In this blog series, we will go through the runes as they are recorded in the Anglo-Saxon or Old English Rune Poem. The first rune in the Anglo-Saxon Futhorc is Feoh. Feoh translates as cattle, and in Anglo-Saxon culture cattle meant wealth, so this is the modern interpretation of the rune. It is the root of our word, “fee” with regards to money. The segment of the Rune Poem reads thus:
Wealth (Feoh) is a comfort to any man
yet each person must share it out well
if he wants to win a good name before his lord.
To pronounce the name of this rune, you’ll need to get a little continental in your throat. The first part is easy, fay. The second part uses a glottal stop at the end similar to the word loch pronounced with a Scottish accent, but much softer. Just slightly close off the back of your throat when you end saying och and you’ll have it. Fay-och. You can also bypass this, if it is troublesome, by pronouncing an “h” sound at the end. Fay-o-hhh, but this technically isn’t perfect.
Cattle, whether in the form of cows, sheep, goats, etc. were a major part of Anglo-Saxon economy. In a cash poor society, where few people had many gold or silver coins, your wealth was determined by how much you could sustain yourself and your community. If you had cattle, you had dairy and meat, as well as the offspring with which you could barter, trade or even sell for coin. Cattle is wealth that is moveable, as opposed to inherited wealth such as a building, home or farmland. Feoh’s meaning is deeper than simply wealth however, for it is wealth that has to be looked after, wealth that has to be managed. Cattle don’t just take care of themselves on the farm. Feoh is wealth that is earned from hard work. It is not a gift, like the rune gyfu which we will look at later in this series. Rance states that Feoh may have been the first rune in the Futhorc because of the importance between keeping cattle and agriculture, and the development of writing.
Yet Feoh does not just mean wealth alone; wealth must move, it must be put for the benefit of everyone, and not hoarded solely for personal use. Wealth occurs when we have an excess of something, an abundance of a resource. If our needs are just being met, we are sustained and sustainable, but not wealthy. If we have an abundance, then sharing that excess helps everyone achieve a sustainable state. We see this happening in nature, where through underground networks of roots and funghi trees can help other trees to grow when they are placed in less favourable positions regarding sunlight or water. A community is stronger when wealth is shared, rather than the fewest having the most, (which sadly the latter is the norm for today’s society). The rune poem admonishes hoarding, and tells us that each person must share in their wealth if they want a good reputation in the eyes of others. In the class system that existed in Anglo-Saxon culture, a lord ruled over the land, and if he/she was a good lord, they demonstrated the Anglo-Saxon virtue of sharing with gifts, which then in turn help the barons and other nobles to be able to share their wealth with the common folk, who then shared their wealth in turn. It wasn’t a perfect system by any means, and we must remember that slavery was a thing back then, so it wasn’t all mead and roses. However, what we can take from Feoh today is that we must put back into whatever system we live in, or give back to our family, friends and community with the wealth or abundance that we have, in order for the ecosystem that we live in to thrive.
When meditating upon the shape of the rune, you can see both the meaning of cattle and the meaning of sharing wealth. The two upright branches can resemble cow or oxen horns in profile. It can also look like a person in profile, either giving or receiving something with arms outstretched. I have used the rune Feoh in trance posture, either sitting or standing with arms outstretched before me, palms facing each other. It provides a feeling of well-being, and brings energy to the head area especially, giving a sense of fullness and comfort, just like the Rune Poem states.
I’ve meditated upon the wealth in my life, while gazing or holding this rune in the palm of my hand. I look for ways to share that wealth, so that I am a contributing member of my community and ecosystem, rather than simply taking and consuming resources all the time. Feoh is giving with arms outstretched, and also learning to receive wealth with grace. All too often, we dismiss our many talents and what may come from them, and in doing so we do ourselves a disservice. The work that we do should provide benefit, and in that benefit we are hopefully able to share back.
