Mythology for a Magical Life, by Ember Grant

Mythology FOR A

Magical Life

About the Author Ember Grant is the author of Magical Candle Crafting, The Book of Crystal Spells, and The Second Book of Crystal Spells, and she has been contributing to Llewellyn’s annuals series since 2003. She lives in Missouri with her husband and two feline companions.

Mythology for a Magical Life: Stories, Rituals & Reflections to Inspire Your Craft © 2021 by Ember Grant. All rights reserved. No part of this book may be used or reproduced in any manner whatsoever, including internet usage, without written permission from Llewellyn Publications, except in the case of brief quotations embodied in critical articles and reviews.

First Edition First Printing, 2021 Book design by Samantha Peterson Cover design by Shira Atakpu Interior art by Llewellyn Art Department Llewellyn Publications is a registered trademark of Llewellyn Worldwide Ltd. Library of Congress Cataloging-in-Publication Data (Pending) ISBN: 978-0-7387-6310-1 Llewellyn Worldwide Ltd. does not participate in, endorse, or have any authority or responsibility concerning private business transactions between our authors and the public.

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Llewellyn Publications A Division of Llewellyn Worldwide Ltd. 2143 Wooddale Drive Woodbury, MN 55125-2989 www.llewellyn.com Printed in the United States of America

Other Books by Ember Grant The Book of Crystal Spells The Second Book of Crystal Spells Magical Candle Crafting

To Jayme: Our collaboration and shared love of myth helped make this book possible.

Contents

Introduction 1 Chapter 1: The Magic of Story 15 Chapter 2: The Magic of the Soul 31 Chapter 3: The Magic of Beginnings 49 Chapter 4: The Magic of Wildness 67 Chapter 5: The Magic of Change 83 Chapter 6: The Magic of Creativity 101 Chapter 7: The Magic of Opportunity 119 Chapter 8: The Magic of Courage 133 Chapter 9: The Magic of Balance 149 Chapter 10: The Magic of the Shadow 167 Chapter 11: The Magic of Acceptance 183 Chapter 12: The Magic of Sacrifice 203 Conclusion 225

Introduction

“Myth is the foundation of life; it is the timeless pattern, the pious formula, into which life flows when it reproduces its traits out of the unconscious.”

Thomas Mann

Welcome to a world of myth and magic! As a practitioner of the Craft, this is probably a place you’re familiar with and already comfortable. I’d like to invite you to take a year-long journey to rediscover myths and how you can use them to inspire your magical life. If you’re new to myth or magic, that’s fine too. There’s something here for everyone. People have long looked to myths, fairy tales, and folklore to gain insight about the world and themselves. Why? Because these tales offer a deep connection to the human experience. They console us, make us laugh, sometimes scare us, and give us hope. They can also inspire us. Myths, like fairy tales, put us in a magical frame of mind. They get us out of the ordinary, back to a more childlike, free, and imaginative state—the realm of fantasy, where anything is possible. This, too, is the realm of nature, the spiritual, and the divine.

In recent years I’ve noticed a lapse in my personal magical practice. After a couple decades, first as a solitary, then a member of a coven, and now back 1

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to solitary again, I’ve seen my practice wax and wane. But lately I found myself forgetting sabbats and full moons; I felt scattered and ungrounded.

I wanted a way to rekindle my magic, but everything I tried felt forced and artificial. Then I turned to myth. As a lifelong lover of stories—especially myths and fairy tales—I have valued them for their timelessness. I wondered if they could help inspire my magic. That’s why I decided to write this book.

I needed a reboot, and the myths that I love offered the perfect start. And so this book is intended to serve as a framework to add depth and inspiration to the practice of magic.

What is Myth?

You may already understand myth as the spiritual stories of a culture, used to explain the origin of the world, the afterlife, natural phenomena, and more.

They help us understand our world and ourselves, and often stimulate awe and reverence. We may regard myths as ancient tales from the past, but we must remember that some myths still play a vital role in living religions. They can serve a spiritual function, but can also guide us through life by allowing us to ponder the big questions about who we are, why we’re here, and where we’re going.

D. H. Lawrence once stated that myth is “an attempt to narrate a whole human experience, of which the purpose is too deep, going too deep in the blood and soul, for mental explanation or description” (1995, 49). This, I believe, is a key feature of myths. They defy rationality because they speak to us on a deeper level. They create a “sense of mystery, a concealed knowledge … that is available only in story” (Kane 1994, 45). Like myths, folktales and even fairy tales can offer us more than mere entertainment. Starhawk and Valentine, in their book The Twelve Wild Swans, say that these stories are “more than just encouraging and inspiring … [t]hey are also templates for soul healing” (2000, 25).

Each of these expressions illustrates our human need for stories. Myths and folktales speak to us in metaphor and this, in turn, can engage the imagination needed for successful magic. This is why myths are so often used in psychological approaches to self-help. Stories speak to us on a deeper level than literal reality. They use symbols that reach something we may not even realize or initially understand. Magic speaks to us on a similar level.

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Magic Before beginning this journey, it will be useful to revisit your definition of magic. This is important, as it may change over time. You may not have the same perspective that you did when you first started practicing the Craft. In fact, it’s a good thing if you have changed—we need to keep learning and adapting to grow as individuals and practitioners.

What is magic? Is it science we don’t yet understand? Is it linked to religion or belief in the divine? Is it one’s personal power? I propose that it’s all of these and more. Your personal conception of magic will drive how you approach much of this text.

Wiccan author Scott Cunningham described magic as coming from three sources: personal power, earth power, and divine power, and that both personal (our energy) and earth power (the energy of nature) are aspects of divine energy—the universal life force that created all things. His definition is: “Magic is the projection of natural energies to produce needed effects” (1999, 19).

In his book The Magician’s Companion, Bill Whitcomb says “magic can be considered as a pragmatic approach to changing the human psyche and, through it, the surrounding world” (1999, 5–6).

Margot Adler offers this definition: “Magic is a convenient word for a whole collection of techniques, all of which involve the mind.” She goes on to explain that these techniques concern issues of will, confidence, imagination, visualization and the ability to “understand how other beings function in nature so we can use the knowledge to achieve necessary ends” (1986, 8).

