Pagan Gods Quotes

“I should add, however, that, particularly on the occasion of Samhain, bonfires were lit with the express intention of scaring away the demonic forces of winter, and we know that, at Bealltainn in Scotland, offerings of baked custard were made within the last hundred and seventy years to the eponymous spirits of wild animals which were particularly prone to prey upon the flocks - the eagle, the crow, and the fox, among others. Indeed, at these seasons all supernatural beings were held in peculiar dread. It seems by no means improbable that these circumstances reveal conditions arising out of a later solar pagan worship in respect of which the cult of fairy was relatively greatly more ancient, and perhaps held to be somewhat inimical.”
― Lewis Spence, British Fairy Origins

“In her fantastic mood she stretched her soft, clasped hands upward toward the moon.

'Sweet moon,' she said in a kind of mock prayer, 'make your white light come down in music into my dancing-room here, and I will dance most deliciously for you to see". She flung her head backward and let her hands fall; her eyes were half closed, and her mouth was a kissing mouth. 'Ah! sweet moon,' she whispered, 'do this for me, and I will be your slave; I will be what you will.'

Quite suddenly the air was filled with the sound of a grand invisible orchestra. Viola did not stop to wonder. To the music of a slow saraband she swayed and postured. In the music there was the regular beat of small drums and a perpetual drone. The air seemed to be filled with the perfume of some bitter spice. Viola could fancy almost that she saw a smoldering campfire and heard far off the roar of some desolate wild beast. She let her long hair fall, raising the heavy strands of it in either hand as she moved slowly to the laden music. Slowly her body swayed with drowsy grace, slowly her satin shoes slid over the silver sand.

The music ceased with a clash of cymbals. Viola rubbed her eyes. She fastened her hair up carefully again. Suddenly she looked up, almost imperiously.

"Music! more music!" she cried.

Once more the music came. This time it was a dance of caprice, pelting along over the violin-strings, leaping, laughing, wanton. Again an illusion seemed to cross her eyes. An old king was watching her, a king with the sordid history of the exhaustion of pleasure written on his flaccid face. A hook-nosed courtier by his side settled the ruffles at his wrists and mumbled, 'Ravissant! Quel malheur que la vieillesse!' It was a strange illusion. Faster and faster she sped to the music, stepping, spinning, pirouetting; the dance was light as thistle-down, fierce as fire, smooth as a rapid stream.

The moment that the music ceased Viola became horribly afraid. She turned and fled away from the moonlit space, through the trees, down the dark alleys of the maze, not heeding in the least which turn she took, and yet she found herself soon at the outside iron gate. ("The Moon Slave")”
― Barry Pain, Ghostly By Gaslight

“If we turn now to such vestiges of cult as are associated otherwise than with time and season, we discover a definite recognition of the survival of these nearly a century ago. Keightley, the old fairy mythologist, who did such yeoman service in the collection of much valuable elfin lore, says, as long ago as 1850, when referring to the confused nature of his subject: 'Indeed it could not well be otherwise, when we recollect that all these beings (the larger and greater fairies) once formed part of ancient and exploded systems of religion and that it is chiefly in the traditions of the peasantry that their memorial has been preserved.”
― Lewis Spence, British Fairy Origins

“... he slipped in and out of himself, testing which disguise to use. He knew it had to be his most clever. The Sisters were too astute for his usual chicanery.
He flapped his wings, then soared. The shape of an eagle, useful for fast travel across worlds, but only temporary. Not convincing enough to hide his true identity.
... He pushed out of the eagle skin and leaped away from the horde of birds, springing into the sky. Into nothingness.
Instead of transforming into another creature, he hovered in between. Dangling on the mouth of wind. He rumbled with pleasure, at his own cleverness, born out of accident and indecision: he had become pure air.
Without effort, he whooshed past the threshold into the cave, into the bark of the Great Tree, winding cleverly under and over and through a maze of roots and rough stone, past every trick and trap the Sisters had set. He delighted at the speed at which he travelled, catching himself just in time, before his enthusiasm revealed the disguise. Slowing impulse to a mere draft, sucking into himself, he reached the very heart of the Norns’ lair. The Great Hall of Time.”
― Michelle Grierson, Becoming Leidah

“As Mr. R. U. Sayee has well said: 'It should be clear a priori that fairy lore must have developed as a result of modifications and accretions received in different countries and at many periods, though we must not overlook the part played by tradition in providing a mould that to some extent determines the nature of later additions.' It must also be self-evident that a great deal of confusion has been caused by the assumption that some spirit-types were fairies which in a more definite sense are certainly not of elfin provenance. In some epochs, indeed, Faerie appears to have been regarded as a species of limbo to which all 'pagan' spirits - to say nothing of defeated gods, monsters, and demons - could be banished, along with the personnel of Olympus and the rout of witchcraft. Such types, however, are usually fairly easy of detection.”
― Lewis Spence, British Fairy Origins

“Suddenly Damask found herself staring down at the flowers through a dazzle of tears. The words sounded so innocent and so disarming - she remembered that she hadn't wanted to come through the beautiful woods at all; and there was no danger, nothing wrong except the wickedness of her own heart. She looked at Danny's big, brown, work-scarred hands gently gathering the flowers and her love for him was a physical pain. Oh, how she loved him; how she wished that he would ask her to marry him!"



Norah Lofts”
― Norah Lofts, Afternoon of an Autocrat

“This brings me to the question of the antiquity of the belief in fairies and to the associated problem of the existence of strata or stages in fairy belief. The antiquity of the belief is revealed by the wide distribution of tales concerning fairies, while it is also indicated by the antipathy of the elves to iron and salt - ancient taboos both. Not only so, but many traits respecting fairies, especially shape-shifting and the belief in their semi-corporeal state, are eloquent of primitive notions. That the process of the fairy belief witnessed more than one stage of development in the course of successive ages appears more than probable. 'The fairies of one race,' remarks Wentz, 'are the people of the preceding race.' If this statement lacks a certain precision, one realizes the implication; that is, that the ghosts or gods of a preceding race may come to be regarded by their successors as fairies.”
― Lewis Spence, British Fairy Origins

“The gods and goddesses are not relics chiseled in stone. Whisper their names and you will find what time has not forgotten.”
― Nathaniel Connors

“Yahweh is an amalgamation and embodiment of all chief pagan deities.”
― Priscilla Vogelbacher, Hallowed Be Thy Name