Burning Man, Tomasz Kawecki

'Concerning The Powers and Virtues of Pine, Rustic Lord of the Lonely Places'

"The Pine stands as the ally of the Wayfarer upon the Path for its many uses, both practical and magical. The presence of Pines is an indication of life, as the Trees tend to grow in community and attract diverse beasts and worts to their domains. Dead wood provides excellent kindling for the fire, and live wood cut for timber is one of the most versatile and workable of woods. Nuts found within the cones provide a wholesome food to sustain the body; all species are edible. Its sap is both nutritive and medicinal, and, should additional sustenance be needed, the green needles may be brewed into a nourishing tea. Thus, though often found spreading its branches in the wild lands, the Pine-forest serves as a place of Sojourn and respite whilst walking the path in pilgrimage.

The Genius of the Pine, despite its preference for wilderness, is on the whole friendly toward man, hence its adaptation in many circumstances to domestic existence, and bestows the virtues of ingenuity and adaptation. In species it numbers almost one hundred, widely distributed throughout the world, and some kinds, such as the Bristlecone, may attain ages in advance of 4,500 years. Though numerous exotic conifers have come forth unto Albion in recent centuries, its principal Pine-warden is the magnanimous Pinus sylvestris or Scots Pine, which may be seen in its truly wild state now only in isolated places in the Highlands, however in certain hedges in East Anglia it curiously makes a home among the more usual hardwoods common there.

With most Pines, trunks of larger trees reveal sap-flows where the fragrant resin has hardened; this may be collected and used for varied purposes of Art, such as for fumigation or for making varnishes. However, not every Pine species produces resin of good and wholly aromatic quality, thus it is a matter of discernment which the simpler must arrive at by cunning and diligent investigation. Where a certain pine resin is left wanting with regard to its aromatic properties, it may still be used as an agent of binding.

Needles harvested and dried green will retain aromatic virtue and may be burnt, together with resin and cones, as a suffumigant strong in powers of earthing, and keeping haunting shades of the dead at bay. This power of removing ghost-infection is doubly potent in the resin.

The cones, after having expelled their seeds, serve as encharmed vessels for the work of thaumaturgy, each of the numerous hollows capable of being filled with a different enchantment. Likewise, the hollows of a cone may be packed with flammable unguents, aromatic resins and powders, and the whole set to roast slowly upon the hearth-fire of working as a splendid perfume. Such aromatic ingredients may be derived from the Pine direct, in the form of resin, ground bark and needles, and twigs, or from other worts and trees as dictated by Ingenium."

—

Viridarium Umbris:

The Pleasure Garden of Shadow

3: ‘The Book of Going Forth into the Field of Cain’

by Daniel A. Schulke

Trump for Prison Tuesday, March 21, 2023

Like to charge reblog to cast

Covet this.

"[A theme of sacrifice can] be found in folk traditions relating to the scarecrow as the spirit of the harvest or corn king. In several English counties the scarecrow was known as a mawkin, an old dialect name for a ghost or ghoul. In Yorkshire, Warwickshire and Devon it was called a mummet or mommet meaning a spirit that walks at night. In Old Cornish a bucca can refer to a scarecrow, ghost or goblin and in northern England and Scotland it was known as a tatty-bogle. Tatty means potato and bogle is derived from bogey meaning any evil spirit or malicious faery, hence the bogeyman used to scare naughty children.

In Shakespeare's play The Merry Wives of Windsor the scarecrow is called a Jackalent or Jack of Lent. This refers to the old and rather curious custom of pelting any stranger visiting the area with sticks and stones. By the 19th century a puppet or scarecrow had replaced a human victim. It was beaten with sticks in a folk ritual to increase the fertility of the fields and ensure there was a good harvest. Originally the mawkin was the name for a bundle of rags on a stick used to clean out bakery ovens. After use it was placed in the fields to symbolically promote the growth of the grain used to bake the bread. When it was windy the rags fluttered in the breeze and were seen to scare off crows and other birds attacking the new crops.

Sometimes in the old days a man desperate for any work was hired to be a human scarecrow and stand all day in the field warding off the birds. Some folklorists trace this custom and indeed the origin of the scarecrow back to human sacrifices in pagan times to protect the crops and livestock from disease and bring a fertile harvest. In this respect it could be a more socially acceptable and civilised substitute for the divine king ritually murdered so his blood fertilised the land.

Dr Jacqueline Simpson of the Folklore Society believes the scarecrow may have originated in the ugly or aggressive effigies once placed in the fields to drive away evil spirits. She has linked them to the puppets in European folk customs that were destroyed in spring fertility rites as symbolic representations of winter and death. After the coming of Christianity, farmers in Brittany in northern France placed a life-sized wooden image of the crucified Jesus in the fields instead of these puppets, as they believed it would produce a good harvest.

Everywhere in folklore there is evidence of the association of scarecrows with the supernatural, ghosts and the spirits of the dead. In North America there was a folk belief that scarecrows came alive on the night of Hallowe'en (October 31st) and roamed the countryside. The popular American author Nathaniel Hawthorne wrote a short story based on this belief, which was common knowledge in his home village of Salem, famous for its witch-trials. In the story, which is similar to the Italian fairy tale of Pinocchio, an old witch called Mother Rigby made a scarecrow from a broomstick and used a spell and a tune played on a pipe to bring it alive."

Liber Nox:

A Traditional Witch's Gramarye

Chapter 9: 'Michaelmas'

by Michael Howard

The Lady and the Stag - ArtofMaquenda

Why are Russia and China so big? Don't worry about it, that just happened during the big bang. They just spawned like that dude. Colonization only happens with America or something. Don't worry about it.

Little things I've picked up

When blowing out candles, if I have trouble blowing them out, it usually means I'm not finished yet

Offering homemade goods is a surefire ancestor pleaser

Let nature help you create. Ask kindly for supplies, and you will receive

It's okay to take breaks. Recharging your metaphorical batteries allows your brain to processes the knowledge it's learned and integrates it into your system

While getting caught up in aesthetics can make your craft vapid, they play a role. Making yourself look fearsome to ward off "evil" spirits is an incredibly old tradition that spans many cultures. Aesthetics matter. But don't get lost in them

Like becomes like. The more I find myself gathering from the pine forests and leaving offerings for the land wights, the more I find myself becoming like the land. If you do the same, you'll find the same. And embracing this will embolden the power you hold over your craft

Whistle. Whistle to everything. To the birds, to the trees, to the bugs and the leaves. Whistle. And if you can't whistle, hum. Just make sure you take caution if you hear a whistle back.

Taking control can be hard. But you need to assert yourself. Stomp on your ground. Breathe deeply. Affirm your presence. You are a metaphysical lightbulb, and deciding how brightly you shine depends on where you plug yourself into. Be bright when needed. And dim when necessary

The most common trees in your area will be your best friends. Learn of them. Commune with them. Hug them

Bones. That's it. Bones

And always remember to use critical thinking skills and discernment. Be open, but be critical. Make sure you're not deluding yourself

"The forest did not scare her; rather, she wanted to be like it: ageless and impervious, cruel and beautiful. Death could not touch it."

-Emily Lloyd-Jones, The Bone Houses

bittersweet nightshade

Triangle and sigil cloths prepared and concentrated for use is scrying.