There are also many tales within more recent folklore of faeries taking the milk of cows, causing milk to sour, or making cows’ udders dry up when they are wronged or denied in some way.
Pigs
Pigs may seem an unlikely contender for the Faery kingdom, but herds of pigs are a regular feature of the old Celtic tales. Manannan of the Tuatha de Danann owned a herd of pigs that could be slaughtered and eaten one night and be returned to full health the next day. The Norse god Freyr, who was the king of Alfheim (Elf-Home), rode a wild boar named Gullinbursti, who had the power to travel over earth, air, and sea. Myrddin Wylt, the mythical or possibly historical wild man of the woods, from whom the more well-known mythical figure of Merlin arose, counted a pig as one of his close friends of the forest and famously addressed poetry to him.
Insects
It seems obvious to point out that there is a close connection between certain insects and the Faery realm, though there is not a great deal of lore to support this. Faeries are often depicted as riding on the backs of certain insects, particularly dragonflies, ladybirds, and butterflies. Though it would be easy to dismiss this as mere fancy and aesthetic license, and mostly a result of the “flower fairy” mentality, there is some truth to be found in this. To “ride” an animal of any kind is a term that can be used in a Witchcraft context to mean not literally physically riding but to astrally ride alongside the spirit of that animal within its body. In my experience, Faery beings have an intimate relationship with all creatures of this land, which enables them to do this easily, and I believe this explains many instances of unusual behaviour in animals and insects, particularly when guarding or protecting places of power and sacred sites.
I have experienced this phenomenon a number of times with insects, particularly bees, wasps, butterflies, dragonflies, and damselflies. A lovely example occurred whilst in the final stages of working on this book. I had printed out the document and my husband was reading it in the garden when a butterfly landed on the page and stayed there for some time. It landed precisely on a line of the interview with R. J. Stewart that appears later in the book, which states that faeries never appear with “little butterfly wings”! A sense of humour is so important when dealing with Faery.
Dogs
Dogs feature heavily in Faery lore, predominantly as the red-eared white hounds of the otherworld. Known as the Cwn Annwn in Welsh tradition, they would accompany Arawn or Gwyn ap Nudd on their hunts or on Samhain night when the host would ride out, bringing fear to the land. The Tuatha de Danann and the Fomorians also had hounds; in fact, the name of the great hero of the Tuatha, Cu Chulainn, means “hound of Chulainn.”
There is a strong tradition of strange black dogs associated with Faery in England that is almost interchangeable with stories of ghosts and ill omens. The goddess Hekate is also associated with black dogs. They were sacrificed to her in ancient Greece at the crossroads, and in her triple-animal-headed form she would often have the head of a dog. This may be seen to relate to her underworld aspect as Hekate Chthonia, which logically would be the aspect most connected to the Faery realm. Much of the folklore connected to black dogs in England also connects them to the crossroads, generally as the lost souls of hanged criminals.
The wild relatives of dogs, wolves and foxes, also have strong connections with Faery lore worldwide. Foxes are particularly apparent in Chinese folklore in the form of shape-shifting femme fatales known as huli jing, and also in Japan, where they are known as kitsune.
Deer
Deer, both hinds and stags, are an important part of Faery lore. In Celtic myth, it is often a white stag or hind that leads the way to the otherworld or lures unsuspecting huntsmen. Faery beings sometimes take the guise of deer, and Faery kings are often depicted as having the antlers of a stag. To be transformed into a deer for a span of time is also a punishment inflicted on mortals in a number of tales.
Cats
Katharine Briggs states that “cats were almost fairies in themselves” (A Dictionary of Fairies), and I’m sure that most cat lovers would agree! They certainly have otherworldly qualities. There is also a tradition of Faery cats in Scotland known as cait sith, and a number of people have suggested that the phantom big cats sometimes sighted on British moorland, such as the Beast of Bodmin, may, in fact, be Faery cats.
There is also an increased reporting in recent years of “shadow cats,” which are cat-size shadowy creatures that have been seen to pass through walls and into impossible spaces. These may well be a form of Faery being.
Serpents
As ancient chthonic symbols, serpents often arise in Faery lore. There are a number of beings who are described as being part serpent, such as the Faery bride Melusine. You may not realise it, but you see an image of Melusine every time you pass a Starbucks.
Mythical Beasts
There are a large number of mythical beasts associated with Faery, and we do not have room for an entire bestiary within this volume! Many of these may be encountered when working in the Faery realm either in journey, meditation, or other work in an altered state. Dragons, like Faery beings, are agents of the deepest powers of inner earth and the elements, and they may be encountered in wild landscapes and high, rugged places where the primal power of the land may be felt. Unicorns, beautiful symbols of purity and spirit, are also often seen in vision.
