Meditation: Visiting the White Goddess at Lammas , Goda

Our tradition uses guided meditation to help impress certain symbols on our members' consciousness. Below is our Lammas meditation. It takes place at the Southern Gate of the compass, the place of earth and noontide .  It is the home of the White Goddess, whom we know as Goda. To use this meditation let yourself relax comfortably and picture yourself drifting downward and inward to the third realm, the lower realm. The third realm is a place of darkness and mystery.  Let yourself sink down into the third realm and rest there peacefully.

Meditation: Visiting the White Goddess, Goda

You open your eyes to see bright sun glinting through a leafy canopy above you. The sun is high in sky, and the day is hot and humid. You hear a buzzing of insects at the verge of the forest where the treeline gives way to the verdant farmland. Birds and small animals of all sorts fill the day with a hum of life that you can feel all the way to your bones.

You rise and look to the south, across the deep green corn field that stands just outside of the little woods. The corn is high, but you can see a hillock some distance away, and you know you want to go there. Gathering yourself together for the walk through the corn, you set your feet into the fertile soil. It is loamy and almost black in its richness.

The corn is taller than you, now that you are trying to find a path between the stalks. The smell of the soil and the chlorophyll fills your nostrils as the sun warms your scalp. You fill your lungs with the warm, earthy scent of life and lift your face to the sky. Two swans fly overhead, honking as they go.

You continue through the cornfield, following the straight tracks of the plentiful land until you hear a plodding clip-clop coming from your right. Curious, you adjust your course until you are walking in a small lane. An unbridled horse stops in the path and looks over its shoulder at you. You approach the horse, speaking in a low, soft voice. It allows you to pet its side and neck. Then, surprisingly, it bows low for you to mount it, which you easily do.

Seated upon the horse, you can see ahead on the path much more clearly than you had even from the forest’s edge. You certainly see much more than you did amidst the cornstalks. The path you were taking would lead through a grove of trees before climbing the hillock that you had set as your destination. A glimmer of sparkling water told you there was a stream or pond near the hill, as well.

Riding this horse will bring you to your destination faster, but it also gives you more opportunity to revel in your senses while you make the journey. You take some time to touch the horse’s short, bristled hair and feel its massive muscles moving under your legs. You smell its sweat mixed with the perfume of summer field and the approaching orchard. You see the vibrant and varied shades of green, laid with a foundation of deep brown and accented with colorful flowers and birds in the distance.

Soon, you are within the boundary of the Apple orchard. The trees are old, thick and twisted. The branches are full of both fragrant blossoms and ripe fruit. The horse bites an apple from one of the trees, and you pluck one, as well. You bite into it. The skin is firm and the flesh is juicy and sweet.

The land slopes upward and the path spirals around the hill. The horse bows again, and you dismount. You walk the path together. The orchard hugs the base of the hill on one side, but as you come around to the other side of the small Tor, you see that a stream caresses that edge. The two swans you saw in flight earlier are now gliding on the glittering ribbon of blue water.

When you have almost reached the top of the hill, you see a curious gate – two large rock pillars. You must pass through these twin standing stones in order to reach the zenith of the hill. You can’t see beyond this strange gate, because of the shape of the land. You cannot walk around this door.  You must either go through it or turn back.

The horse whinnies and stamps one hoof into the ground, urging you to choose. The stones are carved with strange markings and symbols. Some are unfamiliar to you, but others have deep meaning in your mind. (Pause.) You see a pentagram carved into one of the rocks along with the Apple tree rune, a horse, and a swan.

A woman is singing and laughing somewhere beyond the two stones, and you step up and through. Once you are over the hump of the hill, you clearly see the woman whose voice you heard. She is voluptuous and beautiful, her body curving and ripe and delicious. She dances naked in the sunshine, her hair loose around her shoulders. Round wooden platter filled with fruits and grains surround her – some set on the ground, others on large rocks. A few round wooden discs are sitting on their sides, with heraldic designs and family emblems painted on them in vibrant colors. You recognize some of these symbolic devices.

