite one thing or the other. They are like boundary lines, which are not quite my property or yours, or doorways, which are not quite inside or outside. As Eitrem said, it is at these dividing lines of time and space that the dead and Hermes are particularly active.”

It was common to not only focus on the harvest at this time, but to also give special attention to the dead and gods (or spirits) associated with death. The year was about to start its descent into darkness and the deified Sun/Light was to begin the darkest part of its journey through the underworld. Because of this, symbolic bonfires are lit to emulate the Sun and prolong the light.

In “Sorcery and Religion in Ancient Scandinavia” by Vikernes, it says:

“Odinn placed his eye in the grave, in the well of the past, every year, in order to learn from the past. This might sound strange, but his eye was the Sun, Baldr, that lost its power every autumn and therefore had to spend the winter in the world of the dead. In other words, Odinn had one eye in the world of the living and one eye in the world of the dead.”

Aside from the various gods, goddesses, and spirits of prosperity, it is clear that Odin and Frigga took a central role in (Germanic) Equinox observances in some areas of Pagan Europe. Odin (Woden) was recognized as a god of wishes, death, darkness, gifts, and clairvoyance, mirroring the exoteric liminality of the period between light and dark invoked by the Equinox. This external event is to also be reflected internally, as darkness begins to gain supremacy after this transition. We begin to look inward and conduct deeper spiritual work, creating light within to combat the impending darkness of Winter.

Summer Solstice/Midsummer

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The Summer Solstice is the time of year when the daylight is longest, the power of the Sun is at its peak, and the solar cycle reaches its apex, tipping the scales towards the dark half of the year once again. After this turning point, the sunlight begins to wane, shortening the daylight minute by minute until the Winter Solstice. Typically, this was a time to celebrate the Sun, spend time outdoors, and enjoy the bliss of good weather. Mead, wine, and other beverages would be consumed, and great feasts would be enjoyed.

In “Teutonic Mythology” by Grimm, it is said:

“Twice in the year the sun changes his course, in summer to sink, in winter to rise. These turning-points of the sun were celebrated with great pomp in ancient times, and our St. John’s or Midsummer fires are a relic of the summer festival. The higher North, the stronger must have been the impression produced by either solstice, for at the time of the summer one there reigns almost perpetual day, and at the winter one perpetual night.”

Games and various competitions would be hosted along with other festivities such as dancing and music. Entertainment would be lively and abundant, encouraging joy and merriment among the community. In the Germanic context, many people honor the god Baldr during this time as a god of light and/or personification of the light of the Sun, which in a mythological context, “dies” and beings to decline after this time, mirrored by Baldr’s death and descent into Hel. Because of these connections, a common blot/ritual focus during the Summer Solstice is the death (or funeral) of Baldr, the god of light. Stone ships are erected, abundant offerings are made, and various sacrificial items are thrown into fire. These offerings are meant to aid Baldr in his journey on the long road of the underworld.

In “Celtic Mythology and Religion” by Macbain, he says:

“The midsummer festival, christianised into St John’s Eve and Day, for the celebration of the summer solstice, is not especially Celtic, as it is a Teutonic, feast. The wheels of wood, wrapped round with straw, set on fire, and sent rolling from a hillock summit, to end their course in some river or water, which thus typified the descending course of the sun onward till next solstice, is represented on Celtic ground by the occasional use of a wheel for producing the tinegin, but more especially by the custom in some districts of rolling the Beltane bannocks from the hill summit down its side. Shaw remarks – “They made the Deas-sail [at Midsummer] about their fields of corn with burning torches of wood in their hands, to obtain a blessing on their corn. This I have often seen, more, indeed, in the Lowlands than in the Highlands. On Midsummer Eve, they kindle fires near their cornfields, and walk round them with burning torches.” In Cornwall last century they used to perambulate the villages carrying lighted torches, and in Ireland the Eve of Midsummer was honoured with bonfires round which they carried torches.”

Large bonfires and “Sun-wheels” are made during this time, reflecting the power and glory of the Sun. Special attention was given to the goddess during this time as well, whether as a deification of the Sun itself, the Earth, the Mother, or a mix of the 3. Offerings such as flowers, cakes, milk, honey, and blood are given to the gods and spirits, a ritual exchange of abundance for abundance. As observed in the above quote, it was (and is) common practice to bring the energy of the Sun down to Earth in the form of a torch, then parade it through the fields, groves, or temples in order to bless them with this powerful energy.

In “A History of Pagan Europe” by Jones & Pennick, it says:

“…But the summer solstice, under its statutory date of 25 June, became a popular festivity early in Germanic history. The German word Sonnenwende always refers, in medieval texts, to the summer solstice, not to the winter solstice. At the end of the first century CE some German troops in the Roman army at Chesterholme listed their supplies for the celebration in a record which has come down to us. In the early seventh century, Bishop Eligius of Noyon in Flanders criticised the chants, carols and leaping practised by his flock on 24.”

Here we are given examples of some ancient Germanic practices revolving around the Summer Solstice. We are told of singing, chanting, and competitive games like “leaping”. Clearly, the Christian Romans were disturbed by this revelry, showing its clear Pagan origins. This turning point in the year was extremely important to observe, as it strikes a pivotal moment in the Sun’s lifecycle, affecting every aspect of our lives.

Om Cham Chandraya Namaha

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We recorded another version of the popular mantra OM CHAM CHANDRAYA NAMAHA this Spring and are happy to share it with you.

This mantra is dedicated to the Moon god Chandra, also known as Soma, and can be translated many ways, such as “Homage! I Drink/Eat of the Moon!”.

