Into the Green

As we revel in the Greenery of Summer and the abundance of Nature's flourishing life, we must cross the threshold between our world and that of the Wild--so as to adventure forth with the God of the Wild, and the Green Man of antiquity. For in his legends, myths, and stories, may we today find our primordial connection once more with the Heart of the Forest.

WE ARE GOING TO SALEM!
Instagram: @beyondtheseaspodcast
EMAIL ME: beyondtheseaspodcast@gmail.com
Tarot Collaboration: @thefeatherwitchnyc
Weekly Book: The Cursed Towers
Podcast website: https://beyondtheseas.buzzsprout.com/
More info: https://www.kierandanaan.com/beyond-the-seas

Sources
-Frazer, Sir James George. The Golden Bough: A Study of Magic and Religion. E-Book, The Project Gutenberg, 2023.
-"The Green Man," The Company of the Green Man, thecompanyofthegreenman.wordpress.com/who-is-the-green-man.
-"The Green Man: A Celtic Folklore Symbol of Renewal and Growth." Moonfall Metaphysical, 16 May 2023. moonfallmetaphysical.com/s/stories/the-green-man.
"A History of Jack-in-the-Green." The Company of the Green Man, thecompanyofthegreenman.wordpress.com/jack-in-the-green.
-Wigington, Patti. "Cernunnos--Wild God of the Forest." Learn Religions, 3 September 2021.  learnreligions.com/cernunnos-wild-god-of-the-forest.

Music
"Sabul" by Ben Winwood
"Intimacy" by Ben Winwood
"Soft Travels" by SHARIB
"Mimi's Dream" by SHARIB
"Irish Mountains" by Ben Winwood

Cheers Magick Makers,
Kieran

Chapters

• 0:00 The Pull
• 3:10 Grand tidings!
• 11:53 The Green Man and Jack-in-the-Green
• 28:31 Cernunnos and Magickal Associations
• 44:17 Outro

Transcript

Standing at the edge of the forest, you feel it:

The Pull. 

To Travel more deeply…

Into the Green.

To suffuse your body, mind, and spirit with the powers of Nature.

To become one again with the flows of its energies.

To tap into its steady pulse and heartbeat,

The beating of the Earth’s inner drums. 

And to know the spirits of the wind, trees, plants, and stones

Along with the Mother Goddess Herself.

All this, you feel in an instant,

Staring ahead at the luscious emeralds, lime, and Kelley greens. 

You feel somewhat trepidatious, to leave your world behind

And step over that threshold, into the Unknown. 

But deep within your spirit, you understand that…

The adventure of the Wild excites you more. 

And with magick in your heart, and wisdom in your spirit,

Your feet set off onto the path, towards the heart of the Forest,

And begin your adventure…

Into the Green.

(transition music)

            Grand tidings and welcome to you on this, the Thirty-Fourth Episode, of Beyond the Seas. My name is Kieran and here we are again, back at it for another week. I am so happy to be back this week, doing all the wonderful things about Nature and the Greenery of our world. Nature always makes me feel inspired and connected—there has to be a specific type of word that describes a person who feels tingles and excitement when looking out at nature. Has to be. Anyway! Shameless plugs: @beyondtheseaspodcast and @thefeatherwitchnyc, to follow along with the podcast and Claudia’s weekly tarot collaboration reels, wherein she teaches the Tarot one card at a time, one week at a time. Also, the five-star ratings and shares and reviews all help boost the show in the charts and whatnot on Apple and Spotify—so please take a moment to hit those stars and leave a review, if you have not yet already. I adore all of you and I am so just thrilled at our lovely magick making community. Thank you all for being here with me today.

            And now, artistic and literary updates. I love the show at Theatre SilCo. Just love it. Sherlock is so, so much fun to play. We have had several sold-out shows already and they were awesome. Being an actor is truly a joy. Anyway! The book. The Cursed Towers is almost done? I have been listening to it here and there, but have been enjoying my time in Colorado so much that it’s hard to sit still for too long. There is so much to do here. What has happened in the book is a ramping up towards war, battles, and ages-old retributions. There are a lot of grudges in this book, which makes sense with characters that are centuries old and the Fae Folk have their own agendas, too. Ysabeau is growing in confidence and Meghan of the Beasts is scheming her way to getting the Coven of the Witches restored. So follow along with me, if you grab the audiobook version like myself. Or head to your local library to snag a copy—or your local second-hand bookshop. 

