Evocation and Hope: For me or for you?

When I saw Peter Jackson's first installment in the epic 'Lord of the Rings', I realised that Tolkien had been captured in film for me. There were discrepancies, of course. I had not envisioned the elves as embracing Art Deco fashions, nor was my vision of many of the characters, especially Galadriel, that of the actors who played the parts. Ultimately, it did not matter. He brought Middle Earth to life and now, childhood visions of the books are interwoven with Peter Jackson's epic film inextricably.

I found the following video on YouTube. Perhaps it will mean nothing to some one who never saw the film or whose soul does not resonate to it. That brings me to the oft-asked question: why do I write these posts? Is it a journal for myself, placed on the internet as a substitute for creating more stacks of papers in my room or is it for others?

Writers always have kept journals. Non-writers always have kept journals. One of the attractions of the 'web log' is the fact that there is a kind of in-built editing device. The fact that others CAN read the posts prevents too much self-indulgence and the divulgence of too many personal 'secrets' perhaps. One hopes that it forces the writer to be a little more interesting and a little less self-obsessed than otherwise.

When I watched this video, I understood that it had been made by an individual with as much emotion vested in Tolkien and 'Lord of the Rings' as I. It is not only the images themselves or the song, but the emotions that are evoked by them that invest the video with power. Like the bare image of a crucifix nailed to a wall, the images from 'Lord of the Rings' remind fans of the intense moments in the tale. We are reminded of the 'last stand' of the forces of good against the forces of evil. We are reminded of the extraordinary courage and devotion of Eowyn and the heroism at the Black Gate. We are reminded that there are causes that transcend our messy little lives...

An editorial in a local newspaper recently discussed a scam that is being perpetrated mainly against the elderly. It is a letter that contains a 'prayer rug' made of paper with an image of the Christ upon it. Follow the instructions and the eyes of Jesus are supposed to open, purportedly to show that HE is listening to your prayer and will answer it. Like many religious scams, the letter asks for 'seed money' and any money sent by some bizarre process of osmosis will yield fruit in the form of your wish come true.

Obviously, it is nothing more than a very old scam designed to obtain money under false pretenses... As I thought about it, however, it occurred to me that what is being marketed here may not be a complete fraud. It is HOPE. Every 'expert' in the human psyche will acknowledge the power of the Will and the power of 'mind over matter'. If a person BELIEVES, surely that is a potent weapon in his/her arsenal. The aesthetic portion of my soul decries the thought of a paper 'prayer rug' with an image of the Christ with eyes that open and shut, but what difference would it make to any one who believes in its efficacy and changes his/her actions to make the wish come true. I am not speaking here of the 'seed money' aspect of the scam but of the actions of the subconscious that could begin to work towards the fulfillment of the dream.

It is a great pity that some individuals will rely on the tawdry imagination of a scam artist to produce Hope for them but is the Hope itself negative or positive? Without hope, we become paralysed. On the other hand, the capitalist philosophy that brainwashes us into believing that one can place a monetary price on everything, including hope, is corrupt at its core in my view. Yet people do appear foolishly to value items that cost them dearly more than those that are free or inexpensive.

Recently, a study was made that involved wine connoisseurs. They were given a number of different wines to 'taste' with the price of each. The same wines were offered twice with two different price tags. Inevitably, the majority of 'tasters' chose the most expensive as the 'best', even though the same wine was offered with a far lower price attached to it! So much for the power of the mind and the inability to recognise intrinsic value if the market does not act as our guide!

Perhaps it is appropriate to address these issues today on Ash Wednesday. Last year, I devoted my posts to festivals and wrote about the festivals that occur at this time of year. Although the Islamic calendar is lunar rather than solar, 'Ashura this year occurred very near the season of Lent again. Many of the festivals that occur in January and February are devoted to sacrifice and rebirth, encouraging the soul to have faith in the light through the last dark months of Winter.

I never disliked Winter. I find it incredibly beautiful, especially in the North where snow falls and there is a very clear distinction between the trees that lose their leaves and the eternal evergreens. Were the trees not to be denuded of their 'garments', the magic of Spring could not exist, when every tree is clothed anew. The bright buds and leaves unfurl and the stark outlines of the branches are decorated with an incredible display of rich form and colour. Nature long ago taught us about 'fashion' in her rule over the seasons. Spring is glorious only because Winter paves the way...

Is it not enough for us to pay attention to Nature itself in order to obtain the Hope we need? Is not the sight of the first snowdrop far more potent than a paper 'prayer rug' with a religious image imprinted on it? Would not a real seed planted in the soil in autumn be far more potent than 'seed money' sent to a con artist?

In urban landscapes, it is far too easy to lose our natural direct connection to the land. It is possible in ANY place, however, to keep a plant in a pot. In Iran, the small plants that are cultivated for Nawroz are such, immediate proof of rebirth. They are the descendants of the ancient Adonis plants and like them, fragile but fast-growing, destined for a brief but showy life and ultimately to be thrown into the sea or river, a sacrifice of life FOR life.

In 'Lord of the Rings', I find all the eternal messages of hope and steadfastness and above all else, recognition that Self is less ultimately than the causes that transcend Self. The fate of the world is far more important than the individual fate of any human or animal... It is only when we forget this that we actually LOSE our courage and turn inward to a vision that is finite and ultimately lacks any future.

