Altars and tools
I discussed spacial relationships a bit in the section on group rituals. But now is the time to discuss the nitty gritty of personal practice. Most Pagans, whether solitary or part of a group, have an altar and/or ritual tools of their own at home.
You can read lists of tools and ideas for building altars in books devoted to the particular path you're interested in right now. And hopefully you'.ll also read that you really don't need any of that. You can get by without any tools at all. It is perfectly okay to sit down, wherever you are, fold your hands in your lap or lift them up to the sky and declare the spot you're sitting to be sacred without candles, incense, pentacles or goddess statues.
But most of us humans, being easily distractable, inconstant and a bit disconnected from ourselves and from nature, find it easier to access spirit with tools. While there is no exact right or wrong, there are methods and techniques that have been proven to help. This is where tools come in.
Sighted people usually have altars that are on a level surface somewhere they can be seen and appear pleasing to the eye. There are several standard layouts for altars and any number of non-standard ones. Many Pagans set up every available shelf and window sill in their home to be altar-like, i.e. with purpose and meaning to the placement of objects.
You can find candles of every shape and size on many altars as well as sculptures and figurines. Four objects very commonly found on Wiccan-influenced altars are a goblet (or other water container, sometimes called a chalice), a knife (sometimes sharp, sometiems not, called an athame), a wand (which may be elaborate or as simple as a twig from a tree) and a pentacle (a five pointed star in a circle, which may be raised or burned into wood or may be painted on and not detectable by touch).
Some altars will have incense, herb bundles and/or a brazier or cauldron to burn them in. Others will have crystals and semi-precious stones. Some will have drums, musical instruments, bottles, jars and bowls of spell ingredients.
There will often be something on the altar that corresponds to the four points of the compass. This may be four candles or it may be four objects, each of which corresponds to the element associated with that direction--stones. coins or pentacles for earth and the north; incense, feathers or blades for air and the east; candles or flowers for fire and the south; and a container of water, wine or other liquid for water and the west. These may also be anything from four carved animal figures to four pictures of saints. In any event, they will be arranged in accordance with the four compass points.
If possible, ask another Pagan you trust to show you their altar and allow you to feel objects and their placements. This can be a sensitive subject because some people have taboos about other people touching their altar or ritual tools rather than just looking, but some people don't mind and it could be helpful to get an idea of other altars.
I'll describe my altar using the clock method you may have seen used to describe food on a plate. It is on a shelf behind my fireplace and if a candle isn't lit it is rather dark, so many sighted people don't notice it. But it mostly isn't there for them.
On the back wall of the altar there is a wood-burned panel made by a friend of mine as a surprise gift. I had a series of Pagan and ancestral symbols printed out and laminated and glued to a piece of black velvet that I hung behind the altar. One day the velvet fell down and two days later my friend brought me this beautiful wood panel with all the symbols burned into it, so that I can trace them with my fingers.
On the shelf of the altar there is a small goddess figurine at 12 o'clock. Mine is a goddess focused path. Others will have a figure or a candle for both a goddess and a god. I just have a goddess statue. At one o'clock I have a smokey quartz crystal because that is the direction of north. At four o'clock I have a metal dish to hold dried herbs that I burn as incense. At seven o'clock just about at the center of the shelf I have a candle for the south, which also lights the altar. At 10 o'clock I have a small crystal bowl of water. On the right-hand wall. I have a drinking horn, some amber beads given to me by a teacher and some feathers. On the left-hand wall, I have a very small teapot, a container of sea salt and a small box. It's a simple altar and very small but it gets daily use.
Consider that you don't need to set up your altar the way sighted people do. The key is that it is easy for you to reach, access and work with. You may well do better with objects on a wall or on small shelves where you can reach each object individually. You may also find that simply having all of your tools in a bag or box as a portable altar that you can take out and set up wherever you want works best.
The key is to find what works for you, even if it is not what is most commonly done by sighted people.
Safety
Virtually no discussion of altars can be had in the Pagan world without a rather large note about safety. Far too many devastating fires have been caused by candles and/or incense left burning in unsafe places. But I'm going to be more specific here because most of these warnings will just ask you to visually scan the area around your altar to make sure there are no drapes near your candles. We need to consider safety on other levels as well.
The basics: Don't leave candles or incense unattended, obviously. But even if you are there, you should take precautions. Be on alert for the smell of burning. I have been shocked by how far away something can be from a flame and still start smoldering.