Esther Remmington, “Earth Dragon”
(www.estherremmington.com)
Symbols
Symbols are not an obvious or traditional part of Faery Craft, which is mostly concerned with the world of nature and the otherworld; however, there are a number of symbols that have particular associations relevant to Faery. Symbols change and evolve in their meaning over time, and if you wish to add your own personal significance and insights to those mentioned here, that is completely acceptable as long as they resonate with the symbol’s innate energy. As you will see below, many of the associations connected with these symbols are surprisingly recent, and they all hold a number of equally relevant meanings.
from top: septagram, pentagram, triskele, equal-armed cross,
four-leaved clover, the great glyph of the sidhe
Septagram
The seven-pointed star known as a septagram or heptagram is used by many people who walk a Faery path to represent their beliefs, where it is known as the Faery Star or Elven Star. However, this is a very recent usage of this ancient symbol, originating in the 1980s with the Elf Queen’s Daughters, a group originating in the hippie movement of 1970s California who believed themselves to be elves incarnated into human form to help guide the planet towards peaceful ways. This inspired many to “awaken” to their own natures as incarnated magickal beings, such as the Silver Elves (who are interviewed later in this book) and the Otherkin movement that emerged in the 1990s and use the septagram as their identifying symbol.
One of the oldest uses of this star is to represent the sphere of Venus and the power of love within the Qabalah. It can also be found within Christian tradition as a symbol of protection, representing the perfection of God, hence its appearance (inverted) on some sheriff’s badges in the States.
The recent nature of its association with Faery does not, however, detract from its significance in this role. The number seven and things of a sevenfold nature are deeply significant in understanding the patterns of the world and the otherworld. It is fascinating to note that in most accounts from folklore of people being taken away to Faery, it is for a period of seven months or seven years, and through ancient myths the number seven constantly occurs in matters relating to Faery.
Not only can the septagram represent the seven planets, the seven days of the week, and the seven colours of the rainbow, but it can also stand for the seven directions that we use in our work with Faery and other paths that acknowledge the importance of above, below, and within. It has been used as such in the structure of this
book, taking as the chapter headings seven qualities needed in Faery Craft, which correspond to the seven points of the star, the directions, and the elements. For this purpose, the points have been labeled sun, moon, stars, earth, air, fire, and water. The sun in this case represents the inner light of self, the within, and the quality of honour. The moon represents the below and magick, the stars represent the above and connection, earth is trust, air is knowledge, fire is inspiration, and water is joy. As the book progresses you will grow to understand not only why these qualities are so important but how they relate to the directions, as well as how they relate to the contents of the book.
The sacred number three can also be found within the mathematical pattern of this star, as when it is drawn point to point, every third point connects. This shows that though its use as a sacred symbol within Faery traditions is extremely recent, the relevance is inherent within its very structure.
Pentagram
The five-pointed star, or pentagram, has become very recognisable as a symbol of Pagan beliefs, most particularly Wicca-based paths. Within this context it represents the balance and power of the five elements of earth, air, fire, water, and spirit, and it is used for both invoking and banishing the powers of these elements, as well as for protection. However this symbol has been in use for many thousands of years and by many different cultures.
The Pythagoreans, to whom it symbolised mathematical perfection, used the pentagram as a secret symbol by which to identify each other. They identified the five points of the star with the five elements, which continues to this day. Though many Christians may look down upon this symbol due to its overuse in kitschy horror flicks as well as its association with Pagan and magickal paths, early Christians actually saw the pentagram as symbolic of the five wounds of Christ and a sacred symbol of universal truth.
Though the earliest evidence of this symbol can be found in ancient Babylonian pottery fragments from 3500 bce, in truth this symbol has been with us since the evolution of life. The mathematical pattern it encapsulates is seen throughout the natural world—in flowers, in the core of an apple, even in our own bodies. Of course the innate relationship with the elements and perfection in nature gives this symbol great relevance in Faery Craft, as does its effectiveness as a symbol of protection.
One more fascinating detail is its use in the Grimoire tradition for summoning Faery beings. The grimoire magicians would use very similar methods to summon Faery beings (normally to help in the hunt for hidden treasure) as they would for angels and demons, only instead of a constraining triangle outside the circle, they would use a pentagram. As grimoire expert David Rankine notes in Grimoires, Fairies and Treasure:
Even then the magicians were sensible enough not to try and apply the same rules to fairies as to demons, recognizing that fairies were already far closer to the physical realm and able to manifest at will rather than needing to be summoned, as was the case for many other spiritual creatures.
Triskele
The triskele or triskelion is an ancient Celtic symbol that can be seen to have many meanings within its obvious triple nature. The name of the symbol translates as “three legged,” and indeed, in its form as the Manx flag, the spirals do take on the appearance of legs in motion. We may think of it, then, as a symbol of cycles that never end—the journey of life, death, and rebirth that is constantly in motion. The three spiral arms of the triskele may also be seen to represent the past, present, and future, with the centre showing where we stand in connected awareness of all that is, has been, and will be.
The number three is of great magickal significance and can be seen repeatedly and in many forms in Faery lore. We see it in triple-formed goddesses such as the Morrigan, Hekate, and the Fates themselves; in the triple crossroads, the paths leading to hell, heaven, and elfland; in the traditional three wishes of fairy tales; in the three guesses to the riddle; in the three colours of red, black, and white; in the three realms of land, sea, and sky; and even in the elements of earth, air, and water, with fire being the divine spark that dwells within.