The woman stops singing and dancing, but laughter is in her voice and the air around her seems to shimmer as she greets you. “You’ve had a taste of Elphame. Would you stay for the sacrificial feast?” She holds a red-handled blade toward you.

“This place is Life Overflowing. Every living thing revels and quakes in the awesome rush that is this bounty. The beauty and love and life and joy that are here for all to claim with both hands are splendorous magics, and ones that are so easily overlooked and undervalued.” (Pause.) She holds one of the discs up as a shield. “Guard what is yours.” Taking another shield that is filled with food, she gestures for you to take what you want. “And be generous with the bounty of Love and Life and Beauty and Joy that are given to you.” She give you a round shield of your own, and a design appears on it. (Pause.)

“Life comes from Life. These bodies bring forth life while they live, and yet again when they perish and rot.” She smiles, lifting her arms. “There are deep Mysteries that lie hidden in their nakedness beneath the noon-time sun. Search them out.” She pulls you into an embrace and speaks a message just for you.  (Long pause.)

You thank her, and she releases you, turning back to her dance and song. Knowing that the time has come to leave, you turn and walk back to the stones.

You pass out of the standing stones and wind back down the Tor, led once more by the horse. You hear the swans leave their stream as you leave the orchard. You cross the cornfield and bid the horse farewell. Sitting down again in the warm forest floor, you close your eyes and breathe deeply, coming back to yourself.

August Totems: Apple

In our tradition we divide the year not only by eight solar and agricultural holidays, but also by the Kalends. We celebrate twelve months of the year by the common calendar, plus a special thirteenth month for Samhain.  These month cycles are associated with different totemic spirits. Each month is assigned an animal, a bird (or other flying creature), and a tree. August's totems are Horse, Apple, and Swan.

The totemic associations are as follows:

Horse (Each) – travel, power, freedom, civilization
Apple (Quert) – beauty, choices, love, inspiration
Swan (Eala) - shape-shifting, love, grace, beauty

Apple


The Apple is a deciduous tree. The wild crab-apple is Britain’s only indigenous type. It is related to the rose family, along with Hawthorn, and so it develops thorns from spurs on its branches. It has gnarled trunks, often growing at crazy angles to “hide” amongst other trees. It’s leaves are almost heart-shaped, and its blossoms are deep pink with a scent similar to honeysuckle, which attracts bees. Some types of Apple trees can hold fruit on the branches throughout the winter.

This tree represents the choice between similar and equally attractive things. It is one of the “Seven Chieftain Trees” of the Celts. It’s fruit and bark are used in tanning.

The Apple is associated with love spells, likely due to its associations with Aphrodite. The “Gardens of the Hesperides” contained an especially sacred apple tree that granted immortality. The Hesperides ,nine beautiful maidens, representatives of Aphrodite, guarded this tree, and a serpent was coiled at its roots. The Greeks sometimes saw the sun as a crimson apple sinking into the sea, being replaced by Hesperus (Venus) the ‘star’ sacred to Aphrodite. An apple cut open crosswise reveals the sign of the pentagram, a symbol also associated with Aphrodite, due partially to the fact that the planet Venus, the heavenly embodiment of the Goddess, cut a perfect pentagram in the sky over the course of four years. The Apple’s association with Aphrodite is further strengthened by the golden apple, engraved with the words “For the Fairest,” that was awarded to her by Paris and which resulted in the beginning of the Trojan War.

The Apple has long been sacred to the Celts, as well. One of its sacred islands, Avalon, is named the “Isle of Apples.” Old apple trees are more likely than other types of trees to host mistletoe, making them sacred to Druids. Merlin also had a sacred apple orchard. Apple cider was said to be the most sacred drink of the Druids.

The Pentagram

The Pentagram of the Witches is a five-pointed star formed by five straight lines, and encased in a circle, with one point upwards. The five points of the pentagram represent the five elements. The crowning point represents Spirit, and continuing in clockwise order, the remaining points symbolize Water, Fire, Earth, and Air. The circle is related to the magic circle of Power, and connects all of the elements together, all of which is under the dominion of Spirit.

When inscribed on a disk, it represents the Pentacle, or ritual tool of Earth. Small silver Pentagrams are favorite amulets of Witches, and are often worn as ritual jewelry.

