An Eddic Library

So, in my search of lore material revovling around the Northern Tradition, I often like to check and see what is available online. Today I found this

http://www.skergard.org/edda.htm

Which has a good accompilation of the Edda's online, labeled by name.

Thank you whoever created it.

June 30, 2010 - Aethel

Aethel

Aethel is the sound “ae”

Anglo-Saxon Rune Poem (from ragweedforge.com)

An estate is very dear to every man,
if he can enjoy there in his housewhatever is right and proper in constant prosperity

June 29, 2010 - Dagaz

Dagaz

Dagaz is the letter D

Anglo-Saxon Rune Poem (from ragweedforge.com)

Day, the glorious light of the Creator, is sent by the Lord;
it is beloved of men, a source of hope and happiness to rich and poor,and of service to all.


You might have noticed that I have not been posting comments with some of my rune of the day posts. I felt that I should keep some of my contemplations and musings to myself regarding what was going, as the messages coming through seemed intensely personal and private. I did post the runes themselves, as a means to share, and also allow my readers (all 11 of you, yay!) to have their own contemplations. Today still has a personal feeling to it, but I can share some of the thoughts with you all. Part of my understanding of Dagaz is that it is the rune that symbols change and transformation, or rather transmutation. While it is the day, it also encompasses the idea of Dawn and Sunrise, when the world quickens and changes, embracing new things, or for some being rudely awakened to things that one would rather ignore or just not deal with. Each day brings change, and change is what allows things to transform, transmute, and alter. It is, in a sense, a very alchemical rune, in the sense that by bringing in changes, the work progresses, and transformation of the base substance is continued until it becomes the lapis occultus, or Philsophers’ Stone.
Sometimes, the smallest and simplest of actions, can yield the most profund of transformations.

June 28, 2010 - Feoh

Feoh

Feoh is the letter F

Anglo-Saxon Rune Poem (from ragweedforge.com)

Wealth is a comfort to all men;
yet must every man bestow it freely,if he wish to gain honour in the sight of the Lord

June 27, 2010 - Berkana reversed

Berkana reversed

Berkana is the letter B

Anglo-Saxon Rune Poem (from ragweedforge.com)

The birch bears no fruit; yet without seed it brings forth suckers,
for it is generated from its leaves.Splendid are its branches and gloriously adornedits lofty crown which reaches to the skies

June 27 - July 3, 2010 - Thurisaz reversed

Thurisaz reversed

Thurisaz is the sound “th”

Anglo-Saxon Rune Poem (from ragweedforge.com)

The thorn is exceedingly sharp,
an evil thing for any knight to touch,uncommonly severe on all who sit among them

Good-ness Gracious!

Recently I have been feeling the desire to create some magical/condition products (oils, powders, incense etc…). Part of my training is in African American Folk Magic (via Lucky Mojo) and that is the system I prefer to use when I create such products. What has been calling me recently is the desire to create some products for general benevolence, and also attracting benevolent spirits. To that end I created two items, that currently only exist in an oil form.

The first one I call “All Good Things.” It is a very sweet scented oil that attracts benevolent affection, good spirits, and uplifted mental state. When I first created it the scent was nice, but after sitting for a few hours (and a good healthy empowerment blessing) the scent transformed into this wonderful odor. I have only used it once, but my experience after wearing it showed a general increase of helpful and benevolent experiences for the remainder of the day.

The second oil I named “Good Spirits.” Good Spirits name indicates what it is meant to attract. The attention and aid of good spirits, benevolent unseen helpers, spirit guides, helpful ancestral spirits, spiritual guardians and pretty much any kind of incorporeal intelligence that is beneficial, benevolent and well, good. I recently used it on a candy for a spiritual ally of mine, and I found our connection clear, strong and empowered. I think it also helped to strengthen the spiritual ally as well, and so it might figure as a way to anoint offerings and gifts to benevolent spirits that you may wish to call, or are already apart of your spiritual practice.

