journey 2 the mysterious islan

The curse of Caluco is an ancient legend that dates back to the time of the Mayans. According to the legend, the curse was placed on the people of Caluco by an angry god as a punishment for their disobedience. The curse was said to bring destruction and misfortune to the entire community. The origins of the curse can be traced back to a time when the people of Caluco were thriving and prosperous. They had a rich culture and were known for their advanced agricultural practices. However, they became arrogant and started to neglect their responsibilities towards nature and the gods.

Love and Commitment

The most potent way to honor the Crone at any stage of life is to honor the crones in our world, the elders who have seen much, learned much, and have much to share. He is courageous and strong, but in some cultures he is depicted as an underdog- small and unassuming, but incredibly clever and wiry and can be a bit of a trickster.

However, they became arrogant and started to neglect their responsibilities towards nature and the gods. This angered one of the gods, who decided to punish the people of Caluco for their arrogance. The god sent a powerful curse that would slowly destroy everything they had built.

Seven Archetypes, Three Powers

With the rise in popularity of hard polytheism and culture-based Paganisms, ideas of archetypes have fallen out of favor over the past couple of decades in mainstream Paganism. I too, was on the hard polytheism train, being a member of a hard polytheistic Druid organization, and having read Greer’s A World Full of Gods to help wrap my mind around a more literal form of polytheism.

Yet in my own spirituality, I kept returning to the concept of archetypes. I suppose it’s because I like to think that at their core, there is some part of the deities that is universal, and beyond the limited view of any one particular culture. There seems to be a common notion within Paganism nowadays that archetypes aren’t real. But archetype does not mean simply a symbol or a metaphor. Jung called archetypes primordial images ingrained into humanity, but also existing outside of humanity. They are not purely psychological. I view the concept of archetypes as an aspect of an entity that helps me understand that being. And I believe that one deity can encompass many archetypes.

So in 2015, I became very interested in a new Pagan movement called Waincraft. This was a complex archetypal Paganism that grew out of the Vanatru movement. It presented a fresh and different way of looking at archetypes. I was especially interested in the concept of the first three powers of Waincraft: Mother Night, the Wildfather, and the Lord of Plenty. However, this system entails many more archetypes, or powers, as they call them in Waincraft– about 23. As I set out to get to know the other Waincraft powers, I came across a lot of redundancies, and to my mind, disorganizations or mischaracterizations. So I stuck with the first three, but adapted them to my own way of thinking in some ways; I saw Mother Night as more of a Great Goddess, and the Lord of Plenty as more of a youthful figure (or at least having both a younger and older aspect) and being less of a Father Time figure. I considered many of the other powers to be aspects of those first three.

As a Celtic-insired Pagan, I’ve seen the idea of a “three powers” expressed in the mythological themes of the Maponos (Divine Son), Cernunnos (Lord of the Otherworld), and Goddess of Sovereignty (Great Goddess). Celticist Alexei Kondratiev described these archetypal themes in detail, especially how they’re played out in the Mabinogi, in his book Celtic Rituals.

Then I revisited a concept from my long ago Wiccan days– that of the Correllian seven archetypes. Though I don’t consider myself a Wiccan at all these days, there are several concepts from the Correllian tradition that I vibe quite well with, their system of archetypes is one of them.

You may ask “why seven?” Well, the use of seven contains much magical symbolism. There are seven days of the week, seven colors of the rainbow, seven notes on a musical scale, seven seas and seven continents, and the list could go on and on. It’s the most popular number worldwide, and the number people choose most often when asked to pick a number between one and ten. There’s a reason for that… psychological experiments have shown that, on average, the longest sequence the average person can recall on the fly contains about seven items. If you show someone a collection of randomly placed objects, seven is the largest number they will recognize right off the bat. Beyond that, one has the need to count them or group them either physically or mentally. But up to seven, they are immediately recognizable.