Always place candles and incense on non-burnable surfaces. Wooden table tops can and will burn, smolder and start fires under the wrong circumstances. Small metal disks are the best but ceramic saucers from old tea cups work well too.
Even more importantly, make sure there are no hanging curtains, clothing, strings, drapes, herbs, papers or other light flammables anywhere near burning candles and incense. At least one meter (40 inches) to either side should be clear of any light flammables and none should be at any height above. A breeze can easily move papers, herb bundles or scarves, causing them to fall or blow over a candle. This is a frightening common problem for both sighted and visually impaired Pagans who often have candles or incense burning in their homes.
Many Pagans, including me, have small homes and limited space. My altar is on a large shelf in a bookcase. So, there is a shelf above the altar. This is how many people do it. The inside of the altar shelf has to be very clear of flammable objects. (My felt background was not a good idea and I've learned my lesson on that.) As much as I want to have cloth hangings to decorate my altar, I can't. Everything in the shelf is heavy and most of it entirely non-flammable.
You need at least 50 centimeters (20 inches) of space above a small candle flame before there can be a solid wooden shelf. I have singe marks on the underside of my upper shelf from a candle that was too tall. It is amazing how far up the heat is still concentrated from such a small flame. In addition, make absolutely sure that if you have a shelf above your altar that there are no loose papers, herb bundles or other light flammables on it. All it takes is a window left open and a breeze to put some of that burnable material down on the candles and a fire can flare up so fast that it is difficult to put out even if you are present.
I have had a few near misses myself, even though I am careful. Once my smoldering herb bundle somehow rolled out of the metal bowl it was in (probably due to the front part burning down and the back part becoming heavy enough to pull it out) and landed on my altar shelf. Fortunately I was not using an altar cloth but only the sweet smell of wood smoldering alerted me. It smelled good, like incense, so I didn't think it was a problem immediately. I just knew that was an unfamiliar smell. When I found the source of the smoke, my shelf was smoldering all the way through and was very hot to the touch, all from a little herb bundle I expected to go out in moments. The thought of what could have happened if I had assumed the smudge was out and left is quite unpleasant.
My matron goddess is Brigid, who has a role in my tradition in protecting homes from fire. She seems to have her work cut out for her with me, even though I try very hard to keep to all the safety rules.
Sacred space, purification and casting a circle
OK, back to the fun stuff.
You will read a lot about casting a circle, calling the quarters and grounding in most Pagan books. Various traditions may do it differently but most do these things in some form. For the visually impaired or blind Pagan, there are two issues here: logistics and what to do with all the talk about visualization.
This section is primarily aimed at solitary Pagans who will be doing these things on their own or with a very small group. In a larger group, you will either need to know the actions and terrain very specifically in advance or you will need to be with someone to show you the steps.
In terms of logistics, often the first event in any kind of Pagan ritual, meditation, prayer or work is the casting of a circle. Some traditions see this as simply marking sacred space, others as purification and still others as projecting a magical protective barrier inside which it is easier to deal with energetic forces, deities, spirits, ancestors and the like. How you physically do the circle will depend on what purpose the circle has in your tradition.
If it is a matter of simply defining sacred space, there isn't a huge reason to actually walk in a circle. You certainly can, if it isn't difficult for you, but it isn't necessary for the purpose. You can simply stand in front of your altar or in the place you have chosen and use your incense, smudge, candle, salt, water or whatever your tradition uses to mark sacred space by gesturing to each side, forward and back.
You can turn in a circle. It is worth remembering that a clockwise turn (to your right) is often used to designate sacred space because that is technically the direction the sun appears to travel across the sky. And a counterclockwise turn (to your left) is often used for purifying or getting rid of something, as well as to end a ritual.
For designating a sacred space with either salt, water or smoke, I will usually walk in a small circle. Some traditions proscribe a certain number of times the circle should be walked, usually three or nine but there are probably other numbers. I do three unless I really need to build my focus for something or I feel really scattered. I will sometimes turn three times counterclockwise to clear out scattered or negative energy and thoughts and then walk three times clockwise in a circle to establish my sacred space. This is a small circle in my well-known living room, so it is quite safe once all chairs and scattered children's toys have been cleared away.
