Fehu Rune Analysis

Fehu is a rune denoting possessions, wealth, and material resources. In the ancient German tongue, this word would have represented one’s livestock, particularly cattle or other large production animals. Fehu stems from the Proto-Indo-European word u, which translates to “livestock.” Before the common man was able to call land his own, the only things he could really claim ownership of were his animals, assets, and family. This would evolve later into the English word fee, meaning “a right to the use of a superior’s land, inherited estate held of a lord, general property ownership, money paid or owned, payment for service, a prize or reward.” We see this same idea in the Old French word fief, meaning “an estate held by a person on condition of providing military service to a superior, something over which one has rights or exercises control, or an area of dominion.” 

Another connection we find relating to the concept of land ownership is in the word feudalism, meaning “a social system based on personal ownership of resources and personal fealty between a lord and subject.” This word can be broken down into 3 parts as “fe-odal-ism,” which would imply the connection between the noble (odal) and the fee (fe) one pays to essentially sub-lease land from the noble. This fee would be in the form of food, money, or military service. We also can find further evidence in the word fealty, meaning “allegiance to an oath to one’s lord.” 

This rune applies to all things monetary and material, whether in the form of the living flesh of animals or in the cold medium of actual money. Fehu, in this regard, can also be assigned powers of security, abundance, domestication, opportunity, and peace. Esoterically speaking, one could view Fehu as a fire rune, as one’s resources are a type of fuel/fire source, helping to propel us forward with more confidence, and ultimately, more focus towards our goals. Now that we’ve peeled away the outer layers of the Fehu rune, we can look deeper inside for further information. 

Connections can be made to the twin Vanir gods Freyr and Freyja, as this stave belongs to their respective “aett” of runes. Frey(r) has long been known to reside over the homestead, fertility, and success of the farm. His powers are attributed to fair weather, peace, prosperity, and general safety within the “sacred” or enclosed space of the homestead/village. Freyja, on the other hand, represents fertility, lust, beauty, death, and the Earth. In the “Old English Rune Poem” it is said: 

“Wealth is an ease to every man,  

Though each should deal it out greatly 

If he wishes to gain, before his Lord, an honored lot.” 

At this point in history, the author would have been referring to the Christian God. Nonetheless, this could easily refer to Freyr as well, and in fact clearly alludes to him, as the very title of Freyr means “Lord.” This poem, and others, also indicate a certain antagonism of greed, saying one must “deal out” wealth as much as he can do so. 

We see another connection to Fehu and Freyr in the word fairy, which is generally believed to be a being connected with the dead, magical powers, and the natural world. This word is cognate with the Latin Fata, who is the goddess of fate. We also have the English word fey, meaning “dying, dead, spellbound, doomed, or otherworldly.” Here, we can see remnants of powers inherent in the fairy, but also in Freyja, as she is a goddess residing over the dead alongside Odin. This could be insight into the overall order of the Futhark, as one could assume it resembles a Ragnarök-esque circle of events, symbolizing birth, death, and rebirth. Some refer to this as “the doom of the gods,” which could be a possible piece of evidence alluding to the Fehu rune representing doom or death, perhaps hinting at the resurrection of ones “Self” by means of retrieving material possessions from the burial mound; in turn beginning a new cycle, starting with one’s possessions. 

Suggestion for this can be found in “Óláfs Saga Helga,” where King Olaf facilitates his resurrection through the prophetic dreams of Hrani, who takes the possessions of his (Olaf’s) mound to the wife of Herald the Greenlander. After this, she then gives birth to a son who is bestowed the name Olaf, ensuring another life according to their tradition. The new Olaf would later denounce this claim, as Christian ideals had become the norm by then and the concept of reincarnation was abolished in their religion aside from select, “underground” sects. Similarities can be seen in the way Tibetans choose the Dalai Lama; who is shown past possessions to pick from at a young age. If the child chooses the correct objects, he will be recognized as the reincarnated Holy Man. 

Freyr has also been associated with the burial mound, the dead, and the cult of the ancestors. In “Ynglinga Saga” it is said that after Freyr had died, he was buried in a great mound with 3 holes bore into it. Each hole was offered a precious metal of either gold, silver, or copper to ensure good seasons and peace continued throughout the land. In connection with the dead, it is said that King Yngvi also used to perform “utisetta,” or Norse meditation, upon his dead queen’s burial mound. 

One more piece of evidence I will add, in this regard, is the Irish word figh, meaning “to weave together, compose.” Here we see the idea of a new beginning, the “weaving” of a new story, connecting with the ideas we explored in relation to the goddess(es) of fate, who have long been associated with the “spinning” or weaving of the destinies of man and the cosmos. This further ties the rune to the goddess Freyja, who is known for teaching seiðr to Odin; a sorcery generally associated with a metaphysical “weaving, tying, or binding” of a specific target, the weather, or the forces of fate altogether. 

