There is powerful poetry in the succession of trees, for the death dream of Willow in February is dispersed by the return of the Alder in March to summon the greenwood awake.
Alder springs from the watery places that are the interface between the mortal world and Fearie. The Alder tree is called King of the Waters. His red inner bark, and purple buds display his royal status. He is connected to two other water loving trees. The Queen of the Waters, Willow, and the Lady of the Woods, Birch. White Alder looks very much like Birch, suggesting a sibling relationship; Birch stands at the threshold of Winter, as Alder guards the gateway to Spring.
Anyone who has walked in a young wood will find the Alder as straight and densely packed as troop of warriors. In the Gaelic battle of the Trees, Alder was said to fight most fiercely. Small wonder the Celts made their battle shields of Alder wood, for despite its softness, it was imbued with the essence of the brave Faerie King. Alder also represents the Wounded King. When he is cut, his wood turns red as blood. Reflected in the waters, these wounds may appear to be blood spilled forth as a sacrifice to earth, guaranteeing the resurrection of all living things.
Alder is the only deciduous tree to have cones as seeds. As we know from the Greeks, the pine cone represents the pineal gland, seat of vision and communion with the Divine. Dionysis carries a staff with a pine cone at the tip, emblem of masculine fertility. Alder cones grow in a spiral pattern, symbolizing the role of male of fertility in the cycle of death and rebirth.
Bran the Blessed
The famous Irish warlord, Bran the Blessed takes the Alder as his special tree. He is another aspect of the Faerie King, Lord of the Underworld who springs up to the surface world with the strengthening of the light. Alder is called The Shining Tear of the Sun. This image suggests the rising sun reflected in water, inspiring a vision of the golden oracular head of Bran coming up from the Underworld. Ravens attend on Bran. Raptors that thrive even in winter, ravens carry messages from the dark realms into the light. The sacred Head of Bran speaks true poetry: Death conquers all; there is no death.
Because of its associations with Bran, the Alder is sacred to poets and singers, which were synonymous in ancient times. Mortally wounded in battle, Bran prophesied the events that would follow his death. He then told his men to cut off his head and carry it with them. Like the alder wood, it never decayed. They carried Bran’s head to Harlech where is sang for seven years. They carried it to Gwales where it spoke prophecies. They brought it to London and buried it under the White Mount, site of the Tower of London, to protect England from invasion. If not for the hubris of King Arthur digging the head of Bran up, it would still be there. Yet the ravens remain to sound the alarm.
Alder has another aspect of the Between. He bears female catkins. These attract caterpillars that spin cocoons and re-emerge as moths and butterflies. Darkness to light, death to rebirth once more. Butterflies attend the King by day. Moths keep him company at night. Alder is the foundation of magic—-transformation of the world, and of the self are in his power.
So primal is the power of trees that Irish lore says the first man was and Alder and the First woman a Rowan.
Alder is fertile and generous. Though soft, he has an oily bark making him resistant to water and fire. Therefore pilings for lakeside houses and docks, boats and even wooden shoes have relied on the wood of the Alder to last. He also gives many colorful dyes. Red, purple, yellow, brown, and black. Dye production and spinning of cocoons make Alder sacred to the Weaving Goddess, who also attends upon the Wounded King in the Arthurian Legend. He feeds many creatures. Bees love his flowers, grouse eats leaves, buds and seeds, rabbits chew his bark.
Alder bark is prepared for medicinal use by carefully scraping off the dead outer bark and using the green, living tissue underneath. Alder bark can be simmered in water to make a wash for very deep wounds, rashes, and burns. The leaves and bark are simmered into a bitter tea for tonsillitis and fever. He helps with diseases of damp, relieving joint pain and inflammation.
March is a time for making spiritual decisions. Prophecy and divination rites come in handy for this., assisting your intuitive processes and abilities. Alder flowers and twigs are used as charms in Faerie magic. Whistles made out of Alder shoots call upon Air spirits. It’s an ideal wood for making a pipe or flute.