If we remember that we are part of the Earth, we cannot die wholly. If our hearts beat in unison with the great heart of Nature, then we live forever. I do believe in an 'afterlife' or 'hereafter' but even without that, we are part of THIS earth and THIS life after our bodies decay and are consumed by the earth. Moreover, those artists like Tolkien who create visions that capture the imagination of millions live forever in their work. True immortality may be that which inspires others from generation to generation.



'May It Be' Lord of the Rings and Enya

May it be an evening star
Shines down upon you;

May it be when darkness falls,
Your heart will be true.

You walk a lonely road...
Oh! How far you are from home.

Mornie utúlië (Darkness has come)
Believe and you will find your way.
Mornie alantië (Darkness has fallen)
A promise lives within you now.

May it be the shadow's call
Will fly away;
May it be you journey on
To light the day.

When the night is overcome,
You may rise to find the sun.


Mornie utúlië (Darkness has come)
Believe and you will find your way
Mornie alantië (Darkness has fallen)
A promise lives within you now.

A promise lives within you now.

The Vernal Equinox, Attis and Nawroz

The festival we now know as Easter was given its name by an ancient Northern European festival at the Vernal Equinox. Eostre was the Anglo-Saxon Goddess of the Dawn, a giver of life and fertility. Essentially an agricultural goddess, she caused plants to flourish and animals to multiply. The rabbit or hare was one of her symbols, which is how the Easter Bunny became part of modern Easter celebrations.
As contemporary Easter now falls on the first Sunday following the first full moon after the Vernal Equinox, it will occur in a few weeks.

The Vernal Equinox, however, remains important to many religions and cultures, from contemporary pagans who consider it one of the 8 Great Sabbats or Festivals in the Wheel of the Year to Iranians who celebrate it as 'Nawroz'.

In all traditions, an equinox is a time of great magic. Day and night are equal at the point of the Vernal Equinox. Like the working of the old Germanic rune of 'Dagaz' which is shaped like a butterfly or the double-ax, it is a time of balance. In many ancient cultures, the Vernal Equinox marked the New Year.
Primitive cultures were well aware of the cyclical nature of life and the changes in season. The Wheel is an ancient symbol of Life with set periods based on the movement of the Sun and Moon and other heavenly bodies. In many civilisations, it was water in the form of rain or the flooding of a river like the Nile that brought life back to the earth but these events occurred seasonally, and this was noted. The influence of the Moon on the tides was noted as well.

For ancient people, the Equinox represented a moment when life itself trembled in the balance, and many rituals that developed did so as an attempt to aid the forces of life and rebirth. In Northern climates, March is a capricious month. There can be temperatures high enough to cause plants to awaken from their winter slumbers, followed by a severe snowstorm. For agrarian cultures, this would be a month fraught with danger and risks. Seeds must be planted, and seedlings must be nurtured, but without artificial heat and light, much would depend on the goodwill of Nature.
To the Greeks, Spring was a time of the 'anoixis' or 'The Opening' and therefore a fitting beginning to the Year. In many ancient civilisations, the year began when the Sun moved into the House of the Ram.

One of the most popular and widely celebrated Festivals in ancient times was the Festival of Attis. The festival of Attis, son of the Great Mother Cybele was celebrated in Spring, and his rebirth was considered to occur at the time of the Equinox. Originally a Phrygian god, his cult spread throughout the Roman empire. In Rome each Spring, an evergreen pine would be cut down and adorned with violets, the flower that sprang from the blood of Attis. The death of Attis would be followed first by mourning and then by rejoicing when the god was resurrected.

Attis was a man or god who castrated himself and this act and its effects were central to his cult. His priests and worshippers often performed the same operation on themselves in an orgiastic culmination of the festival during Spring. Priests were known for their 'effeminate' appearance, with long flowing locks and flowing robes. The clashing of cymbals and wild dances characterised the rites of Attis. Ritual scourging and slashing as well as the rite of emasculation was common. Men both young and old would sacrifice their manhood at the Spring festival.

Although the main centre of the cult was at Pessinus, it was brought to Rome in 204 BC when the black stone of Cybele was instated in the Temple of Victory on Palatine Hill. At the Vernal Equinox, a pine tree symbolising Attis was carried into the temple and decorated with violets, a flower believed to have sprung from the blood of the god. A figure of Attis then was hanged or bound to the tree.

Roman sources describe the festival as follows:

On the 22nd day of March, a pine was chosen in the woods and cut, then borne back to the temple of Cybele by a guild of Tree-bearers. The trunk of the tree was swathed in woolen bands like a corpse and decorated with violets. The effigy of Attis was tied then to the middle of the tree.

On the second day, trumpets were blown. (Noise often characterises New Year celebrations. It either is an attempt to frighten off evil spirits or to 'wake the dead'.)

The third day, the 24th of March, was known as the 'Day of Blood'. The Archgallus or highest of the Galli priests would draw blood from his arms as an offering first. The followers of the god then would gash themselves with knives and potsherds so that a rain of blood fell upon the altar and sacred tree. The most devout would make the sacrifice of their manhood, and the severed parts were thrown onto the altar. Later, these sacrifices would be buried either in the earth or in underground chambers sacred to the goddess.

The effigy of the god was laid in the tomb then and the worshippers mourned his death.