            And now, the Card of the Week! I adore this card because it’s a sign that everything is good, right, well, and happy: the Ten of Coins. To me, it is the card that says, “ya did it, kid—you don’t have anything to worry about because you are reaping the rewards of all your hard work.” Everything has been connected, the pieces are in place, and you need not worry anymore: relax, relax, relax. Put ya feet up, kid! There is a sense that family is important right now, and the enjoyment of luxury should not be dismissed. You are transitioning from one phase of life and into the next, because you have earned it. So ride the wave and surrender to that current of change—this is the most magickal year of change, after all. 

            And now, the Wine of the Week! And yet again, surprise surprise, my dear friend Amanda pulled through again. And this time, it is to South America that we travel for our next bottle: a 2022 Pajarito Cabernet Sauvignon. It is a Chilean red wine and it has strong hints of cherry and plums. What it reminded me of was a Tempranillo—more than likely because both Chile and Spain are on the same latitudinal plane. Regardless, the bottle asks that you keep it stored at eighteen degrees Celsius, which is a nice and cool chilled red. Those are LOVELY in the summer time and are a perfect way to end the day. Pair it with freshly cooked meats and sharp, yellow cheeses—and a scary movie in the dark. 

            And, finally, this week’s topic. As we have barreled through and beyond the Summer Solstice, we are now abundantly traveling through the Summer season and its richness of greenery, fertility, and life. It is hard not to connect with the flows of energy swirling around us right now: waking up early, doing so, so much throughout the day, and enjoying the warm wind and cool weather at night while the sun sets into the Twilight Times. Thus, I want to honor the season we have ahead by exploring the myths and legends of the masculine archetype behind it all. Who is Jack in the Green? Why is the archetype of the Green Man so popular? What historical elements and knowledge might we find in The Golden Bough? And how do we work with this masculine God in our craft today? So join me on the hunt, as you and I now step forth together—Into the Green.

            Ergo, grab your favorite bottle of red, find a comfy chair, and close your eyes as I tell you the tale of Into the Green—and take you…

            Beyond the Seas.

            (transition music)

            Far off in the distant past, the world was covered in a vast, primeval forest. Nothing but a sea…of green. Wind whistling through the leaves at dawn and dusk. Birds singing in the new day at each rising of the sun. Shadows flowing and fleeting in the undergrowth, as clouds pass over the canopy. Murmurs of small bells and laughter among the trunks and trees, as the spirits of nature fly through on their rades and revels. 

            It is not difficult to imagine and know, the, how and why tree worship was so prevalent in the ancient past, led by our Ancestors, Those Who Have Gone Before. The rites and rituals conducted within sacred groves, in those open glades surrounded by tall and towering trees, bespeaks of a holiness and sacredness applied and honored within those—as James Frazier puts it—“islets in the ocean of green.” Even speaking about it now, I get the intuitive sense of not only what that must have been like, as seen through the eyes of the Ancients, but also how Nature itself today makes me feel: calm, buzzed, excited, connected, magickal.  

            And now, in our modern day and age, that is mostly all vanished and gone. 

            The trees have disappeared and gone, due to deforestation and destruction. The weather and climate are radically different and changing, as a result of our actions and decisions. The spirits of nature, so we may surmise, may not flit and fly as freely through the ocean of green as they once did—and so the vitality of the natural world has suffered as a result. What once was magickal on a continual basis is now held in secret places, far away in the depths of the ancient forests. If one is lucky enough to find it, then he has found a rare treasure indeed. And that is our goal in this episode today: to travel deep into the heart of the ancient Wildwood of antiquity, into that primeval forest, and discover the magick of venturing Into the Green. 

