Like many pagans - or not. I actually have no idea - I make resolutions at Yule, declared at the rising of the sun. At Samhain, I confront those from the year before, and let them go ceremonially. The time between Samhain and Yule is a 'dark' time of contemplation and meditation.
So far, these are my resolutions/plans/goals of the year to come:
* Continue going to the gym, but to do so more frequently. Twice a week at the least.
* Return to art, for I have forgotten its therapy. Finish those planned projects of mine:
- the floral works for the kitchen - The Sedna IV boat scene - Lilian in blue, done as a Klimt-esque portrait. Maybe mail it to her mum if it's good. - Tree of Life abstraction -Croppedcopy of Klimt's Tree of Life for altar
* Make a digital portfolio of my work, both online as website and on CD.
* Write regularly, and over come my hate in writing.
- Write articles blurbs on local art for submission to journals, newspapers, or an online blog for that purpose (as a 'portfolio' of writing.) - Write articles from a reconstructionist perspective about Etruscan religion and culture. - Write about pagan areas of interest for websites/magazines.
* Structure my life better, as I am more productive in that way.
* Enjoy working part time for a while, pursuing health and art pursuits vigorously at that time.
* Follow after a few months with full-time work - or two jobs - save $5000 by September. Likely impossible, but I'll figure that out later.
I also have in mind these spiritual goals:
* Build a permanent altar, which I've never had before, in my bedroom.
* Make daily devotions to the land, gods and ancestors a part of my life.
* Develop an Etruscan-focused witch craft.
Wow, what a list! But it does feel good to write it all out - gives me something to look forward to.
So, I've been thinking about one of ADF's Nine Virtues, Wisdom. I thought it would be easy, but I have just so much to say about it, it's becoming harder to get around to it.
Dictionary.com Unabridged
the quality
or state of being wise; knowledge of what is true or right coupled with
just judgment as to action; sagacity, discernment, or insight.
I've found myself describing people as being "book smart with no street smarts." To me, they are un-wise.
This quote comes to mind:
"God
grant me the serenity to accept the things I cannot change; the courage
to change the things I can; and the wisdom to know the difference." --Reinhold Niebuhr, The Serenity Prayer
And, to top it all off, I keep thinking of Dumbledore! Yes - Albus Dumbledore of Harry Potter! I could write an ENTIRE ESSAY on how the this character utterly exudes WISDOM. You know, I might ask a preceptor if that's okay...
Especially if you are just beginning your journey into Paganism, I strongly encourage everyone to be as exposed as possible, to soak up as much as they can, and to be critical of every fact your absorb. Being skeptical doesn't seem very positive of me, but books about Paganism today often contradict each other.
So many people ask for recommendations - I thought I'd just list them for whomsoever is interested. I hope these will help. If they don't, or you don't like them - let me know.
General
Living Religions: A Brief Introduction. Mary Pat Fisher.
Patterns of Transcendence:Religion, Death and Dying. David Chidester. 2001:Wadsworth/Thomas Learning.
A University textbook, it was often to difficult to read. It is highly informative, exploring many faiths - including monotheistic ones- and is rich with symbolism that I found inspiring as a Witch.
Witchery
Solitary Wicca for Life. Arin Murphy-Hiscock.
Power Spellcraft for Life. Arin Murphy-Hiscock.
I'm obviously a fan of Arin's work. These books are usually advertised as being "advanced". I think they're a great compliment to any beginner's book about Wicca. She focuses on ways to enrich our own experiences as solitaries: writing our own spells, understanding and "feeling" circle casting, etc.
Witches All. Elizabeth Pepper/The Witches' Almanac.
This is a website that confronts "fluffy bunnies". This site can seem awfully aggressive to someone who's new to Paganism - afterall, when we're new, we see the lovely side of things. I think everyone is fluffy when they begin - I was too. I present this link so that I can emphasize the importance of studying your faith.
Examining the uncertain origin of Wicca and written for a Christian website.Good perspective and well researched.
Celtic & Druidry
Celtic Mythology, Dictionary of. James MacKillop.
Ideal for those times when you're sure you've heard that name somewhere, and just need to brush up. Includes summarized myths.
The Mysteries of Druidry. Brendan 'Cathbad' Meyers.
Cathbad's website had been a resource to me for years, especially when I found myself reading other books that didn't satisfy my needs. His book is promoted by members of druidic groups ADF and OBOD. A great exploration of the principles of Druidry.I actually had the chance to meet the author, and it was quite a pleasure!
Celtic Gods and Heroes. Marie-Louise Sjoestedt.
Celtic Myth and Legend. Charles Squire.
Journey of the Bard: Celtic Initiatory Magic. Yvonne Owens. Miles Lowry, Illus.
I had difficulty with this book when I first read it. It covers a lot of background. It's a beautifully worked piece, integrating knowledge with storytelling - the journey. I now consider it a work of mysticism. I recommend greatly it to those who are very committed to a Celtic path.
Greek
Greek Art. Mark D. Fullerton. 2000: Cambridge University Press.
I actually purchased this as a textbook - my Professor had great respect for this author. It's very long and detailed, with lovely photographs. Fullerton presents his theory that the Parthenon represents the height of Greek society and ideals. I'd recommend it especially to Hellenic Reconstructionists, because I'm curious as to how they'd find it.
Norse
Runecaster's Handbook. Edred Thorsson.
Some people criticize the fact that authors have reduced Futhark runes to simple devices for divination, that they are actually complex magical systems. Regardless, I do feel Thorsson provides the best interpretation and understanding of the symbols.
