VI. Gods and Sacrifice

Simply by saying the portion of the Song of Creation entitled “The Ordering of Men and Gods”, one is giving a prayer of thanksgiving to the Gods, for all that they do- one is doing them an honor.

But if you wish to utilize the Song in full rites of sacrifice to the Gods, one must continue on the song a bit longer, after its natural end- for after all, the Ordering of Men and Gods is the last portion of the song. After that order is named, and humans and Gods established in their proper place- meaning that the person making the song is also established properly- the Gods can be addressed directly, most properly, at that point.

Honor and fame to the Victorious Ones, the Long-Arm's host,
To their triumph over darkness, to their gallantry,
To the bonds they made with mortal women and men;
To their siring of heroes, their coming among villages,
The ever-young, ever living Lords of the heavenly plains
Of royal dwellings under the hollow hills.
By their leave every art and every needful craft
And every good favor comes to man:
A generous flame to every hearth and peace in every breast.

(pause for other activities or to re-orient the mind)

(invoke holding the arms up in a Y formation, or holding up a symbol or sign of the God, or a horn or cup full of an offering liquid.)

Honor to the Ancient White One,
Rememberer of ages,
Husbandman to Banba,
Ancestor and Father first and oldest,
Present to his people who do him honors.
Present near the light of the sacred flame.


This “naming of his presence” scarce needs to be explained any further- Fintan would be present in the words and because of their creating power- just as he is present in the Otherworld, and in this one. One must be able to feel the presence of the God tangibly- repeat the naming/invocation until you do, but let the repetitions draw deeper into you, lowering your voice to a whisper if need be. The key is to strengthen one’s connection, not one’s voice. Let the mind and senses go open, and the heart be open.

Perfect words spoken in perfect awareness always change the “presence” or atmosphere of a place; they create a corridor from the Otherworld to this one, through the mind and body of a person of the Sacred Art.

If one’s connection with the land, the sovereign union, or the awareness of the unifying wholeness of spirit is there, one’s words will echo into every conceivable place and bring about changes- the presence of the God, if the God wills, will come, and quickly. If it does not, then the offerings can still be made- as honor-toasts, done with respect.

Whatever the case, you should continue “naming the presence” or “creating the presences” of other Gods or Goddesses or spiritual beings that you intend for your rite. The “altered atmosphere” of rites, when the Godly powers have attained to them, is a sign of their presence, and a time when they can be addressed with respect, told of their people’s needs, or their people’s honor for them and desire to grow into spiritual beings more like them. Music may be played, poems recited, drums beaten, or anything of the sort- silence while the company experiences the divinities in their own way is also an option. This entire “middle phase” (between the naming/invocation of the Gods and the actual naming of the sacrifice victuals into a holy state and their dividing) is optional, but usually moving enough to be included.

When you have done what you will, and wish to make the sacrifice proper to the sacred powers, the charm for this sacrifice follows the pattern of the libation-charm for the land spirits that I described earlier. Here’s a sample for an offering of bread and mead:

Grain made holy for the feast of Gods and men,
Honey mead made holy for the cup of Gods, men and women,
Grain blessed by the Ancient White One,
Grain blessed by the Woman of earth and rivers,
Honey mead blessed by the Ancient White One,
Honey mead blessed by the Woman of earth and rivers,
Made full of power for the feastfulness of those here;
A song made for our feast-table,
A song of sacredness sung for our feast.


Of course, this assumes that the Ancient White One and the Woman of earth and rivers are two of the powers you have named to receive the sacrifice. If you had named Lugus, for instance, the victuals should be blessed in his name.

At this point, the sacrificer’s knife would divide the foods and a portion would be given to the sacred fire, or poured around the fire- the portion for the Gods- and the rest would be eaten by what men, women, or children participate in the rite. Some of the liquid- if any- given to the Gods should be caught in a bowl and used to sprinkle the area and the people attending (one may anoint their foreheads as well) and especially sprinkled or wiped onto offering poles or red-branches. It can be saved to sprinkle other places that may be in need of the God’s power or presence, especially if the Gods were asked specifically for their protecting or consecrating power on a place.

I find it fulfilling to offer those attending the sacrifice with me the opportunity to take parts of the “God’s divided portion” to the fire themselves, or to the place where it will be poured, and pray privately to the Gods (or out loud, if they like) for their own personal intentions for the rite- and then have them give the portion.

True to the old days, large feasts can be turned into sacrificial feasts- uncooked meats and vegetables and fruits can be blessed like this, divided, and the rest taken inside to be cooked into large meals for those who attended.

As is clear from the various activities we have been discussing, the entire edifice of the Old Way can be found- and named- by the power of this great Song. What began as an attempt to create or channel through inspiration a daily verbal incantation of balancing has become a source for many things.

Is this song the only song? Indeed not- it is my song, but it is also a song that has been used many times, by many beings. Anyone can use this song; I give it freely for personal use or use by Pagans like me- but anyone who is ready can find their own song of creation, and use it in precisely the same manner, or a manner best befitting.

* * *

What follows now is Part Three of this work, entitled “Cymru”, in which the Song of Creation is re-shaped to suit native British mythological themes. The same 49 Mysteries can be found in “The Song of the Creation of Cymru” as were found in the original Song of the Mysteries- with one important exception: the hawk is replaced by the eagle of Llew. It only makes sense that Britannia’s mysteries would enclose the eagle: Rome’s touch in Britain was profound, though they never managed to touch Eire.

The mysteries and powers and divinities invoked by the Song are too primal and universal among the Celtic people to need a radical change. Those who wish to see the Cymric vision of the song may proceed- knowing that it is used in all ways precisely the same as the Song from Eire; but it is a different song, for different powers, at times and in places, are invoked.

Specific explanations of its mythical and historical characters will have to fall to those who are learned in Welsh mythology and history; further explanations of the practical use of the song are not needed- just the song itself.


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