At the end of harvest, here in England we celebrate Harvest Home, which is today a church service usually followed by a supper. In ancient times, the last grain of wheat or barley left at the end of harvest was left out for Woden’s steed. In East Anglia, there is the tradition of leaving a small portion or corner of the field unharvested, for the land/nature spirits, or for the Devil himself as it is now known as The Devil’s Plantation. Where do you have abundance in your life, and where can you give back? Where is the line between holding a good relationship with your family/friends/community/ecosystem, and martyrdom? Do you give too much? Remember, there is nothing wrong with comfort, as long as there is reciprocity. Wealth also takes many forms, and does not just mean monetary wealth.
Feoh is useful in spellcrafting for monetary purposes, but remember: you have to work for your wealth. It will not just land in your lap. In divination, it can mean all of the above, with the importance of sharing something underlying the outcome. It may ask that you reassess what is valuable in your life, or what skills you have in abundance. Chanting the rune while standing in the posture which emulates this rune can help you do discover more about the wealth in your life, and what you need to do to achieve it and subsequently share it so that everyone benefits. There is an element of reputation with regards to this rune, which is something that our Anglo-Saxon forebears held highly in esteem. No one would want to be seen as miserly. Remember, wealth is an abundance of a skill or resource, and so share wisely.
 Pollington, S. Rudiments of Runelore, Anglo-Saxon Books (2011), p.17
 Translation by Stephen Pollington, from Rudiments of Runelore, Anglo-Saxon Books (2011), p.45
 Rance, S. The English Runes, Secrets of Magic, Spells and Divination, Anglo Saxon Books (2017), p.19
 Albertsson, A. Wyrdworking: The Path of the Saxon Sorcerer, Llewellyn (2011), p.114
In this series of blog posts, I will be looking at the runes in the Anglo-Saxon tradition, known as the Anglo-Saxon or Old English Futhorc. As I have been studying various forms of Heathenry for quite a few years now, I have felt a calling to connect more fully with my ancestry and a real pull towards learning more and experiencing the ways of Anglo-Saxon, or English magical and religious traditions.
The runes have always appealed to me more than the Druidic ogham. I tried for years to get on with the ogham, but it never took. However, the runes come naturally to me, and seem a lot less abstract, for their shapes vary much more than the ogham, and settle much more easily in my mind. When I visited Sweden a couple of times, finding the runic standing stones just outside a village or on the side of a road in the middle of nowhere was fascinating. Though I couldn’t quite read it fully, when I ran my fingers down the markings the stories came alive within me. Similarly, I am surrounded by the heritage of my Anglo-Saxon ancestors, living as I do so very close to the Sutton Hoo ship burial site here in the East of England, and with the Saxon recreated village of West Stow nearby.
Runes are so much more than an alphabet, as they are also used in magical workings. Alphabets the world over have been used in this way, not merely to communicate information on a mundane level, but also to boost and support magical workings in various formats. I have used runes for many, many years in my magical work, and it’s always been successful.
In Scandinavian texts, the runes are won by Odin, who hung himself on the world tree for nine days and nine nights in order to gain the insight and wisdom of their mystery. Indeed, the word rún in Old Norse means mystery or a magical symbol. In Old English, rún means a learning, a consultation or even a whisper or confidence. Though the continental traditions viewed the connection of Odin and the runes as paramount, it seems less likely that the Anglo-Saxons associated their Woden with the script, as their runes developed much later, without the attached story concerning Woden. This is interesting, because the translations of the eldest runic alphabet, the Elder Futhark, depend on the Old English Rune Poem, the Norwegian and Icelandic poems. The Elder Futhark stems from the Common Germanic language, whereas the Anglo-Saxon Futhorc contains the sounds we hear in the Old English language. So, we are using poems from similar languages in order to understand the eldest version of the runes, the Elder Futhark, because we have no original Germanic Rune Poem to help with translation.
Were the stories made to fit with regards to Odin, or was the original story simply not remembered by the time the Anglo-Saxons developed them for their own use? Was the story left out by the Christian monks who recorded it? We may never know, so we look to the Norse, Icelandic and Old English poems to help understand and translate the eldest runic script. Those who work from an Anglo-Saxon context may or may not place an emphasis on working or connecting to Woden when working with the runes.
