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Lughnasadh/Freyfaxi
summer
Jera ᛃ
Jera marks the midway point of the Elder Futhark, meaning “year” or “season” in Proto-Germanic. This word is the ancestor of our own English word year, representing the time it takes the Earth to make a full rotation around the Sun. Jera is associated with rewards, harvests, and seasonal cycles; representing the time when we get to reap what we have sown. Many attribute this rune to the fall when our ancestors would celebrate the fruitful year and bountiful harvests. We can also attribute sacrifice and the blood of slain livestock to this rune, as this is the time animals were killed in preparation for winter.
In Old Norse, this rune/word is called ár (ᛅ), meaning “year, abundance, plenty.” This rune, according to the “Old Norwegian Rune Rhyme,” is associated directly with the god Fróði, another epithet of Freyr, stating:
“Harvest tide is a blessing to men;
I know that Fróði was openhanded.”
Fróði was a mythical king of the Danes who was associated with prosperity and a golden age of peace. Many have theorized this is just another name for Freyr, who we can feel comfortable associating this rune with. The poem directly invokes harvests and blessings, enforcing our connection of Jera with autumn and the gods of plenty.
In Old English this rune is called ġēr, which also means “year.” In the “Old English Rune Poem,” it is stated:
“Harvest is the hope of men, when God allows,
Heaven’s holy king, the earth to bring forth
Bright fruits for both nobleman and needy.”
Here it shows that these early Anglo-Saxon Christians associated the harvest with God’s blessing, even stating that he “allows” the earth to bear fruit. This poem shows how much the world view was different by this point, as the “Earth Mother” concept had already been diminished in favor of monotheism. All powers over fate were now in God’s hands.
The “Old Icelandic Rune Poem” has a light tone to it, stating:
“Bounty is a boon for men,
and a splendid summer,
and a full-green field.”
This poem invokes relaxing and rewarding images; those of green fields and grand summers. Again, we see hints of harvests and fall, the time after summer when we reap our benefits. Lastly, we have the “Early Modern Swedish Rune Poem,” where one simple line clarifies yet again that this rune is associated with the harvest.
“Harvest is when leaf is longest.”
When approaching this specific piece, I was already convinced and aware of its previously mentioned associations. However, when digging deeper into the word and its origins, I was given yet another angle to view this rune from. The Proto-Indo-European root word yóh₁r̥ means “year” but also “spring,” opening another doorway into the Jera rune. This has further evidence in the Proto-Slavic jaro which means “spring.” One last word I found relevant was the Ancient Greek hṓrā, meaning “any defined period of time, season, year, hour,” but also, meaning “youth” or “the springtime of life.” Of course, we can see now this is where we get the English word and concept of the hour. With this evidence, we can attribute the very notion and phenomenon of “time” to Jera.
When I began to think about Jera as being also a “spring” rune, I first looked at its form. When looking at Jera, one could argue they were seeing two Kenaz (ᚲ) runes facing each other, or in other words, two fires. This brought forth images of the Celtic Beltane festival of May, where cattle and other livestock were driven between two fires to ward off bad luck, disease, and any other ill omens that may affect their year. This perhaps links this rune in someway to this Celtic festival, who their Germanic neighbors would have certainly been familiar with. However, when looking for etymological links to any Celtic language and the word jera, there was nothing to connect them together, that is, until exploring further the Ancient Greek hṓrā.
In Middle Irish we have the related word úar which means “hour, time, occasion,” but in Old Irish meant simply, “cold.” This can be applied to many times of year, however, and may not allude to spring or fall in particular. Another reference I thought was interesting was via the Latin word hornus, meaning “grown this year, this year.” This, to me, reflects the Proto-Germanic word hurnaz, which means “horn.” This horn is symbolized by the antler, which first begins to grow between late winter and spring. Thus, we can see how this rune can be applied to this pivotal time of year. This can also connect Jera to the mythical “Horn of Plenty” from the myths of the Mediterranean, representing the blessings of profusion.
Jera is a rune that reminds us of the cycle we are a part of, as spring and fall are transitional periods. These are times when temperatures, lifestyles, and priorities are changing; Jera as the “year” rune embodies these recurring and sentimental times of year that humans have grown so familiar with. Jera reminds us that we are locked in a cycle, one that exists inside as much as outside. In fact, the “outside” (cosmos, matter, nature) was often viewed as the mirror of our “inside” (spirit, consciousness, awareness) for most ancient peoples. This is best summarized by the old phrase “as above, so below.”
With Jera we are given another of the so-called “Odin’s 9” runes, meaning a rune that does not have alternative energies. Jera is existing in a constant state, endless and infinite. This can be attributed to Odin, as he is the current within all that breathes. He is the god of breath, the force of life. Jera can also be associated with the Sun and Moon, which have been said to be the eyes of Odin.