June 26, 2010 - Feoh reversed

Feoh reversed

Feoh is the letter F

Anglo-Saxon Rune Poem (from ragweedforge.com)

Wealth is a comfort to all men;
yet must every man bestow it freely,if he wish to gain honour in the sight of the Lord

June 25, 2010 - Hagalaz

Hagalaz

Hagalaz is the letter H

Anglo-Saxon Rune Poem (from ragweedforge.com)

Hail is the whitest of grain;
it is whirled from the vault of heavenand is tossed about by gusts of windand then it melts into water

June 24, 2010 - Ior

Ior

Ior is the dipthong “io”

Anglo-Saxon Rune Poem (from ragweedforge.com)

Ior is a river fish and yet it always feeds on land;
it has a fair abode encompassed by water, where it lives in happiness

June 20, 2010 - Os

Os

Os is the long o sound.

Anglo-Saxon Rune Poem (from ragweedforge.com)

The mouth is the source of all language,
a pillar of wisdom and a comfort to wise men,a blessing and a joy to every knight

It seems today is going to be filled with communication, or perhaps great use of communications technology. It also seemed to be a communication of the Gods and wights/spirits to me, as there was a moment this morning during my meditation that a message was a given. Unfortunately I am not quite sure what the message means, but it was one of those moments, when the stillness and silence just suddenly seems loud and not so still.

June 21, 2010 - Laguz reversed

Laguz reversed

Laguz is the letter L

Anglo-Saxon Rune Poem (from ragweedforge.com)

The ocean seems interminable to men,
if they venture on the rolling barkand the waves of the sea terrify themand the courser of the deep heed not its bridle

It seems contrary that a week of getting back into the flow of things, the next day would show that flow being fought or somehow missed. Rather, I think the answer lies in what today is. It is the Summer Solstice, the peak of the Solar year, where the longest period of daylight is present. After today, the days start to turn subtley shorter, and the outward flow that was begun with the Winter Solstice, now turns back. In and Out, Up and Down, Expansion and Contraction, the cycles go on and on, a circle in space, a spiral in time.

Of course, you might ask yourself, what is this current that I am struggling against? What am I afraid of that I fight the waves over which I seem to have no control?

June 20, 2010 - Thurisaz reversed

Thurisaz reversed

Thurisaz is the sound “th”

Anglo-Saxon Rune Poem (from ragweedforge.com)

The thorn is exceedingly sharp,
an evil thing for any knight to touch,uncommonly severe on all who sit among them

Thurisaz reversed is the rune for Sunday. It is the protective power of thurisaz, it’s thorns and roughness turned out, making a difficult path for misfortune.

One of the commonly accepted meanings of thurisaz is that it relates to Thor, probably the most popular deity of the Northern Tradition. From comics, to depictions, and probably the most commonly recalled deity, Thor seems to get everywhere. I saw commonly accepted because it is a meaning I do not accept. I personally don’t see it, and at least from what remains of information written down about Thurisaz, nothing in it indicates to me that it was the rune for Thor. It’s name usually appears in conjuction with curses typically. I think it makes sense to say that Thor was probably not routinely called upon for cursing others. That sounds more like his names, the Giants, or by one of their oldest names, the Thurs. It is the Thurs that I see thurisaz identifying, and it is part of their feared power that comes through with any form of thurisaz. Depending upon it’s position that power is either against you or for you. As a single rune reading, that might be identified by it’s upright or reversed position. In a spread style or a casting, it depends upon how it falls in relation to where the querent is most strongly indicated.

Today, it is like the idea of like fighting like. The powers of misfortune that might harm you, are kept at by other powers of misfortune.

June 20 - June 26, 2010 - Laguz

Laguz

Laguz is the letter L

Anglo-Saxon Rune Poem (from ragweedforge.com)

The ocean seems interminable to men,
if they venture on the rolling barkand the waves of the sea terrify themand the courser of the deep heed not its bridle

I resume the Rune project with the rune Laguz, the ocean, and it’s currents, waves and tides or as I like to think about it, it’s flow. It’s always good to be with the flow when beginning anew, although it can be a little terrify as you might not be sure of where it is going.

a Reminder

Come learn The Runes with me!

