3. The Mysteries of the Druids and the ‘Drottes’

Astronomical Meaning Demonstrated. The first canto of the Edda, which apparently contains a description of the ceremonies performed on the initiation of an aspirant, says that he seeks to know the sciences possessed by the Aesas or gods. He discovers a palace, whose roof of boundless dimensions is covered with golden shields. He encounters a man engaged in launching upwards seven flowers. Here we easily discover the astronomical meaning: the palace is the world, the roof the sky; the golden shields are the stars, the seven flowers the seven planets. The candidate is asked what is his name, and replies Gangler, that is, the wanderer, he that performs a revolution, distributing necessaries to mankind; for the candidate personates the sun. The palace is that of the king, the epithet the ancient Mystagogues gave to the head of the planetary system. Then he discovers three seats; on the lowest is the king called Har, sublime; on the central one, Jafuhar, the equal of the sublime; on the highest Tredie, the number three. These personages are those the neophyte beheld in the Eleusinian initiation, the hierophant, the daduchus or torchbearer, and the epibomite or attendant on the altar; those he sees in Freemasonry, the master, and the senior and junior wardens, symbolical personifications of the sun, moon, and Demiurgus, or grand architect of the universe. But the Scandinavian triad is usually represented by Odin, the chief deity; Thor, his first-born, the reputed mediator between god and man, possessing unlimited power over the universe, wherefore his head was surrounded by a circle of twelve stars; and Freya, a hermaphrodite, adorned with a variety of symbols significant of dominion over love and marriage. In the instructions given to the neophyte, he is told that the greatest and most ancient of gods is called Alfader (the father of all), and has twelve epithets, which recall the twelve attributes of the sun, the twelve constellations, the twelve superior gods of Egypt, Greece, and Rome. Among the gods of the Scandinavian theogony there is Baldur the Good, whose story, as already hinted above, formed the object of the initiatory ceremonies. Baldur is Mithras, the sun's love. He foresees the danger that threatens him; he dreams of it at night. The other gods of Valhalla, the Scandinavian Olympus, to whom he reveals his sad fore-bodings, reassure him, and to guard against any harm befalling him, exact an oath from every thing in nature on his behalf, except from the mistletoe, which was omitted on account of its apparently inoffensive qualities. For an experiment, and in sport, the gods cast at Baldur all kinds of missiles, without wounding him. Hoder the blind [that is, Fate], takes no part in the diversion; but Loki [the principle of evil, darkness, the season of winter] places a sprig in the hands of Hoder, and persuades him to cast it at the devoted victim, who falls pierced with mortal wounds. For this reason it was that this plant was gathered at the winter solstice by the Druids of Scandinavia, Gaul, and Britain, with a curved knife, whose form symbolised the segment of the zodiacal circle during which the murder of Baldur took place. In the Edda of Snorro we have another legend of Odin and Freya, the Scandinavian Isis or Venus, giving an account of the wanderings of the latter in search of the former, which, of course, have the same astronomical meaning as the search of Isis for Osiris, of Ceres for Proserpine, etc. One of the chief festivals in the year, as with the Druids, was the winter solstice; and this being the longest night in the year, the Scandinavians assigned to it the formation of the world from primeval darkness, and called it “Mother Night.” This festival was denominated “Yule,” and was a season of universal festivity.