To conclude, when we approach the Jera rune, we are given images of the Sun, healthy fields, harvests, livestock, and an awareness of the seasonal cycle. We can feel confident in using this rune as a representation of not only fall, but spring as well. Jera represents rewards and growth; the reaping of wealth from the Earth. Jera can be associated with the wheel and with the cosmos, as well as with time and seasonal bonfires. The Jera rune marks the halfway point in our journey through the Elder Futhark runes, a perfect metaphor for this pivotal moment.
-Wandering the Runic Path: Esoteric Analysis of the Germanic Runes
Summer Solstice/Midsummer
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Sowilo ᛊ / ᛋ
Sowilo is the rune of the Sun. In nearly all Indo-European languages, you will find this word in some form, all originating from the Proto-Indo-European root sóh₂wl̥, meaning “Sun.” This cosmic body represents one of humanities oldest “gods” or divinities, being associated with power, glory, triumph, health, and life. In most Germanic cultures, the Sun was viewed as a goddess, while the Moon represented a god. In the North, this goddess went by the name of Sunna (Sun) and was drawn across the sky by a chariot, chased by the great wolf Sköll (treachery). In other cultures, such as Greek, the Sun was viewed as masculine, residing under the name Hḗlios, which means “Sun, east, day, and sunshine.”
In Latin and in Old Norse, the word for the Sun deified is sól/sōl. The difference is in gender association, as the Roman Sun-god was masculine and the Norse Sun-god(dess) was female in nature. In ancient Vedic, Persian, and Celtic culture, the Sun-god was revered as a masculine force under the various names of (Sanskrit) Surya, (Persian) Mithra, or (Celtic) Lugh. In the Baltic region, we find the Sun revered as goddess under the name Saule, representing the Sun, life and fertility.
When looking at the rune poems, we get a glimpse into common cross-cultural themes surrounding this rune. We see words like “hope, steer, light, holy, shield, and glory” arise, bestowing upon this rune many positive and powerful connotations. The “Old English Rune Poem”
“Sun for seamen is ever a source of hope,
When they ferry over the fish’s bath,
Until they steer their surf-steed to land.”
This poem alludes to sailors and the act of faring across the sea. Sun is “hope” on these voyages, guiding us across the seas as the ancient golden compass. In the gloomy North, they used mysterious “sun-stones” for guidance under the Icelandic name sólarsteinn. These were used for navigation and direction, as they were able to detect sunlight even through the clouds. This was their only means of navigation across the dark northern sea or landscape, pointing them in the right direction whether they could see the Sun or not. Until the voyage was complete, one relied on the sign of the Sun.
In reference to the word “sign,” we can look to another name for this rune in Old English, that being siġel, meaning “Sun.” This word would later evolve into our modern English word sigil, meaning “occult sign, seal, signature, pattern, symbol or design.” This, I believe, references the purely metaphysical and symbolic aspect of this rune, as the Sun is one of humanities oldest symbols, found cross culturally in the form of the wheel or swastika.
In the “Old Norwegian Rune Rhyme,” it is said:
“Sun is the lands’ light;
I bow to holy judgement.”
We see this poem take a more “terrestrial” tone, referring to the Sun more objectively as “land’s light.” The light-side of Sowilo is on the forefront here, echoed further in the second line, as one can clearly see the connotations held in the poem. The Sun is viewed as holy; a divine being able to bestow judgement upon man. This “bowing” to the Sun can be found in Armanen rune yoga and in varying names for the Sowilo rune in later Icelandic sources. One name is kné sýn, translating to “knee-sun,” referring to bowing or praying to the Sun.
The “Old Icelandic Rune Poem” states:
“Sun is the shield of the clouds, and gleaming glory,
And ice’s age-old anguish.”
This poem touches on many elements and aspects of life, the first being Sun as a “shield” to the clouds. This rings strangely, as the Sun resides over the clouds, giving insight into what the Pagan Icelanders thought they needed to be shielded from; perhaps enemies from above? Line two holds similar meaning to the other poems, linking the powers of glory to the Sun. The last line describes the destructive powers of the Sun, referencing it as the “age-old” anguish of ice, a nod to the myth of creation, where fire and ice collided to create the known universe.
In relation to Odin, this rune can be viewed as his “lighter” side, being attributed to his retained eye; the “solar” awareness. Evidence for this can be found in his epithet Báleygr, meaning “flaming eyed.” This type of philosophy can be found further in the Old Irish word súil, which means “eye, hope, expectation,” but also, is a reference to the Sun as well, as the Old Irish believed the Sun to be the “eye of the sky.” One last word-connection to Odin and the Sun is the word solitary, stemming from this sol- root, meaning “one who lives alone in solitude.” This can absolutely be attributed to the Sun, which is a solitary being, but also to Odin, as he is the solitary wanderer, ever-moving like the wind. Sowilo falls under the rule of “Odin’s 9” as well, having the same form whether upside down or right side up. I leave the reader to decide the importance of that connection.