The Norse Elder Futhark consists of twenty-four runes. This is the most common form of runes you will see today, sold at many Pagan marketplaces, and with many books written about their meaning. The Icelandic Younger Futhark developed around CE 800, and has sixteen runes. The Anglo-Saxon runes date to CE 400, and so lie in the “middle” historically of the Germanic and Icelandic versions, containing 29 runes. Though the dating of the Old English runes land in a definitively Pagan era, it was only recorded for posterity in the tenth century by Christian monks, and so we have to bear a possible bias in mind in the translation and interpretation of the Old English Rune Poem, with information possibly left out for various reasons.
It is called the Futhorc (or Futhark in Norse and Icelandic) because that is what the first runic letters spell out. Each rune has a verse attached to it, which describes or alludes to the mystery of the rune itself. My favourite translation is Stephen Pollington’s version, from The Rudiments of Runelore (Anglo-Saxon Books, 1995). I highly recommend picking up this work, as well as Suzanne Rance’s The English Runes, which uses Pollington’s translation. It’s also important to understand the context in which the runes were used, and better understand the mindset and pagan practices of the Anglo-Saxon. For this, I recommend Alaric Albertsson’s works Wyrdworking: The Path of a Saxon Sorcerer and Travels Through Middle Earth: The Path of a Saxon Pagan.
The Old English Rune Poem is a beautiful work, which sometimes speaks in riddles and is a joy to try and figure out on your own before looking up each definition and interpretation from learned sources. Much like the riddle game between Bilbo and Gollum in The Hobbit (and we all know Tolkein was a big fan of Old English culture and society, let alone the runes) it is fun to tease out just what is meant by a “gannet’s bath”, or which rune is referred to as “cold and slippery, glass clear and glistening like gems”. Simply leave out the name of the rune and read the poem, and it’s all a riddle.
The Old English Rune Poem is the eldest recorded rune poem, as the Norwegian Rune Poem dates to the 13th century, and the Icelandic Rune Poem two hundred years later. I have found very few copies of the Old English Rune Poem in actual runic script, however, here is one that may help you get an idea as to what it would have originally looked like, from the website All Things Linguistic.
Here is the Anglo-Saxon Rune Poem, or Old English Rune Poem, in full, translated online by Dr Aaron K Hostetter:
The Rune Poem
Wealth is a comfort to every man,
although every man must share it out greatly
if he would obtain a portion of the Lord’s glory.
The ox is single-minded and over-horned,
most savage beast, fighting with his horns,
well-known moor-stepper. That is a proud creature.
Thorns are severely sharp. To any thane
seizing it is an evil, measurelessly cruel
to every man who comes to rest upon it.
The mouth is the beginning of all speech,
a support to wisdom and a comfort to the wise,
and a prosperity and trust to every earl.
Riding is a comfort to every warrior
in the hall, and very trying to those who sit upon
a powerful courser over the mile-paths.
A torch is known by every living being to be on fire,
white and bright, most often burning
where the nobles rest themselves within.
Gifts are an honor and praise of men,
a support and a distinction, and to every wretch
mercy and meat to those who are free from other possessions.
Joy is enjoyed by those who little know of woe,
pains and sorrow, and to those who have of themselves
profit and bliss and also many citadels.
Hail is the whitest of grains. It comes down from heaven’s breeze,
the wind’s showers rolls it down, and after it becomes water.
Need is a constraint on the breast, although it often comes to the sons of men
a help and a healing of every one, if they hearken to his demands before.
Ice is really cold, measurelessly slippery
glistening clear as glass, most like gemstones
a floor created by frost, and a fair face.
The new year is the hope of men, when God allows,
the Holy Heaven’s King, the earth to give
her bright fruits to rich and poor alike.
The yew is an unsmooth tree without,
hard, fixed to the earth, a warden of fires,
supported by its roots, a joy in the home.
Peorth is always a play and laughter
to the proud where warriors sit
in the beer-hall, happy together.
