Golden Bough - Fine woods , Poplar, sweet Resins

$17.00

Golden Bough - Fine woods , Poplar, sweet Resins
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For true incense lovers....

Like Sunlight on the boughs of resin-bearing trees. Soothing warm incense notes blended with  2 varieties of healing handpicked poplar buds. 

 An intoxicating blend of pure sweet resins, fresh poplar, and precious woods. It is a an incense to bring happiness and relaxation.

 I have ground together with the finest Hougary Frankincense of Oman, rich amber /vanilla Tolu Balsam, healing Chios Mastic from Greece with Premium grade Sandalwood, Black Pine, Peruvian Palo Santo wood and resin, Golden Benzoin, and Labdanum and Fir Balsam. 

Each jar is topped with tiny poplar buds, lovingly harvested by Be-en-Foret

Need I say more?

The scent is mystical, warm, mellow, and amber like - a little goes a long way - The fragrance will enchant a room all day...

Golden Bough is best when used with an Electric Incense Heater.

This price is for 1 oz. in an amber jar.

Scent notes: Woody, Balsamic, Notes of amber and Pine , Sacred, classic incense notes with a sweetness at the heart

GB

The name, Golden Bough,  comes from the classic work by James Frazer, an extensive look into natural magic and folkore and much like Robert Graves , "The White Goddess" has influenced much of modern Paganism and Earth Spirituality.

It is also referred to in Roman mythology, the Golden Bough was a tree branch with golden leaves that enabled the Trojan hero Aeneas to travel through the underworld safely. The bough was said to be sacred to Proserpina (Persephone), the queen of the underworld, and was associated with the goddess Diana.

J. M. W. Turner's painting of the Golden Bough incident in the Aeneid


"Despite the controversy generated by the work and its critical reception amongst other scholars, The Golden Bough inspired much of the creative literature of the period. The poet Robert Graves adapted Frazer's concept of the dying king sacrificed for the good of the kingdom to the romantic idea of the poet's suffering for the sake of his Muse-Goddess, as reflected in his book on poetry, rituals, and myths, The White Goddess (1948). William Butler Yeats refers to Frazer's thesis in his poem "Sailing to Byzantium". The horror writer H. P. Lovecraft's understanding of religion was influenced by The Golden Bough

The mythologist Joseph Campbell drew on The Golden Bough in The Hero with a Thousand Faces (1949), where he accepted Frazer's view that mythology is a primitive attempt to explain the world of nature, though considering it only one among a number of valid explanations of mythology.[19]Campbell later described Frazer's work as "monumental".[20] The anthropologist Weston La Barre, writing in The Human Animal (1955), described Frazer as "the last of the scholastics" and wrote that Frazer's work was "an extended footnote to a line in Virgil he felt he did not understand.". The lyrics of the musician Jim Morrison's song "Not to Touch the Earth" were influenced by the table of contents of The Golden Bough.  Robert Ackerman, in his The Myth and Ritual School: J. G. Frazer and the Cambridge Ritualists (1991), sets Frazer in the broader context of the history of ideas. The myth and ritual school includes scholars Jane HarrisonGilbert MurrayF. M. Cornford, and A.B. Cook, who were connecting the new discipline of myth theory and anthropology with traditional literary classics at the end of the 19th century."

 

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