In the same way in which worshippers abstained from any food prepared from grains ground in a mill during the mourning period for Tammuz, the devoted abstained from bread during these rites.

When night fell on the 24th, however, the mourning was transformed into great joy. A light was kindled in the darkness and the tomb was opened. The god Attis had risen from the dead. The priest whispered the message of salvation and eternal life into the ears of the worshippers, touching their lips with sacred balm.

The 25th of March, deemed the Vernal Equinox according to the old Roman calendar, was a festival of Joy, celebrating the resurrection of the god. During the Festival of Hilaria, universal licence prevailed. People were expected to dress in masquerade and the lowest of the low could present himself as an emperor or god on this day. This is similar to the later medieval festival honouring the 'Lord of Misrule'.

The 26th was a day of rest and on the last day of the Festival, the 27th of March, the statue of the Great Goddess was taken to the river in a waggon drawn by oxen. The high priest, robed in purple, washed the image of the Goddess, the waggon and all other sacred objects in the flowing waters, then decorated all with fresh flowers of Spring.

As the god himself died and was restored to life, it was believed that initiates who made the ultimate sacrifice of their manhood achieved immortality through their action.

When Christianity swept through the Empire, the festival of Attis was supplanted by Easter.

For years, I puzzled over this cult and marveled at its incredible and widespread popularity. It is not uncommon to find the idea of the 'androgynous being' as particularly sacred in ancient religions. In Native American tribes, there was an accepted role for a man who dressed as a woman and indeed lived as a woman in order to gain spiritual power. Many ancient gods were depicted as being both man and woman, with the power to create life from their own beings.

On one hand, the 'unmanned' Attis could represent the same sort of life in perfect balance as the Equinox itself. Neither male nor female, the god Attis is a symbol of a being stripped of gender in a sense. As the pine tree was denuded of its branches and in fact, as the May Poles in Europe later often were stripped of their branches before being set in the centre of the village, it is through this act that immorality is achieved. The Asherah poles of ancient Canaan were trees that had been ritually stripped of their branches.

I now believe that the truth is far simpler. The cult of Attis has its foundation in the ancient 'hierogamos' or sacred marriage. In ancient Sumer, the king would participate in a sacred marriage with the High Priestess in the role of the Goddess on her sacred throne/bed. In doing so, he would bring fertility and good fortune to the earth. He was the subordinate in this relationship for he was no more than the shepherd of the flock in the role of Dumuzi. He guarded the land and its creatures for the Goddess.

Dumuzi was a shepherd who played the pipes. Attis was portrayed as a shepherd who played the pipes. In early times, it is possible that the High Priest would assume the role of Attis in the same way as the High Priestess once assumed the role of the Great Goddess. He would be hanged and torn apart on a pine or fir tree like Marsyas.
In the ritual of Attis wherein men castrated themselves, they were in effect performing the sacred marriage once and for all, burying their manhood in the Earth to be united with the Goddess eternally. This is why the ritual would be perceived as the promise of eternal life and eternal bliss. Rather than being a cruel sacrifice, it would be elevate the status of the individual, making him the partner of the Goddess who ruled all.

However much we might like to believe that magic and power can be 'tamed' by 'civilising' influences, the fact of the matter is that true power is rather frightening and sometimes brutal. Neither Death nor Life are always gentle.

If we can grasp the spiritual significance of the sacrifice of Attis, we can go beyond the ostensible horror of the act. In fact, throughout history, there have been cults of emasculation. A famous cult existed in the Soviet Union in the 19th century. Emasculation was not a matter of 'gender-consciousness' or
wish-fulfillment but rather of ultimate dedication to the Goddess. Unlike contemporary examples of men who opt for the knife in order to 'become women' for sexual reasons, the ancient mystery religions were more concerned with other realms than with sexual gratification in this world.

Beyond that, of course, blood is a powerful substance and blood coupled with pain endured in a noble cause always have presented an irresistible attraction for the masses.

Mel Gibson in depicting Christ's torments graphically in 'The Passion' was condemned by many, but interestingly enough, the film inspired millions of Christians, prompting them to revitalise their faith. Flesh and blood is fragile, and life is transient at best. In a film about Vercingetorix entitled 'Druids', a character declares that: 'The greater the magic, the greater the sacrifice.' This axiom is an elementary one both in religion and magic.

The secret rites of Attis were very similar to those of the god Mithras. In fact, they originally may have been the same god, as Mithras often is portrayed wearing a Phrygian cap. Mithras almost surpassed Christ at one point in his popularity.

In rites shared by Attis and Mithras, ritual fasting was followed by a baptism in blood. After the fast, the novice would be given 'communion' by eating from a drum and drinking from a cymbal. The devotee, crowned in gold, would descend into a pit, the entrance to which was covered with a grate fashioned of wood. A bull wearing wreaths and garlands of flowers, with forehead decorated with gold leaf would be driven onto the grating, then stabbed with a consecrated spear. The blood would pour onto the novice. When he emerged from this bath of blood, those who awaited him would receive him as one reborn to eternal life. After this, he would restrict himself to milk like a newborn child for a period. This ceremony took place at the Vernal Equinox during the great Festival of Attis.

Originally, most agrarian communities made blood sacrifices at times of sowing and planting. In many civilisations, it was a human sacrifice. Like the Aztecs, who created a temporary god each year, worshipped and adored him for a few days, then killed him, cut him into pieces and consumed his flesh, this sort of ritual always was part of the history of humanity.