For casting a circle in a formal way, the actions are a bit more complex and there is a lot of talk of visualization mixed in with the logistics. Many Wiccans and others of ritual magic traditions that require the formal casting of a circle will talk about energy as a visible or visualized light. I have done a lot of powerful rituals in my time and I am not totally blind but I have never seen any of this light or been with anyone who did. Some claim to but you aren't missing much if you don't see it. I have certainly felt the energy of the circle and you can too.
The first thing in casting a circle is to have a very clear, defined space that you are very familiar with. Build a mental map of it, just as you would when navigating a city intersection. In your mental map of the space put a very large sphere, a giant balloon that can hold you and whoever else is participating in the ritual inside it. If the ritual is indoors, construct your mental map of the furniture around the open space and make the sphere just big enough to fill the room or the part of the room being used. Get the map ready in your mind and then as you walk around in a circle, either alone or with others, work on refining it. This is very similar to the visualization sighted people do. Your map may be spacial rather than visual but it will have the same energetic effect.
As you mark the circle with a wand, a blade, your finger or whatever your tradition uses, add the sphere to your mental map. It will be a thin intangible membrane but as you define it, you will likely begin to feel it. I find the sensation very similar to that I encounter with echolocation. I know that not everyone's experience of echolocation is the same, so it is likely that this won't be either. But if I entirely close my eyes to get the full force of echolocation and walk slowly around a room, I feel a kind of pressure on whatever part of my face and arms is closest to a wall, long before I could actually physically reach it. I have never consciously perceived the sound of echolocation, which may be a partially sighted thing, but I do sense this physical sensation of pressure.
That is the kind of sensation that a well-cast circle will give. And again, while it is called a circle, it is actually supposed to be a sphere. It's just that sighted people find it easier to visualize circles than spheres.
Once you have built the sphere and marked it, it is called a closed circle. No people are supposed to cross in or out of it. This has to do with the energy or mental focus of the gathering. Whether you believe that there is an actual energy field at work or you simply understand that the meditative practice of building the sphere enhances mental focus and crossing in and out of it will tend to disrupt that focus, either way the principle is the same. If you must leave the circle to get some forgotten item or handle an emergency before the ritual or magic is finished, it is recommended that you have some sort of set procedure for this.
The standard procedure in most Pagan books involves tracing the outline of a door in the circle with the implement used to cast the circle, then visualizing opening it and closing it behind one. This may be a bit too visual for some blind folks. I recommend finding a method that works for you. The important thing is that the circle or sphere of focused space is respected and protected. It will depend on how you sense the barrier.
To me it feels a bit viscous as if the air was heavier there and thus it reminds me of swimming under water. I put my hands together and part it the way I do when swimming the breast stroke. But my feeling is that the energy flows back right behind me, like water, so I don't have a method for closing it behind me. If I do this and keep a conscious focus on the mental map with the sphere in my space, I can leave and return without much disruption to the energy of the ritual.
Grounding
I remember one of the first times when I sensed the energy so palpably. I had started studying Pagan ritual but I wasn't very skilled yet. I often led small rituals for a few friends and family members and sometimes the energy felt really good and sometimes it wasn't so intense, but we were focused on the particular work we were doing, which was often Tarot or Runes, so the energy wasn't our focus. Then, a friend who was more skilled in formal ritual came and took over the leadership of one such ritual for me. And everyone there was amazed at how intensely refreshing and invigorating the ritual was, compared to most of our rituals. I knew enough by then to perceive the energy flow and to understand what my friend had skillfully done. I knew then that it was more than just imagination.
Part of what I did not do correctly in some of the previous rituals had to do with grounding. Grounding is often discussed in terms of visualization, so it may not have been my strong point for that reason. The most common form of grounding, and the one my friend used involves standing still, taking deep breaths and imagining or visualizing roots going down from your feet into the earth. Then you are supposed to visualize warm light or energy coming up from the earth into your body, healing and purifying you. Sometimes this is continued with a visualization of light coming down from the sky to fill you through the top of your head.
Again, you can participate fully in this, even if you don't visualize golden light. And groundng in particular can help you with your orientation and echolocation. When this brief grounding meditation is begun, stand with your feet planted firmly, flat on the ground at about shoulder width. Take some deep breaths. It is good to be barefoot if it's appropriate. Either way, feel the ground under your feet. Direct your attention there, much as you built the mental map to cast a circle. Then allow roots to grow down into the ground beneath you or just focus on the contact of your feet to the ground, feeling you feet grow heavy.