The first known uses of the pentagram are found in Mesopotamian writings dating to about 3000 BC. The Sumerian pentagrams served as pictograms for the word "UB" meaning "corner, angle, nook; a small room, cavity, hole; pitfall".

The Pentagram is a very ancient magic sigil, and has been used by many groups under many names. Among the names are: Pentalpha (the five A's of Pythagoras), the Endless Knot, the Eastern Star (used in Masonry, and the star the Magi followed in Biblical myth), the Star of Knowledge, the Seal of the Templars, the Seal of Solomon (although this is a misattribution, as Solomon's Seal is actually a six-pointed star), the Pentagrammaton (or "the five letter word": YHShVH, the ineffable name of the God of the Hebrews when coupled with the Shekinah), the Goat of Mendes, the Seal of the Microcosm, Gawain's Garter (Gawain used this symbol on his escutcheon after defeating the Green Knight) the Witch's Foot, and the Goblin Cross.  Christians once used the pentagram to represent the five wounds of Jesus.

The inverted pentagram represents Spirit triumphed by Matter, and is used as a symbol for the second degree in some traditions of Witchcraft.

The planet Venus traces a pentagram in the sky every 584 days, and the pentagram's associations with this planet – the morning star and the evening star – form some of the earliest stellar lore.

Cutting an apple in half reveals a pentagram within, formed by the seed cavities.  The apple blossom is five-petaled, as is the rowan, and the rose, all of which are associated with Witchcraft and magic.

The Pentagram is used magically as a portal.

August Totems: Swan

In our tradition we divide the year not only by eight solar and agricultural holidays, but also by the Kalends. We celebrate twelve months of the year by the common calendar, plus a special thirteenth month for Samhain.  These month cycles are associated with different totemic spirits. Each month is assigned an animal, a bird (or other flying creature), and a tree. August's totems are Horse, Apple, and Swan.

The totemic associations are as follows:

Horse (Each) – travel, power, freedom, civilization
Apple (Quert) – beauty, choices, love, inspiration
Swan (Eala) - shape-shifting, love, grace, beauty

Swan

The Swan is often depicted with a silver or gold chain around the neck in Celtic legends -- possibly a carry-over from the Aphrodite tradition of the golden sash. Aphrodite was a water-bird Goddess in early Proto-Indo European practice, and the Swan is heavily associated with her in Greek tradition. This is hardly a surprising connection, given that the Swan is very prominent in love stories in Celtic lands, including the tale of Oenghus and Yewberry (who is a Swan Maiden).

In Celtic lore, Swan is associated with Otherworldly travel and migration of the Soul. The "swan song" speaks of both grace and beauty (because Swan's final song is said to be strikingly beautiful) and also of death and transition. Swan is often the poetic representation of the Soul itself in Celtic lore.

This bird's skin and feathers were used to make the bard's ceremonial cloak, according to Philip and Stephanie carr-Gomm's Druid Animal Oracle. This is another sign of grace and beauty -- the grace and beauty of word and song, which the celts understood to be very important to both art and magic.

Swans are intimately linked with shape-shifting in celtic lore, as well. Several tales speak of children and maidens who are changed (or can change themselves) into swans for one reason or another. Because of these shape-shifting characteristics, Swan is also further linked to Elphame and the realm of Faerie.

Swan is sacred to Oenghus, Lyr, Cuchulain, Aphrodite and Apollo.

Swan's connections to Horse and Apple:

Swan, Horse and Apple are a very potent feminine, Faerie Totemic set in relation to the White Goddess (known/shown to us as Goda).

Thomas the Rhymer

Thomas Learmonth (also spelled Learmount, Learmont, or Learmounth), better known as Thomas the Rhymer or True Thomas, was a 13th century Scottish laird and reputed prophet from Earlston (then called "Erceldoune").

Sir Thomas was born in Erceldoune (also spelled Ercildoune - presently Earlston), Berwickshire, sometime in the 13th century, and has a reputation as the author of many prophetic verses. Little is known for certain of his life but two charters from 1260–80 and 1294 mention him, the latter referring to the "Thomas de Ercildounson son and heir of Thome Rymour de Ercildoun".  His reputation for supernatural powers for a time rivalled that of Merlin. Thomas became known as "True Thomas" because he could not tell a lie. Popular lore recounts how he prophesied many great events in Scottish history, including the death of Alexander III of Scotland.

