Frau Holda: Embrace Winter

In the north of Germany Dame Perchta is known as Holda (it is arguable whether she is actually a northern incarnation or a "sister" of sorts). The images left "Holda, die gütige Beschüzerin [Holda, the good protectress]" from Nordisch-germanische Götter und Helden (1882) depicts a beautiful woman emerging from a forest is not uncommon when one takes into consideration of the souther Perchta (a mistress of the Wild Hunt). The patron of domesticated practices (most notably spinning), wild animals, and winter; she is an obscure and ancient character in the Teutonic mythos. She neither fills the role of better known goddess like Hel and Frigg completely, which leads one to question if Holda has pre-indo-European origins predating the Germanic pantheon.

Whatever the case maybe Frau Holda has withstood the annals of time. Hludanae a name that bears a striking resemblance to the latter Holda appears in inscriptions dating from the 197 C.E. An example of this is found in various places among them Frisia, which is a coastal region along the North Sea that lies between Great Britain and Scandinavia. Canonical text lists Holda among the Diana of Italy and Herodias of biblical times to have been venerated in cult form. At times these various entires are assumed to be one and the same just differentiated via region.

Qui credunt quod Diana, quae vulgariter dicitur fraw Percht, cum exercitu suo de nocte solet ambulare per multa sapatia terrarum [Diana who is commonly known as Fraw Percht is in the habit of wandering through the night with a host of women] (Tegernsee MS 434).

This quote from the Tegernsee manuscript is interesting in that it identifies Holda with another known goddess associated with alleged "witches" at the time. The "host of women" under her can either be interpreted as a Holda's entourage within the Wild Hunt or existence of cult veneration. Whether this is evidence (and slim as it might be) of an "Old Religion" is up to the individual, however, it is not the point of this post (I digress). Now one can begin to see how Holda gets connected with the infamous Wild Hunt. The Wild Hunt initiates the dark time or the beginning of winter, thus Holda becomes connected with winter and the Yuletide season.

Holda becomes a literary archetype of sorts. In the collection of fairy tails as collected by the Grimm brothers. Best know is the story of Frau Holle, known by the same name. These stories follow a specific rubric (therefore making the tales sounds similar) that contain such elements spinning (in the older texts a spindle and the distaff, cf. Sleeping Beauty).

Dame Perchta and das Perchten

Once a goddess of the Teutonic peoples of the Alpine countries; in the tenth century she is known as Frau Berchta a swan-footed maiden that Grimm speculates could possibly allude to her ability of shifting forms. She is known “precisely in those Upper German regions where Holda* leaves off, in Swabia, in Alsace, in Switzerland, in Bavaria and Austria” (Grimm, 1835: 13:6). As with many old gods of pre-Christian Europe Bertcha falls unsusceptible to be demonized, thus we are faced with the pale faced hag of superstitious religious belief, Grimm writes:

Popular belief in the last few centuries, having lost the old and higher meaning of this spiritual being, has retained, as in the case of the alb, of Holla and Berhta, only the hateful side of its [her] nature: a tormenting terrifying spectre, tangling your hair and beard, cutting up your corn, it appears mostly in a female form, as a sorceress and witch (17:7).

Interestingly enough Grimm’s reference to the “cutting up of corn” is reminiscent of the ravenous nature of the Wild Hunt, renowned in the Germanic countries. Not only does one encounter Wotan (or Odin) the Wild Man but in the sixteenth century a “specter” named Berchtold clad in white led the hunt, “[We] have met before: he was the masculine form of the white-robed Berhta” (31:4).



As a maid of the Wild Hunt she is known for her to roam at midwinter, had under her command an arsenal of entities the Perchten (plural of Perchta). The festival of the mountain regions of Austria (since the sixteenth century) men wear masks of horrible repute bearing horns of a goat with grotesque teeth invade the land to force out evil spirits reenacting the Wild Hunts of old. These Schiachperchten (ugly Perchten) are one of two forms the other being the Schönperchten (beautiful Pertchen) who bestow blessings during the Twelfth Night. To ensure blessings Perchta’s followers would be forbidden to spin (an allotted amount to be completed prior); eat traditional foods of dumplings and herring.

*Holda (known by various spellings) is considered Perchta's equivalent in the souther regions of Germany while Holda resides in the north.

Photograph from Masks, Face Coverings and headgear. Van Nostrand Reinhold Co. (1973).

Cold and Planetary

Hallowe'en initiates a time of year that I hold very dear. November has this cold liminal feeling to it that I absolutely adore, which is succeeded by illuminated nature of Yuletide. To properly describe the feeling of this time of year would not do it justice, but it is an aesthetic. Sylvia Plath’s “The Moon and the Yew Tree” best describes it:

The light of the mind, cold and planetary.
The trees of the mind are black. The light is blue.