This holy power of the Sun is one of healing, but also, as one can learn from the Thursatru tradition, is a power of cataclysmic destruction. In their tradition, Sowilo represents the fire-sword of Surt, guardian of Muspelheim: the primordial realm of fire. This force of fire is distinct in power when compared to the other fire rune, Kenaz. Sowilo is the ultimate force of cosmic fire and not the metaphysical, inner fires of creation. Sowilo is rather the inward and outward powers of destruction. This destructive energy does not necessarily carry negative connotations, but holy ones; the purifying and purging force of fire. At the end of Ragnarök, Surt will cover the earth in flames and all will be destroyed. However, the offspring of the gods return, Baldr at their helm, as a symbol of the reborn son/Sun. This cycle is mirrored in many traditions, as a constant flux and flow between creation and destruction.
To conclude, the Sowilo rune applies not only to the Sun, but also, conceptions of glory, guidance, sanctity, hope, and light. On a deeper level, it can be used to vanquish impurities and clean slates, representing a purifying, holy, cosmic fire or shield. The Sun and Moon have been viewed as gods for as long as mankind has been able to name them, representing core functions of not only the physical structure of the world, but the structure of sentient beings as well, being linked intrinsically to one another; the holy light of Heaven above and the holy light within man.
-Wandering the Runic Path: Esoteric Analysis of the Germanic Runes
Samhain/Álfablót
Samhain is a time when the spirits of nature, the dead, and the gods are most likely to emerge to walk amongst the living. During these days, when daylight becomes shorter and shorter, nature around us seems to die and shed its vitality, leaving trunks and branches barren, resembling bones protruding from the forest 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. By doing this, we are mirroring the process of nature and turning our energy inward. During this time of year come the final harvests, meaning that the workload is drastically cut down and many daily activities change. These hours were to now be replaced with indoor tasks such as tending to animals, 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 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 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 Beltan 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 a time when harvests are reaped and sacrifices are made to the elves and gods. Elves and the dead are strongly connected to the ancient 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 “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 traveled 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 states 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.
Lughnasadh/Freyfaxi
Lughnasadh is named after the Celtic Sun god Lugh. This is a time when the first harvests of the year would be brought in and prosperity would begin to be felt amongst the community. Summer is fully in bloom and the golden fields and vibrant flowers mirror the glory of the powerful Sun above. During this time, people would feast and make offerings to the gods with the first fruits of the year. During Lughnasadh, there would be singing, music, games, competitions, and much more, as the people could finally begin to enjoy the rewards of their hard work so far that year. Traditionally, Lughnasadh is the first of the 3 great harvest celebrations, kicking off the sacred celebrations when humans reap the results of what they have sown.
In “Celtic Mythology and Religion,” Macbain writes:
“It is called in Scottish Gaelic “Lunasduinn,” in Irish “Lunasd,” old Irish “Lugnasad,” the fair of Lug. The legend says that Luga of the Long Arms, the Tuatha De Danann king, instituted this fair in honour of his foster-mother Tailtiu, queen of the Firbolgs. Hence the place where it was held was called Tailtiu after her, and is the modern Teltown. The fair was held, however, in all the capitals of ancient Ireland on that day. Games and manly sports characterised the assemblies. Luga, it may be noted, is the sun-god, who thus institutes the festival, and it is remarkable that at ancient Lyons, in France, called of old Lug-dunum, a festival was held on this very day, which was famous over all Gaul.”
Wrestling tournaments, races, and various games would have been held during this time in honor of the god Lugh, who is known for being highly skilled in many different areas. Archery, stone lifting, and weight throwing contests were said to have occurred, continuing into the modern day with summer events like the Highland Games. Sacrifices were also common in Pagan times, generally of a bull, and a feast would be made from its flesh, while a portion of the blood and other pieces were given to the gods.
In “A History of Pagan Europe” by Jones & Pennick, it is said:
“Lughnasadh (1 August, also called Bron Trograin) appears to have been imported into Ireland at a later date, perhaps by continental devotees of Lugh, who in the Irish pantheon is a latecomer, the ildánach, master of all skills, more modern in character than the other goddesses and gods. Correspondingly, Lughnasadh differs from the other three festivals in being agrarian in character, marking the harvest, and baking of the first loaf from the new grain. The deity honoured at Lughnasadh was Lugh, who was said to have instituted the games in honour of his foster-mother, Tailtiu. Tailtiu (Teltown) is in fact the name of the site of the festival in Tara. It is an ancient burial ground, and its name is thought to mean ‘fair’ or ‘lovely’, so if it ever was associated with a presiding goddess of that name, like Demeter in Greece she would have ruled both the Underworld and the fruits which sprang from it.”