Runes 110: a beginning course in working with the Runes.

Where: Points of Light
4358 East Stearns Street
Long Beach, CA90815-2535
(562) 985-3388

When:

Wednesday June 23, 2010

7:30 pm

Cost: $15 per class

a 10 week course introducing the Elder Futhark, Anglo -Saxon Runes, Northumbrian Runes, and thier history, lore, and uses in Magic and Divination.

Runes 110

so a quick update on the class. As of today, only person had signed up. So the owner of the shop wanted to give another week for people to sign. Upon learning that, it seems 2 more people signed up. So, the Runes 110 class will officially start on:

Wednesday, June 23, 2010
7:30 pm

Points of Light
4358 East Stearns Street
Long Beach, CA
90815-2535
(562) 985-3388

While you don't have to register early, it would be a great benefit to me if you could call ahead put your name on the list.

It is a 10 week course and is $15 per class. I look forward to teaching it

June 13 - June 19, 2010 - Gar

Gar

There is no letter equivalent for Gar

There is no rune poem for Gar. It is a Northumbrian Rune.

My sense about the rune of this week is that I need to take a break for this week from doing my regular rune posts. Let things clear out, and come back next week. Of course, with my class beginning this Wednesday, June 16 at Points of Light, well that might also be a good time to just relax and let myself focus on being thoroughly prepared.

June 11, 2010 - Isa

Isa

Isa is the vowel “I”

Anglo-Saxon Rune Poem (From ragweedforge.com)

Ice is very cold and immeasurably slippery;
it glistens as clear as glass and most like to gems;it is a floor wrought by the frost, fair to look upon

If you are wondering, “hey, you missed some days” well I have an excellent excuse. Micro-tears to the tendon connecting my elbow and forearm together prevented me from typing. I needed to give my hands rest, and still need to, but they are much better today. Considering that it happened on Tuesday with Hagalaz, well, I guess I shouldn’t be too surprised (and honestly I wasn’t), but maybe healing from this will prove more enduring and longer lasting.

In my constant search for all things runic, I did come up health correspondences for the runes. They are interesting, especially as Isa correspond to all the joins, as they can freeze up and be unbendable, or move smoothly, like gliding across slippery ice. Hopefully, it’s a sign that my elbow will soon be moving smoothly again.

June 8, 2010 - Hagalaz

Hagalaz

Hagalaz is the letter H

Anglo-Saxon Rune Poem (from ragweedforge.com)

Hail is the whitest of grain;
it is whirled from the vault of heavenand is tossed about by gusts of windand then it melts into water

June 7, 2010 - Aesc

Aesc

Aesc is a vowel sound of “ae”

Anglo-Saxon Rune Poem (from ragweedforge.com)

The ash is exceedingly high and precious to men.
With its sturdy trunk it offers a stubborn resistance,though attacked by many a man.

While contemplating the nature of Aesc this morning in my personal journal, I begin to think about it as a symbol of prima materia. In his book, “Secrets of the Runes” by Nigel Pennick, the name he gives to this energy/substance is Ond. It appears to be a word not much used elsewhere, but he indicates that it is the name used by the Northern Tradition. In that sense, Aesc is the rune of Ond, pure Ond that underlies everything that exists. It is the interface between things material and things immaterial that allows them to connect and interact. In that sense, when Aesc is present, it can show that connection to ond, and through that, the ability to sense it’s movements, flows, frequencies and other aspects of it. Of course, by being connected, or rather, aligned with ond, it opens up possibilities and senses that may have not been present before.

June 6, 2010 - Eolhx

Eolhx

Eolhx is the letters “x” or “z”

Anglo-Saxon Rune Poem (from ragweedforge.com)

The Eolh-sedge is mostly to be found in a marsh;
it grows in the water and makes a ghastly wound,covering with blood every warrior who touches it

June 6 - June 12, 2010 - Thurisaz reversed

Thurisaz reversed

Thurisaz is the sound “th”

Anglo-Saxon Rune Poem (from ragweedforge.com)

The thorn is exceedingly sharp,
an evil thing for any knight to touch,uncommonly severe on all who sit among them.