> Our hopes and dreams for the New Year can be manifested in the Alder time. Alder grows quickly, so focus on things that might be stalled. Use this bounding new energy to resolve old disputes and more forward into the new.
Ogham Name: Fearn
Deities: Bran the Blessed, Faerie King, Astarte and Tammuz, Phoroneus inventor of fire
Use: Gateway to Faerie, Divination, Protection, Healing, Musicianship
Willow, Saille, Willow,
Oh silver drenched tree!
Long leaves fall on water
Rippling in moonlight
Ladies who bend
On the threshold of February.
Saille ( Sahl-yeh)
Moonlight on willow is a mysterious sight, especially on the threshold between Winter and Spring when the bare trunks cast crooked shadows over the frosted grass like spirits coming through the mists of the Otherworld. The voices of the Faeries can be heard in the rustling of the willow branches, breathing, into the ear of the poet, their songs.
The willow is a remarkably feminine tree. It thrives near rives and streams, lakes and ponds, it shimmers in the moonlight, and provides shelter under its umbrella of graceful branches. Uniquely beautiful and mysterious, the willow invites entry into another world within the compass of its branches. If you have ever been inside a large weeping willow then you know how instantly the outside world ceases to exist as silence and diffused light encompass you. It is this quality of the willow that makes it one of the first trees of Faery.
Pagans have always associated the willow with the Triple Goddess of the Moon. Sacred to Hekate, Goddess of the Dark Moon, the willow stands as the gateway to the Realm of Shades or Death. The weeping of the willow mirrors the grief of those left behind, as was the Greek poet Orpheus who, armed with willow branches, entered Hades and returned, not alas with his beloved wife, Euridyce, but with the gift of poetry.
Tree of Poetry
As the “witch’s tree” tree of poetry, transformation and healing, willow is connected with the Bright Brighid whose Day of Initiation is February 2, Candlemas, a Festival of Lights. In the Pagan mind, death is also an initiation, a transformation not to be feared any more than the peace found under the branches of the willow tree under the full moon when one feels transported to a strange and beautiful place.
The willow tree reflected in the waters brings moon magic to earth, creating a numinous, visually confusing, liminal effect. This may be why it the tree of romantic love, for what can be more difficult to interpret than the varying faces of love in the throes of deep attachment? Valentine’s day is also in February, suggesting that Love is the fulfillment of the Light celebrated at Candlemas.
In some traditions, willow is the thirteenth tree. This may fit it in at the leap year, the liminal 29 day of February, that was the modern concession to the natural rhythmic sequence of the lunar year.
Throw your shoe up high
into the branches of a willow tree;
If he branches catch and hold your shoe,
You soon will married be.
The Witch’s Tree
The magical properties of willow are as numerous as its medicines. Faery magics of enchantment, wishing, romance, and divination under the moon are enhanced by the presence of willow. Its powers are beneficial, protective, nurturing, inspirational, joyful, and peaceful. This throws a provocative light on its role as tree of mourning, for how can death be evil when couched among so many life giving powers? Rather, willow traditionally inspires courage, and helps one overcome the fear of death. Willow is flexible, fluid, resilient, and strong. It focuses intuition, induces trance states, attracts Faeries and other spirits. It eases transitions, especially into the unknown.
Because of the many medicines dispensed by the willow, it was much sought after by Cunning people for healing purposes. As a feminine tree connected to the moon, willow bark provides pain relief for menstrual cramps and child bearing. The gemstone for willow is the blood-red carbuncle. This is another image that evokes women’s mysteries of bleeding and fertility. Burning willow lends energy to healing magic.
Willow wands are excellent for moon magic, and its wood is good for making magical harps, accompaniment for for poets for ancient times.
Divination by Willow:
Willow increases psychic vision into the watery Otherworld Realms under the waves. Dreams, and premonitions are stirred by willow’s influence on the deep subconscious mind. Just being near a willow tree can induce trance states in which prophetic oracles can be mediated from Faery into our reality. Divination by smoke from a willow fire while passing a willow wand through it to disturb its shapings, is a powerful divination technique for those with the second sight. Scrying into water where willow is reflected on nights of the full moon, is venerable tradition.