This ancient symbol resembles the patterns of water as they flow around obstacles in a river or the ripples that are sent out when a stone is thrown into a pond. Indeed, spirals can be found throughout nature—from the DNA that carries seemingly impossible amounts of coded information, to the largest galaxy. As above, so below. The world of nature holds much wisdom, and that is reflected in this symbol. We should always remember that we stand in the centre of our own world, sending out ripples of consequence with every action.
Equal-Armed Cross
The equal-armed cross within a circle is the alchemical symbol for earth and is used within Qabalah to represent the material realm of Malkuth. As a symbol for earth, its significance to Faery Craft is obvious, not the least because this symbol actually appears naturally on the Faery stone known as staurolite.
We can also see this symbol as representing the sacred crossroads between the worlds. In Celtic myth and folklore there are many tales of humans and Faery beings meeting at crossroads, such as the Cornish tale about Cherry of Zennor and the famous Scottish ballad about Thomas the Rhymer. It can also be seen as the meeting place of the paths leading to the four cities of Falias, Gorias, Murias, and Finias, which, according to the eleventh-century collection of ancient Irish folklore called The Book of Invasions, are the cities from which the godlike Tuatha de Danann originated. These four cities are connected to the four elements of earth, air, fire, and water and the sacred hallows of the Tuatha de Danann.
This symbol can also be seen to represent balance between the elements and the position of the self as being always in the centre of the directions, protected by the circle. If you think of the symbol as being two lines crossing rather than four lines meeting, then it can be seen as the meeting of two worlds or two polarities (in this case, our world and the otherworld). The worlds are brought together to meet in the cross and brought together in harmony by the circle, an ancient symbol of perfection.
Four-Leaved Clover
The four-leaved clover is nature’s own symbol for (or perhaps from) the Faery realm. Though most people know that to find one of these rare mutations is considered to bring good luck, many have forgotten that they are also said to bring the ability to see Faery and herald the presence of nearby Faery beings. In many old tales there is mention of an ointment that enables true sight of the otherworld, including the ability to see through glamour, of which it is said that four-leaved clover is a chief ingredient. In the old tale The Four-Leaved Clover, a milkmaid is given extraordinary vision of mischievous piskies through accidentally placing some in her hat:
In looking it over by the candlelight she found a bunch of three-leaved grass and one stem with four leaves. She knew it was no strange thing that she should see the Small People… (Hunt, Popular Romances of the West of England).
Conversely, this rare gem of the natural world is also said to bring protection from the faeries. We can interpret from both these meanings that the four-leaved clover gives one a certain amount of power within and over Faery. It is also interesting to note that from above, the four-leaved clover resembles the equal-armed cross surrounded by a circle.
The Great Glyph of the Sidhe
“I dreamed I was back under the mound of Gortnasheen, which seemed as if lit by flickering candlelight. I stood before the glyph, which glowed as if lit from within, unable to tear my eyes from its shape. Then slowly I became aware of a figure…”
John Matthews, The Sidhe
Symbols can be extremely effective gateways, and one especially suited for connection to the land and beings of Faery is the great glyph of the sidhe. This symbol was first brought to public attention by the author John Matthews in his channeled work The Sidhe: Wisdom from the Celtic Otherworld, but it has been in use by certain practitioners for some time. This labyrinthian spiral provides a simple yet extremely potent method
for communicating with Faery beings and for visiting their land. There is no prescribed method of use, nor is there any guided element to the result. By providing this symbol, I am merely presenting a door through which you may choose to pass, and all visions and insights will be your own, authentic and unique to you.
Exercise: The Great Glyph of Sidhe Meditation
If this is a method you wish to try, I recommend painting the image yourself onto a canvas of reasonable size, thus imbuing it with your own energy as well as giving you a clear image large enough to use for meditation. You may wish to light a candle on either side of the image, as John Matthews suggests in his work.
Simply sit comfortably in calm surroundings and allow the symbol to become ingrained in your vision. When you can confidently see the symbol in your mind’s eye, close your eyes and see the spiral becoming a tunnel stretching out before you, through which you can pass. Remember to act with courtesy to all beings you might meet and to act only with truth and honour and be grateful for any gifts or wisdom received. Afterwards you may wish to make notes or drawings of any further gateway symbols received. The glyph can work both ways, so you may find beings coming through it to greet you.
I have a piece of slate upon which I have painted the glyph in gold acrylic that forms part of my outdoor Faery shrine. It can also be incorporated into artwork to bring it into greater circulation and strengthen the bridge between worlds, as I did in my own Tarot of the Sidhe.
Suggested Activities
Research
Spend some time researching the area where you live. If you have moved areas or even countries during your life, as so many of us in the modern world have, also learn about where you were born. If you’re not sure where to start, try your local library and the Internet. Are there any traditional sacred sites? Any wells or springs? Any trees or areas of woodland with significance or lore attached to them? What are the stories of these places? Also look into your own ancestry if possible. What are the traditions of your ancestors? Do any of your relatives have any tales of Faery contact or strange happenings?
Faery Craft: Weaving Connections with the Enchanted Realm Page 5
