There is a strong tradition of strange black dogs associated with Faery in England that is almost interchangeable with stories of ghosts and ill omens. The goddess Hekate is also associated with black dogs. They were sacrificed to her in ancient Greece at the crossroads, and in her triple-animal-headed form she would often have the head of a dog. This may be seen to relate to her underworld aspect as Hekate Chthonia, which logically would be the aspect most connected to the Faery realm. Much of the folklore connected to black dogs in England also connects them to the crossroads, generally as the lost souls of hanged criminals.
The wild relatives of dogs, wolves and foxes, also have strong connections with Faery lore worldwide. Foxes are particularly apparent in Chinese folklore in the form of shape-shifting femme fatales known as huli jing, and also in Japan, where they are known as kitsune.
Deer
Deer, both hinds and stags, are an important part of Faery lore. In Celtic myth, it is often a white stag or hind that leads the way to the otherworld or lures unsuspecting huntsmen. Faery beings sometimes take the guise of deer, and Faery kings are often depicted as having the antlers of a stag. To be transformed into a deer for a span of time is also a punishment inflicted on mortals in a number of tales.
Cats
Katharine Briggs states that “cats were almost fairies in themselves” (A Dictionary of Fairies), and I’m sure that most cat lovers would agree! They certainly have otherworldly qualities. There is also a tradition of Faery cats in Scotland known as cait sith, and a number of people have suggested that the phantom big cats sometimes sighted on British moorland, such as the Beast of Bodmin, may, in fact, be Faery cats.
There is also an increased reporting in recent years of “shadow cats,” which are cat-size shadowy creatures that have been seen to pass through walls and into impossible spaces. These may well be a form of Faery being.
Serpents
As ancient chthonic symbols, serpents often arise in Faery lore. There are a number of beings who are described as being part serpent, such as the Faery bride Melusine. You may not realise it, but you see an image of Melusine every time you pass a Starbucks.
Mythical Beasts
There are a large number of mythical beasts associated with Faery, and we do not have room for an entire bestiary within this volume! Many of these may be encountered when working in the Faery realm either in journey, meditation, or other work in an altered state. Dragons, like Faery beings, are agents of the deepest powers of inner earth and the elements, and they may be encountered in wild landscapes and high, rugged places where the primal power of the land may be felt. Unicorns, beautiful symbols of purity and spirit, are also often seen in vision.
Esther Remmington, “Earth Dragon”
(www.estherremmington.com)
Symbols
Symbols are not an obvious or traditional part of Faery Craft, which is mostly concerned with the world of nature and the otherworld; however, there are a number of symbols that have particular associations relevant to Faery. Symbols change and evolve in their meaning over time, and if you wish to add your own personal significance and insights to those mentioned here, that is completely acceptable as long as they resonate with the symbol’s innate energy. As you will see below, many of the associations connected with these symbols are surprisingly recent, and they all hold a number of equally relevant meanings.
from top: septagram, pentagram, triskele, equal-armed cross,
four-leaved clover, the great glyph of the sidhe
Septagram
The seven-pointed star known as a septagram or heptagram is used by many people who walk a Faery path to represent their beliefs, where it is known as the Faery Star or Elven Star. However, this is a very recent usage of this ancient symbol, originating in the 1980s with the Elf Queen’s Daughters, a group originating in the hippie movement of 1970s California who believed themselves to be elves incarnated into human form to help guide the planet towards peaceful ways. This inspired many to “awaken” to their own natures as incarnated magickal beings, such as the Silver Elves (who are interviewed later in this book) and the Otherkin movement that emerged in the 1990s and use the septagram as their identifying symbol.
One of the oldest uses of this star is to represent the sphere of Venus and the power of love within the Qabalah. It can also be found within Christian tradition as a symbol of protection, representing the perfection of God, hence its appearance (inverted) on some sheriff’s badges in the States.
The recent nature of its association with Faery does not, however, detract from its significance in this role. The number seven and things of a sevenfold nature are deeply significant in understanding the patterns of the world and the otherworld. It is fascinating to note that in most accounts from folklore of people being taken away to Faery, it is for a period of seven months or seven years, and through ancient myths the number seven constantly occurs in matters relating to Faery.
Not only can the septagram represent the seven planets, the seven days of the week, and the seven colours of the rainbow, but it can also stand for the seven directions that we use in our work with Faery and other paths that acknowledge the importance of above, below, and within. It has been used as such in the structure of this book, taking as the chapter headings seven qualities needed in Faery Craft, which correspond to the seven points of the star, the directions, and the elements. For this purpose, the points have been labeled sun, moon, stars, earth, air, fire, and water.