Awakening of dormant powers and emotions, pay attention to dreams. Love is n the way. Positive transformation from one way of life to another, The need to be flexible an adaptable. Relief from painful situations. Encounters with Faerie, or the deceased.
Ash, ash of the long strong twigs
You timber creation!
Branches of ash trees gather new light
In the deep, dark mazes of January snows.
The ancient Ash, bare branched in winter, is a witchy sight. Its gnarled branches and tangles of twigs seem to be holding secrets, perhaps spells cast up from its roots by the Three Fates who, in the perpetual night of the Underworld, weave the threads of destiny. This is the power of World Tree, Yggdrasil, the Ash.
It was from the branches of the Ash tree that Odin hung himself for nine days and nights to gain the power of the Runes, or magical speech that could harness and transform Fate according to his will. For is it not true that when something is named, and especially when it is written, that it comes within our power to control it?
As for the Ogham, the Ash, bare in its season of mid winter, is like a great scrawl, signifying that outward life is unformed as yet, that the great energies emerging from below the ground, are not yet set into the patterns of things to come. This leaves them vulnerable to the Magician who can grasp the pliable tangles and move them into the patterns of his or her desire. It is as if the branches can be arranged so that they write one’s spell upon the heavens.
The Ash is a tree that loves the wet ground. Thus it is said to be rooted in the Well of Wyrd, the deepest portal into the Underworld out of which the Runes were born. Around the rim of the Well, the Weavers sit, catching the Runes in their threads to re-create the world.
At the base of the tree is the serpent of wisdom, who winds its way up the trunk of the tree, and into its branches, to peer out of its leaves in search of those who would seize the knowledge of the forces of Creation. Thus Shamans, known in European cultures as Witches, used this tree as a road into the deepest levels of the primal Unseen, and then again, as a ladder rising up the planes into the highest of Celestial realms, where the Moon, Sun, and Stars confer another kind of wisdom.
It is the branches of tall and ancient Ash tree that gather the new light from the Heavens and bring it to Earth in preparation for renewal in Spring
Yggdrasil: The World Tree
When entering and leaving Faery by way of the inverted tree, it would lend potency to your working to know the lore of the Ash, for this detail will lead you deeper into the Underworld, and open more realms to you.
The efficacy of magical work hinges on the build up of certain images in the aethers that surround planet earth in the sub-lunar plane. The older the images, the more power they hold, and that power is made of the thought forms of every person and animal who has projected their intention towards it. An avatar as ancient as the Sacred Ash, the World Tree, Yggdrasil, is a battery of potent imagery that can catapult you through time and space to where the soul imprints of past Magicians and Witches are still active.
Divination by Ash: New energies are stirring deep inside you. take time to meditate and grasp the messages that your subconscious mind is sending you.
One way to do this would be to cast the magical circle with the ash as its central axis. Let it take you into the Underworld, and then up into the stars. Pay attention to what you see, and what and whom you meet. Keep a journal, and record of your journey, and by doing so, self knowledge will come to you.
You may begin to have prophetic dreams. Write them down. remember the Scared Letters and their power to influence the Web of Wyrd at this time.
Magical tools made of Ash are said to be most potent as they draw on the strength of the World Tree.
Interview by Kala Ambrose: author, psychic intuitive, wisdom teacher, inspirational speaker, muse, oracle and voice of The Explore Your Spirit with Kala Show at www.ExploreYourSpirit.com
Reprinted with her kind permission.
My good friend Judika Illes has written the most sumptuous encyclopedias. Her 5000 Spells, Encyclopedia of Witchcraft,Encyclopedia of Spirits have been sources of endless inspiration and fascination. They are great reference books for not only magic but history, anthropology, and culture. This is a wonderful interview she did with Kala Ambrose–and she even quotes yours truly.