Elk-sedge keeps its home most often in the swamps,
it grows in the water, and grimly wounds,
it burns the blood of any man who grasps it.
The sun is ever a hope to seamen,
when they carry themselves over the fishes’ bath,
until their brine-horses bring them to shore.
Tir is a certain token, it keeps its troth well
with noble men. It is always on its journey
over the clouds of night, never wandering.
Birch lacks fruit, even though it bears
shoots without seed. It is lovely in its branches,
high in its crown and fairly adorned,
laden with leaves, pressing into the breeze.
Horses are for earls the joy of noblemen,
a steed proud in its hooves, where the heroes about him,
prosperous on horseback, weave their speech,
and ever a comfort to those on the move.
Man is in mirth, dear to his brother;
though every one must depart to another place,
because the Lord wishes, through his own doom,
that our wretched flesh be commended to the earth.
The waters seem to men to be broad,
if they should venture upon an unstable ship,
and the sea-waves terrify them so,
and the brine-horse cares not for his bridle.
Ing was first among the Eastern Danes
seen by men, until he soon afterwards
departed over the ways, a wagon running after him.
Thus bold men named this hero.
A homeland is very dear to every man,
if there he may enjoy in his household
what is right and fitting, very often with its fruits.
The day is the Lord’s message, dear to men,
the renowned light of the Measurer, a mirth and troth
to the prosperous and the wretched, useful to all.
The oak is fodder for flesh on earth
for the sons of men. It frequently ferries
over the gannet’s bath. The spear-waves test
whether the oak possesses reliability for noble men.
The ash is very tall, dear to men,
stout in its trunk, its hilt is rightfully fixed,
although it fights against many men.
A bow is for every noble and earl
a joy and an honor. It is fair on horseback,
support on a journey, some part of a warrior’s tackle.
The gar is a river-fish, and though he takes
his food on land, he owns a lovely home
surrounded by water, where he lives in joy.
The grave is terrible to every earl,
when the fixed flesh begins,
the corpse cooling, to choose the earth
paleness as its bedmate. Fruits fail,
joys depart, mankind ceases to be.
With each blog post, I shall write about the rune in turn, its connection and interpretation through the Old English Rune Poem, and my own understandings and working with this rune. I hope that you enjoy this blog series!
 Pollington, S. The Elder Gods: The Otherworld of Early England, Anglo-Saxon Books, 2011, p.422
 Rance, S. The English Runes: Secrets of Magic, Spells and Divination, Dragon House 2017, p. 8
 Pollington, S. The Elder Gods: The Otherworld of Early England, Anglo-Saxon Books, 2011, p.422
 Rance, S. The English Runes: Secrets of Magic, Spells and Divination, Dragon House 2017, p. 9
 Albertsson, A. Wyrdworking: The Path of a Saxon Sorcerer, Llewellyn, 2011
 Hostetter, A. The Rune Poem, from the Old English Poetry Project, https://oldenglishpoetry.camden.rutgers.edu/the-rune-poem/ (accessed 14 Aug 2020)
I had already read a couple of Lisa Chamberlain’s books, (five, actually!) and so was very happy to review the new editions of Wicca for Beginners and Wicca Book of Spells. My favourites to date had been Wicca Finding Your Path: A Beginner’s Guide to Wiccan Traditions, Solitary Practitioners, Eclectic Witches, Covens, and Circles and especially the audio version of Wicca Living a Magical Life: A Guide to Initiation, Self-Dedication and Navigating Your Journey in the Craft. These new editions from The Mystic Library (Sterling Publishing) did not disappoint.
First of all, I LOVE hardcover books. These little introductory books (they stand at around 130 – 160 pages) are beautifully bound in hardcover, with gorgeous artwork throughout. I love a book that also has illustrations and artwork, as I believe it’s important to engage the imagination and appreciate more than just the written word. Good artwork can lift a book, as anyone who has worked with colour correspondences alone can testify. Wicca for Beginners has a lovely blue theme running throughout, and Wicca Book of Spells a purple and pink theme. They are just so nice to hold in your hands, hardcovers. And they last a whole lot longer than paperbacks.