In Christianity, the 'body and blood of Christ' is consumed in the ritual of 'Holy Communion.' Whether or not one believes in the doctrine of transubstantiation, wherein the bread and wine actually becomes flesh and blood, the ritual commemorates a fundamental human rite of sacrifice and a means by which human partakes of and therefore becomes one with a God.

As late as the 19th century, people in some parts of the world continued to practice ritual human sacrifice and to sow human flesh with the seed into the earth in order to make it fruitful.

For some reason, contemporary society, while reveling in 'virtual' depictions of violence and death, is disgusted and appalled by the concept of human sacrifice. There is a question that comes to mind, however. Considering the fact that each one of us is doomed to die at some point, would it not be better to die as a god?

Those who accepted the role of sacrifice actually became one with the God or Goddess. In some cases, this sacrifice was made by the King himself. The ancient connection between Ruler and land was strong. A good king was believed to bring prosperity and fertility to his land and people. A king who was evil or cursed would cause sterility and ill-fortune.

'The Golden Bough' is filled with examples of rulers who were allowed a specific period of kingship, after which they were sacrificed and another king chosen or appointed. It has been suggested that the Archigallus of the cult of Attis originally became Attis and was hanged from the Tree in the Temple. Only later was a figure substituted for a real human being, and the outpourings of blood from the worshippers splattered onto the statue would allow the statue to acquire the essence of a human sacrifice.

Contemporary pagans for the most part celebrate the Eostre Sabbat simply as a celebration of the renewal of life. The old connection with sacrifice has disappeared. Although the act of leaping through or over a fire was part of early Spring rituals throughout Europe, it is Beltane that now is considered the real fire festival and huge bonfires are lit on the first of May.

Holi, a Hindu Spring Festival has many similaries with Nawroz. The bonfire is lit on the eve of the Festival. The Festival itself is a festival of colour, but it is preceded by an ancient Fire ritual. The 'sacrifice' in Holi is an interesting one. The tale involves a conflict between good and evil, with the ultimate triumph of the 'good' boy who emerges from the fire unscathed and the defeat of the 'evil' woman who, although she supposedly had the power to protect herself from being burned, failed to do so and was consumed. This, however, is a 'gloss' on a far more ancient ritual.

The ancients believed that Fire was sacred. Fire, like water, is an element that purifies. It creates smoke, a creature of air that rises to heaven itself. The ashes it creates could be considered the transformed essence of the object consumed by flame. Furthermore, the most ancient form of light to dispel darkness is fire. Before electricity, humanity used fire in order to prolong the period of light after the setting of the sun. Fire was a source of warmth as well as a means by which food could be cooked.

Another 'magical' property of fire is its ability to shape metal. When human beings discovered how to work with metal, they were able to create tools and weapons far more powerful than anything previously available. The Bronze Age was born from fire. We tend to forget the vital importance that fire played in the lives of our ancestors.

In many ancient myths throughout the world, there is a common tale of the Goddess who takes a young boy destined to become ruler into her care. Usually she disguises herself as a nursemaid and convinces the mother to allow her to care for the child. Each night, she places the child inside a fire. One night, the mother witnesses this and snatches the boy from the fire, believing that she has saved her child from an awful fate.

The Goddess then reveals herself and declares that she was making the boy immortal but that, having been interrupted, he will be vulnerable in one specific spot. (This is the source of what now is known as Achilles' heel.) It is the fate ultimately of the ruler in each of these old myths to be killed when an enemy discovers his weakness.

Fire therefore was considered to possess the power to make a being immortal. There are many tales of individuals who walked into a fire only to emerge triumphant from it. Human beings can walk upon hot coals and flames without being burned and there are those who know the trick of swallowing flames. Even now, fire has its allure.

The old Iranian religion of Zoroaster was a Fire religion and Nawroz is based upon this. There actually is an old tale to explain the Festival, although it probably was created after the fact as is often the case with respect to ancient rituals.
Over 2500 years ago, there was a king named Dhahak or Zuhad. He ruled with an iron fist and each day two young boys were sacrificed and their brains fed to the twin serpents that grew from each of his shoulders. (The Serpent God is an ancient character found throughout the world.)

As one might expect, a hero emerged to liberate the people from this monster. He was a blacksmith named Kawa. With the hammer and sickle forged in his smithy, he overthrew the tyrant. Bonfires were lit on every hilltop and rooftop to celebrate this event. This was the beginning of 'Nawroz', the festival of a 'new day'.

The eve of the last Wednesday of the year, known by Iranians as 'Red Wednesday' is the night on which bonfires are made and lit. Every one is supposed to leap over the fire, exclaiming, 'Give me your redness and take away my yellow.' This expression probably refers to the pallour of winter and the healthy ruddy complexion of summer.
The ashes of the bonfire are gathered carefully after the fire is allowed to die down naturally. They then are taken out to the fields and buried in the fields. This practice can be found in old rituals of Spring throughout the world. The ashes are a symbol of the death of winter, but they will bring fertility to the fields.
When the individual who buried the ashes returns to the house and knocks upon the door.

'Who is it?' he is challenged.
'It is I.'
'From whence do you come?'
'From a wedding.'
'What do you bring?'
'Happiness and mirth.'