So to kick off this time of year (which honestly is a misnomer, November ends in approximately one week and five days) I’ll be posting about various subjects that pertain to it. I hope that I can successfully convey my internal reaction in an intelligent and mind-captivating manner to you readers. On the docket (so to speak) I’m pulling together some information that will hopefully result in an informative article about Mother Holle known as Frau Holle. Additionally I hope to post some recipes, lore, and such items that will be of particular interest.

Divine Pelican

Being that there is an overtly obvious avian influence in my blog I wanted to talk about one of the more obscure birds whose symbolism has fallen by the wayside. In medieval and renaissance Europe the veneration of the pelican as a religious symbol is little talked about today. Louisiana adopted the pelican as its state bird and the state seal bears the image; however, lore of the pelican predates the formation of America. Prior to the advent of Protestantism in Europe the pelican became a symbol of Christ; yet earlier than this the pelican has its own special place with depiction in Peru and India. An Indian folktale tells of a pelican that killed her young, but was so contrite she sacrificed herself to resurrect her children with blood drawn from her breast. The Physiologus a text from the second century speaks of a similar happening; a pelican devout to their young, however, will kill them if they have been stricken at by their young. In remorse they will peck out their own breast to and sprinkle their young to allow them to live again.

Interestingly enough in Palm one hundred and two David wrote, “I am like a pelican of the wilderness: I am like an owl in the desert” (Ps. 102:6).

This self sacrifice and act of redemption translated well within the context of European Christianity; the sacrifice of Christ for the salvation of humanities’ sins transforms Christ into a divine pelican. St. Thomas Aquinas in his Eucharistic hymn “Adoro te devote” in the sixth verse identifies Christ as a “pelican of mercy”:

Pie Pelicane, Jesu Domine,
Me immundum munda tuo sanguine:
Cujus una stilla salvum facere
Totum mundum quit ab omni scelere.

The “poetic” English translation:

Pelican of mercy, Jesu, Lord and God,
Cleanse me, wretched sinner, in Thy Precious Blood:
Blood where one drop for human-kind outpoured
Might from all transgression have the world restored.

The Catholic Encyclopedia of 1913 makes mention of this specific verse being sung independent of “Adoro te devote” during the Benediction of the Most Blessed Sacrament. Here we can see the Roman Catholic absorption of the pelican as a symbolic of Christ as well as of the Eucharist.

The most notable visual reference (artistic depiction) of the pelican is seen in Nicholas Hilliard’s portrait of Queen Elizabeth I, c.1575 known as “The Pelican Portrait” held at the National Portrait Gallery (NPG) of Great Britain. Hilliard is equally famous for “The Phoenix Portrait” believed to have been painted a year later. Queen Elizabeth was accustomed to wearing the image during the commission of state portraits as a codified message to the English expressing her selfless love, charity, and redemption.

From Silent Ghost Cinema

I stumbled upon this short film while looking for something completely unrelated (isn't that how it goes?) and found it completely amazing. Sadly the website has gone offline, but some of the films they had done are on YouTube; easily accessible to the public. I'll also mention that Silent Ghost Cinema's other web presences are either out of date or are abandoned.
But nevertheless enjoy!

Introduction

I’m horrid at introduction, however, this being the inaugural post of Ostrich and Egret I figured I should bit the bullet with some hopefully informative bits-and-bobs about myself, the intentions of this blog, and whatever else.

Anyway, I’m a perpetual student based in Syracuse, New York majoring in Arts in Cultural Context, which is a self-designed degree focusing on the post-structuralist body, abjection in art, and gender through a feminist lens. All academics aside I am a practitioner of folk magic and traditional witchcraft with a particular interest in American witchcraft. I’ve studied various forms of magic throughout the years from ceremonial magic of the Golden Dawn to contemporary witchcraft originating from the British Isles.

Wish I could claim some profound connection to some metaphysical celebrity, but sadly I cannot. My mother taught me to read palms, cards, and tea leaves; which she learned from her mother and she learned from hers (you get the picture). My maternal great grandfather could remove warts and my grandmother was adept at water-witching.

What’s in a name? Ostrich and Egret comes from chamber rock band Rasputina’s “How We Quit the Forest” from their 1998 album of the same name, “The ostrich and the egret, / Had a very fine flat to let.” Both curious and elegant birds I though the best represented the intention that I had for creating this blog.

I want this blog to be a catalog of curiosities that I run across in my studies and in my ever evolving practice.

I’m very happy with a good cup of matcha, baking, and performing other atypical domestic activities; among other things I’m a knitter, crafter, and pop culture commentator (in an unofficial capacity).