Thomas interests us due to a 13th century ballad that was written about him and his time with the Queen of the Fae, who we identify as our own White Goddess.  Much can be learned of the ways of the Fairy realm and its queen by examining the lay.

Thomas the Rhymer

True Thomas lay on Huntlie bank,
A marvel with his eye spied he.
There he saw a lady bright
Come riding by the Eildon Tree.

The Eildon Tree was a sacred hawthorne in the hills of Ercildoun, where Thomas was said to hail from. And the hawthorn is also sometimes known as the fairy bush, for the fey folk are said to inhabit its branches and are its guardians. Sprigs of hawthorn and its flowers were gathered to serve as protection from evil.

Her skirt was of the grass-green silk,
Her mantle of the velvet fine,
At every lock of her horse's mane
Hung fifty silver bells and nine.

True Thomas he pulled off his cap
And bowed down to his knee:
"All hail, thou Queen of Heaven!
For thy peer on earth I never did see."

"O no, O no, Thomas," she said,
"That name does not belong to me;
I am but the queen of fair Elfland
That am hither come to visit thee."

"Sing and play, Thomas," she said
"Sing and play along with me,
And if ye dare to kiss my lips,
Sure of your body I will be."

"Betide me weal, betide me woe,
That fate shall never frighten me."
And he has kissed her rosy lips,
All under the Eildon Tree.

"Now ye must go with me," she said,
"True Thomas, ye must go with me,
And ye must serve me seven years,
Through weal and woe, as chance may be."

She mounted on her milk-white steed,
She's taken True Thomas up behind,
And every time her bridle rung
The steed flew faster than the wind.

The horse is sacred to the White Goddess, as a symbol of sovereignty, and her own horse is white, adorned with silver bells.

O they rode on, and farther on,
The steed went swifter than the wind;
Until they reached a desert wide,
And living land was left behind.   

"Lie down, lie down now, True Thomas,
And rest your head upon my knee;
Abide and rest a little space,
And I will show you wonders three."

"O see ye not yon narrow road,
So thick beset with thorns and briars?
That is the path of righteousness,
Though after it but few enquire."

"And see ye not that broad, broad road
That lies across the lily leven?
That is the path of wickedness,
Though some call it the road to heaven."

"And see ye not that lovely road,
That winds about the fern'd hillside?
That is the road to fair Elfland,
Where thou and I this night must ride."

The three roads are the paths of life itself.  One may choose the easy life, which leads to damnation, the austere life, which leads to redemption, or the "middle road" that leads through nature, the path of the Ancient powers, the path that seeks balance, and leads to the Fairy realm.

"But Thomas, you must hold your tongue,
Whatever you might hear or see,
For if you speak in fair Elfland,
You'll never get back to your own country."

Witches are admonished "to keep silent" about the ways of magic if they seek success.  Likewise, the world of the fae operates under its own strange laws.

O they road on, and farther on,
And they waded through rivers above the knee,
And they saw neither sun nor moon,
But they heard the roaring of the sea.

It was dark dark night, and there was no sun light,
And they waded through red blood to the knee;
For all the blood that's shed on earth
Runs through the springs of that country.

While on the journey to the Fairy land Thomas and the Queen must pass through liminal space.  Here it is eternal twilight, though neither sun nor moon is seen.  The pair pass through a sea of blood, just as each of the castles of our tradition are bounded by a moat.  Indeed, the Castle Perilous is accessed by wading through blood.

Soon they came to a garden green,
And she pulled an apple from a tree;
"Take this for thy wages, True Thomas,
It will give ye the tongue than can never lie."

The apple is another sacred symbol of the White Goddess.  Elfland is sometimes equated with the Isle of Apples, Ynys Avalon.  The apple is red, symbolic of the food of the dead, and of the Housle.

"My tongue is my own," True Thomas said,
"A goodly gift ye would give to me!
I'd neither dare to buy or sell,
At fair or tryst where I may be."

