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The Faery Tradition
The Faery Tradition
Among the distinguishing features of the Faery tradition is the use
of a Faery Power which characterizes the lineage. It is an ecstatic, rather
than a fertility, tradition. Strong emphasis is placed on sensual experience
and awareness, including sexual mysticism, which is not limited to heterosexual
expression. In this, as in the general spirit of spiritual exploration,
there is more risk-taking encouraged than in other Wiccan traditions which
may have specific laws limiting behavior, and there is a certain amorality
historically associated with the Tradition. We see ourselves, when enchanted,
as "fey"--not black, not white, outside social definitions, on the road
to Faeryland, either mad or poetical. We are aware that much of reality
is unseen, or at least has uncertain boundaries. As in all the Craft, there
is a deep respect for the wisdom of Nature, a love of beauty, and an appreciation
of bardic and mantic creativity. The Gods are not just constructs or psychological
forces from the collective unconscious. The Gods are real, with a system
of morality different from our own, and we have a responsibility to them.
The Faery Tradition, in common with initiatory lineages of the Craft which
practice possession, is a mystery tradition of power, mystery, danger,
ecstacy, and direct communication with divinity. This is in contrast to
traditions which practice psychodrama or psychotherapy through ritual.
The negative side of this style of working is that we have a lot of initiates
who did not return unscathed from between the worlds. The tradition is
not for everybody, and it is not amenable to mass attendance, like many
Pagan paths.
There is a specific corpus of chants and liturgical material, much of
it stemming from Victor Anderson and Gwydion Pendderwen, which provides
a frame for many Circle-workings, and poetic creativity is highly valued.
The magical practices of the Faery (or Feri, as Victor spells it) Tradition
are heavily invocatory, to encourage possession, which relies mainly on
psychic talent or sensitivity to occur. Rites are stylistically diverse,
and may draw from many sources. There is an initiatory lineage, traceable
to Victor or Cora Anderson or Gwydion Pendderwen. Victor tells of antecedents
of the present tradition in the coven in which he was involved in the l920's
and 30's in Oregon. Hallmarks of the tradition are possession of secret
names, energy-working using pentacles and visualization of blue fire, a
body of poetic and liturgical material, deities and archetypes specific
to the Tradition, the doctrine of the Three Selves, a cingulum of a specific
color, a "tribal" or "clan" feel to the coven, the use of the horned (sometimes
called "inverted") pentagram, and the honoring of a warrior ethic. For
example, we are urged not to coddle weakness, support others in insincerities
or self-deceptions, or to submit one's own Life force to anyone or anything,
which leads to a fierce openness called the "Black Heart of Innocence."
The Faery Tradition is gender-equal, and all sexual orientations seem able
to find a niche. For many, there is a strong identification with the realms
of Faery and with shape-shifting.
Although Victor is universally recognized as the founding teacher of
the tradition, it is possible to identify influences which shaped the tradition
before its present form evolved. There is a strong African diasporic influence,
primarily Dahomean-Haitian, and the Three Selves theory is an outgrowth
of Huna beliefs. Neither is Victor the only source for material presently
within the tradition. Each initiate seems to draw the tradition in a new
direction and uncover new ground.. Some practitioners, such as Gwydion
and Eldri Littlewolf, went deeply into shamanic forms. Gwydion also worked
extensively with Celtic religion, even learning Welsh early in his Wiccan
training. Other influences (Arica, Tibetan meditation, and Ceremonial Magick)
entered as Gabriel Caradoc began teaching. Victor, Gwydion, Caradoc, Brian
Dragon and Paladin wrote darkly beautiful ritual poetry and liturgy. Gabriel's
classes provided an excellent training in magical visualization and his
students continue his teachings. Poet Francesca De Grandis and songwriter
Sharon Knight have added their inspiration to the corpus of material. Starhawk
has used concepts developed in the Faery Tradition in expressing her beliefs
and practice, and has given the clearest explanations widely available
of concepts such as the Three Selves or the Iron Pentacle.
Copyright 1988 by Anna Korn. May be reproduced if credit is given.
More information on this Tradition may be obtained from Francesca De
Grandis' web site, The
3rd Road, describing a living branch of Faerie shamanism.
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