And, finally, Dean Radin, who studies magic from a scientific perspective, tells us that magic can be categorized three ways: “force of will … divination … [and] evoking and communicating with spirits” (2018, 1). He goes on to say that successful magic depends on “attention and intention” as well as four essential factors: “belief, imagination, emotion, and clarity” (2018, 73).

Given this variety and spectrum of definitions, you need to consider what you believe. Where does your magic come from? I believe it comes from within—it’s in you. You can certainly work with deities if you choose, but this book is about personal power—your energy. If magic were rational, everyone would do it. But it’s not. It resides in your soul, the place where you believe, wish, hope, and dream—a place that may often defy logic. I also see wisdom

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in Cunningham’s theory about magic—it comes from three places: the self, nature, and the divine. All work together in harmony. But you must decide for yourself.

And of course, there’s “high” and “low” magic—one should not be considered better than another. High is ceremonial and formal; low is more downto-earth using fewer props and tools—more casual and organic—more like how we imagine the work of cunning folk or herbalists and healers of ancient times or shamans. Many modern practitioners combine high and low magic for a hybrid approach or use different styles depending on the specific situation. As with all other aspects of magic, this is personal preference.

Gods and Goddesses A word about deities: This, too, is your personal choice. Choose one or several, or none at all, or change your approach based on your need. It’s all up to you. This applies to working with ancestral spirits as well, and other entities. Some people work with deities and, for that reason, consider their magical practice a religion. Others, however, still work with deities but consider that part of their lives separate from magic which, to them, is a skill set; and for others, magic is practice and lifestyle but maybe not spiritual. Just like definitions of magic, there are as many ways to define it as there are practitioners. If you approach your Craft as a religious practice, that’s fine. Wicca is a religion, but witchcraft on its own is not. Your Craft can be whatever you need it to be—a spiritual path, a lifestyle, or both. Many practitioners call themselves “magicians” because they engage with the Craft without any religious aspects. Again, it’s your choice.

Remember, there’s really no wrong way to do it. All religions and traditions were first invented by someone. They are shared and adapted but still originate with human beings. Religion and deities don’t need a place in your magic if you don’t feel it. But if you feel your magic depends on this belief, use it. Be true to your specific belief system.

Now we need to clarify a few other points regarding magic: affirmations, meditations, visualizations, spells, rituals—what’s the difference? First of all, there may certainly be overlap between these. Some rituals involve spells and affirmations; some affirmations are spells; some spells require visualization; some meditations are visualizations, and so on. It can get confusing. Here’s a

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way to break it down—it may be oversimplified, but it will serve our purpose here for the categorization in this book.

Meditation

WHAT YOU THINK Meditation involves thinking deeply; it’s centered focus.

Meditation mainly concerns awareness and mindfulness. There are different types of meditation; sometimes the goal is to empty the mind and focus on the breath. Meditation often involves prolonged focus on something, with the goal of achieving insight on that particular thing and can, of course, be done outside the context of magical practice. According to Dean Radin, “the goal of meditation … is to achieve a state of awareness where one gains the realization that the personal self and the Universal Self are one” (2018, 75).

There are guided meditations that prompt you to follow a plan or path designed by someone else to lead you to a personal discovery of some kind.

This differs from creative visualization, which gives you more inventive freedom. In the context of this book, guided meditation is a tool to help you relax and discover; visualization helps you reach a specific, magical goal to bring about a desired change. That being said, practicing magic effectively depends on maintaining “a disciplined meditation practice” (Radin 2018, 76).

When you learn the basic foundation of quieting your mind, and the ability to focus intently on a goal, the other magical techniques become more effective. Reaching an altered state of consciousness is an essential component of magical practice.

Visualization

WHAT YOU SEE Visualizations ask us to picture and imagine—sometimes part of a spell—and are more “active” than meditation.

This is often an essential component of spellwork. As with the power of words, “seeing” your goal is often an essential part of a spell, or the entire spell itself. If you think about it, daydreaming is a kind of visualization.

For magic, however, your technique needs to be focused. If words help you

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visualize, then use them along with this technique. Some people like to sit in a meditative pose for visualization; others prefer to lie down. Just make sure you’re comfortable. Close your eyes, breathe deeply, slowly, and evenly.

Imagination is the most powerful force here. Be as vivid and specific as you can with what you’re conjuring in your mind. Try to engage the other senses as well. Keep things positive. It’s ok to access your emotions as well—this can make the visualization even more powerful. Use props if you need to—hold a crystal, image, or object that helps you.

According to Shakti Gawain, “creative visualization is the technique of using your imagination to create what you want in your life” (1979, 2). She goes on to say that this is “magic in the truest and highest meaning of the word” because it helps you understand and align yourself with nature and the universe (1979, 4).

Affirmation

WHAT YOU SAY Affirmation is the act of committing to something in words—making something manifest—spells fall into this category, but an affirmation doesn’t necessarily have to be a spell.

Think of an affirmation as making a statement—you can ask a deity, the universe, or your higher self. You are making a proclamation in order to acknowledge your wish or desire—you’re using force of will. Words are powerful. So are symbols. An affirmation can be wordless, such as using a rune or sigil. In this case, the act of drawing or writing is the affirmation. Of course, words can accompany the creation of the symbol.

The word “affirm” means to state as fact or declare support. It comes from the Latin affirmare, to strengthen or make firm (“Affirm”). Imagine the strength of your beliefs, of nature, of the earth, all supporting you. You can write down your goal, desire, or wish and also speak it aloud (or whisper it).

Words themselves are often a component of a spell.

The word “charm” comes from Middle English (in the senses “incantation” or “magic spell” and “to use spells”) and from Old French charme (noun), charmer (verb), from the Latin carmen “song,” “verse,” “incantation” (“Charm”). Notice that “song” is included here, as in singing or chant-

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ing. But note that the expression of words is not a component of magical practices throughout the world. Sometimes just certain sounds are used— humming or making music, for example. Plus, there are a variety of ways to actually say the words—there are rhyming chants to repeat, simple statements, whispers or shouts, and so much more. Whatever method you choose, it should feel right and not silly or artificial. I’m a fan of rhyming chants because they produce rhythm and are easy to remember and repeat. Of course, you can write your own verses for any of the spells in this book. Make them your own.