            Thus, I want to explore the motifs, folklore, and magick surrounding the figures and archetypes that have arisen throughout history from the magick of the antiquated past. There are scholarly disagreements as to the true inheritance and lineage of these archetypes and motifs, blaming the pagans and nature worshippers as simply being too fanatical and poetic in their belief of such a connection. To them I say, go catch a chicken—and in so doing, open your heart to the world around you. For within that Natural World lies the spirit of nature itself, the God of the Wild: The Green Man and Jack in the Green. Let us look at each respectively. 

            Whilst conducting my research for today, I found a most extraordinary group online known as The Company of the Green Man, wherein two immensely wonderful articles are posted for the world to read and enjoy on both the Green Man himself and his derivation of Jack in the Green. Let us then start with the former and finish with the latter. 

            From their website, “For many people their first experience of the Green Man is a chance sighting of a strange stone or wooden foliate face looking down at them from high above in a church or cathedral. Just what this supposedly pagan representation of fertility and the greenwood is doing in a Christian place of worship, has puzzled people throughout the ages.

            “Whilst many thousands of Green Men can be found on the inside and outside of churches and cathedrals throughout Europe and beyond they can also be found in their thousands in and on secular buildings too.

            “Green Men seem to have been referred to generally as ‘foliate faces’ up until Lady Raglan coined the term ‘Green Man’ in her article ‘The Green Man in Church Architecture’, published in the ‘Folklore’ journal of March 1939. She thought that the Green Man of churches and abbeys was one in the same with ‘the figure known variously as the Green Man, Jack in the Green, Robin Hood, the King of the May, and the Garland who is the central figure in the May Day celebrations throughout northern and central Europe.’  Many people still support these connections, believing that the Green Man has many faces and that each of these do indeed have deep seated and possibly spiritual links via an ancient race memory of a time when the Greenwoods covered most of what is now Britain.

            “…Some argue that even if these connections never did exist, then they have now been created and therefore will henceforth be forever inseparably entwined in that magical way that myth, legend and folklore seem to take on an unstoppable life force of their own.

            “Environmentalists, New Agers, Pagans and neo Pagans all have their own interpretations of who the Green Man is and what he represents to them and their beliefs.” Which, dude, man, like…open your heart. ANYWAY.

            “And the Green Men in churches and cathedrals, why are they there, are they subversive image placed by stone carvers as a link to a pre-Christian religion? A reminder that we all come from the earth and will one day return? A representation of Adam, or an image of evil carefully placed to remind churchgoers to steer away from sin?

            “Images of the green man are found across Great Britain, Europe and parts of Asia and North Africa. A beautiful carved foliate face possibly dating back to the third millennium BCE. Could until recently be seen in the remains of the ruined Mesopotamian desert city of al-Hadr (or Hatra), in modern day Iraq.

            “…In the late sixteenth and early seventeenth centuries a Green Man was a type of whiffler, someone who walked in front of important processions banquets and pageants to clear the way or to clear space for plays to be performed. The whifflers themselves were known as being quite raucous and became a major attraction themselves, dressing in elaborate costumes and carrying swords, clubs and even fireworks. They often dressed as Wild Men with shaggy hair and beards.

            “The Green Man whifflers added to their costumes painting their skin green wearing leaves or greenery and garlands on their heads. They were also referred to as Wodehouses, Woudmen or Wildmen.

            “The Wild Man also began to appear on inn and tavern signs in the seventeenth century, the name was often used interchangeably with The Green Man and seems to refer to the Whifflers of pageantry. Over time many pubs called The Wild Man seem to have also become known as The Green Man.

            “The Green Man is still being reproduced in stone, wood, art, song, story and poem today.  He may be found in his guise as dusty stone or wood carving looking down from on high in churches cathedrals and abbeys throughout England. He can be seen as a sometimes mischievous, sometimes dark figure found in Morris dances; both traditional and modern. As the magical Jack-in-the-Green leading or included in May Day processions each year, or bought to life in new and vibrant traditions, like the Green Man of Clun who each year battles the Frost Queen on a bridge above the river Clun.