Welcome to Kala’s Quick Five, where I chat with fascinating authors, artists, teachers and researchers and ask them five questions about their work. My guest today is Judika Illes, an independent scholar, educator, and author of several books of folklore, folkways, and mythology about the subjects of magic, the occult, divination, diverse spiritual traditions, witchcraft, and the paranormal. She has a certification in therapeutic aromatherapy and taught introductory courses on that subject for the Australasian College of Herbal Studies (2000-2002). She is a practitioner of taromancy, tasseography, and other forms of divination. Her published books include The Encyclopedia of 5000 Spells, The Encyclopedia of Spirits, The Element Encyclopedia of Witchcraft, and the topic of our interview today – The Weiser Field Guide to Witches.
Kala: Judika, it’s a pleasure to speak with you again. I so enjoyed our conversation on the Explore Your Spirit with Kala Show, where we discussed your work and your book, Magic When You Need It. We’re back again, this time to discuss your new book, The Weiser Field Guide to Witches: From Hexes to Hermione Granger, From Salem to the Land of Oz, which hits the stores on October 1, 2010. What prompted you to write a field guide about witches?
Judika: My very earliest encounters with books of magic and metaphysics involved the old Samuel Weiser bookshop in New York City and so it is such a wonderful, marvelous karmic turn of events that I now find myself affiliated with the Weiser publishing house whose historic roots stretch back to that store. Last year, Weiser Publishing initiated a metaphysical field guide series: Raymond Buckland’s The Weiser Field Guide to Ghosts was the first book in the series. When Weiser asked whether I would like to write a field guide to witches, I jumped at the chance. I am honored to be following in Raymond Buckland’s footsteps and I feel so blessed to be working with Weiser Books.
Kala: The book covers famed historical legends including Aleister Crowley and Marie Laveau to popular cinematic figures such as Harry Potter and the Wicked Witch of the West. I’m excited to see that you included historical figures as well as modern day pop icons. I saw Wicked performed live this year and found it to be a fantastic twist and representation. What did you uncover during your research for this book that you found to be most fascinating?
> Judika: Did you read Wicked: The Life and Times of the Wicked Witch of the West, the Gregory Maguire novel that the musical is based upon? I loved it. It addressed a lot of my own personal issues with the MGM movie, The Wizard of Oz. These issues are discussed more fully in one of my other books, The Element Encyclopedia of Witchcraft, which has substantial sections devoted to L. Frank Baum’s novel, The Wizard of Oz, the movie versions, and Maguire’s novel. I would really like to see the Wicked musical one day.
I’m always fascinated by twists, always trying to look at old subjects from different or fresh perspectives. I can’t say that there’s one most fascinating thing in The Weiser Field Guide to Witches for me because the entire topic enthralls me. There’s nothing about witches, witchcraft, or even just perceptions about witches and witchcraft that doesn’t interest me. But I am always uncovering new details. Researching is like intellectual archaeology and so you’re always digging up something new, something that will help you re-examine a topic from different angles. During the researching of The Weiser Field Guide to Witches, I was able to uncover new details about people I’ve written about before- new for me, anyway.
For example, while writing this book, I read a lot of Sybil Leek’s work: now I’ve loved Sybil Leek since I was a kid and saw her on television, I think on the Mike Douglas show but I did not know she had written a children’s book, The Jackdaw and the Witch. I also hadn’t realized that all of Sybil’s many books, many of which were best-sellers, are now out of print, which I find very distressing.
For a change, I focused on Franz Bardon’s involvement with folk magic and herbalism, something that is rarely discussed as emphasis tends to be on his work with Hermetics. For those unfamiliar with him, Franz Bardon is an extremely significant figure in the history of witchcraft and magical practice but he was a modest man who lived behind the Iron Curtain and is all too often overlooked.
Many of the details of Veronica Franco’s life were new and surprising for me. She was a Venetian courtesan who survived Europe’s witch hunts. She was a rarity: a well-educated, very literate and articulate woman who successfully defended herself against witchcraft charges and was freed. When you write about the history of witches and witchcraft, you inevitably tell a lot of sad stories. Veronica did not have an entirely happy ending—she was quite poor at the end of her life—but it was a nice change to discuss a witchcraft-accusation tale that did not end in complete tragedy.