So are affirmations spells? They can be. It depends on your intent. Speaking words that help you focus or relax, outside of magical ritual space, are more accurately considered positive thinking than magic. The words you speak in magical space are stronger, more focused, and often accompanied by ritual actions or physical materials such as herbs, crystals, or other tools that are intended to bring about change.

Ritual

WHAT YOU DO Rituals are often a religious or solemn ceremony consisting of a series of actions performed according to a prescribed order. These are somewhat formal in nature, should have a clear purpose, and a beginning, middle, and end. Not all practitioners of magic use formal ritual structure, and rituals don’t necessarily contain magical work. Marion Weinstein describes rituals as a “bridge that takes you from where you are to where you want to be” (2003, 136).

Scott Cunningham defines ritual as: “A specific form of movement, manipulation of objects, or series of inner processes designed to produce desired effects … [i]n Wicca, rituals are ceremonies which celebrate and strengthen our relationships with the Goddess, the God, and the earth” (1999, 47). Seasonal celebrations can be considered rituals, in addition to observing full and new moons.

Most rituals and magical acts take place in the circle or sacred space; ceremonial magicians use tools of ceremonial magic to create this space. Not all practitioners use formal structure, of course, so you can use the method of your choice. But, it’s important for your own practice that you understand

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where your traditions originate and why you use them. It’s okay to change methods or even develop your own. If using the prescribed ritual method has lost meaning for you, try something else.

Formal Wiccan rituals typically follow a standard layout—one begins by purifying (cleansing self and space) and then centering or collecting one’s thoughts and intent. Next, the casting of the circle or creation of the magical or sacred space. This is the place “between the worlds” or the altered state.

The boundary ensures the continued focus of the magician and also serves to protect and contain the energy raised inside it until it’s ready for release.

Sometimes spirits are evoked or invoked or other things are done, such as offerings being made or celebratory eating and drinking. Then the circle is closed, often followed by grounding.

Entering an altered state of mind, taking action in that state, and returning are the basic components of ritual. Ritual practice gets you out of your head, out of the mundane world, and into the mystical where magic can happen. It can help you transcend reality. Circle casting rituals, like tools, can serve an important role in helping us switch our mindset to the mystical. But if you don’t need these things, you don’t have to use them.

Spells

THE EXPERIENCE Spellcasting is as varied as the people who practice it. There are endless ways to combine all the actions, tools, and supplies—everything from candles and crystals to poppets, bags and bowls, oils, plants, incense, words and sigils, formal rituals with tools and on-the-spot chants, dream magic, using mirrors, ritual acts such as planting or tying knots, creating talismans—the list goes on and on. Whatever the magical act, though, your intent and concentration is vital.

Think of a spell as an experience. If magic is transformation, the spell is used to bring that about; it can be an action (such as lighting a candle), visualization, or affirmation—or all of these combined. It can take place during a ritual, but it doesn’t have to. Sometimes a spell is performed within the context of a ritual, with the ritual action being part of the actual spell. Of course, you can perform a spell without a formal ritual. In fact, you may not even

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need to cast a circle (create sacred space) to perform a spell. It’s up to you.

Some people will say always cast a circle. Inevitably, it depends on the type of spell you’re working. In the end, like all parts of your practice, it’s your choice.

There are many ways to bring about transformation and manifestation— not only the magical path. For example, prayer (which, yes, some witches and magicians do use), positive thinking, and meditation or visualization (without the magical component), are some of the various ways people engage in transformative, spiritual experiences. Remember: You are the magic. But for it to truly be successful and enjoyable for you, you need to fully understand what you believe and why.

Motifs and Archetypes Throughout the book, I will be pointing out moments for comparison across cultures—motifs are recurring patterns that we can use to make connections between the stories. In addition, a great deal of study has been made in the last century regarding the psychological aspect of myth and how we can use that in our daily lives. Mythologist Joseph Campbell (1949) is famous for his work The Hero with a Thousand Faces in which he synthesizes theories from psychologists and other scholars like Carl Jung. While Campbell has written extensively about myths, this book explores the monomyth—the hero’s journey—a format for looking at heroic epics (and modern stories) that helps us see the larger pattern and how it fits our lives. The theory, in general, is that the narrative structure of heroic epics mirrors the rites of passage in human life because we all experience similar things. Jung referred to the “collective unconscious” to claim that despite cultural differences, we all have some common experiences. These theories have their critics, of course, but they are useful ways to relate to these stories.

Here is a very brief summary of some main points on the hero’s journey.

The hero must leave the ordinary world he or she knows and venture out into the unknown. Along the way, the hero crosses thresholds that mark boundaries between transitional places and experiences various trials, including moments of despair. These are referred to as the “belly of the whale,” from which the hero emerges transformed, and the “supreme ordeal,” the moment where the hero hits rock bottom (Campbell 1949). The hero also has encounters

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with enemies and is sometimes lured from the path. Additionally, the hero often has help along the way in the form of archetypes such as guides, allies, or a mentor, and may receive “supernatural aid” (Campbell 1949). Eventually, the hero returns with some type of reward or epiphany. These aspects of analysis don’t apply to all myths, and we don’t want to risk oversimplification by saying there’s only one interpretation, but they can assist us with understanding and identifying with the myths on a personal level. I will make references to some of these points throughout the book.

Campbell and Jung also explored the concept of archetypes in their work, and this, too, pertains to myths, since many of them contain archetypes.

Archetypes are “primordial images” or character roles that humans “understand and identify, collectively, by their patterns of behavior” (Novara and Gant 2018, 6). We recognize these in literature as characters like the hero, ally or helper, wise woman, temptress, trickster, and more. These archetypes can help us identify recurring motifs that we can incorporate into our magical lives.

How to Use this Book Each chapter of this book features a story or stories, followed by commentary about some of the themes that will be explored, and then offers a variety of activities inspired by those themes or motifs. There is some overlap between the themes across chapters, which is to be expected since life is filled with connections. In addition to spells, rituals, affirmations, meditations, and visualizations, there are exercises for reflection, such as journal prompts, and other activities to develop your magical skills and to help you rediscover your Craft and magical lifestyle.

You can move through this book in chapter order, working through a chapter each month, but you don’t have to. You may begin any time of the year, and it’s ok to jump around. While it does work in some ways like a cycle, the material doesn’t necessarily build chronologically—although if you work through in order, beginning in January, the chapters correspond to months in the northern hemisphere. You don’t have to complete one chapter before moving on to another. I’m assuming the reader is already an experienced magical practitioner and is looking for ways to add new energy to his or her practice.