June 5, 2010 - Aesc Reversed

Aesc reversed

Anglo-Saxon Rune Poem (from ragweedforge.com)

The ash is exceedingly high and precious to men.
With its sturdy trunk it offers a stubborn resistance,though attacked by many a man

Aesc reversed denotes that the pure force of the Upper World is turned downward, flowing into the worlds below. In the sense that it is a symbol of the primal substance, often called aether, prima materia, azoth, or spirit, it isn’t free flowing and purely available, but instead is grounded into the world of substance. It’s downward flow is vitalizing and purifying existence. In a sense, it is fortunate if you turn your focus towards the material world and engage with it as an expression of the immanent divine. It is there that the energy is abundant, and in connecting with it, you can fill yourself today.

Crafting your own runes

A comment made on a post has been floating around in my head as perhaps something I should blog about. So here I go.

When making your own set of runes (main for divination purposes) there are a few considerations that go with it. To me, I see them as:

Material
Coloring
Finish

There are many materials you could make runes in. From a historical perspective, the main materials would be wood, metal, bone and stone. The modern perspective opens up that a little by including in clay, plastic, and precious stones. Each has their users, their proponents and their opponents. I myself chose wood.

When it comes to wood, lore-based information indicates a fruiting tree (so anything that bears fruit, including nuts). But, in this day and age, where there is a multitude of wood available, even to the amateur wood carver making his own set of runes, you might want to visit a specialty woodshop and see what is available. When I did this, I choose a piece of rosewood. It doesn’t produce fruit (at least nothing edible) although it is known being rich with volatile oils, and can be steam distilled to release them. As I was working with it, I realized why it was called rosewood. One of them is that, when the wood is freshly worked, it’s pink. The other one is that there is a faint odor that is realized from the wood, that is vaguely floral and rose-like. I really quite enjoyed it.

I did make a set before this one, with simple basswood that I purchased at an art supply store. The basswood is excellent to learn on, as it is very forgiving and easy to work with. The rosewood, well, not so much. Fortunately, I had already done it once before, so I was somewhat prepared for the experience. That is one of the lessons I found with wood. Depending upon the wood, carving can be very easy, or challenging. If you want to know about the kinds of wood you can choose from, I have found an internet search to be a font of information. You could also burn them into the wood as well, but I find that leaves out the option of coloring them later.

Stone is plentiful and readily available medium. While historically, stone was reserved for marking important sites or memorials, I have met quite a few people with stone runes, usually the rune being painted on. One was even made of small river pebbles, with the runes sharpied on. They were quite nice, and very durable. You could also get larger stones used in gardening, and then paint or mark runes on them. If you really wanted to develop a unique skill, try stone carving. There are even simple power tools that can do this, but they need to be handled with skill and safety.

Bone is also a good medium and traditional. While I have never personally seen a bone set, I have some listed for sale online, and suggested it to others. Finding bone that you can cut and carve, well I am not very sure where to get that. If you had a connection with someone perhaps with a farm, or in a slaughterhouse, you might try getting a bone. A good consideration is the animal that it is taken from.

Metal, while a good idea, is also not the easiest of materials to work with. Having taken a jewelry class, you will need a great deal of specialized equipment to make a decent working set. It will also way as much as a role of quarters. Depending upon the metal, it might also cost you a great sum of money as well, as silver is rather expensive, and if you want a gold one, well, um yeah. You might look into stainless steel, or copper or brass, but keep in mind that you might need to clean them periodically to keep oxidation off, although an oxidized copper rune set might be very aesthetically pleasing.

Clay is readily available and using some modern version, you might create some really nice runes, all in the safety of your own home. If you are taking a ceramics course, you could even create something really spectacular with a kiln and some glaze, but that can be hard to come by. The only problem I have with clay/ceramic is fragility. The first set of runes I had was ceramic. They were very nice. Because I took them everywhere, and used them fairly often, they had a tendency, when exposed to certain stresses to break. I would be as gentle as I could, but even then, sometimes, it would break. So, if you aren’t going to be traveling with it, and will keep it in a padded container, ceramic/clay can be a very nice medium.

