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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.

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Perthro is a mysterious word, likely stemming from the two Proto-Germanic words peru and iþō, meaning “pear shaped” or “likeness of a pear.” Some say, rather lazily, that this refers simply to the pear tree or fruit. The reason being, usually, is because of Tacitus’ description of the Germanic divination practices; involving fruit tree twigs adorned with “symbols” on them that were then cast for prophecy. However, it was a typical characteristic of the Earth-Goddess amongst ancient Europeans to embody this “pear shape,” as we can see from the numerous figurines found in this form. As with aspects of Thursiaz, Perthro appears to hold remnants of the archaic European religion within it, in the form of the great and plentiful Earth Mother. This Earth Mother/Venus motif can be found in Europe as far back as 40,000 years ago; the oldest figurine being found in Schelklingen, Germany. That piece is named the “Venus of Hohle Fels” and is one of the earliest known depictions of a human being.
Perthro is the great womb of the underworld, representing the goddess Hel. From this womb, all will descend and all will be reborn. From this realm of “misty” blackness we emerge, and to this realm we shall return, time and time again. Perthro represents darkness, the world of the dead, and the cycle of reincarnation. It represents the great wisdom held within death and time; the ancient Völva (seeress/witch) that Odin consults for the answers he does not know.
Perthro is the rune of the goddess(es) of death, birth, and fate. We can attribute this to Frigga/Freyja, Hel/Hella, and to the triple goddesses of fate: Urðr, Verðandi, and Skuld. Regarding destiny, we can see where Perthro inherits its qualities as a “mysterious” rune, as it is associated with chance, risk, and the unknown. When interpreting this rune as possibility or probability, we can see how it has been long associated with gambling, being described as looking like a “dice cup.” The old concept of “Lady Luck” comes to mind here, associating this rune with the Hamingja, the Norse spirit that attaches itself to each person and is associated with one’s luck.
Perthro also resembles a mother with legs open, giving birth to new life. This idea is mirrored in the “P” sound, where one pushes the sound out of the lips. We can start to see a glimpse into this particular section of the Futhark, where the previous rune Eihwaz and the current rune Perthro invoke images of this eternal cycle of life, death, and rebirth. These two runes (ᛇ / ᛈ), like Othala and Dagaz, are the only two runes that have been found in alternating order in the Futhark, showing perhaps a philosophical difference amongst different tribes. Eihwaz can be viewed as Loki’s dart, while Perthro can be viewed as the womb of Hel, where Baldr is to be held until Ragnarok. Along with Baldr’s rebirth will come the next golden age on Earth.
With this evidence, we can deduce, without doubt, that the pre-Christian Germanic peoples believed in reincarnation. However, if one wanted to be released from the cycle, they would have to die a glorious and honorable death in battle. Only then would they achieve eternal union with the All-Father in his Golden Valhǫll. Another, more “continental” version of this concept, is when one is swept into the Wild Hunt of Wotan, eternally riding the wind with the “Furious Host.”
We can see this belief invoked in the one rune poem we have of Perthro from antiquity, existing in the “Old English Rune Poem” under the name Peorð. It is said in the poem:
“Peorð is ever leisure and laughter
To each of the proud ones, where warriors sit
In the beerhall blithely together.”
From this poem, we can infer that amongst the Anglo-Saxons, this rune was associated with games, merriment, and pleasure. I believe this can be attributed to the living, of course, but is more-so a conception of how they viewed death. Although the Anglo-Saxons were mostly Christian by this time, the poem has an echo of Valhǫll, conceivably relating to the afterlife of warriors and “proud” or honorable ones. This is a place that was eternal for those who had earned it, as it alludes to “proud warriors” and not the common folk. Either way, through this poem, we can attribute to Perthro the act of entertainment, happiness, and comradery of warriors.
Perthro is the underworld, the lightless depths beneath the world tree Yggdrasil. It represents the shadowy, hidden, murky realms where all wisdom is kept. This darkness is where all humans are born from and where all humans return to; until the cycle is broken. In the Germanic tradition, this samsara-esque cycle, as previously stated, could be bypassed by honorable deeds and death in battle, ascending eternally into higher realms such as Valhǫll (Hall of the Slain) or Fólkvangr (Field of the People). Perthro can also be connected to death and the underworld via its “cup” shape, as seen if placed on its side. In “Ynglinga Saga” it is said:
“At the burial of a king there was brought up a goblet called Bragafull (funeral toast cup), before which everyone stood up, took a solemn vow, and emptied it.”
Regardless of its subjectiveness, I believe the “cup” theory holds weight, especially as seen here in association with death ceremonies and rituals for transporting the soul. Not only this, but we have an ancient name for Odin in the form of Gautaz, meaning “one who pours/flows out, he who pours out.” In this context, it can be speculated that Odin “pours” out of the underworld; from this dark and endless “pool” of spirits. Perthro is also gloom and death, resembling the jaws of the great wolf, Fenrir. Perthro, in its “darker” form, embodies the degrading power of time.
In conclusion, while Perthro can most certainly be associated with death, the underworld, darkness and the unknown, it can also be associated with the forces of life, growth, and rebirth. In appearance, Perthro resembles a few key forms, the main ones being the womb, the cup, and the jaws of the wolf. These images invoke visions of the death of Baldr, Ragnarök, and the underworld. Clear associations can be made to the goddess in the forms of Freyja, Hel, and the Fates; those residing over the netherworld, death, and destiny. Perthro also invokes male gods like Odin, Baldr, and Loki, as these three gods are catalysts of changes and fate, tied to the aspects of death and rebirth. We see the possibility of an eternal afterlife of pleasure amongst warriors, either in Valhǫll, the underworld, or amongst those in the Wild Hunt. We can associate Perthro with games, gambling, chance, and risk; as this unpredictable, exciting, and mysterious entertainment is one that is said to be pre-destined by the triple goddess of Fate. We can see Perthro also associated with the “web of fate,” as destiny has already been previously “spun.” Our job is to connect the dots of this web within and strive for ultimate awareness of its pattern.
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The Autumn Equinox is the turning point in the year when daylight and darkness become even once again, tipping the scales towards the darkest period of the year when the nights grow longer than the days 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 spirits and ancestors as it was believed that this time was liminal and other realms were accessible. At the cusp of the Equinox, the dark half of the year begins to slowly gain dominance once again.
Bonfires are especially common as well as sacrifices, whether physical or symbolic. People give thanks and ask for future abundant 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/Fall festivals in atmosphere. For us here in the Northeastern United States, many crops are ripening at this time, such as squash, tomatoes, and beans. With this comes canning and drying 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 large like they would have during the last harvest of 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 to start its final stages of 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 in order 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 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. Frigga, on the other hand, represented the Earth, love, fertility, wisdom, strength, and magic. Essentially, Frigga is the symbol of Nature herself.
This celestial 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.
-The Celto-Germanic Wheel of the Year According to Past and Present Pagan Customs