Through this very material and resourceful rune we can form a more broad picture of how it may have been used as it moved through the ages. From a purely terrestrial concept revolving around possessions and livestock to the more metaphysical aspect of fire, energy, and prosperity within the Self and tribe. We are also given objective history into the idea of land ownership and how that system is constructed based on the notion of leasing out lands to those below you in caste. The king leases his land to nobles and the nobles, in turn, lease their land to the farmers/peasants. 

In conclusion, we can be assured that the Fehu rune is a rune of one’s material possessions and that it is a rune of moveable wealth. Further, it can be attributed to gifts of abundance, prosperity, and fertility of the Earth. As this rune moves through the times, it reflects not only money, but the fuel-source it represents in respect to our desires and opportunities. We see esoteric connections to the dead, the burial mound, and the Heathen process of reincarnation associated with the retrieval of “past possessions,” similar to that of the Tibetan practice. These rather obscure connections, upon additional reflection, seem to hold more and more weight within them. 

Annual Summer KTD Trip

Back at headquarters after a very busy and powerful weekend at KTD.

Two empowerments were given (Stainless Ushnisha and Stainless Light Rays), both related to the construction of stupas, the consecration of the items therein, and the clearing away of obstacles. These were given by Khenpo Lodrö Dönyö Rinpoche, abbot of the Mirik Monastery. This is something we would like to sponsor here at some point in the future.

After that, the monks began a 7 day Chakrasamvara puja at the request of the Karmapa, whose father passed away.

It is always rejuvenating to visit this holy site, but, it is also hard to leave. If you find yourself in the area, you should certainly stop by.

May all beings thrive.

“There is an old saying that the path is the goal and goal is the path. You make your journey, you get to your destination, and arriving at your destination brings on another question: how to proceed from there? In that way each goal itself becomes the path. Particularly from the tantric point of view, you don’t achieve anything except path. Discovery of the path is achieving.”

-Trungpa Rinpoche

Karma Triyana Dharmachakra

Summer Solstice/Midsummer

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

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!

Rahu, Ketu, and the Eclipse

In Vedic astrology, eclipses are seen as a symbol of revenge or as a bad omen.

According to mythology, eclipses are caused by the Chaya Graha (shadow planets) Rahu and Ketu, who were once part of a divine serpent. The story is traced back to a time before creation in the tale of the churning of the ocean, known as the Samudra Manthan. The churning of the ocean represents our consciousness. After an awful and lengthy war, the devas (gods) and asuras (demons) cooperated to churn the galactic material called the Milk Ocean. The churning poured forth several gifts and treasures. They included the goddess of wealth Lakshmi, the wish-fulfilling tree Kalpavriksha, the wish-fulfilling cow Kamadhenu, and Dhanvantari, who carries a pot of amrita and a book of medicine called Ayurveda. Amrita is a Sanskrit word that means “immortality” and is a drink (or nectar) intended only for the gods.

A serpent demon (Svarabhānu) aspired to become invincible. Sitting between Surya (the Sun) and Chandra (the Moon), Svarabhānu disguised himself as a deva and managed to take a sip of Amrita during Samudra Manthan. Surya and Chandra recognized the imposter and informed Mohini (the female form of Lord Vishnu), preserver of life and order, who quickly decapitated him. As they were now immortal, Lord Vishnu needed to find a place for them, so he put them in two specific points in the sky.

The head of the serpent demon (without the body) became Ratu, who fell on one side of the sun. The tail without the head that fell on the opposite side of the sun became Ketu. The sun stopped all movement in order to keep Rahu and Ketu from meeting one another. Twice a year they can create confusion and exact revenge by consuming the Sun and Moon causing the world to suffer from darkness.Rahu swallows the Sun, and Ketu, the Moon. But only for a short while as the Sun and Moon have also taken in the amrita. Offerings of coal, mustard, sesame, saffron and lead are made to appease Rahu. For Ketu, offerings of lead, sugar, saffron and sesame are made along with offering food to a dog with black and white fur.

As seen above, eclipses can be seen as highly inauspicious. Light and power diminish which corrupts their positive qualities and creates disturbances in the natural order of things. It is believed that auspicious work should only be started in the light. Because of this, beginning any new ventures during this period of darkness is not recommended, as it can bring upheavals, obstacles, and turmoil.

#eclipse #vedic #astrology #rahu #ketu

Ostara / Equinox Hails!