The door then is opened, and the messenger of the New Year, who has warded off the evil eye and all ill-fortune is allowed to enter.

The Fire Festival is known as 'Charshanbe souri'.

There is another element of the Charshanbe Souri that is reminiscent of the old Roman Festival of Hilaria. Children and even adults often dress in disguise and visit the homes of neighbours, carrying empty metal bowls and spoons. The clashing of the spoons against the bowls alerts the owner of the house who opens the door and places a treat in each bowl. Usually those who are in disguise do not speak, remaining anonymous throughout the ritual.

In the old Festival of Attis, there were similar practices, wherein individuals dressed in costume and went from house to house. Noisemaking in processions is part of most New Year celebrations. The noise drives away evil spirits.

An interesting and rather beautiful custom of Nawroz is the Sofreh, a display that is placed on a large cloth in the centre of the main room of the house. This usually is created a few days before Nawroz and consists of items with great significance.
The items that are included in the Sofreh are as follows:

Candles are placed on the cloth, one for each child in the household. Often an egg accompanies each candle.

A holy book is placed there. For Muslims, it would be the Holy Qur'an. For others, it might be the Avesta, the Bible or a book of poems by Hafez.

The Haftsin: This consists of seven items whose names begin with the letter Sin. The items usually are set on a tray together and can be:
Sib (apple), Sumac, Sir (Garlic), Samanu (wheat pudding), Senjed (jujube fruit), Sohan (a sweet made with honey and nuts), Siyahdane (sesame seeds), Serke (vinegar), Sangak (bread baked on a bed of rocks).
Sometimes, inedible items are substituted, including:
Sekke (coins), Spand (wild rue), Sabzeh (wheat or lentil sprouts).
Originally the seven 'Sin' represented Ahura Mazda and the six Amesha Spentas who help regulate order or 'deen' in this world.

Other items on the sofreh are:
An upright mirror with a hard-boiled egg in the centre.
A bowl of water with an orange and a leaf from a rose bush floating in it.
Live goldfish in a bowl.
Barley, wheat or lentil sprouts growing since early March decorated with a red ribbon and with an orange in the centre.

The sprouting plants probably are the most interesting aspect of this festival as they can be traced back to the plants of Adonis that women grew in small dishes in honour of the god. In parts of Eastern Europe, women still grow wild rue in similar fashion in Spring. The culminating ritual of Nawroz is the same as that of Adonis, as a matter of fact, and can be seen in similar rituals throughout old Europe.

The 'sa'at i tahvil' is the moment when the old year ends and the new year begins. At this point, the entire household must gather round the Sofreh, wearing their new clothes, holding a coin in their hand. Their attention is fixed on the egg in the centre of the mirror. At the moment when the new year begins, the egg will roll on the mirror and the orange will turn over in the bowl of water. Cannons are fired to salute the New Year (wherever there are cannon).

Nawroz celebrations last for thirteen days. On the thirteenth day, the sabzeh is taken to a body of running water and thrown into it, precisely as the plants of Adonis were thrown in the water in the distant past.

Fortunetelling is a huge part of Nawroz and there are many rituals and old traditions relating to fortune. Girls will conceal themselves on street corners to overhear conversations of strangers. The first utterance of the stranger will be taken as an omen. This is known as 'falgush'. Another ritual is 'gereh gushai' whereby a person will tie a knot in his/her clothing and ask the first person crossing his/her path to untie it. This is supposed to bring resolution to any problem the person may have.

Many people refer to the book on the Sofreh as a means of fortune-telling by opening it randomly at any page and pointing to a line without reading it first. The line thus designated will contain a prediction for the coming year.

Nawroz is an occasion for gift-giving. People often give 'eydi' or Eid gifts, and even promotions in a job may be delayed until the New Year as being more auspicious if given then. Rather like an Easter egg hunt, there is a traditional game that is played with coins. The coins are hidden beneath the edges of carpets in a house and members of the family then search for them. Special coins or crisp new banknotes often form eydi, given ordinarily by the head of any household to family and visitors.

Nawroz is the last contemporary celebration of a New Year in our Calendar. In some ancient cultures, the New Year was celebrated on 1 November after the last harvest and the last slaughter of animals before the Winter. I do not think there is any culture now that celebrates the New Year at the end of Autumn, although in the Islamic lunar calendar, the first day of Muharram will fall on a different day each year and a different month every few years. New Year for Muslims therefore can be celebrated in Spring, Summer, Autumn or Winter. This was an attempt by Prophet Muhammad to distance people from the old seasonal rhythm of life and to set a pure relationship with God in its place. Although Islamic daily prayer or salah follows the rhythm of the sun and in fact, in many ways Islam is very much attuned to Nature and natural forces and elements, the Calendar is not.

Although contemporary society professes to be 'beyond' any need to propitiate the fates and our natural rhythms are obscured by artificial light and heat, people continue to look for 'closure' in their lives and to celebrate new beginnings. New Year celebrations are as popular now as ever, even if their original purposes sometimes have been forgotten.

Gung Hay Fat Choy! Happy New Year!

'Gung Hay Fat Choy!' is a tradition New year salutation but the meaning is 'Congratulations and be prosperous' rather than 'Have a Happy New Year!'