> Kala: Of all of the titles that women have claimed, the term witch I believe, has been the most misused, misunderstood and misrepresented over the centuries. I have past life memories of practicing the wise woman ways and being condemned for doing so in those past lives. It is so sad at times to still see how misunderstood the term is to this day. Can you define and bring some clarity to our readers on who witches were and who they are today?
> Judika: I have similar past life memories, Kala. My absolute favorite definition of “witch” is from author Aline DeWinter—I quote it in The Weiser Field Guide to Witches: “A Witch is a person who sees everything as alive and powerful. We walk in a sacred manner and all of nature responds.” I can’t possibly say it any better.
For me, a witch is a person possessing both spiritual freedom and personal power. A witch has a kind of freedom of soul and mind, even if she sometimes finds herself oppressed by life’s circumstances in other ways. A witch is in touch with her own personal spiritual and magical power and makes conscious choices and decisions regarding when and if and how to access and use that power. I think those are eternal definitions that apply now and forever.
But the word “witch” also gets very carelessly thrown around a lot: it’s evolved into an umbrella term encompassing incredibly diverse, often contradictory definitions. That’s as true now as it was in the past. The word “witch” has historically been applied to healers, priestesses, magical practitioners, shamans, and practitioners of polytheistic faiths. It’s also used as a derogatory term for people interested in the occult, unconventional people, and also as a misogynistic term for women in general, especially uppity women who don’t display sufficient submissiveness.
I am constantly asked whether I’m a witch and my consistent response is to ask the questioner to define the word “witch” for me, which usually really annoys them. Now I’m not a particularly confrontational person but it’s crucial that the word “witch” be defined: you have to be careful because one person’s definition is not the same as another’s. I define “witch” very positively. I have always loved and admired witches: as a child, I perceived Hansel and Gretel as a tragedy because the witch was murdered. Hansel and Gretel was a really stressful story for me to hear but I was worried about the witch, not the kids. However, I am well aware that not everyone shares my perspective. So when someone asks you if you are a witch, for safety’s sake, before you answer, you need to know whether they perceive witches as role models or as servants of Satan.
>High Priestess by Thomas Dodd
> Kala: In your book, you also explore the ancient goddesses including Isis, Hekate, and Aradia among others. Do you feel that the calling of the high priestess is returning? Many express an awareness that the Divine Feminine energy is rising at this time, how do you feel this will affect the world?
> Judika: Lilith, Kybele, Yemaya, and Oshun are also among those included in The Weiser Field Guide to Witches. And Naamah and Nephthys, too. I can’t overlook my Ladies! I create field guides and encyclopedias and so I try very hard to write from a neutral position. I present a lot of diverse information, I’m not writing only about my own personal experiences but, that said, a lot of what I write about is very personal to me. I write from within the traditions, not merely as an observer.
I think the calling of the high priestess has never gone away—the difference is that in the 21st century more of us are now in a position to heed that call and to demonstrate our devotion in a public fashion and thus serve as inspiration and encouragement to others. So the response to the calling can expand exponentially whereas previously, for reasons of safety, these practices had to be maintained under deep cover, very discreetly and secretly and on a much smaller scale. If the Divine Feminine energy is nurtured and allowed and encouraged to rise, then that will be humanity’s salvation. We are in trouble without it. But it is very much a calling.
There is a basic shamanic tenet that the Call of the Spirits—or a specific deity or goddess—can only be ignored at your own risk. If you feel that call in your heart, mind, or in your blood or bones, you must respond. The alternative is depression, illness, general frustration and unhappiness. But the wonderful thing is that the spirits—and I use that word as an equalizer, I write about so many of them from so many traditions that I very consciously try not to impose a hierarchy—the spirits do respond. They speak with us and will negotiate methods of veneration and communication that suit each of us. So just as there are many ways to be a witch, there are many ways to be a high priestess. And new paths are being forged all the time. We are blessed to live in a magical and spiritual renaissance and it is crucial that we nurture and protect it.