Even if someone is speaking, guiding the meditation, listen to the all the ambient sound between the words. Build as much of a mental map of the space around you and beyond as you can. Register all sounds throughout the area--dogs barking, distant voices or music, the noises of traffic, footsteps or whatever you hear. But let them be. Don't worry at them or try to figure out what they are.
Bring your attention to any exposed skin on your arms, legs and face. Feel the air, its movement or stillness, any pressure or sensations you feel. Trust that the earth and the floor beneath you holds you, not just physically but lovingly. Trust that the air that touches your skin embraces you and caresses you. You may have to be very cautious much of the time but standing still in this safe circle, take a moment to feel safe and loved. That is grounding too.
Calling the elements
Once a circle has been cast or a sacred space marked and grounding has been accomplished, most rituals continue with calling of various forces, spirits and deities either to simply be present at the event, to be celebrated or honored or to aid in some way. In a large number of traditions the first to be called are the four elements. This is often dubbed "calling the quarters," because the elements are associated with the four points of the compass: north, south, east and west
Certainly many ancient cultures were intrigued with and heavily influenced by the four directions. However, I speculate that if there were an indigenous culture in which everyone was blind, that probably would not be such a focus. The earth is round after all. The four compass points were made up by sighted people to help define their world.
So, you could convincingly argue that blind people can just call the elements (earth, air, fire and water) and not bother much with the directions. However, calling the quarters somehow became my job when I was a kid whenever we had a ritual with family and friends, so I have a particular affinity for it. And I feel that it is a good idea to know where the compass points are in any given space, if for no other reason than better orientation and mobility.
As a gardener, they are also very important for the technicalities of gardening. South is where the intense sunshine and heat comes from. If I put delicate plants out in an exposed spot on the south side of the house, they can get sunburned. And if I put sun-loving plants on the north side of the house, they won't prosper.
Even so, if you don't want to make a fuss about the four directions, don't worry. Just call the elements in any way that appeals to you from the sources of your tradition. You don't have to turn to face the compass pints. But if you would prefer to do it, there are a couple of options. If you have an altar, find out which way you are facing when you stand in front of it. Most traditions suggest putting an altar on the north or east wall of a room. That would mean that you are facing either north or east when you face the altar.
My main altar is in the north, so I'll give the description for that first. You can place your hand lightly against the edge of the altar and know that you are facing north. Then imagine yourself at the middle of a clock in which you are now facing twelve. Keeping your left hand against the front of the altar for orientation, turn to the right so that you are facing three o'clock. You are now facing east. Keep your hand lightly on the altar behind you and turn so you are facing six o'clock. Now you are facing south. Put your right hand back and place it against the edge of the altar and release your left hand. Now turn so you are facing nine o'clock. You are now facing west. Turn all the way back around to twelve and you have made the full circle, sunwise--the correct direction for calling the quarters at the beginning of a ritual.
If you call the quarters by calling air at three o'clock, fire at six o'clock, water at nine o'clock and earth at twelve o'clock you will be facing the right direction when you do it. And to release these energies at the end of the ritual, simply place your hands in the opposite order, right first and turn to nine o'clock first and go all the way around back to twelve and you will have done a counterclockwise or widdershins turn.
If your altar is in the east and you face east when you face it, then east will be twelve o'clock, south will be three o'clock, west will be six o'clock and north will be nine o'clock. Make a note of this somewhere, so that you can refer to whatever is the correct version for your home and altar. If you don't have an altar, you can do the same thing with any piece of furniture you know is in the north or east of your house.
Once you have cast a circle, grounded and called the quarters you are well into the territory in which each tradition is different. Now is the time to call on your gods, spirits, ancestors or whatever is central to your tradition. I recommend that visually impaired Pagans have some physical object of significance (a statue of a deity, a figurine of spirit animal, a stone or something of the like) that you can touch in this phase but that is as specific as one can get when generalizing about all traditions. I use a sculpture of a woman that I have consecrated as a sculpture of my matron goddess. The physical object that I can touch helps me to hold mental focus through a ritual, prayer or meditation.
Other visualizations
Some traditions include other energy work, such as building a cone of power. You can use the same mental map you used to make the sphere to construct this for yourself as well. It will take some time and practice to build these more complex mental maps. It may help to play with a balloon and an actual cone or kitchen funnel doing off times, to get a feel for their shapes and allow you to include them in your mental map without too much struggle. You can make a cone out of paper, by rolling one side of the paper tight and leaving the other loose, so that instead of a long round straw of paper you have a cone. This is the shape you want to build out of energy in the middle of your circle, if you are focusing on the cone of power.
