The Faery Tradition by Arianrhod Wolfchild (Admin)

[Dept of PMM Artists & things]

The Faery Tradition

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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.