            In his book Wildwood: A Journey Through Trees, the late Roger Deakin visits the Green Man at King’s Nympton in Devon and writes:

                        “‘The leaves flow from him like poems or songs. He himself is a kind of folksong. Everyone knows it, but each singer has a different, personal version, a variation on the theme. ‘I am not elderly,’ says the Green Man in one of Jane Gardam’s enchanting stories about him; ‘I am the Green Man.’  He is the spirit of the rebirth of nature. He is the chucked pebble that ripples out into every tree ring.’

            “[And from] the late Ronald Millar:

                        “‘Two millennia old or older, the Green Man is the vibrant spirit of the wild wood, of vegetation in leaf or bud, of spring, pool and river, earth and sky, indeed the totality of nature. His voice is the hiss of the high wind in ash and oak. And his profundity those sudden silences of a forest when all Nature seems to hold her breath. When we hear or feel him no more, mankind will have run its course.’”

            Now, before the break, I want to touch briefly upon Jack in the Green, a derivation of the Green Man himself. From the same website, “The Jack-in-the-Green was (and indeed is) a traditional participant in May celebrations and May Day parades mainly in the United Kingdom. A large framework is covered in combinations of foliage and flowers and is sometimes topped with an intricate crown of flowers. The Jack then parades or dances, often accompanied by attendants, dancers, musicians and people dressed as assorted unusual characters. Modern Jacks are usually closely associated with Morris teams.

            “…The true origins of the Jack-in-the-Green are somewhat complicated. A popular theory and one detailed in Ronald Hutton’s “Stations of the Sun” is that the Jack may have evolved from the creation of intricate garlands of flowers during the 17th century which were carried by milkmaids during May Day celebrations. Over time the milkmaid’s garlands became more elaborate until they would sometimes be seen balancing garlands on their heads covered in huge quantities of silver household objects. As guilds and other trade groups became established they joined in and tried to compete with and outdo the other participants in an attempt to receive more coins from the watching crowds. Two particular groups began imitating the milkmaids; the Bunters (The women who picked rags) and the Chimney Sweeps who were intent on earning as many coins as possible, to help them through what was traditionally the quietest part of their year. Near the end of the 17th century the milkmaids and bunters abandoned the custom but the sweeps continued and the suggestion is that they expanded the size of the garland to such an extent that they came up with the idea of the all covering structure, now known as the Jack-in-the-Green.”

            Essentially, what we have here is a guy who dresses up in a large, foliage-covered metal tower body thing, that he wears over his entire figure, and dances down the streets to collect money and coins from the passersby—all the while rejoicing in and reminding everyone of the coming of the Green months. It is a traditional celebration in the British Isles and beyond, one that stems from—assumedly—the ancient pagan practice of Beltaine and Spring Equinox and Summer Solstice rituals. It is akin to mummery and morris plays that adorn the streets during such times of the year, and is a tradition that brings forth the god of the wild and the Spirit of Nature himself. Thus, after the break, I am going to discuss who exactly that God is—and his many associations that we might incorporate into our practices today. 

            Refill your drinking horns, your goblets, your chalices, for the second half of Into the Green, after this brief break.

            (transition music)

            From Sir James Frazier, author of the seminal work The Golden Bough, there is “reason to suppose that the King of the Wood at Nemi was regarded as an incarnation of a tree-spirit or of the spirit of vegetation, and that as such he would be endowed, in the belief of his worshippers, with a magical power of making the trees to bear fruit, the crops to grow, and so on. His life must therefore have been held very precious by his worshippers, and was probably hedged in by a system of elaborate precautions or taboos like those by which, in so many places, the life of the man-god has been guarded against the malignant influence of demons and sorcerers. But we have seen that the very value attached to the life of the man-god necessitates his violent death as the only means of preserving it from the inevitable decay of age. The same reasoning would apply to the King of the Wood; he, too, had to be killed in order that the divine spirit, incarnate in him, might be transferred in its integrity to his successor. The rule that he held office till a stronger should slay him might be supposed to secure both the preservation of his divine life in full vigour and its transference to a suitable successor as soon as that vigour began to be impaired. For so long as he could maintain his position by the strong hand, it might be inferred that his natural force was not abated; whereas his defeat and death at the hands of another proved that his strength was beginning to fail and that it was time his divine life should be lodged in a less dilapidated tabernacle.

