On a poetic note, I approve of Roderick’s coupling of the internal “nn” of Inanna and Rhiannon much better than him stretching for the initial alliterative as with the Mother’s Cerridwen and Ceres. It’s also the first time I’ve ever heard of the phrase “buckled horn.” I literally cannot find it mentioned anywhere else on google but in this passage. Something in me likes the phrase as a the god’s equivalent to the dark moon symbol…but it is so close to meaning ‘broken,’ I just can’t bring myself to believe it appropriate. Weathered maybe? Seasoned? Gnarled?
Stand facing the west. Light an indigo candle and set it on a table before you. Ignite self-lighting charcoal, then sprinkle loose incense (mugwort and star anise) on the hot coals. Practice the magical pass of the crone, and hold your arms in this position while you say:
By Hecate and Hel,
By Sophia and Sekhmet,
By Inanna and Rhiannon,
And the countless names of power,
By the dark moon and buckled horn,
Come ye Crone Goddess,
Thy Holy Rites reborn!
When you are finished, sit where you are, close your eyes, and sense the crone goddess’ presence.
I think I have learned something very important from the combination of the gesture and the invocation. It really does help align the immanent and transcendent aspects of the deities. I first evoke the aspect within me, then I invoke the aspect around me. It’s a very elegant subtlety. Though none of these invocations have been particularly powerful or resonant with me (indeed, they feel like dead words), they still bring something and I am more attuned to it because I have already found that energy within myself. I think I understand why Roderick has organized these aspects like this now.
The crone invocation was confidence, pure and simple. Queenly confidence, within and without. Bliss.