There has been quite some talk on the forums about 'Daily Practice', lately. It's a hard topic for me, because while I do through and through consider myself a witch at all times, I rarely have a reason for spell work (I'm a big fan of just doing what I need to do instead of using a spell) and often don't celebrate Sabbats that I have trouble connecting to. Heck, I'm often tired and have trouble pushing myself to do ritual.
The thing is, I love ritual. I feel good afterwards, and it's always a good experience. Why don't I do it more often? Sure, I give prayer on a regular enough basis. That was the biggest suggestion by members of WF as a way of observing their path on a daily basis. Part of me really feels that prayer isn't good enough - it's too passive. The profound experiences we have in ritual can only continue and become all the greater by doing [i]regular[/i] rituals.
In his article 'The Importance of Daily Magical Practice', Taylor Ellwood reminds us that magic is a process, not the end result. Diane Sylvan, in her blog, has written that it is our regular practice that allows us to truly appreciate and move forward, instead of just thinking "Wow!", being on a high for a few days, and then degenerating back to our usual habits.
Lately, I've been likening magic to exercise, both require practice. Since the early/mid summer I actually [i]have[/i] been exercising, I'm actually proud to say. My goal was to find a way to actually enjoy myself while doing it, and find a way to make it a regular part of my life. I'm in a situation where yes, it's hard to drag my butt to the gym after work for Tae Box, but punching and kicking is just [b]so satisfying[/b] after my lousy customer service job. It's also good for me! Yay!
And so, while daily prayer is nice, I do think it's important for me to do ritual more often than just the Sabbats. I mean ritual without spellwork - I think most will agree. Ritual to commune with our guides, with the land, with ancestors, with the Lord and Lady. It is important for us to nurture our relationship with them.
For the future, I'm giving my two week's notice for work. I'd like to have more time for my schoolwork and some volunteer opportunities that will be beneficial for my CV. I think I will resume meditating - it has been a long time - in a short ritual. I've been working on some ideas for 'motivation and focus' rituals. We'll see how it goes.
Elwood, Taylor. [i]The Importance of Magical Practice.[/i] Witchvox. 15 April 2007. http://www.witchvox.com/va/dt_va.html?a=usor&c=words&id=11687
[u]Dancing Down the Moon[/u]. Diane Sylvan. http://diannesylvan.typepad.com/dancing_down_the_moon/
Art Historians overlook Carrington’s role in the Surrealist movement. It seems as though women were over-shadowed in this period due to the sexual focus upon the female form. The style glorified madness, rejecting the "logic" that brought on the World Wars of the first half of the 20th century. This woman was actually institutionalised by her family while, in Madrid, “she was found at the British embassy issuing threats to kill Hitler and calling for the metaphysical liberation of humanity.” (1)
Carrington was the romantic partner of Max Ernst, one of the more renowned members of the surrealist movement. He left his wife for her. Together they embarked on a mysterious journey, using their art to symbolically represent the elements of their subconscious. Ernst was taken away to a concentration camp during World War II for being considered an enemy alien by the Nazis. She was devastated by this loss, assuming he had been killed. Instead she met him again in 1940 with another woman who had helped him while she had been in confinement.
Some argue that they both created their best works after their relationship was over. It certainly hardened Carrington, giving her all the more resolve to pour into her purposeful paintings.
Carrington didn’t subscribe to the veneration of madness. She instead felt herself on a mission to reintroduce humankind to their imagination and subconscious. The Surrealists were the artistic movement most focused on women – their sexualised form, not their identity. Poet Andre Breton gave women the title of muse, which became a popular surrealist theory. Said Carrington in 1983, “I didn’t have time to be anuone’s muse. […] I was too busy rebelling against my family and learning to be an artist.” (2)
Carrington’s Self-Portrait of 1938, painted a couple of years after her meeting Ernst, blurs the boundaries between animate and inanimate, human and animal. Animal symbols were very prevalent in the works of Surrealist women and Carrington had a special affinity for horses. She was strongly influenced by the Celtic myths recounted to her by her mother in her youth.
The rocking horse in this painting refers to her short-story “The Oval Lady”, in which the toy horse returns his girl-owner’s love and flies them away from her father. The rocking horse was named Tartar (after Tartarus, a variation of the Greek underworld.) Painted the same colour as Carrington’s skin, we can see it as a symbol of the artist’s longing for escape.
White creatures are quite prominent in Carrington’s work and nearly all of them admittedly refer to Max Ernst, the lover that introduced her to surrealism. He had a full head of white hair. We can assume the horse running freely outside the window represents him.
The artist’s own legs are painted to resemble the flanks of a horse, yet she is placed next to a hyena that has the same coloured fur as Carrington’s hair and shoes. The three-breasted wild beast represents “passionate impulses,” as defined by Freud.
The publication of Robert Graves’ The White Goddess in 1948 had a profound impact on Carrington, who called it “the greatest revelation in [her] life.” (4) This reveals her to be a spiritually, like-minded individual to many of us. Her paintings show us a valuable way for us to explore our own beliefs and psyche, a different way for one to “Know Thyself.” This extra-ordinary woman is certainly an inspiration to me, having shown the power and self-exploration one can achieve in a painting.
(1) Commire, Anne, ed. Women in World History. Vol. 3 1999. Waterford, CT: Yorkin Publications. Pp 428. (2) Commire, Anne, ed. Women in World History. Vol. 3 1999. Waterford, CT: Yorkin Publications. Pp 425. (3) Mary Ann, ed. Surealism and Women. Cambridge, Massachusetts: The MIT Press, 1991. Pp. 160. (4) Commire, Anne, ed. Women in World History. Vol. 3 1999. Waterford, CT: Yorkin Publications. Pp 430.