            For, indeed, “In most of the personages who are thus slain in mimicry it is impossible not to recognise representatives of the tree-spirit or spirit of vegetation, as he is supposed to manifest himself in spring. The bark, leaves, and flowers in which the actors are dressed, and the season of the year at which they appear, show that they belong to the same class as the Grass King, King of the May, Jack-in-the-Green, and other representatives of the vernal spirit of vegetation…”

            Thus, what we examine here today, as thoroughly researched and collected in the work of Sir James Frazier, if the God of the Wild himself—most notable referred to as The King of the Wood in The Golden Bough. This spirit of nature causes the crops to grow, the trees to flourish, the rivers to run, and the animals to flow freely in nature. But what names do we give to this God of the Wild, this King of the Wood? For that answer, I turn to one of my patron deities: Cernunnos.

            While an entire episode is forthcoming on this magnificent god, I do want to briefly discuss his associations with the Green and the Wild here today. From Patti Wigington on the Learn Religions website, “Cernunnos is a horned god found in Celtic mythology. He is connected with male animals, particularly the stag in rut, and this has led him to be associated with fertility and vegetation. Depictions of Cernunnos are found in many parts of the British Isles and western Europe. He is often portrayed with a beard and wild, shaggy hair–he is, after all, the lord of the forest.

            “With his mighty antlers, Cernunnos is a protector of the forest and master of the hunt. He is a god of vegetation and trees in his aspect as the Green Man, and a god of lust and fertility when connected with Pan, the Greek satyr. In some traditions, he is seen as a god of death and dying, and takes the time to comfort the dead by singing to them on their way to the spirit world.”

            What is most applicable to note, in terms of our discussion today, is the Wiccan concept of the Wheel of the Year, specifically how it communicates the myth of birth, life, death, and rebirth. The Wiccan God and Goddess lie together at Beltaine, wherein the Great Mother becomes pregnant—symbolizing the fertility of the land itself during the abundance of Spring. Then, as Summer comes and goes—as the crops grow and produce—the God himself begins to wane, much like the crops. The land prepares itself for Winter and rest, and as such—directly from Frazier’s Bough—we know the God must be sacrificed at Samhain. He dies for the Land, for his people, for his Goddess. Yet, He knows in his spirit that He lives on in the womb of the Great Mother: for therein is the cycle of death and rebirth. Much like the promise of Spring after Winter. 

            Cernunnos, to me, as always represented the divine masculine—and the promise of hope after long struggle. Such is the promise of rebirth after death, after all. His antlers connote a parallel structure to the Magician in the Tarot: As Above, So Below. Channeling divine energy through the Crown Chakra and transmutating it into realistic will. He represents wisdom, clarity, divinity, chaos, the wild animalistic nature we all contain, fertility, virility, and the need to run free. He is what is beneath each and every single one of our facades, much like the Great Mother is, as well. That freedom of the Wild and of the Green. Our true magickal nature. 

            Yet, in order to subvert the indigenous belief in his power and the Great Mother’s, the Christian Church demonized his iconography—along with other local gods and goddess—into that of Satan, the theological Devil, and demons. However, we witches today know that his existence stretches farther back into antiquity than such ignorant actions. For the Wood and the Wild surrounds us all, once we travel with Him Into the Green. Invite Cernunnos into your life by chanting his name whilst outside on walks or runs. Spread fresh leaves and pieces of foraged Nature onto your altar and give thanks to him for his presence thereof. Give copious offerings of milk, cheese, wine, and bread when out in Nature, dedicating each element to him as the King of the Wood and The Green Man of the Wild. 

            Thus, as we near the end of the episode, I want to leave you with associations of the Green Man and how to invite in his presence into your Craft and folkloric knowledge. From the Moonfall Metaphysical website, “Colours and crystals associated with the Green Man may vary depending on the individual or the tradition, as there is no one set of established correspondences that is universally recognized. However, here are some common associations: Green: As the name suggests, the Green Man is most commonly associated with the colour green, which represents nature, growth, and vitality. Brown: The colour brown is also associated with the Green Man, as it represents the earth and the stability of the natural world.