Although my own heritage is not Chinese, I have been involved in traditional Chinese New Year celebrations since childhood. I travelled and lived in Asia when I was a young girl and after that, studied Asian martial arts. Although my own martial arts discipline was Korean rather than Chinese, my study began at University where all Asian martial arts clubs and students became close friends. I therefore received invitations every year to traditional New Year banquets and participated in many of the customs. Although Koreans and Vietnamese celebrate the Lunar New Year as well, most banquets I attended were hosted by Chinese or Malaysian organisations.

Even now, I always am aware of the New Year and decorate the house with banners whenever possible as well as participating in whatever customs are appropriate for a 'foreigner'.

The Asian New Year for China, like many ancient festivals of its kind, is not limited to one day, but is a celebration that extends from the New Moon to the Full Moon. It therefore lasts an entire fortnight and culminates with the Festival of Lanterns on the 15th day. Today, 18 February is the first day of the New Year. In Vietnam, it is known as 'Tet'.

In Malaysia, the New Year is celebrated for 15 days from the New Moon to the Full Moon and the celebration of Chap Goh Mei marks the end of the New Year festivities.

Like many ancient cultures, the Chinese and others who celebrate the lunar New Year prepare for it by cleaning their homes. Muslims do the same when preparing for the Islamic New Year, incidentally. Dirt should not be swept out the door with a broom, as that action would sweep the good fortune out as well. Instead, the dirt is collected in the centre of the room and carried out of the house instead.

During the New Year, it is considered unlucky to cut hair or use sharp implements. Hair in many cultures is a symbol of life as well as symbolising the rays of the sun in terms of sympathetic magic. To cut one's hair therefore would be tantamount to cutting the light short. As the origin of New Year Festivals is rooted in a human desire to encourage the sun to return after the darkness of Winter, it would be unfortunate indeed to perform acts that would operate to weaken the power of life and light.

The predominant colour of the New Year is red, as red is the colour of life and prosperity. Red is the symbol both of blood and of fire. Fire is a purifying element as well as one that protects. It is fire that drives away the darkness, and the New Year by heralding the Spring season, is a festival celebrating the triumph of light over darkness.

Banners with statements relating to happiness and good fortune for the New Year are painted or printed on red paper and displayed on walls both in private homes and in businesses and public places. 'Gung Hay Fat Choy' (Cantonese) is a common message. 'Gong xi fa cai!' is the Mandarin equivalent.

The New Year is a time when gifts are exchanged. Red envelopes containing money either in the form of coins or more significant sums are given to children and family members usually by the male head of the household. Often, a token coin will be wrapped in red paper and given to guests at traditional banquets as a symbol of good luck rather than an actual financial gift. For family members, however, the money gift or 'lai see' can be a substantial amount.

An even number of coins or notes, or an amount representing an 'even' rather than 'odd' sum is considered auspicious.

In Malaysia, the red envelopes given are known as 'ang pow'. Malaysians and Chinese follow many of the same traditions at the New Year.

Small oranges such as clementines and tangerines are traditional symbols of 'happiness in abundance' at the New Year. People bring tangerines and oranges to friends and relatives when visiting during this festival season. A piece of fruit given with its leaves intact is considered to be a sign of a relationship that will remain secure during the year to come. Often people will give or display a small orange tree decorated with red envelopes and other red good luck charms during the New Year. Plum trees are purchased and displayed at the New Year as well.

Red and pink flowers are displayed and each has a special significance. Narcissus symbolises prosperity. Camillia represents springtime. Evergreens symbolise everlasting life. Peach blossoms are a symbol of longevity and Buddha hand citron signifies happiness.

Cards are sent and exchanged that show traditional symbols of good fortune and prosperity. Among these are fish, boats, dragons and chrysanthemums. Amulets made of metal or plastic in the shapes of good luck symbols are common. Usually they will be red and gold and may be painted, decorated with gilt or red velvet and often ornamented with red tassels. Amulets or chocolate amulets in the shape of old Chinese coins, firecrackers, fish, and money bars are displayed or given as tokens during this holiday. Another shape that can be seen in amulets made of chocolate, plastic or even solid gold is that of the ancient gold nugget. In appearance, it resembles a house boat. One can find this form in the windows of many Chinese jewelry shops as well as in the less valuable charms that are sold and displayed at the New Year.

A traditional tray filled with sweetmeats called the 'Tray of Togetherness' often is displayed and shared with guests. It contains a number of symbolic offerings: Candied melon represents growth, physical strength and good health; melon seeds dyed red symbolise happiness, joy, sincerity and truth; watermelon seeds symbolise wealth. Lychee nuts represent strong family ties; qumquat symbolises prosperity; coconut represents togetherness and unity; peanuts for long life and lastly, longnan for many good sons. Ginger represents sharpness of mind and intelligence.

Other traditional foods for the New Year are a cake named 'go', the Cantonese word for 'high'. The cake is dark brown and made of sweet pastry. It signifies good fortune.

A vegetarian dish named 'jai' or 'monk stew' is a traditional symbolic New Year dish prepared in the belief that the New Year should begin with a pure dish made solely from vegetables.