> Kala: Judika, looking back at your life thus far in review, how has your practice of the metaphysical arts enhanced and affected your life. Have you been surprised by the journey along the way?
> Judika: Kala, it has enhanced and affected every aspect of my life. I cannot even begin to imagine who I would be without it. I do believe in the concept of the witchblood. My fascination and identification with witches, witchcraft, and metaphysics manifested at such an early age: it was just there inside me from the start. I can’t even begin to explain it otherwise. I have personally had a very circuitous spiritual journey, a surprising and unpredictable personal path. For example, what I am working on now is another massive encyclopedia, this one devoted to saints of many spiritual traditions. If you had told me twenty years ago that I’d be working with saints, I would have laughed. I wouldn’t have believed you. And yet here I am.
Kala: Judika, thank you for joining me here on Kala’s Quick Five. More about Judika and her book The Weiser Field Guide to Witches at www.judikailles.com
> Judika: Thank you so much, Kala! It’s always a pleasure speaking with you!
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Excerpt from The Roses of the Moon and Hungarian Mythology
I haven’t been writing the blog as much as I should because I have had to focus on getting my novel The Roses of the Moon ready for publication in September 2010. I have deadlines….
Writing a novel is journey on so many levels that trading a lifetime of travel for writing has not been too difficult. It gets to be time to start using life experiences, gleaning the lessons, and sharing the wonder of adventure while taking a much needed rest. My feet are getting itchy again, so next chance I get away I go!
The Roses of the Moon was begun in Autumn of 2007 and was written in one month clocking in at 50,000 words. It was originally called The Golden Stairs and was based on the Grimm’s Fairy Tale, Rapunzel, told from the point of view of the witch. I had done illustrations for Rapunzel while living in London in a rose covered haunted house. At the time I was meeting many people from the Balkans and Turkey and got the idea that, though we think Grimm’s Fairy Tales are German, some may actually be from central Europe as many of them they have that kind of dark quality associated with vampires and werewolves. This notion inspired me to set The Golden Stairs in Royal Hungary during the Ottoman Wars. In Grimm’s Rapunzel, the young mother-to-be desires the rampion growing in the witch’s garden. The witch desires the child and uses the mother’s desires against her to take the baby when it is born. With this in mind, I made my witch the creator of irresistible enchanted gardens full of magical plants similar to those in Nathaniel Hawthorn’s Rappucini’s Daughter.
The Golden Stairs begins with the childhood of the witch, Marcsa Virag, growing up in a Ghormanghast-like castle in the mountains of northern Hungary where her evil mother figure, the Countess Orzsebet, practices Black Magic in the manner of the famous Blood countess, Erzebet Bathory. The first half of the book is about Marcsa Virag’s confrontation with the legacy of her mother, the Ottoman Turks sack the castle in the middle of the book, and after that Marcsa Virag lives alone in the ruins building her gardens. That is where the Rapunzel story begins.
The novel grew to over 100,000 words. My editor suggested that I change the title, cut the book in half and make the two stories into separate books and go on in the manner of a family saga. She also suggested that I flesh out the background mythology.
Writing as Magical Practice
Magic has been defined as the “Art of changing consciousness at will.” When a writer wants to create a fictitious world, he or she taps into the subconscious mind and calls it up from the deep mind. You never really know where the images and ideas come from, and its quiet astonishing that these visions arrive at all when you think about it. There were glimpses of the background myth in the original version, but I hadn’t focused on it but on the outer layer of Marcsa Virag’s story. When I did go deeper into the mythology of my alternate world, I was surprised to find how deep it went and that the story was very close to the actual ancient creation myth of Hungary.This is not the first time intuition and imagination tapped into the truth, but it is a very strong example of how an open, attuned mind can work.
A few people have asked me to share this with them so I thought I would.
In this post, I will give the very start of the creation myth I made up for the novel. in the second blog post, I will re-print an article by Radomir Ristic about the Central European Dragon people.