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While I am presenting these myths as useful to our lives, I’m not insisting there is always a definitive “message” to be gained from them. There might be, but it’s not the same for everyone, nor is it the same as that of the people from the cultures and times from which these tales originate. We must not be so vain as to think we can pick them apart and “figure them out.” When I explore the themes and importance of each, I will be trying to find nuggets of meaning and inspiration, but keep in mind these are not the only ways to understand the stories. I’m just trying to help us look and think deeply about various ways we can find our own meanings. If you see something I don’t, or don’t exactly see what I see, that’s fine. One thing I do want to stress, though, is that we read them as metaphor and not literally. The beauty of myth is that they guide us in a deeper way by allowing us to use our imagination. This is what magic does. It changes the way we see the world and ourselves.

Many of these stories come to us from oral traditions. Even those for which we have ancient, printed texts were shared orally long before they were recorded. In some cases, the person recording the story was from an outside culture, so we can’t always know for certain how “authentic” the story is. Also keep in mind that there is no “right” version of a myth. Based on various translations and changes over time, there are often several versions of a story.

And even when the myths were a living part of the culture, often the people had no difficulty accepting several different stories at once.

Myths can provide an endless source of enjoyment, yet the study of myths, while fun, can be frustrating. Frustration and confusion occurs when someone says “That’s not the way I heard it” or begins thinking in terms of right and wrong versions of the tale. Like many forms of art, it is subject to some interpretation, and like art, too, it’s often subjective. Still, there are things we can research, study, and base on some firm foundations. Scholars have dedicated their lives to such study, and we must give them credit for this work and learn what we can in order to continue making our own connections. This is the art of synthesis. In an effort to provide that foundation, I have included as much research as possible without distracting from the point: enjoying the stories and finding ways to connect with them to create meaningful experiences in your life. This is a book about your magical life, after all.

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When possible, I have tried to present a primary text, uncensored. I have, however, made some edits for length in some places. When a public domain text was not available, or when it was too long, I have adapted my own version of the story, keeping as close to the source materials as possible and often blending several versions into a more complete telling of the story. While some of the myths in this book will undoubtedly be familiar to you, I’ve also tried to select some that are lesser known and from a variety of places around the world. Trying new things is a wonderful way to reinvigorate your magic. If you’re reading this with a desire to add that spark back into your life and practice, there are a variety of activities and spells to try. When we share stories, we wonder and seek, we search for meaning. Reading and exploring myths can enhance our lives and our magical practice. Psychologically, myths have become popular guided by scholars and analysts like Freud and Jung, and the monomyth of Joseph Campbell—each offers a perspective for examining our lives. Through myth we appreciate and acknowledge, and we can also find support.

The stories remind us we are not alone. These are ways to wisdom. While the cultural context should not be ignored, we can, and should, find ways to make these stories our own. It helps us connect with others, our deeper selves, and the world—the past, present, and future. Your magical life is more than just practicing magic now and then, it’s part of who you are. It’s a lifestyle. Myths can inspire you to renew your connections, see different perspectives, cope with changes, and find solace in times of stress. Myths help us address the “big” questions about life, and the small, everyday issues that we face.

As you change and grow, your magic will also change and grow. Your practice should grow and change with you. If it hasn’t, perhaps it’s time for rediscovery. What do you want from your magical practice? Empowerment?

Change? Connection? These chapters will guide you on your exploration.

T. S. Eliot (1942) famously wrote: “We shall not cease from exploration / And the end of all our exploring / Will be to arrive where we started / And know the place for the first time.” I have seen these lines quoted in both

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spiritual texts and science textbooks when discussing the human condition.

These words apply to both realms because they speak of human existence and experience. The beauty of poetry is that it touches each of us in different ways. The same is true of myth and magic.

Bibliography for Introduction “Affirm.” n.d. Online Etymology Dictionary. Douglas Harper. Accessed November 24, 2020. https://www.etymonline.com/word/affirm #etymonline_v_5198.

Adler, Margot. 1986. Drawing Down the Moon: Witches, Druids, Goddess-Worshippers, and Other Pagans in America Today. Revised and expanded edition. New York: Penguin Group.

Campbell, Joseph. 1949. The Hero with a Thousand Faces. New York: Bollingen.

“Charm.” n.d. Online Etymology Dictionary. Douglas Harper. Accessed August 7, 2020. https://www.etymonline.com/word/charm.

Cunningham, Scott. 1999. Wicca: A Guide for the Solitary Practitioner. St. Paul, MN: Llewellyn Publications.

Eliot, T. S. 1942. “Little Gidding.” From Four Quartets. Columbia University. http://www.columbia.edu/itc/history/winter/w3206/edit/tseliot littlegidding.html.

Gawain, Shakti. 1979. Creative Visualization. New York: Bantam.

Kane, Sean. 1994. Wisdom of the Mythtellers. Peterborough, ON: Broadview Press.

Lawrence, D. H. 1995. Apocalypse and the Writings on Revelation. Middlesex, UK: Penguin Books.

Novara, Jayme, and Christina Gant. 2018. An Introduction to World Mythology. Second edition. Dubuque: Kendall Hunt Publishing.

Radin, Dean. 2018. Real Magic: Ancient Wisdom, Modern Science, and a Guide to the Secret Power of the Universe. New York: Harmony Books.

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Starhawk and Hilary Valentine. 2000. The Twelve Wild Swans: A Journey to the Realm of Magic, Healing, and Action: Rituals, Exercises, and Magical Training in the Reclaiming Tradition. San Francisco: Harper San Francisco.

Weinstein, Marion. 2003. Earth Magic: A Book of Shadows for Positive Witches. Franklin Lakes, NJ: New Page Books.

Whitcomb, Bill. 1999. The Magician’s Companion: A Practical and Encyclopedic Guide to Magical and Religious Symbolism. St. Paul, MN: Llewellyn Publications.

Chapter 1

The Magic of Story

“Our own lives are stories that we write from day to day; they are journeys through the dark of the fairy tale woods.

The tales of previous travellers through the woods are passed down to us in the poetic, symbolic language of folklore and myth; where we step, someone has stepped before, and their stories can help light the way.”