The word cham comes from the Proto-Indo-European word kʷem which means “to swallow,” implying that one absorbs the energy of the Moon as one does when drinking water or eating food.

Chandra means “glittering/shining” and is a word used for the Moon personified. This light (or shine) is what we take in during meditation, transforming it into clarity of mind and peace in spirit.

Namaha comes from the Proto-Indo-Iranian word námas (respect, homage) which derives from the Proto-Indo-European word némos, meaning “to bend, sacrifice, worship.”

As this is chanted and visualized, one gives reverence with each repetition for the illuminating clarity that is given by the great Shining One, filling one’s consciousness with calm images of crystals, water, and moonlight.

Praise to the Shining One!

Kenaz

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ᚲ / C / K

Kenaz is a particular rune, changing dramatically in context from Elder to Younger runes. The continental Germans seemed to hold this rune in a more positive light than their Scandinavian neighbors in the North. Kenaz is a reconstructed word from Proto-Germanic meaning “torch,” associated with creative fire, skills, knowledge, and teaching. The torch is that which illuminates the darkness, showing us the way in places unknown. This has been equated with an internal creative “spark” as well, which I think is reflected in the hard “k” sound represented by this rune. If we look to the Gothic language, we find evidence for this theory in the kindred word kōnja which refers to pine sap. This must be directly related to the torch, as pine/spruce has long been a favored wood for this use. 

The Gothic name for this rune is kosma/kusma, stemming from kunnan meaning “to be able, to know how,” referring to one’s inner abilities and skills. This word travels through time and tribe almost unchanged in sound and meaning, showing up in modern English in the words know and keen. In my opinion, the best example of this concept is crystallized in the Swedish word konst, meaning “art, knowledge, science, magic, secret,” and in the cognate German word kunst meaning “skill, craft, ability, magic.” This internal power of knowledge, associated with a craft or specific artistic focus, is the secret “light” side of the Kenaz rune, symbolizing our ability to make things known, to teach them, and to exhibit mastery in arts, crafts, intellectual or occult matters. 

 When looking for clues in the rune poems, the only evidence we find in relation to a “torch” is from the ‘Old English Rune Poem,’ where it states: 

“Torch is known by each of the living through its fire

-bright and blazing- it burns oftest

Where the athelings are at ease indoors.”

 Here it is clear that the word “torch” is denoting skill as a display of one’s “inner fire.” This is something (as a torch in the dark) that all can witness. “Bright and blazing” is the external effect of mastery and true skill in craft, as creation is a bright and blazing power. The last line denotes a sense of peace inherent in the “athelings,” which means “nobles, lords, heroes.” This clearly reminds an English reader of the word athlete, which signifies “those competing to win a prize.” I believe this relates to the calm felt within an extremely wise, skilled, or focused group; where everyone’s flame is burning bright and clear, all can feel a sense of ease and comfort. We get another look at this concept with the Old English word kennan which means “to make known, declare” but also “to bring forth, produce.” This is essential to the function of a craftsmen, artist, musician, or anyone who actively works with creative energies and systems. 

 In Old Norse, this rune is represented in the word kaun, meaning “sore, ulcer, boil,” and carries a much more sinister and harmful aspect associated with it. In most old poetry and analysis, it seems this rune was more of a curse or fetter than something used for anything “positive.” Although, in some Freemason rites, it has been shown that the Younger rune (ᚴ) is still in effect as a “torch,” as it mimics the man holding his sword (torch) at this angle during initiation rituals. As one walks through this “tunnel of torches,” he is “illuminated/initiated” into a new reality. 

 In the ‘Old Norwegian Rune Rhyme” it is said: 

“A sore is a curse for children;

Bale makes a man pale.” 

 Likewise, in the “Old Icelandic Rune Poem” it is said: 

“A boil is bale for bairns, and a scourgeful spot,

 And a home for flesh-rot.” 

 Here we see how our Scandinavian ancestors viewed this rune, as a much darker and fearful tone is taken with it. They viewed this rune in the context of evil and pain, without any allusions to a “lighter” aspect within the poetry. However, all these physical ailments have in common the sensation of “burning” within those experiencing it. This gives us insight into the deeper layers of the rune, where “fire” is still present, albeit in a new form. This rune was probably used strictly as a curse unless by the most skilled of sorcerers, who may have been able to turn this internal strife and struggle into acts of creation or transcendence. If looking at the Younger Futhorc as a whole, we see Kaun landing next to another very sorcerous and powerful rune, Hagal, the hail stone of transformation. Seeing these very destructive and feared runes side by side, as fire and ice respectively, shows a sort of miniature Ragnarök within the cycle of the Futhorc, enhancing the importance of viewing them in their respective “aetts” or groups, as here we end the first and begin the second. This is something I plan to venture into with more thought later… 

 To conclude, Kenaz is a rune steeped in much power and is tied together throughout all linguistic changes in the concept of an internal “fire” or a “burning” sensation. We have the older associations with torches, knowledge, creation and skill; being associated with teachers, students, craftsmen, and artistic masters. We also have the concept of “keenness” tied in, being exceptionally skilled and knowledgeable, “sharp” of mind and highly productive. In the North, this rune carried a more malicious nature, representing sickness, pain, and struggle. When approaching this rune from all the previous angles, we see a very wide range of meanings one can attribute to this rune, depending mostly on which system of runes one is working with. If using the Elder or Anglo-Saxon runes, this rune is viewed in relation to the torch. If using the Younger runes, it is likely you will associate this rune with pain or sickness.

Taken from the book “Wandering the Runic Path: Esoteric Analysis of the Germanic Runes” by Hrukjan.