Creation Myth of Castle Szeppasszony in The Roses of the Moon
Marcsa Viraghas found a book called The Book of the Red Queen and the White Queen. The story of those two Queens hold a key to who she is, and why she has had to endure the things she has.This is the opening of that ancient book found in the library of a monastery carved into the mountain in the time before time began.
Book of the Red Queen and the White Queen
Here is Recorded the Creation of the World
Before Death was Born
In the time before time, Earth gave birth to the Moon. And in the very place where the Moon first entered the darkness of the night sky, a terrible upheaval was wrought in Heaven whose ruler, the Sun, now had a rival.
Fearing that his sole rulership of the stars and planets was to be undermined by this usurper Moon, Sun and the Angels held a great council where they gave birth to War. The Moon must be killed before its wan, silvery rays weakened the cosmos by stealing the light of the Sun.
Some Angels argued that the Moon might offer some benefit to the Sun by keeping watch over the darkness. It would merely reflect the light of the Sun to Earth and relieve the blackness of the night with its much dimmer light. The Angels who did not trust the Moon shouted the others down, saying the Sun’s ancestors, the Stars, gave light to the darkness and nothing more was needed.
Gradually these arguments broke the Angles into opposing camps;, the ones who sided with the one and only Sun, and those who had fallen in love with the Moon.
The new child, War, grasped Heaven in its talons. The Angels who sided with the Moon became rebels and used the light of the Moon to secretly attack the Angels of the Sun. But alas! The Angels of the Sun called upon their ruler to blast the Moon with a light so bright that the Moon lit up like a beacon and was made to reveal the hiding places of the her Angels. The Angels of the Sun renewed their attack on the Angels of the Moon and cast them out of Heaven. They fell down into the hole in the Earth left open by the birth of the Moon. Sun proclaimed the Angels of the Moon to be Devils, and their new home in the Earth he called Hell.
The Angels of the Moon felt betrayed by she whom they had loved and ever after called her fickle. The Moon wept because of this, all through the nights, watering the earth with her tears. She watched over her champions, bound by love and desire for redemption.
His sole rulership of the universe besmirched, the Sun fled higher up into the sky, leaving the Moon to oversee the Fallen Ones in the center of the earth. Because of her love and desire, Moon gazed upon the earth and pulled it to her, and in sorrow for her betrayal, she hid her face and pulled away. And because of this, all unwittingly, the Moon gave birth to Time. With the passage of Time, the power of the Moon increased. Her light fluctuated as she observed the affects of her love and tears upon the earth with great emotion. The Angels of the Sun tried constantly to imprison the Moon in the low hills, blackening the night but for the undying Stars. But soon, the Angels of the Moon released their Mistress from the hills to shine in Heaven once again.
All that lived on the Earth grew strong under the Moon. Her protection in the night gave birth to Sleep. The Moon married Sleep and they gave birth to Dreams, Dreams brought forth things; the tears of the Moon became the waters that gave life to the things of Dreams such as Trees and Flowers, metals and jewels. Out of the Birthplace of the Moon, the great hole in the Earth, there grew the First Tree and it wept.
The Birthplace of the Moon is the darkest place on Earth.
The first upheaval began deep within the earth. Shelves of rock shifted, caves opened, waters gushed forth, and the land was shoved and levered towards the sky forming ridges and deep valleys. A wave of mountains rose and undulated like a serpent finally solidifying in the crescent shape of an old moon. Curled in the topmost horn of that moon was a ring of high mountains. The fallen Angels of Moon climbed out of the womb of the Earth and gathered along the tops of those mountains like thunderclouds and desired to possess the land. The Angels who stayed in the underground built majestic palaces of out of the jewels and precious metals of the Earth and practiced great magic.
Soon, waters sprang up through the ground, filling crannies and gorges and spilling over the land. Two wellheads spurted up into that O of mountains from which two streams ran, one to the east and the other to the west. Many new and wondrous creatures came out of the streams that began to walk upon the land. As the waters of the streams grew deeper and their currents thrummed over the rocks, two identical Queens were deposited on the shore and they were Giants.
A grove of trees grew up the hill away from the streams. Pure white they were and under their leafy branches, the Queens made their dwelling.