Terri Windling

In the study of myths, we often categorize stories based on their functions, for example, stories about the creation of the world, etiological tales (why things are the way they are), heroic epics, and so on. This particular tale serves a variety of purposes but, quite simply, it’s a story about why we have stories.

Rather than being etiological in the sense of explaining natural phenomena, it explains the importance of preserving cultural traditions and knowledge.

This story comes from the book Seneca Indian Myths, a collection edited

by Jeremiah Curtin (1922); this particular story was collected by Henry Jacob. The Seneca people of North America are located south of Lake Ontario, a group that was part of the Iroquois Confederacy or League. There

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are three Seneca groups federally recognized by the United States—two in New York, one in Oklahoma.

The Origin of Stories “This happened long ago, in the time of our forefathers.”

In a Seneca village lived a boy whose father and mother died when he was only a few weeks old. The little boy was cared for by a woman, who had known his parents. She gave him the name of Poyeshaon (Orphan).

The boy grew to be a healthy, active little fellow. When he was old enough, his foster mother gave him a bow and arrows, and said “It is time for you to learn to hunt. To-morrow morning go to the woods and kill all the birds you can find.”

Taking cobs of dry corn the woman shelled off the kernels and parched them in hot ashes; and the next morning she gave the boy some of the corn for his breakfast and rolled up some in a piece of buckskin and told him to take it with him, for he would be gone all day and would get hungry.

Poyeshaon started off and was very successful. At noon he sat down and rested and ate some of the parched corn, then he hunted till the middle of the afternoon. When he began to work toward home he had a good string of birds.

The next morning Poyeshaon’s foster mother gave him parched corn for breakfast and while he was eating she told him that he must do his best when hunting, for if he became a good hunter he would always be prosperous.

The boy took his bow and arrows and little bundle of parched corn and went to the woods; again he found plenty of birds. At midday he ate his corn and thought over what his foster mother had told him. In his mind he said, “I’ll do just as my mother tells me, then some time I’ll be able to hunt big game.”

Poyeshaon hunted till toward evening, then went home with a larger string of birds than he had the previous day. His foster mother thanked him, and said, “Now you have began to help me get food.”

Early the next morning the boy’s breakfast was ready and as soon as he had eaten it he took his little bundle of parched corn and started off. He went farther into the woods and at night came home with a larger string of birds than he had the second day. His foster mother praised and thanked him.

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Each day the boy brought home more birds than the previous day. On the ninth day he killed so many that he brought them home on his back. His foster mother tied the birds in little bundles of three or four and distributed them among her neighbors.

The tenth day the boy started off, as usual, and, as each day he had gone farther for game than on the preceding day, so now he went deeper into the woods than ever. About midday the sinew that held the feathers to his arrow loosened. Looking around for a place where he could sit down while he took the sinew off and wound it on again, he saw a small opening and near the center of the opening a high, smooth, flat-topped, round stone. He went to the stone, sprang up on to it and sat down. He unwound the sinew and put it in his mouth to soften, then he arranged the arrow feathers and was about to fasten them to the arrow when a voice, right there near him, asked, “Shall I tell you stories?”

Poyeshaon looked up expecting to see a man, not seeing any one he looked behind the stone and around it, then he again began to tie the feathers to his arrow.

“Shall I tell you stories?” asked a voice right there by him.

The boy looked in every direction, but saw no one. Then he made up his mind to watch and find out who was trying to fool him. He stopped work and listened and when the voice again asked, “Shall I tell you stories?” he found that it came from the stone, then he asked, “What is that? What does it mean to tell stories?”

“It is telling what happened a long time ago. If you will give me your birds, I’ll tell you stories.”

“You may have the birds.”

As soon as the boy promised to give the birds, the stone began telling what happened long ago. When one story was told, another was begun. The boy sat, with his head down, and listened. Toward night the stone said, “We will rest now. Come again to-morrow. If anyone asks about your birds, say that you have killed so many that they are getting scarce and you have to go a long way to find one.”

While going home the boy killed five or six birds. When his foster mother asked why he had so few birds, he said that they were scarce; that he had to go far for them.

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The next morning Poyeshaon started off with his bow and arrows and little bundle of parched corn, but he forgot to hunt for birds, he was thinking of the stories the stone had told him. When a bird lighted near him he shot it, but he kept straight on toward the opening in the woods. When he got there he put his birds on the stone, and called out, “I’ve come! Here are birds. Now tell me stories.”

The stone told story after story. Toward night it said “Now we must rest till to-morrow.”

On the way home the boy looked for birds, but it was late and he found only a few.

That night the foster mother told her neighbors that when Poyeshaon first began to hunt he had brought home a great many birds, but now he brought only four or five after being in the woods from morning till night. She said there was something strange about it, either he threw the birds away or gave them to some animal, or maybe he idled time away, didn’t hunt. She hired a boy to follow Poyeshaon and find out what he was doing.

The next morning the boy took his bow and arrows and followed Poyeshaon, keeping out of his sight and sometimes shooting a bird. Poyeshaon killed a good many birds; then, about the middle of the forenoon, he suddenly started off toward the East, running as fast as he could. The boy followed till he came to an opening in the woods and saw Poyeshaon climb up and sit down on a large round stone; he crept nearer and heard talking.

When he couldn’t see the person to whom Poyeshaon was talking he went up to the boy, and asked, “What are you doing here?

“Hearing stories.”

“What are stories?”

“Telling about things that happened long ago. Put your birds on this stone, and say, ‘I’ve come to hear stories.’”

The boy did as told and straightway the stone began. The boys listened till the sun went down, then the stone said, “We will rest now. Come again to-morrow.”

On the way home Poyeshaon killed three or four birds.

When the woman asked the boy she had sent why Poyeshaon killed so few birds, he said, “I followed him for a while, then I spoke to him, and after

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that we hunted together till it was time to come home. We couldn’t find many birds.”

The next morning the elder boy said, “I’m going with Poyeshaon to hunt, it’s sport.” The two started off together. By the middle of the forenoon each boy had a long string of birds. They hurried to the opening, put the birds on the stone, and said, “We have come, Here are the birds! Tell us stories.”

They sat on the stone and listened to stories till late in the afternoon, then the stone said, “We’ll rest now till to-morrow.

On the way home the boys shot every bird they could find, but it was late and they didn’t find many.