It appears to be a belief of the Correllian tradition that systems with higher numbers of archetypes often contain a lot of redundancies and overlapping. The Correllian Lessons for the First Degree explains it this way:

“Most of the world’s cultural pantheons include dozens or hundreds of deities, duplicating the seven basic archetypes many times over. This is because smaller local cultures and their pantheons come together and grow into larger, heterogeneous cultures, while retaining their distinct original traditions.”

The Correllians have the usual three Goddess archetypes found in other forms of Wicca, but when it comes to God archetypes, they recognize four, but with two basic forms: a god of light and growth, and a god of darkness and the under/other-world. They are seen as two sets of twins, and each contain a small aspect of the other. All of these archetypes, and the divisions within each, are thoroughly described in the materials of their first degree workbook. They happen to also sync really well with my adapted concept of a Waincraft first three powers:

The Great Goddess (Maiden, Mother, Crone archetypes)

The Correllian tradition describes the Maiden archetype as an independent young woman, and further articulates that the idea of the Maiden is strongly affected by the mindset of a given culture. The Maiden is often either an ascetic virgin or a goddess of sexuality. She is also often a goddess of skills; the arts, sciences, and sometimes warcraft. The Mother archetype is often a creatrix, or at least the embodiment of all that is needed for creation. Her body is not only the Earth, but the whole universe; she is the essence or spirit of all. The Crone is described as the most powerful aspect of the Goddess, for as the body is at its weakest, accumulated wisdom and magic are at its greatest. She is goddess of death, but also contains the conditions that are necessary for new life to emerge.

The Wildfather (King & Sorcerer archetypes)

The King is god of the harvest, abundance, benevolence, and keeper of time. His concerns are of this world and all that’s in it. In Waincraft he is the Lord of Plenty, also called “Abundance”, and is considered a primal power and light twin to the dark “Wildness” power. Correllian tradition also considers him such a twin, but groups both of the older male archetypes into the dark aspect of the year.

The Sorcerer (Waincraft’s primal power “Wildness”) is Lord of the Otherworld, leader of the Wild Hunt, god of crossroads, travel, and death. He is the aspect of deity that is most often represented with horns or antlers. In ancient times, gods fitting that description were also gods of abundance, fecundity, and riches, indicating that the archetypes of King and Sorcerer are indeed two sides of the same coin.

Sacred Son (Hero & Lover archetypes)

The Hero archetype is the model of young male vitality. He is sometimes a warrior, often an adventurer on a quest. He is courageous and strong, but in some cultures he is depicted as an underdog- small and unassuming, but incredibly clever and wiry and can be a bit of a trickster. Like the Maiden, he is often a deity of skills and sciences.

The Lover is the god of youth and renewal, of love and bliss. He is often a patron of music and the arts. Though he is eternal, his cycle includes death, as his story is that of self sacrifice and renewal. Therefore, he can also be considered a younger aspect of the Sorcerer, Lord of the Otherworld.

One of the ideas behind Waincraft, and behind all archetypal systems really, is applying the system to your own culture and place in the world. It’s a concept that has really helped me organize my thoughts on my own spirituality.

The curse was said to bring forth a multitude of disasters, including droughts, floods, and diseases. As the curse took hold, the people of Caluco began to suffer greatly. Their crops failed, their livestock died, and their once-thriving community fell into ruins. The people lived in constant fear and misery, as they believed that the curse would continue until they learned their lesson and repented for their actions. Many attempts were made to break the curse, but all of them were unsuccessful. The people of Caluco sought help from shamans, priests, and even made sacrifices to the gods, but nothing seemed to work. It seemed as though the curse was destined to remain in place indefinitely. Over time, the legend of the curse of Caluco spread far and wide. People from neighboring communities would avoid the area, fearing that the curse would affect them as well. The curse became a cautionary tale, a reminder of the consequences of arrogance and disrespect towards nature and the gods. Today, the curse of Caluco continues to be a popular topic of discussion among locals and tourists alike. While some people dismiss it as mere folklore, others believe that there may be some truth to the legend. Regardless of its validity, the curse serves as a reminder of the importance of humility and reverence for the natural world..

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journey 2 the mysterious islan