The Spring Equinox marks the traditional Easter celebration, the moment when the Sun crosses the equator from south to north. This is when animals like rabbits, deer, chipmunks, and other creatures of the forest begin to have their offspring. Various flora also emerge around this time, dotting the landscape with hints of color. During the Spring Equinox we pay special attention to the great Goddess in her youthful form of Ostara, Goddess of the Dawn. Ostara is associated with the rising Sun in the East, fertility, and light; a beacon of joy and good fortune. To many ancient Germanic Pagans, Ostara was credited with Springs deliverance. From her name we derive the modern word Easter, nodding to the Pagan origins of this holiday. To Ostara we make offerings and pray for a good year, thanking her for the return of the light. In one particular myth, Ostara transforms a bird into a rabbit who would then lay colorful eggs for her, showing us where the core symbolism of our modern holiday came from.

Hailaz Austra!

#ostara #spring #equinox #paganism

Om Mani Padme Hum

The six-syllable mantra Om Mani Padme Hum (Tib. Om Mani Peme Hung) is the most popular mantra in Tibetan Buddhism and has been chanted for over 1500 years. The mantra can originally be found in the Kāraṇḍavyūha Sūtra and is associated with the deity Avalokiteśvara (Tbt. Chenrezig) whose name means something like “Lord of the World.” The mantra itself has many different meanings associated with it, but most commonly it is translated as something like “Hail the Jewel in the Lotus.” This phrase is an homage to the great “jewel” of primordial awareness (Buddhanature) that exists within the hearts of all sentient beings. May all beings thrive under the watchful eyes of compassion.

ॐ मणि पद्मे हूँ / Om Mani Padme Hum

#ommanipadmehum #avalokiteshvara #buddhism #mantra #meditation

Kenaz

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.

Om Mahakala Hum Phat

Mahakala, black in color and fearsome in appearance, represents spiritual activity beyond our comprehension; the true consciousness that is unseen. His name means “Beyond Time/Great Black One” because he is all pervasive and unmanifested in material form, free of the shackles of tangibility. As a presence beyond matter, he remains untouched by Samsara, residing in the very fabric of space (consciousness) that permeates the entirety of the cosmos. Mahakala, like all Yidam (Ishtadevata) deities, represents the Vajra mind, fixed and indestructible; the primordial state of sentient awareness. Surrounded by the flames of wisdom, he is beyond the reach of times’ destruction. Mahakala is the foundation of conscious reality; a force of gravity that pulls beings towards the practice and service of the Dharma.

“…Such undeluded energy, like a windblown fire, can burn away the dross.
Mahakala has strong legs and Mahakala has sure feet;
They are well able to trample down demonic thoughts and deeds!…”

Mahamrityunjaya Mantra

We have recorded a rendition of the Mahamrityunjaya mantra with a new affiliate @kshatriyacowboy. This verse can be found in the Rigveda (RV 7.59.12) and is devoted to the great Rudra-Shiva in his form of Tryambakam or “The Three Eyed One.”

त्र्य॑म्बकं यजामहे सु॒गन्धिं॑ पुष्टि॒वर्ध॑नम्
उ॒र्वा॒रु॒कमि॑व॒ बन्ध॑नान् मृ॒त्योर्मु॑क्षीय॒ माऽमृता॑त् ।।

oṃ tryámbakaṃ yajāmahe sugandhíṃ puṣṭi-vardhánam
urvārukam íva bandhánān mṛtyor mukṣīya mā ‘mṛtā́t

There are many translations of this mantra, but it is generally referred to as the “Great Conquest Over Death” or “Death Destroying” mantra.

The Mahamrityunjaya mantra is a request to be separated from the clutches of death; a longing to be free of attachments to samsara and one’s inherent ignorance regarding the perception of self. The mantra expresses a specific wish to not be removed from the possibility of immortality; requesting to have one’s attachment to samsara be broken (the suffering of bodily/individual bondage) but for one’s consciousness (Self/Atman) to remain intact for eternity; completely overwhelmed and overflowing with devotion for the primeval essence. This is requested as a means to continue worshiping the divine Shiva for all of infinity, who is none other than the progenitor of primordial consciousness; the true state of one’s being. The mantra describes this metaphorically as a cucumber (or melon) being separated from its vine but continuing to live on as an emanation of its source (Shiva). This request is for consciousness to become free from the shackles of the flesh (vine) associated with the experience of samsara (change), ego, and death. Through this process, one’s true Self may live on forever in constant reverence of the primordial source; the original state of awareness from which one’s perception comes and to what one’s consciousness is inseparable from, no matter how obscured or hidden by one’s mundane delusions.

Oh Three Eyed one, great Shiva,

Fragrant (blissful, aromatic) sustainer of prosperity,

As the cucumber is removed from its vine (bondage),

May I be relinquished from death (attachment to samsara) but not from immortality.

Om Namah Shivaya

-Ansuz Society