Several days went by in this way, then the foster mother said, “Those boys kill more birds than they bring home,” and she hired two men to follow them.

The next morning, when Poyeshaon and his friend started for the woods the two men followed. When the boys had a large number of birds they stopped hunting and hurried to the opening. The men followed and, hiding behind trees, saw them put the birds on a large round stone, then jump up and sit there, with their heads down, listening to a man’s voice; every little while they said, “Ûn!”

“Let’s go there and find out who is talking to those boys,” said one man to the other. They walked quickly to the stone, and asked, “What are you doing, boys?”

The boys were startled, but Poyeshaon said, “You must promise not to tell anyone.”

They promised, then Poyeshaon said, “Jump up and sit on the stone.”

The men seated themselves on the stone, then the boy said, “Go on with the story, we are listening.”

The four sat with their heads down and the stone began to tell stories.

When it was almost night the Stone said, “Tomorrow all the people in your village must come and listen to my stories. Tell the chief to send every man, and have each man bring something to eat. You must clean the brush away so the people can sit on the ground near me.”

That night Poyeshaon told the chief about the story-telling stone, and gave him the stone’s message. The chief sent a runner to give the message to each family in the village.

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Early the next morning everyone in the village was ready to start. Poyeshaon went ahead and the crowd followed. When they came to the opening each man put what he had brought, meat or bread, on the stone; the brush was cleared away, and everyone sat down.

When all was quiet the stone said, “Now I will tell you stories of what happened long ago. There was a world before this. The things that I am going to tell about happened in that world. Some of you will remember every word that I say, some will remember a part of the words, and some will forget them all—I think this will be the way, but each man must do the best he can. Hereafter you must tell these stories to one another—now listen.”

Each man bent his head and listened to every word the stone said. Once in a while the boys said “Ûn!” When the sun was almost down the stone said, “We’ll rest now. Come to-morrow and bring meat and bread.”

The next morning when the people gathered around the stone they found that the meat and bread they had left there the day before was gone. They put the food they had brought on the stone, then sat in a circle and waited. When all was quiet the stone began. Again it told stories till the sun was almost down, then it said, “Come tomorrow. Tomorrow I will finish the stories of what happened long ago.

Early in the morning the people of the village gathered around the stone and, when all was quiet, the stone began to tell stories, and it told till late in the afternoon, then it said, “I have finished! You must keep these stories as long as the world lasts; tell them to your children and grandchildren generation after generation. One person will remember them better than another. When you go to a man or a woman to ask for one of these stories carry something to pay for it, bread or meat, or whatever you have. I know all that happened in the world before this; I have told it to you. When you visit one another, you must tell these things, and keep them up always. I have finished.”

And so it has been. From the Stone came all the knowledge the Senecas have of the world before this.

Themes & Importance Culturally, this story is important to the Seneca people because it conveys the importance of their tradition and heritage; sharing stories means keeping

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their culture alive. In addition, the fact that food is exchanged for the stories shows the value of these traditions. Food is essential—trading it for stories illustrates how vital the stories are. Preserving their culture is as important and necessary as eating.

Humans are storytellers by nature. We share stories with each other every day about our lives and experiences. We have always loved to be entertained by stories—and that certainly hasn’t changed today. Stories help us make connections, recall important moments, learn new information, and allow us to have fun. They also bring communities together, as in the tale. Stories take time to tell, and we must be patient in order to learn them. In addition, the stone serves the role of an archetype: the elder of a group (wise man or wise woman), the one who has seen much and remembers it. Honor the elders in your life—they have stories to tell.

Stories preserve history and convey knowledge; we learn about ourselves by looking to the past, by seeing our mistakes and triumphs, learning (hopefully) from them, and gaining wisdom because our view becomes tempered by the perspective that time gives us. How we view our past changes as time passes, as we also change. Distance allows us to look back and see things we may not have noticed in the moment. This is true on a societal level, as well as an individual level. It also applies to magic. The magic we practice today can be (and arguably should be) different from magic practiced hundreds of years ago. Some traditions are worth keeping, but others need to adapt, as we do. Magic is never stagnant. Things change by sharing information, learning from others, and allowing them to learn from you.

In magical practice, it’s important to know the history of your Craft, no matter what type of magic you practice. Read, study, research. Know your Craft and the people who’ve served as teachers—those who have contributed their knowledge to the study. Know why you do what you do, the origins of your traditions, and the various ways those traditions have changed. Keeping connected to your Craft’s heritage is crucial to strengthening your magical practice.

Think of the stone as a metaphor for all the stories in your life that you will both hear and pass along to others (as well as the knowledge the stories contain). Listen to the storytelling stones around you. Here are some ways to do that.

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Spell

MAKING CONNECTIONS USING FOSSILS Fossils are petrified time, a record of life on earth. They tell stories of the past, and this can help us connect to the world and each other.

Use a fossil for this spell—any type will work. It can be a dinosaur tooth, impression of an ancient plant, an ammonite (Orthoceras are popular ones), or even a piece of petrified wood. Note: The name Ammonite (ancient marine animal) comes from Egyptian myth. The shape of the shell is said to resemble the horns of the god Amon. The spiral shape can also be used for its symbolism—the spiral of life.

Magic is life itself. One way to reawaken the wonder and mystery of life is by examining a fossil and considering how old it is and pondering the progression and evolution of life on earth—the beauty and the majesty of nature.

Energy is life; life is magic. Draw on this deep connection; let it inspire you.

Let it remind you of your Craft and your path. It’s the story of earth, and the story of life—the story of our home.

Use this spell to make the connection you desire—with the earth, with people, or both. Visualize the stone linking you to the world and helping you learn its stories, either by somehow “reading” them in the stone, or “hearing” them in your mind, or even having visions. Be open to all possibilities.

Hold the stone and chant: Stories from stone, I seek the unknown— the secrets of the world.

Help me connect to the stories you hold, the knowledge of old— the people of the world.

Earth is my home, my flesh and my bone— help me to hear the stories of the world.

Carry the stone with you or keep it on your altar for as long as you wish.

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Spell

PERSONAL STORY STONE For this spell, you will be dedicating a stone or piece of jewelry that you can use as a talisman to wear or keep near you to help you access your memories and stories. This can help you as you write or create other types of artistic displays inspired by memories or stories from your past.