            “Crystals. Emerald: The emerald is a green gemstone that is associated with nature, growth, and abundance, making it a fitting crystal for the Green Man. Moss Agate: Moss agate is a green stone with moss-like inclusions, which can be seen as a symbol of the Green Man's connection to nature. Green Aventurine: Green aventurine is a crystal that is said to promote growth and vitality, making it a fitting stone for the Green Man.

            “Other crystals that are associated with nature and the earth, such as jade, malachite, and green tourmaline, may also be appropriate for use in Green Man rituals or meditations. Ultimately, the most important thing is to choose crystals and colours that resonate with you personally and feel appropriate for your connection to the Green Man and the natural world.

            “Herbs: herbs associated with the Green Man may also vary depending on the individual or the tradition, but here are some common associations: Oak: The oak tree is often associated with the Green Man, as it is a symbol of strength, stability, and endurance. Oak leaves or bark may be used in Green Man rituals or as an offering to the deity. Ivy: Ivy is a climbing plant that is often associated with the Green Man, as it represents the wild, untamed side of nature. Ivy may be used in wreaths or other decorations for Green Man celebrations. Hawthorn: The hawthorn tree is associated with fertility, growth, and protection, making it a fitting plant for Green Man rituals. Hawthorn may be used in the form of leaves, flowers, or berries. Nettle: Nettle is a plant that is associated with strength and resilience, and is said to be particularly potent when gathered on the eve of May Day. Nettle may be used in teas or as an ingredient in Green Man incense blends. Elder: The elder tree is associated with protection and healing, and is said to be a sacred tree in Celtic mythology. Elderflowers or berries may be used in Green Man rituals or as offerings to the deity. Other herbs that may be associated with the Green Man include rosemary, thyme, and lavender, all of which are associated with nature, growth, and healing.”

            Much like working with Cernunnos, honor the archetype of the Green Man himself by placing as many herbs and crystals relating to the Wood and the Wild in your home—perhaps take a small corner in one room and establish a Green Man altar. This sacred space may act as a doorway betwixt your home and the eternal, primeval Wood of the Ancestors—where the spirits of nature and the King of the Wood may bless your life on a daily basis. Leave offerings here of wine, berries, nuts, and legumes, then place outside for the creatures of the wood to feast upon. Craft pieces of art on wood, stone, and paper that depict your interpretation of the Green Man, crafted in a cast circle during a full moon. Dedicate your rite to Him of the Wood, and ask for his blessings as the trees flower and the Wheel turns towards the Summer Solstice. 

            For overall, it is our internal resonance with Nature that matters most. The microcosmic nature of ourselves to ourselves, and the macrocosmic nature of ourselves to the Wild. We see the physical manifestation of life, diversity, biomes, flows of energy, and cycles of life that metaphorically and metaphysically translate meaning and understanding into our lives. Crafted and led by the King of the Wood, The God of the Wild, The Green Man, we take shape in our spirits the call of the Forest and the honoring of Green itself. We forever heed its call and come to understand its importance in our souls: the animalistic, primal, sexual, wild, chaotic aspects of our psyches that fuel our passions, loves, desires, and actions. For as we grow towards the Sun and the Height of the Wheel of the Year, we dance once more in the spiral of the circle and give thanks to our Great Father, The King of the Wood—and venture forevermore Into the Green. Thus, your magick, my magick—our magick—will always be made stronger…because of it.

            (transition music)

            The stories, research, and production elements were done and edited, respectively, by me, Kieran, with sources attached in the description. If you want to be a guest on the show, or have a topic you wish me to explore and discuss, send me an email at beyondtheseaspodcast@gmail.com. And be sure to hit the follow button, on whichever platform you enjoy the podcast, and look forward to more content next week. Until then, seek the veil between the worlds, and allow yourself to travel…Beyond the Seas.