When you finish, you should release the energies of the elements if you called them, either by words or motions. If you only marked or purified sacred space, there is generally no need to undo it. It will usually have a positive effect on the space. However, if you cast a formal circle with a mental map of a sphere, most traditions recommend that you take it down or "open" it. This is different from the opening you make if you need to leave the circle during the ritual. At the end of the ritual most Pagans will retrace their steps around the circle and declare something like "The circle is open."
The idea is that the energy directed and stored within the circle is then released to do what it is intended to do. As such it isn't exactly like gently drawing back a curtain. There should be a sense of pent up energy inside and given that the sphere was somewhat like a balloon in the first place, I imagine the release of energy might be an out-rushing.
Focusing on your mental map of the space and the sphere, retrace your steps around the circle in the opposite direction. The energy is less firmly held behind you but the sphere is still more or less there until you reach the end. Then as you declare, "The circle is open!" or "So mote it be!" the sphere releases and dissipates.
Depending on the purpose, it may even be like the intangible popping of a balloon. Or it may be like wind rushing away to take the intention where it is needed. Or if the intention was internal, it may rush into you or into a person being healed. Whatever the purpose, I suggest keeping you focus on the mental map long enough to sense this through your skin. It may not be entirely clear the first several times, but as you practice the feel of the energy against your skin and your mental map of it in the room will grow stronger.
Many Pagan events and groups you may encounter will engage in what is called "guided meditation." Often this consists of sitting or lying quietly while someone, either in person or on a recording, tells you that you are in some other place. This is used for grounding, experiencing a safe place from which to do something difficult, for exploring the Underworld or Otherworld and more.
Sometimes guided meditation is presented as entirely visual. The guide may say, "You see that you are in the middle of a field of ripe grain. You can see waves of yellow and gold spreading out before you. The sun is blazing overhead and the sky is a deep blue." Even for sighted people this merely visual guided meditation is distant and less effective.
A better guide will simply state where you should imagine yourself to be and provide varied sensory details. "You find yourself in the middle of a field of ripe grain. The stalks of wheat prickle your ankles and the rich smell of the grass and grain fills your lungs. A soft breeze is caressing your face and the sunlight is almost too warm on your face." And so on.
If the guide doesn't provide sensory detail beyond the visual, you will often be able to translate their words from the visual to other senses. Start with the idea of standing in the middle of a field. Though much of the description may be less helpful, you can remind yourself of the sounds, smells and sensations of such a place and join in the meditation in that way.
If you find describing such a scene with a lot of sensory detail comes easy for you, you may be able to find a useful role in groups by providing guided meditations for others. Again, sensory detail other than the visual works better for everyone in the end, not just for visually impaired and blind people.
Divination
Divination is not part of every Pagan path but it does come up in many if not most. Every ancient spiritual tradition on every continent probably originally had its own divination system. Some Pagan traditions stick to divination systems that are close to their cultural background, but others branch out into multiple geographical areas.
Divination was traditionally thought of in many cultures as a method for predicting the future and/or obtaining the advice of gods, spirits and ancestors. Today some systems still pursue one or both of these goals but modern divination often also seeks to provide psychological and spiritual counsel. Where the counsel comes from, whether it is perceived of as coming from the gods, ancestors or spirits or from inner wisdom and one's own subconscious depends on the tradition. Primarily the interpretation of the power of divination is a highly personal matter.
For our purposes, I will describe several common divination systems and how visually impaired people can access them.
Many divination systems today rely on cards with printed pictures, words and numbers on them. Even systems like the i-Ching and the Runes which were not originally cards are often sold as cards today.
Cards are probably the most difficult divination system for blind people to practice. Most cards have no Braille option and even when they do have one, the Braille only identifies the card and does not provide the symbolism and details that are crucial to the visual experience of the card. Because I am partially sighted, I have used Tarot cards since I was a child but the images on the cards are often too small and detailed for me to get the full visual impact.
Tarot is a system of divination cards originally developed in Renaissance Italy. Fortunately, many Tarot books include a detailed description of the image on each card and a discussion of the symbols on the card. Many of these books are also available as audio or digital books that can be heard out loud.