You can choose a stone you already have or buy a new one; select a stone that appeals to you on a personal level. This may be your birthstone or some other piece that holds significance. If you make jewelry, consider creating a special piece for this spell.

Create the talisman during a waxing or full moon phase. Visualize the stone or piece of jewelry filling you with inspiration and helping you unlock memories you may have forgotten—this can be a painful process, so be sure you’re ready.

Chant: My stories tell me who I am—they also tell the world.

Let them flow from me like sand, like water, like wind … looking deep within.

I have things to tell, to share, to learn, to see— so mote it be.

Wear the stone or keep it nearby whenever you are accessing memories.

You can keep it in your pillowcase or near your bed while sleeping to encourage memory recall while dreaming. Use it while you work on the other projects in this chapter.

Magical Skill

CRYSTAL GAZING TO IMPROVE CONCENTRATION Crystal spheres are actually a kind of storytelling stone. Did you know that people have been making and using crystal balls for over a thousand years?

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Curiously, rock crystal spheres have been found in the graves of women next to silver spoons. Some of these finds date between the fifth and eighth centuries CE. Sometimes the spheres are wrapped in silver “slings” with a ring for carrying or wearing. Some scholars believe they may have been used to “symbolically purify water” (Beaney Museum; Ashmolean Museum).

“They are mostly found in female graves in early medieval England (especially Kent), France, Netherlands, Germany, Switzerland, Hungary, and Italy” (Dashu 2016, 153).

Grave goods can tell archaeologists and anthropologists a great deal, but we can’t be certain what these stones were actually used for. Scholars speculate that, certainly, magical divination was one of the purposes, but many were “framed” to be worn—perhaps as a protective talisman? One specific relic from the seventeenth century has signs of the zodiac engraved in the band and is fitted with a cable for hanging. Perhaps the crystal is symbolic of the entire cosmic world, an “evocation of the celestial realm” (Page et al, 46).

In that case, there is evidence for people seeking wisdom from stones.

In our fast-paced modern world, our attention spans are decreasing.

Many people are recognizing this and turning to meditation to slow down and learn to be more attentive. However, meditation is not the same thing as focus; focus involves continuous concentration on something. Meditation is generally seen as being open and keeping your mind “empty” of thought (or, focusing on being “empty” if you will)—the lack of focus on something specific. Either way, you need to increase your stamina and attention-span, and practice avoiding distraction in order to improve your magic. In addition, there are guided meditations that are, more accurately, guided “visualizations” that help with your imagination. There are several of those in this chapter as well.

Some kinds of meditation do involve focusing on something—the breath, for example—but it’s still a type of “open” state, rather than deep thought.

Take, for example, how you feel when you’re “in the zone” working on a project you love. You’re completely in the moment and may feel a sense of inner peace. For our purposes here, we’ll consider that state concentration— you’re thinking about something, and you’re totally focused on it—like when you’re enjoying a hobby or a sport. We’ll use the term “meditation” for being open and the term “focused” when you’re in the zone and concentrating

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on something specific, shutting out all distractions around you. Like when you’re practicing magic. This activity will help you practice that “in the zone” state—deep focus and concentration.

The basics of crystal gazing can improve your magical focus as well as your divination skills. We will be using the classic clear quartz sphere for this practice. It’s actually best if the stone has some inclusions—perfectly clear quartz spheres are quite rare (and expensive) anyway. Don’t use glass or lead crystal. If you don’t have a clear quartz sphere, use a clear quartz point.

As you proceed, keep your mind focused on the crystal. Concentrate only on it and what you see inside it. Note: this is not divination, although it is a great avenue into the process and will help you with that skill. The goal here is to keep your focus on one thing for an extended period of time. This will increase your stamina.

This is an exercise you can repeat as often as you like in order to strengthen your focus, but it’s recommended to try it for twenty-one days in a row at first. Sit alone with your crystal in a semi-dark room—a few candles will be necessary. Light some incense if you desire—the smoke can actually help you—or diffuse essential oils. Make sure you won’t be disturbed (silence your phone). Gaze into the crystal for one minute (set a timer). Remain totally focused on the stone. Then try two minutes, then three. Increasing by a minute each time, work your way up to five minutes. If you find this difficult, try again another day. Once you can gaze for the full five minutes, repeat the process every day for twenty-one days. After that, do it at least once or twice a week. Think of this as exercise. If you’d like to really test yourself, see if you can go for ten minutes or longer (if you want to try that, increase by two minutes each time). Don’t strain your eyes, and don’t push yourself too hard. As with meditation, try to avoid letting your mind wander. As soon as it does, start over and reset your timer.

Activity

WRITING A MEMOIR Writing your story can be a priceless experience—even if no one else reads it. Journal-keeping is a wonderful way to process your thoughts and emotions. Write your magical memoir. Even if you’ve already done this, revisit

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it and see if anything has changed. Recount your history with your Craft— when you first started, how you felt then, and how you feel now. Write about your expectations, experience, what you’ve learned, and what you still want to learn.

In addition, consider writing about your non-magical life as well. You don’t have to write your entire life story (but you should, if that appeals to you). You can write about an event or special day—it doesn’t have to be a grand trip across the world, it can be a story of daily life. The account of an important moment—a day, even the brief few seconds of an event—helps you remember it and recall your feelings later in life. These moments shape who we are, and who we are shapes our magical practice.

Stories of place are important too—your home, or a place you love. For example, it took me a long time to deal with losing my childhood home when my parents divorced and sold it. It was paradise to me. I’ve often written about it, just to help heal and gain perspective. Recently, I came across some old photos of the house and, finally, actually drove by to see it—something I had avoided for decades. That place is such an integral part of who I am. The memories, both good and bad, have shaped me, and learning more about that helps me on my journey.

Whatever story you need or want to tell, do it. If you’re not sure, meditate on it or try divination. Tell the stories that mean the most to you; tell the stories of who you are, who you were, who you will become. If you’re not sure how to begin, use some of the meditation and visualization prompts to get started. You can write poetry, a blog, or even songs—whatever you like.

Remember: you never need to show it to anyone unless you want to.

Consider researching your genealogy; create a family tree. Alternately, make a friend tree, tracing the connections you have with others to whom you’re not related. Our lives, our existence, can be seen as one incredible story—as civilizations and individuals. What’s your part in the story?