In many kitchens, a picture of the Kitchen God hangs upon the wall. According to ancient custom, he is believed to visit the Jade Emperor in heaven at the end of each year to report on all the good and bad deeds of the family. On the 24th day of the last month of the year, a ceremony may be performed wherein honey is smeared on the mouth of the Kitchen God to make certain that he will say only 'sweet' words. Wine is poured on his mouth as well to make him intoxicated so that he will forget any bad deeds he is supposed to report to heaven. The picture then is taken down and brought out to the garden with much ceremony, then burned in order to allow the Kitchen God to rise to heaven. A new portrait of the Kitchen God then is placed on the wall for the next year.

On New Year's Eve, people often would stay awake as late as possible, believing that this would prolong their parents' lives. At midnight, fireworks are set off.

During the festival of the New Year, people wear new clothes. Red is the preferred colour, naturally.

In traditional Chinese communities worldwide, the festival of the New Year lasts a fortnight and parades often are held on the night of the Full Moon. The Festival of Lanterns is based on legends from the Han Dynasty and is over 2000 years old. There are a number of different legends to explain the festival and like many ancient traditions, no one is entirely certain of its real origins.

In one legend, the Jade Emperor in Heaven was furious because a town had killed his favourite goose. He decided to destroy the town with fire as punishment for this offence. A good-hearted fairy discovered the plan and warned the people of the village to light lanterns on the day appointed for their destruction. The people did so and the Emperor, seeing blazing lights throughout the village, believed that his orders had been carried out, and his loss thus had been avenged. He therefore made no move to send fire down upon the village.

In memory of their deliverance, people thereafter held a Festival of Lanterns each year at the first Full Moon of the year. In these parades, lanterns of different shapes and colours are carried through the streets, and dragon and lion dances as well as fireworks are part of the parade celebrations.

In fact, this tale shares common elements with New Year myths from other cultures. The goose almost universally has been considered a guardian of the people, an animal who with its strident voice warns against invaders. The goose is an ancient symbol of the Goddess as well and is connected with ancient worship of the Moon.

In ancient Greece, the goddess Aphrodite was depicted as standing upon a goose with outstretched wings. This in fact may be the prototype of our 'Mother Goose'. The goddess Hecate was associated with the goose as well.

In Egyptian mythology, one creation story features the birth of the Sun from the cosmic egg laid by the Nile goose. Hymns have been found to the goose as 'great chatterer', the 'creator of the world'.

Even earlier, the Bird Goddess of Paleolithic times has connections with the goose. In terms of the association of the Triple Goddess with the moon as well as the Seasons of the year, Robert Graves in 'The White Goddess' wrote: 'In the New Moon or Spring she was girl; as the Full Moon or Summer she was woman; as the Old Moon or Winter she was hag.'

In the context of ancient correspondences of the Goose with the Sun, Moon and labyrinth leading from death to rebirth, there is a fascinating discussion of the Phaistos Disc by H. Peter Aleff which can be found online at:.


http://www.recoveredscience.com/Phaistos1summary.htm


Following his logic, it is possible that the old phrase of 'wild goose chase' denotes an ancient ritual game intended to bring individuals safely into the afterworld.

Be this as it may, it is probably that the Chinese tale of the Jade Emperor and his favourite goose is a very debased version of a far more ancient tale of death and rebirth. Fire, of course, is a symbol of immortality, a symbol of the indestructible soul. It is traditionally a 'guardian' of the gates of the Other Realms, as witnessed in the tale of the sleeping Valkyrie Brunnhilde who is guarded by a ring of fire.

In another myth, the New Year Festival of Lanterns commemorates victory over a man-eating monster from the mountains known as Nian. Discovering that the predatory creature was afraid only of loud noises and the colour red, they gained their safety by setting off explosions of fireworks and decorating the village in red. 'GuoNian' means 'passing over the Nian'.

In any event, whatever its origins in myth, the Festival of the Lanterns that is celebrated on the occasion of the first full moon of the New Year is a glorious event. Lights and noisemakers (fire and fireworks) always were believed to have the power to drive away both demons and the Darkness itself. Although most contemporary cultures have discarded their old traditional belief systems, fireworks and lights continue to be central in most New Year celebrations throughout the world.

One final note about the legend of the Jade Emperor and his goose: this is only one of a multitude of tales wherein human beings are able to deceive or trick a god into believing that a sacrifice has been performed or expiation made. In most cases, from the periodic sacrifice of the Apis Bull in lieu of the Pharoah to the lanterns that deceived the Emperor into believing that the village was being consumed by flames, this trickery is a means by which the salvation either of one human being or all of humanity is procured. The idea that the gods can be deceived may be bizarre to those who believe in an omniscient deity, but many ancient religions considered gods only to be a superior, more-powerful type of human being, therefore attributing human characteristics and motivations to them. Many ancient 'hero tales' extol the cleverness of the hero in being able to trick a god or monster in order to save himself, a designated 'sacrificial victim' or sometimes even the entire world.

The heads of state in many nations today have joined the people to usher in the Year of the Pig with traditional activities designed to bring good fortune and goodwill to all.

In the People's Republic of Korea, school children performed traditional dances and songs and played folk games. In Korean tradition, the New Year celebrations begin at home. 'Sae hae bok mani baduhseyo!' is the traditional Korean New Year salutation. People visit and honour the elders of their extended households on the first day of the New Year. The elders often distribute packets containing money in a manner similar to the Chinese.