If you want to use Tarot or another card-based divination system, I suggest getting a set of cards made from sturdy card stock. If you can't see the numbers or names on each card, you may be able to use a text scanner or get a friend to read them to you so that you can Braille the cards yourself. There was once a Braille Rider Waite Tarot deck with an audio book for sale on Amazon but it has been out of print for some time.
Once you have a deck with Braille cards you can use the descriptions in the text (hopefully audio or digitalized for text-to-speech) to familiarize yourself with the potent symbols of the cards. Much of the art and skill of Tarot reading and similar card-based divination is in one's intuitive interaction with the symbols on the cards, not simply in a wrote recitation of the meanings of individual cards.
While I don't believe blind people actually have some advantage through a mythical "second sight" when it comes to divination, neither do we have any great disadvantage and study and practice can give you great skill in Tarot reading.
Many Pagans today also use Norse Runes. The Runes are an alphabet and system of magical symbols used by the ancient Scandinavians. The Runes are made up of combinations of short straight lines and angles and are thus well suited to being carved into wood, stone and bone. Many rune sets today can be purchased. The better of them are carved or etched on a hard natural material such as rounds cut from elk antlers or burned into rounds from a branch with deep grooves. Beware purchasing without handling a set of Runes, however. Many sets are also painted on stone or wood, which may not be so accessible.
Ogham staves (sticks with carved symbols from the Celtic Ogham) alphabet are also gaining in popularity among Pagans of a Celtic persuasion. Like the Runes the symbols are well suited to being read by touch if they are burnt or carved deeply into the wooden sticks. It is more difficult to purchase Ogham staves at present, so it may be necessary to make your own set if you have some manual skill with wood.
A set of Runes or Ogham staves with deeply etched symbols will provide a perfect divination tool for a blind or visually impaired practitioner. Books containing the magical meanings of the Runes or Ogham symbos, translations of ancient poems once used to memorize the Runes and sometimes meditation exercises helpful in studying the symbols are often available in digital formats for text-to-speech reading but less often as audio books.
The i-Ching is a five-thousand-year-old Chinese divination system that uses either 49 dried yarrow stalks or three coins to come up with sets of numbers that correspond to chapters in the i-Ching or "Book of Changes." The yarrow stalk method is more complex but supposedly more accurate and detailed. It is also perfectly accessible to blind and visually impaired people. The coin method would require finding coins which allow you to easily tell heads from tails by feel.
Each of these divination systems is complex and it would take an entire book to give any depth of information about each one. What is crucial to know for our purposes is that it is clearly possible for blind and visually impaired people to access divination tools. With new technologies allowing for text-to-speech and even hand-held page scanners, accessing the books that decode these tools is easier than ever before.
Astrology is another skill related to divination, though it has many other purposes than simple attempts to predict the future. Astrological forces can help us to tip the odds in our favor in just about any endeavor that involves any amount of chance. Farmers have known since the ancient beginnings of agriculture that the success of crops can be influenced by the moon phase when the crop is planted or even watered and weeded. These correlations are still observed today.
Blind and visually impaired astrologers use math to calculate helpful and harmful dates for a vast variety of activities, just like other astrologers. This is another case where the greatest hurdle will be accessing text for study. While many sighted Pagans take great joy in observing the visible phases of the moon, I live in a cloudy part of the world where the moon is rarely visible eight months out of the year, and everyone manages without seeing the moon regularly. Even though I can't see the phases of the moon with my eyes, I still follow a moon calender as a way to stay in tune with natural cycles.
There are some less widespread forms of divination that will prove difficult for blind and visually impaired practitioners. I have never been able to read lines on a person's palm (not even my own) very well. Palmistry is not a common divination technique in modern Paganism, in any case.
More common is the practice of using sightings of animals, birds and trees as a divination system. One could, I suppose, learn the sounds of birds and use their calls instead of sightings. Or one could count any mention or reference to certain animals or trees encountered randomly during daily activities as a "sighting." But I have always found these methods of divination requiring random visual observation to be difficult for me and not particularly useful when described by others.
Mythology and blindness
Finally we come to the topic of original stories and myths from ancient Pagan cultures. Modern Paganism has no holy book or central authority and we pride ourselves on the freedom and diversity of our community. But if there is something that is often held sacred or consulted in at least close to the way many faiths approach scripture, it would be the myths and stories of ancient Pagan cultures.