Wicca for Beginners: A Guide to Wiccan Beliefs, Rituals, Magic and Witchcraft does just what it says on the tin. It’s a great guide for someone new to the path, or for anyone who wants to refresh their learning. In fact, if I were to recommend a beginner’s book to anyone new to the path, this book as well as Scott Cunningham’s works would be my first choice. Chamberlain goes into history of the tradition, which is something that Cunningham’s books are seriously lacking. She uses language that is easy and flowing, friendly and unassuming. I really like that in books that teach about anything, as I am easily put off with pomposity and obscurity.
Indeed, this book covers everything neatly and precisely: how the path evolved, the history, core beliefs, working with the divine, the altar, tools and clothing, ritual components and magic, as well as advice for aspiring Wiccans. It really covers a lot of material in an easy to swallow format. The author has really done her research, and has walked her talk, sharing and expressing her knowledge with skill and clarity, as well as her plain common sense.
Wicca Book of Spells: A Beginner’s Book of Shadows for Wiccans, Witches and Other Practitioners of Magic again covers a wide range of material. While a couple of paragraphs on what a Book of Shadows is would have been nice, this tome dives straight into spellwork such as love spells (with the usual caveats on manipulation of individuals), prosperity spells, health and well-being spells and an eclectic mix of spellwork in the final chapter that includes kitchen witchery, elemental magic and more. Again, there is common sense and a good framework throughout this book to help the reader on their forays into the realms of spellcrafting. One small critique is that I would like to know if the spells included in the book are traditional, or if the inspiration came from somewhere historically. I have no qualms in new spells vs old spells, and I am a strong believer in working with what you’ve got to hand. This information may have been left out in the editing process, to keep the book to a size that works for beginners, though this is purely conjecture on my part. The spells were easy to follow and understand, and Chamberlain, like myself, is not averse to substitutions to make it work on a more personal level.
All in all, I found both these books really charming, and well written. Lisa Chamberlain was a pleasure to correspond with as well via email, and I look forward to more of her work in the future. I think she is a real asset to the Wiccan community, providing good information delivered in a friendly manner that everyone can understand and work with on any level. If you are just starting out, or know someone who is, or simply want to add to your book hoard of good books, then look up Lisa Chamberlain and her work – I recommend it all.
A wonderful video filmed last month, which shares the beauty of this wonderful natural burial ground, and all that inhabits this sacred place.
I’ve spent this last week getting some footage and trying to capture the moments of early August in the rural Suffolk countryside, so that I could share them with you all. Blessings of the harvest season!
If you’d like to support me and help me to create more videos and other content for my various social media sites, please do visit my Patreon Page.
I recently read something in a new Wiccan book release that made me sad and a little frustrated. In this work, the author stated that Lammas/Lughnasadh celebrations on the Wheel of the Year in Modern Paganism can feel like an outlier, a festival that for many people is hard to connect to, understand or celebrate. If you do not live in a rural area, why celebrate this festival at all? As such an important festival to our ancestors, we have to realise the importance of this festival not only in this context, but also in the modern day.
Historically, Lammas/Lughnasadh is the celebration of the first harvest, or games/festivals occurring just before the first harvest. It was an opportunity for people in a rural setting to meet others from the surrounding countryside, often from many miles away, in order to make trade deals, marriages and also enjoy games of competition. When your world is quite small as you live and breathe your farm/village life, the chance to get out and meet others is so very important, as I’m sure we all have experienced during the various lockdowns since the COVID pandemic. Imagine if that was your world all year round, and this was your only chance to see people outside of your village.