Activity

MAKING A SCRAPBOOK If writing doesn’t appeal to you, tell your story with visual materials. Photos tell tales, as do souvenirs and mementos. If you’ve never scrapbooked before,

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there are kits available in craft stores to guide you. You can choose background paper associated with the theme of the moment or just something decorative you like. Add photos, ticket stubs, stickers, and more to create a collage of the memory. This is also a fun activity for families and friends to do together. If you like using Pinterest, you can tell the story of your experience with the Craft this way, too. Make a collage of images that reveal your personal style.

Taking Action

SACRIFICE The boy in the story had to give the birds he hunted for food in exchange for the stories. In magic, we often use candles, burn incense, or leave offerings of food outdoors as a type of sacrifice. What next step can you take? What can you give? Consider donating money or food to those in need. Even if you’re already giving back, what else can you do? Consider fasting (check with a doctor first); many religions engage in this practice. Or, give a stone, or something else you value, to someone else. Make a sacrifice—a selfless act—and view it as “payment” for blessings you have in your life. (For more on sacrifice, see chapter 12.)

Taking Action

GROUP WORK AND PRESERVING TRADITIONS Stories help us with our personal development and identity, but they are also essential to our social groups and community. Does your family, group of friends, or coven have a special tradition or custom that is unique? Explore that. Listen to the stories of a friend or family member and ask them questions about a specific tradition—when it started and why. They may want to write their story as well—offer to read it, if they’re interested. Also, consider starting a new tradition. It can be something as simple as a particular way you honor or celebrate a special day, or even a dish you make for a holiday meal. Try some of the activities in this chapter with members of your magical group, if you’re part of one. Stories take time to tell, and they have a special impact when experienced in a group setting.

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Preserving tradition doesn’t mean things can’t change, that progress can’t be made, but it’s important to remember and learn from the past—the good and the bad—and to value the experiences of others in our personal lives, in our community, and those who’ve helped shape our world so we can find our place there as well.

Many of us are solitary practitioners, so it can be challenging to feel a sense of community in the Craft. If you don’t have access to a local discussion group or coven, reach out to online groups. Even finding just one other person with whom to share your experiences can be meaningful.

Taking Action

RESEARCH Remember the words of the storytelling stone: “Some of you will remember every word that I say, some will remember a part of the words, and some will forget them all—I think this will be the way, but each man must do the best he can.”

This statement certainly applies during the process of acquiring knowledge—most of us can’t remember everything. We rely on communities to help us remember. In magical practice, we forget things too. If you’ve been practicing for decades, you may have forgotten some things you learned when you first began. If you’re new to your Craft, you may have been presented with so much information that it was difficult to take it all in. Spend some time researching your practice. Renew your interest in its history. Do you know why you do what you do? Who are the people who created the foundations of your Craft?

If you feel confident in this area, that’s great—but you should still try to read at least one book on magic you’ve never read before. Explore the roots of your Craft or discover something new. And, as the stone says, “Do the best you can.”

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Further Action: Reflections, Research, and Journal Prompts

IDEAS FOR ACTION Use these scenarios and suggestions to engage your imagination. You may wish to record your experiences in a journal.

• Put yourself in Poyeshaon’s place. You are hunting or fishing (vegetarians may want to go on a gathering hunt for berries). See the place clearly where you are walking. You stop to repair an arrow or hook, or mend a hole in your basket, and the stone speaks to you. You give it the payment. Imagine you are sitting on the storytelling stone. What does it tell you? Listen.

• Research the history of your hometown, where you currently live, or your favorite place to visit. Alternately, visit a place you’ve read about and have always wanted to see. Immerse yourself in its history, the stories of the past.

•Y ou’re in a cave; it’s dark but safe, and you have a lantern … what do you see? Or, imagine you’re in an ancient circle of standing stones. Describe it. What do you feel? What story can you imagine from the stones?

• You’re in a cemetery. It’s shady and cool, but there’s a beam of sunlight falling through the branches of an old oak tree; the light falls onto one particular headstone. You approach it. What does it say? As an alternative, actually visit a cemetery—the older the better. Consider creating a gravestone rubbing (check with the cemetery first, to be sure this is permitted), or just wander around and take note of what you see. What stories can you imagine?

• Visit museums and take your time examining artifacts that interest you.

Learn as much as you can about them and the people who made and used them—and those who discovered them.

• What could be the possible significance that the boy finds the stone on his tenth day of hunting? Research numerology of the number ten in various cultures.

• The boy found the stone when he went deeper into the forest than he ever had before. Consider the significance of this. Is it fate that the boy

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stops to fix his arrow and then hears the stone? Is there some magic at work here? If so, what is it?

• Why do you think the main character in the story is an orphan rather than part of a large family?

Bibliography for Chapter 1 Curtin, Jeremiah. 1922. “The Origin of Stories.” Seneca Indian Myths. Sacred Texts. https://www.sacred-texts.com/nam/iro/sim/sim14.htm.

Dashu, Max. 2016. Witches and Pagans: Women in European Folk Religion, 700–1100. Richmond, CA: Veleda Press.

Object. Crystal Sphere. CANCM: 2144. Beaney Museum, Canterbury, United Kingdom.

Page, Sophie, and Marina Wallace, Owen Davies, Malcolm Gaskill, Ceri Houlbrook. 2018. Spellbound: Magic, Ritual, & Witchcraft. Oxford: Ashmolean Museum.

Body, Mind & Spirit / Magic Studies

invigorate Your Craft with Profound Myths & Accompanying Activities Explore the creative depths of myths, fairy tales, and folklore, where you’ll gain extraordinary insights about both the world and yourself.

Featuring more than a dozen amazing tales and their related spells, meditations, and affirmations, Mythology for a Magical Life shows you how to elevate your practice in ways you never imagined. These stories come from cultures all over the globe, offering you a deep connection to the human experience.

Popular author Ember Grant shares an impressive collection of myths, themes, and hands-on activities that enhance your skills and add new energy to your magic. Discover what the story of Cupid and Psyche can teach you about the journey of your soul. Learn how trickster folklore can inspire you to seize new opportunities in your life. Embrace your primal self with the Maid-of-the-Wave’s tale. This compulsively readable book enriches your craft through the power of storytelling.

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