"I dare neither speak to prince or lord
Or ask favor from fair lady -"
"Now hold thy peace," the Lady said,
"For as I say, so must it be!"

He has gotten a coat of velvet cloth,
And a pair of shoes of velvet green,
And till seven years were gone and past
True Thomas on earth was never seen.

Faces of the White Goddess

Names
Goda, Godiva (Old English: Godgifu, "god gift"), Rhiannon, Epona, Queen of Elphame, Lilith, Weisse Frauen, Dames Blanches, Witte Wieven, Lady Death, Eos, Aurora, Ushas, Ausera, Ausrina, Istara, Ishtar, Astarte, Araja, Arada, Aradia, Irodiada, Erodiade, Meroudys, Herodias, Herodiana, Diana, Eostre, Ostara, Austija, Habonida, Oona, Oonagh, Una, Uonaidh, Mab, Titania, Mielikki, Andred, Benzozia

Station of the Wheel
South, Lammas, August, Gate of Earth, Corn Moon

Totems
Horse, Apple, Swan

Tools
Shield, Pentacle, Kerfane, Warricking Cords

As mistress of the Wild Hunt, she is alternately known as frau Gode, frau Gaue, and frau Woden, demonstrating her connection to Odin. Agricultural customs of the region also preserve relics of pagan religion. When mowing rye, the villagers let some stalks stand, tie flowers among them, and when finished with their work gather around them and shout three times: “Fru Gaue, you keep some fodder, this year on the wagon.” In Prignitz, they call her fru Gode and leave a bunch of grain standing in each field which they call “Fru Gode’s portion.” In the district of Hameln, it was custom, if a reaper while binding sheaves passed over one, to jeer and call out: “Is that for fru Gauen?!” The name Gauen connects this legendary figure directly to Odin. In Old Norse, the fourth day of the week is known as Oðinsdagr, Odin’s day. In Swedish and Danish, it is Onsdag; in North Frisian, Winsdei; in Middle Dutch, Woensdach; in Anglo-Saxon, Wodenes dæg, but in Westphalia, they call it Godenstag, Gonstag, Gaunstag, Gunstag, and in documents from the Lower Rhine, Gudestag and Gudenstag. Similarly, in the History of the Lombards, the first literary appearance of Odin and his wife, Odin is known as Godan. Grimm observes that a dialect which says fauer instead of foer, foder will equally have Gaue for Gode, Guode. Thus, in Frau Gauen or Gauden, German farmers have preserved the memory of a Mrs. Odin at work beside her husband in the fields long after the coming of Christianity.

In the folklore of Lowland Scotland and Northern England, the Queen of Elphame, Elphen, Elfen or Elfan (and also Elfin Queen, Fairy Queen or Faery Queen) is the elfin ruler of Elphame (Elf-home; compare Norse Álfheimr), the usually subterranean Scottish fairyland. She appears in a number of traditional supernatural ballads, including Thomas the Rhymer and Tam Lin. She also appears in a number of accounts from witchcraft trials and confessions, including the confession of Isobel Gowdie.

The Queen of Elphame is variously depicted as attractive and demonic. A similar picture is painted by the 1591 witchcraft confession of Andro Mann of Aberdeen. Mann confessed that he saw "the Devil" his "master in the likeness and shape of a woman, whom thou callest the Queen of Elphen." Mann further confessed that the Queen of Elphen rode white horses, and that she and her companions had human shapes, "yet were as shadows", and that they were "playing and dancing whenever they pleased." Isobel Gowdie's confession also noted that the Queen of Elphame was "brawlie" clothed in white linen, and that she got more food from the Queen than she could eat.

But, in Tam Lin the Queen of Elphame is a more sinister figure. She captures mortal men, and entertains them in her subterranean home; but then uses them to pay a "teind to Hell". This ballad tells of the struggle of its heroine Janet, who must overcome the Queen's shape shifting magic to rescue a would-be victim from the Fairy Ride on Halloween. The Queen's shape-shifting magic extends to her own person. Mann's confession also noted that "she can be old or young as she pleases".