I have seen plastic “runes” of other types. I have never seen one made of the runes used in Scandinavian countries. I am not ever sure where you could get plastic to make those types of runes. You would probably have to buy them.

The final type is crystal. This is much like stone, except for the structure of the crystal itself, which you might have to consider if you are carving into it. It would also require skill and specific instruments to carve it. Unlike some stone, it does not lone itself well to sharpie or paint unless you have already carved out the area. Most of these are usually going to be store bought.

After the choice of medium, it is a choice of how to and what to color your runes. You may choose not to color them at all, but I have found that by using a color, it makes the runes vivid and easily seen, especially when working with natural materials. The traditional color to use is shades of red, generally darker. The most traditional coloring was blood, which has a distinctive brown-red hue when it dries. Other traditional pigments I have read about are red ochre (a type of mineral) alder sap (which is also red) and any other natural red pigment. You could also just use paint. As you can see, red is the traditional color used for runes. That is the color I used, and I highly recommend it. I have read that one could use blue, and in Edred Thorsson’s books, he give color values for each rune. You could color each rune a different color, given those values, or any other color value that you might determine, from other texts, or personal insight. Most ceramic runes I have seen were colored red, while the precious stone runes typically used a metallic pigment or leaf to color in the carvings. If you are using paint or liquid pigments, you could add essential oils, drops of fluid condenser or personal concerns, to add power or special connection to the runes.

The final question is finish. With some mediums, that will be an automatic step, namely clay/ceramic and metal. It is required to color the runes to make them stand out. The only time it would not be needed for clay is when you are using the kind you can bake at home in your oven at low tempatures, which do not require a glaze. But you might want to give it a finish anyway, afterwards, just to seal it. With wood, you don’t need to seal it, but I found that even a clear seal changes the appearance of the wood dramatically, and also makes the rune stand out more (especially in red). It also gives it a very nice finish that gives it a completed look. Stone does not necessarily need a finish, and neither does crystal, except perhaps over the painted or inked on rune, although if you are using a sharpie on granite, it will be fairly enduring even without it.

Once you have completed creating the rune set, you might wish to consecrate it. I personally find that the process of carving, coloring, and finishing actually consecrates it quite well. Once the finish dried, I would then go back, and chant/sing the name of each rune, placing them in the order given by the aettirs or in other symbolic arrangements, perhaps in an eight-pointed star, or a circle with the runes in the circumference. You could also use any of the methods recommended by other rune authors to consecrate and empower/awaken your runes.

June 3, 2010 - Khalk reversed

Khalk reversed

Khalk is the letter K

There is no rune poem for Khalk. It is a Northumbrian Rune.

Khalk reversed, the overturned cup. There is no point in crying over spilled dreams. You can’t keep them contained, inside all the time, Eventually they need to pour out, and be tested, and worked on and either cast aside, altered, or made manifest. But then you can pick the cup back up, and fill it up again, with something new.

Book Review - Odin's Gateways

I just recently came across Odin’s Gateways, while taking a peek at my local occult shop’s section on runes. As the owner is always staying abreast of new books, she also knows how to tempt me with new things as well.

To judge a book by it’s cover, first of all, I have to say, it looks very nice. The image of ravens in flight in front of a large tree, while behind them are small runes, hiding in the leaves, branches, trunk and root of the tree is very nice.

It is a short book, approximately 181 pages of text, divided into four sections, based upon phrases from the Havamal (the sayings of the high one) dealing with the runes. The phrases she uses are “do you how to ask?” (for the first section) “do you know how to interpret?” for the second section and “do you know how to carve?” for the third section. The fourth section is “Do you how to cast?. Each of the sections connects with information that is related to those questions.