Some Pagans don't focus much at all on the myths, while for others mythology is central to their belief and practice. Still other traditions may not view the myths as indicative of ancient wisdom, but they view scholarship and understanding of primary source materials from one's ancestral cultures as crucial to spiritual progress. The view you take toward mythology will depend on what kind of tradition you choose to follow.
Accessing primary source materials and scholarly texts can be more difficult for blind and visually impaired people. Many of these texts are rare or held in library collections that can only be viewed on site and which are not digitalized. Others, however, have been translated and transferred to text versions.
If you wish to pursue the study of mythology, I highly recommend not relying solely on those popular mythology books that have been made into commercial audio books. It will be beneficial to the scholar to register with scholarly library programs that provide reading services to students. It may also be necessary to invest in a tablet or phone that can provide text-to-speech technology. Access to source material may still not be perfect, but the level of access you can gain with this technology will give you significant freedom and independence in your studies.
Lastly there is the issue of the myths themselves and what they have to say about blindness. I hope to study this topic in greater detail and write specifically about disability in mythology and what modern Pagans can take from it. But here are a few points to start with.
Modern Pagans generally do not take myths literally. Norse Heathens today don't believe that universe is a literal World Tree. Devotees of the Greek gods don't literally believe that a girl goes down into caves underground and her mother won't let things grow so that's why we have winter. But there is much that we can learn about our existence, the gods and our personal understanding by studying these powerful stories. The same goes for mentions of disability in the stories.
Höðr is a Norse god who is blind. There isn't much written about him except for the story of how he accidentally killed his twin brother Baldr, the golden boy of the gods, when Loki, the trickster god, played a mean prank on him. If taken literally this would be a very negative portrayal of blindness and disability in general. However, because we don't take myths literally this story can be interpreted in a lot of different ways.
The twins can be seen as two sides of a person, the perfect outer image we try to project and the inner being who is often cut off from others and vulnerable to manipulation. Another Norse myth tells how Odin, the father of all the gods, gave up one of his eyes to gain the wisdom of the Runes. Again the concept of physical sight is not what is important in the tale, but rather the idea of the sacrifices we often have to give for wisdom and magical power.
Other cultures have their own myths that mention blindness. In Greek mythology, many monsters are vanquished by being blinded and bliding someone is often a punishment for doing something that offended the gods.
On the other hand, sometimes a person must give up sight to gain prophetic insight. In one rare occasion when a mythological character is born blind, Ophioneus becomes a great prophetic seer, apparently gaining prophetic sight in compensation for his blindness. Fortuna, the goddess of luck and chance, on the other hand, is often seen with a blindfold, a form of chosen blindness meant to symbolize impartiality and fairness.
In fact, blindness is one of the most common disabilities mentioned in ancient myths of many cultures. I hypothesize that this is because blindness was perceived of as particularly terrifying to people in pre-technological times and also particularly relatable. While people with many disabilities would have died rather quickly in those times, blind people did survive and talk and relate with other people. Many people knew a blind person and they at least believed they could imagine what blindness would be like.
Those hoping to find a disability-positive message in the myths will need to look beyond the literal interpretation because in the times when these myths were written survival was not easy for anyone and any physical disability was viewed very simply as misfortune. While today many blind people lead independent and professional lives, technology plays a big role in our freedom to do so. Blindness in mythology is not so much blindness itself but a potent symbol of the fear of powerlessness, helplessness and risks to one's survival.
As such, because we are not powerless or helpless in much of our lives today, we often cannot see ourselves as blind people in those places where blindness is mentioned in mythology. We don't generally have a special affinity for Höðr or other blind gods and goddesses. They are shared by all people who experience the fear of risk and vulnerability.
Instead, we may see disability struggles in those many myths in which heroes and heroines are outside the norm in some way or start with an apparent disadvantage that they turn to their own advantage. It is possible to find disability-positive moments even in ancient mythology, but it will take the same skills needed to interpret all of mythology for modern day life, a metaphoric and heart-centered view of what those who wrote them experienced that we still share.
We have moments, when we do feel helpless or limited. And the myths of our own cultural background and those of other cultures on other continents can give us meaning, counsel and inspiration for the struggles and journeys of our lives. Mythology can be an aid to people with vision impairment just as it can be to sighted people.
I hope this guide has been helpful and not too limited. I have found very few sources already written on the subject of blind people in modern Paganism. I hope this will be only the beginning of the discussion and development of this topic. You are free to copy the address of this article and share it on-line and I welcome your comments, additions, corrections and discussion in the comments section below.