As well, the taking in of the first crops is something that should be celebrated in any nature-based tradition. Whether you live in an urban setting or not, what happens to the harvest in or near where you live, or in your own country on a wider scale does affect you, even if you are in the heart of a downtown metropolis. If the wheat harvest is bad, you will find bread and other wheat-based products go up. Same for any crop, whether that is apples, onions, potatoes, carrots – you get the idea. Not only does this affect you financially, but it can also affect you physically. If you are not supporting organic and locally produced crops as much as is possible within your capability, then you are effectively saying that nature doesn’t matter, and how we get our food is more important than the overall effect on the environment itself. This sort of thinking has led to genetically modified food, the long-term consumption of which we will only begin to notice in the coming years. The vast industry of monoculture crops requires much more pesticides and fungicides than a diverse or organic crop, as permaculture has shown us time and again. There is strength in diversity, and great weakness in monocultures. This applies not only to agriculture, but to all culture.
Everything is connected. Everything is related. To think that you are separate from something is mere illusion. Just because you might not live in a rural setting, doesn’t mean that what happens there has no effect on your life. The air we breathe, the water we drink, the food we eat and how we treat our environment all affects us every second of every day.
Let’s remember this when it comes to Lammas/Lughnasadh; let us remember the interconnectedness of all things, and the sacredness of all things. Let us remember how important this time was for our ancestors, and how important it is still, today, wherever we live. It’s not an abstract concept, especially if we follow a nature-based tradition. It is a real, living, breathing, contributing part of our world, and should be one of the most important festivals in the Wheel of the Year.
To find out more about Lammas/Lughnasadh, I have written about it and the other festivals celebrated in Druidry and much of Modern Paganism in my book, The Book of Hedge Druidry: A Complete Guide for the Solitary Practitioner.
It may seem strange, after just having a hysterectomy to be writing a review for a book about menstruation, but I had wanted to review this book before I knew I was to have this surgery. Maureen Theresa Smith’s Your Moontime Magic: A Girl’s Guide to Getting Your Period and Loving Your Body is a great little book that I wish I had in my hands when I first began menstruating. Though I’d had all the facts, and had support from my family and doctor, still my periods were a difficult and painful time, every month, since the age of eleven (I’m now 45, going on 46). Perhaps this book could have helped me, at least in a spiritual sense, to come to terms with my monthly periods when I was younger, the pain and the release, the cycles within cycles.
Published by New World Library, this book was previously released as First Moon in 2005. However, the information and advice go far beyond the first moon, and can help you throughout your life in working with your cycle, or helping someone else understand and see the spiritual nature of this women’s journey.
My own journey began early, a couple of months before my twelfth birthday (I had not yet started high school). Very painful, each month they would put me out of commission for a few days until I got some high dosage painkillers from my doctor when I was fourteen, and then later put on the pill when I was fifteen (for medical reasons). But when I went off the pill when I was 21, everything came back just as before. Little did I know that I suffered from endometriosis, as well as fibroids and ovarian cysts later in life (which is why I had to have a hysterectomy this year). Getting my period each month was a lot of work, both mentally and physically, as I prepared myself for the pain and the hassle of trying to deal with this and also with life in general.
Had I set up a spiritual practice around this monthly cycle, perhaps things might have been different. Your Moontime Magic definitely could help with that – it is filled not only with biological facts and information, but also rituals, crafts and imaginative ways of working with your monthly cycle. It discusses the oft taboo subjects of PMS and body changes, as well as going deeper into self-image and how that creates the world that you inhabit in this body. What I especially enjoyed was the fact that Smith included things like how your dreams change when you menstruate, how to work with that and allow them to inspire your own creativity. She also talks about how your friendships will change and grow as you develop into your own power as a woman, connecting to your power as well as connecting to nature. She uses language that is easy to understand, and it’s like having a chat with your cool aunt at the dining table about all these things.
If you have a daughter who is coming to this time in her life, or know someone who is, I highly recommend this book. It is also helpful to have others in the family read it, to understand more about women’s cycles and what they go through in their lives. It teaches us to take care of ourselves, our physical and inner selves, and to shine – “like the moon, there are times when you can be hidden from the world, and times when you can shine full and bright”.
Blessings to all women out there, wherever you are in your life’s journey.
It’s nice to get the camera out again, and here’s a little video I shot yesterday 🙂