In modern Germanic Pagan practice, Lughnasadh is recognized as Freyfaxi or “Frey Day,” replacing the Celtic Lugh with the Norse Freyr. Special and careful thanks are given to Lord Ingwaz/Yngvi/Freyr during this time to honor his power and acknowledge his benevolence. A general sense of peace should be felt on this day as well as an internal feeling of gratitude for all one has in life. As a god of wealth, Freyr makes us reflect on the things that make us feel a sense of prosperity in our lives.
In “Sorcery and Religion in Ancient Scandinavia” by Vikernes, it says:
“The 15th day of Alfheimr was Harvest Sacrifice (No. Slatteblot), also known as Wake-Up-Day, known from Gaelic as the festival of Lugh (“light”). The day marked the beginning of harvest. Before harvest could begin the grain spirit was killed and burned, or it was – in the shape of a goat made from last year’s straw – cut into bits and pieces and buried in the field’s four corners and in the field itself. By the time of the Bronze Age the spirit of light and grain had become a goddess and a god, Sibijo and Fraujaz, known from the Scandinavian mythology as Sif and Freyr respectively. The grain deity was still represented by a straw figure in animal form – usually a goat. In addition to this, the god was cut down with a sax, sickle or scythe in a sword dance. Finally, a symbol of the god, usually a loaf of bread or (in the most ancient of times) a cone, was cut into bits and pieces and buried with the straw animal in the field/meadow. The grain spirit had to die and be buried in the ground for new grain to come. They took the first straw harvested and made a new animal of it, then stored it in a safe place for next year’s Harvest Sacrifice.”
In summary, whether celebrating Lughnasadh or Freyfaxi, this is a time when the first fruits of the year are reaped and specific rituals are undertaken to ensure the fertility of the land. Skills are put on display and the community is brought together under a common aim: prosperity, happiness, and peace. It is important to give thanks to natural and local spirits for their blessings, and to the gods for their gifts. During Lughnasadh, we revel in the light, we feast, and we celebrate our good fortune.
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.
Ingwaz Blōtas
A short prayer to Ingwaz/Fraujaz in very crudely written/spoken Proto-Germanic.
Originally released in 2021.
ᛞᚱᚢᛏᛁᚾᚫᛉ : ᛜ
ᚲᚢᚾᛁᛜᚫᛉ : ᚫᛒ : ᛋᚢᚾᛟ : ᚢᚾᛞ : ᚱᛖᚷᚾᚫ
ᛒᛚᛟᛞᛁᛋᚫᚾ : ᚢᚾᛋ : ᛒᛟᛞᚫᚷ : ᛗᚢᚾᛞᛁᛉ : ᚢᚾᛞ : ᛋᛇᚹᚫᛚᛟ
ᛁᚾ : ᚹᚫᛚᛟ : ᚷᚱᛟᚦᚫᛉ : ᚫᚾᛞᛁ : ᛚᛖᚢᛏᚫ
ᚷ : ᚢᚾᛋ : ᚹᚫᛚᛟ : ᚢᚾᛞᚫ : ᚹᛇᛏᛁᚫᚾᚫ
ᚷᛁᚠᛏᛁᛉ : ᚢᚾᛋ : ᚹ : ᚢᚾᛞᚫ : ᚷᚱᛁᚦᚫᛉ
ᛗᚫᚷᚫᚾᚫ : ᚢᚾᛋ : ᚷ : ᚱᛇᚲᛁᚫᚾᚫ : ᛁᛋᚹᛖᚱᚫᛉ : ᚹᛖᚱᚫᛚᛞᛁᛉ
ᚺᚫᛁᛚᚫᛉ : ᛜ
ᚠᚱᚫᚢᛃᚫᛉ : ᚫᛒ : ᛋᚢᛗᛖᚱᚫᛉ : ᚢᚾᛞ : ᚺᚫᚱᛒᛁᛋᛏᚫᛉ
May abundance and prosperity reign!
Journey to the Sun (New Song!)
This is our last song for the Summer and a celebration of all the experiences of the year thus far.
We hope your Summer was full of great experiences and new lessons learned.
May all beings thrive under the Sun.
May all beings rise to new heights.
Hailaz / Namaste
-Ansuz Society
sun #summer #music #travel
Summer Solstice
Among the many gods, goddesses, spirits, ancestors and beings that we venerate on this endlessly generous Summer Solstice, we would like to give special reverence to the great Horned One who bestows protection and abundance among the wild realms of the land. May his health be mirrored within all of us.
May all beings thrive under the sun.
“Horns pierce the sky,
Soul of the land,
King of the woods,
Lord of the trail.
God of the wild,
And all that roam,
Scents of the Earth,
Flowers and bone.
Flowers and bones.”
ᛋ : ᛉ : ᚷ
Hailaz and happy Summer Solstice!
Ansuz Society 