It is not uncommon for Koreans to consult a mansin or fortuneteller who will offer divinations at the beginning of the New Year. The Sul-Nahl is the first day of the New Year. Like the Chinese, the New Year festival lasts a fortnight. Its climax occurs at the Full Moon. On that night, women in traditional clothing join in a special circle dance known as the kang-gang suolae.

The most ancient custom in Korea is a fire ritual, originally performed in every village for an abundant harvest and the continuing welfare of the village. Performed not to an universal deity but to local tutelary spirits, the rite began with the lighting of a candle or bonfire.

Food and drink then would be offered to the beings of the spirit world. The most important part of the ritual then followed. Each man would hold a strip of thin paper in his hands, then ignite it at the common fire. He would hold it until it became too hot, then toss it into the air. If the paper soared upwards into the sky and burned completely to ashes, it was considered most auspicious.

Other traditional Korean Full Moon New Year customs were scarecrows or five grain rice placed at crossroads or a ritual of burning pine nuts beneath the moon.

The Vietnamese ordinarily celebrate the New Year or Tet Nguyen-Dan for three days rather than an entire fortnight. In Vietnam, Tet occurred after the rice crop was harvested and before the next crop was planted. It therefore was primarily an agricultural festival. Even now, it may be the most important holiday of the year for the Vietnamese.

Families often save throughout the year for the expenses of Tet. Houses are repaired, cleaned and sometimes even repainted or renovated. Decorations of peach and plum branches are displayed with banners on which New Year wishes have been written.

In the countryside, tall bamboo poles are erected in front of homes and festooned with amulets to ward off evil spirits and flags to attract the ancestors. Altars to the ancestors are set up in most homes with incense and candles. Visits to the cemetary are made, and graves of the ancestors are cleaned and decorated.

At midnight at the start of the New Year, firecrackers are set off. Small altars with offerings of flowers and food are placed in front of houses, and family elders recite prayers to bid farewell to the old year and herald in the new. Incense is burned and ancestors are invited to join in the celebrations.

New Year is a time when every one is expected to be on his/her best behaviour. An angry or unkind word is believed to bring ill fortune.

As with the Chinese, Tet is a time when visits are paid to family and friends. It is believed that the first person to visit a house may be responsible for the success or failure of the entire household in the coming year. Many families therefore try to make certain that the first guest is a friend or relative of great virtue and high social standing.

For the first day of the New Year, a traditional fair was held today in Ditan Park in Beijing, there were operatic performances. Vendors sold pork dumplings and sweets sculpted in the shape of pigs. President Hu Jintao visited remote villages in western Gansu and northern Liaoning provinces. On the outskirts of Dingxi city, he fried dough twists with farmers, helped cut traditional red paper banners and accepted a basket of potatoes from a farmer in keeping with the spirit of the New Year.

In every place where the New Year is being celebrated, temples are crowded and incense is burned. In some, coins are thrown towards the incense burner in the hope that they will land inside the pot, bringing good fortune for the year.

Ancestor worship is very much a part of traditional Asian New Year celebrations, pursuant to the belief that deceased family members exist in a spiritual realm where they act as guardian spirits for the living as long as they are honoured and remembered.

Other traditional elements of New Year celebrations are the Lion Dance and the Procession of the Golden Dragon.

The Lion traditionally symbolises courage, stability and superiority. The Lion Dance is a masqued dance that has its roots in ancient warfare. Originally, it was performed during battle to bring courage to the troops and consternation to the enemy. Accompanied by the clashing of cymbals and the beating of drums, the stylised movements of the Lions are very martial in nature. The Lion Dance may have been used in war first by the Sung dynasty. During the period in which the Ming Dynasty ruled, performance of the Lion Dance was expanded to chase away ghosts and evil spirits rather than being used simply in times of war.

The Profession of the Mythical Golden Dragon became a lavish spectacle in the Han period. The Mythical Golden Dragon possessed extraordinary powers and was the source of all natural elements of water, wind and fire, the custodian of the seaons and the guardian of life and prosperity. Any individual who came into contact with this being would be blessed in all aspects of life.

The Dragon Dance requires superb acrobatic skills. At the climax of the dance, the Golden Dragon climbs a pole to retrieve the 'Ang Pow', the red envelope tied to the end of the pole. Coins traditionally were placed in the Ang Pow and believed to be symbols of good fortune. If the Dragon retrieves the envelope successfully, the entire community will be blessed with good fortune in the year to come.

As in most lunar festivals, celebrations began last night.

The Chinese New Year is not the last 'New Year' celebration in our solar calendar. That distinction is reserved for Nawroz, the Iranian New Year, occurring at the Spring Equinox. The Iranian festival of Nawroz has its roots in ancient Sumerian traditions but primarily is based on Zoroastrian beliefs as delineated in the Sassanid period. Characteristic of the Zoroaster belief system was a belief in two warring gods, one of God and the other of evil, engaged in a struggle for supremacy. Ahura Mazda, lord of all Good was the eternal adversary of Ahriman, lord of Evil and proponents of the faity often were known as fire-worshippers as they believed fire to be the visible embodiment of the Divine. The Chinese Festival of Lanterns obviously was a fire festival initially. As previously noted, fire is perceived universally as a symbol of life force and purification. I intend to explore Nawroz and Zoroastrian beliefs further at the time of the Equinox, along with Eostre and other festivals of the Vernal Equinox.