The first section, “Do you know how to ask?”, deals with cultural lore, both historical and contemporary, and the cosmological underpinnings of the runes. The Havamal, Eddas, Gods, the roman history of Tacitus, contemporary uses, and the various worlds of the Northern Tradition and the spiritual inhabitants of each, from Asgard to Hel are all noted related to the reader. I found this section to be the most pleasurable, as it relates what can be very dense and challenging information, without overwhelming the reader. It also encourages and provokes the reader to seek out more and come into their own. It also shares some of the debates that surround runes in the contemporary use, and shows the various traditions of people who use them, from Asatru, to the Rune Gild, and the New Age movement. Over all I would say the first section is one the best, as it makes something that can be very dense and daunting, approachable, but definitely doesn’t leave you as though feeling you need to be in the author’s side, but able to form your own opinion and approach.

The second section “Do you know how to interpret?” introduces the reader to each rune in the Elder Futhark, and also establishes the connection of Odin with the runes. Each rune is given a few pages to introduce it conceptually. My only, and totally personal, comment is that her reduction of runes and gods to mechanistic energy currents or psychological states. While I suppose that might be useful to enter into the information for a neophyte, it does an injustice to the gods and runes. In reading the book, it does not seem that Ms Gerrard has this viewpoint personally, but in order to walk a safe line of acceptability, she has promoted that perspective. I did find some of her personal interpretations of runes interesting, however as while there was some difference from my own, I would say most of the difference comes from language expression of the experience of each rune.

“Do you know how to carve?” was probably the shortest, but also the most practical, as it contained the most advice when it came to getting and using your own set of runes. Having carved my own rune set for divination, I can say, what Ms Gerrard informs people with is almost identical to what I would say.

In “Do you know how to cast” she gives introduction to the use of runes and magic, through divination, taufr (talismans and bindrunes) and galdr. This section I had the most mixed response to. In the chapters dealing with divination, I actually had to say I enjoyed that the most. She talked about different methods (casting vs layouts) and also gave very practical and useful delineations, which work for either method. My most favorite was the “To Do List” reading. A symbol division of 4, in which areas are a cross section of urgency and important can give a lot of information that can be a great opening for a reading, especially when a client has a lot of questions and is unsure where to ask. She also explores the idea of reversing or not reversing runes, which is a common subject among all types of readers. Interestingly enough, while I do read runes in reverse, I don’t read Tarot that way. For me it has more to do with numerical statistics then anything, but I can be a necessary decision, especially if you start reading professionally.

After Divination, Ms Gerrard focuses on magic. I have say, I was not so impressed with this section. While I do find her example of secret bindrunes using a simple 8 point star pattern of lines (imitating the Aegishjalmur design) her drawings with it leaving something to be desire, mainly an artistic and aesthetic touch. While they can be effective, I do just like it when it shows more thought and effort then just a few lines on a point. Also, using only one line and imagining that designation of where they locate leaves a lot open to interpretation. How do you know if you are using the right bindrune? I also found one statement, which I did not agree with at all. When you are creating bindrunes, especially in groupings large then 3, the uniting of lines will create the appearance of others runes. Ms Gerrard indicates that you should avoid that, as those runes are “hijacking” the bindrune. I definitely disagree with that, as in most cases I have found that those additional runes are usually runes that inspire harmony, and so to me, are harmonizing the spiritual forces that the runes symbolize. She also mentions Isa, especially when using runes like Cenaz or Jera. In variant Futharks used by other Northern Tradition root cultures, Jera and Cenaz have the upright line that marks Isa, and it seemed that Ms Gerrard overlooked that. I find that in creating bindrunes for taufr is where the art enters into the art and practice of magic, especially with runes. While for a beginner it can be helpful to keep the runes distinct, if you have completed the two year process of working with runes, I think allowing for personal aesthetics is a benefit.

There is a difference between galdr (magical incantations) and the galdr indicated by Ms Gerrard. While the names of rune can be used as galdr when working with a solo rune, I find that when combining runes, or doing galdr for bindrune or taufr, more then just repeating the names of runes is called for. Just doing the rune names is more specificall rungaldr (Rune Galdr). When it comes to doing magic, this is another example where the consideration of the magic and art comes in. Poetry, a developed seed chant, or a way to vocalize the combined power of the bindrune would be better then just chanting/singing a single rune name in succession with others.

Over all, I think Odin’s Gateways would be a fine book for any beginner, and a decent book to add and read to any runemal’s personal library.

June 2, 2010 - Ior

Ior

Ior is the dipthong “io”

Anglo-Saxon Rune Poem (From ragweedforge.com)

Ior is a river fish and yet it always feeds on land;
it has a fair abode encompassed by water, where it lives in happiness

Ior is the rune of boundaries, liminality and happiness. In the midst of this week of anxiety, we are reminded that within us is happiness. Joy is fleeting, an experience of pleasure based upon external values, where money, food and peace in the home leave us free from momentary worry. Ior, as a gamarunar, goes beyond those things, breaking the boundaries of external value, and showing that by being fluid in a situation we can find lasting internal happiness.

It is my stance that happiness is not an emotion, but a state of being. This is partly based upon the dictionary definition of happy and happiness. It’s secondary meaning is an emotion, but it’s primary is a state of being, once gained, never truly falls away, and is not based on external factors. Even in great loss, once can be happy, and thus find opportunities to express joy, even if that joy is only at the sense that you have survived.

IT'S NOT CATTLE!!!

So, I am not sure who did it first, but, for some reason, every book writer on runes out there seems to give "cattle" (as in cows) as the meaning for Feoh. A closer meaning would be chattel (a unit of personal property), which is related to the word capital (as in money). I don't know who started this trend, but if I could travel back in time to correct it, I would.

It's not cattle. All the rune poems give the meaning of "Wealth." Wealth first. Cattle as a symbol of wealth, sure, but it is secondary to "Wealth." Wealth can be gold. It can be wheat. It can be the GNP of a country. It can be the annual dividend of stockholder. It can be a fistful of bills. It could mean the head of cattle that you own as a wealthy rancher and raiser of livestock.

If you want cows go to Ur, the auroch aka Bos Primigenius. That is cattle.

June 1, 2010 - Tiewaz

Teiwaz

Teiwaz is the letter T

Anglo-Saxon Rune Poem (from ragweedforge.com)

Tiewaz is a guiding star; well does it keep faith with princes;
it is ever on its course over the mists of night and never fails.

Tiewaz is the rune of wisdom, judgement and integrity. The name I have given is a variation on a name of one of the God’s of the Aesir, Tiw (or Tyr) who was a god of judgement, but also law, and integrity. In the rune poem, Tiewaz is also associated with the Pole Star, an excellent image for direction, wisdom and integrity.

Tiewaz indicates that wisdom needs to applied in your actions today, as well as that wisdom might be coming to you. It also shows that need for judgement, and that by making decisions, you might be able to clear the proverbial path before you, and walk it without obscurity.
Tiewaz as a rune makes it’s appearance often on weapons, especially swords when it has been engraved. It is theorized that it was a magical symbol that empowered the sword so the wielder would be victorious in battle, helping him to strike true as he fought.

Rune of the Month - Ear reversed

Ear reversed

Ear is the dipthong “ea”
Anglo-Saxon Rune Poem (from ragweedforge.com)

The grave is horrible to every knight,
when the corpse quickly begins to cooland is laid in the bosom of the dark earth.Prosperity declines, happiness passes awayand covenants are broken

The divination for June 2010 indicates Ear reversed. Ear reversed shows that the influence of Ear (the slow acting force of decay and corrosion) has been temporarily halted. While contemplating this in my journal this morning, I came to two conclusions.

1) On one hand it can be seen as something that is being held onto and maintained past it’s time of usefulness or relevance. Something about you is just being held onto, when it really needs to be let go. Since it is for a whole month, it might be something that have attached a great deal of importance to, and need to release by degrees. It might also be a multitude of lesser things. An extreme image of this influence that comes to mind is “Hoarding.”
2) It could also be a stabilizing force. By holding the decaying force in abeyance, it allows for things to slowly build up, and become stronger and more durable. It is a moment of rest, and also of healing and recovery, before the process begins anew, allow the stronger to establish itself so that things don’t collapse as the weaker elements are purged away.
I am not terribly sure which it is, but there is no reason why it could not be both exercising their influence.