Witches Workshop Handbook by Witches Workshop

WitchesWorkshop

Handbook Wicca, Magick, Alchemy

exploring the psychic experience Contacts w: www.witchesworkshop.com e: info@witchesworkshop.com t: +61 2 416 339 706 a: PO Box 179 Newtown NSW 2042

Copyright 漏 Tim Hartridge 2000-2012 This manual is copyright. Apart from any fair dealing for the purposes of private study, research, criticism or review, as permitted under the Copyright Act, no part may be reproduced by any process without written permission. Inquiries should be addressed to Tim Hartridge. Postal: PO Box 179 Newtown 2042, Australia E-mail: info@witchesworkshop.com 路 web: www.witchesworkshop.com WitchesWorkshop and Witch Camp Australia are projects created by Tim Hartridge.

Table of Contents Working Guidelines to working in a Witch's Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 What is Witchcraft? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Ancient to Modern times . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Contemporary Witchcraft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 A Description of Wiccan Ritual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 A Definition of Witchcraft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Wicca verses Witchcraft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 The Natural or Wild Witch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Conclusion

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Tree of Life diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Middle Pillar Ritual Meditation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Chakra Table

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Middle Pillar Ritual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Magickal Exegesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Casting the Witch's Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Basic Circle Rite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 An alternate Circle Rite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 The Witches Rune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Hermetic Magick - Alchemy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 First Principles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Elemental Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Building the Black and White Mirrors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Sympathetic Magick - Witches’ Spells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Sigil Magick

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Initiation – The Dark Journey and the Underworld . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Mystery Cults

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

The Mysteries

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

The Mystery Rites of Wicca . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 The Myth: Descent of the Goddess into the Underworld . . . . . . . . . . . . . . . . . . . . . . . 53 Rites of Initiation: Composition of the Ritual's Structure . . . . . . . . . . . . . . . . . . . . . . . 55 Outer and Inner meanings of the Myth: a Journey of Return . . . . . . . . . . . . . . . . . . . . 57 What Will Happen When I Die? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 The Rite as a Mysterium Coniunctio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Appendix I: Enochian Elemental Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Appendix II: Another Circle Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Working Guideline to working in a Witchâ&#x20AC;&#x2122;s Circle 1. PARTICIPATION These notes are intended to familiarise you with the introductory ritual practices and some Wiccan conventions. A few people may find the practices initially challenging, but I would encourage you to allow yourself the opportunity of the experience. Please keep in mind this workshop is for the purpose of learning, and so no question is considered too basic. If you feel something has not been covered to your satisfaction don't hesitate to ask for more information. To assist in making your experience significant and authentic there are two things that I ask. The first is to be open to new ideas or approaches to the subject; some of the ideas presented may be different from what you have read. The second, is to be willing to participate and to give things a try, even if you should find things challenging. 2.

WORKING IN A CIRCLE

The following are some of the basic conventions to working in a Wiccan Circle that you can expect to be applied in the workshop. I. Be personally responsible. This means that you agree not to do anything that might endanger either yourself or others in the workshop. Your behaviour should always be polite and considerate. If you have a concern please do not hesitate to discuss this with Tim. II. If you need to leave either the workshop space or the Circle during ritual you do not need permission, but you will do so in such a way so as not to disturb or disrupt others. It is generally courteous to have the 5

acknowledgment of the facilitator, who is likely to be Tim. If a ceremony is under way this will mean breaking the Circle and opening a gateway. Opening and closing a gateway can done in the following way: Stand at the nearest point to the exit, visualising a veil at the edge of the Circle, hold your hands in front of you similar to a prayer position. Now, slowly render open an imagined veil by parting your hands. Step through, pause and visualise yourself gently closing the veil behind you, again with your hands. When you wish to return do exactly the same thing to re-enter. III. Respect the wishes of someone if they do not want to be touched. If someone's hands are touching you in a too intimate way, making you uncomfortable you should let them know immediately. This doesn't have to be awkward; you can simply make your feelings very clear by taking hold of the person's hand and moving it firmly and deliberately elsewhere. That way, neither one of you has to convey a stilted verbal message, or make you feel as though you are disrupting the general flow, especially if it occurs during ritual. If the situation concerns you then speak to Tim. The same principle applies for the Wiccan convention of passing the ritual Cup of wine with a kiss. The kiss is intended to be much like the French do in greeting another, that is, a kiss on the cheek. A kiss on the lips is okay, but only if it is mutually agreeable. IV. A tolerant and respectful attitude toward the beliefs of others should be in evidence and practiced by the way you communicate to one another. The workshop functions from the premise of not asking you to believe in anything, but rather to use your personal experience as the basis of your understanding. 6

If you have a criticism of someone or another group it should be confined to a clear-cut and intelligent critique of their point of view, theories or practice, rather than merely some personal attack or dislike. Gossip is not tolerated. Those better acquainted with the broader Pagan community understand only too well the destructive and divisive effects this can have. Finally, treat the experiences shared by others as the intimate and sacred mysteries of the Circle. While I never ask people to keep anything secret, I would ask you to keep these things sacred. A few words of adviceâ&#x20AC;&#x201D;you'll save yourself a lot of heartache if you only share the workshop and circle experiences with people who have the maturity to appreciate such things.

What is Witchcraft? 1. WITCHCRAFT FROM ANCIENT AND RECENT PAST From the time of pre-history and in the images of Stone Age art are depicted the preterhuman forms dancing among the animals. The images of Horned gods and Great Mother goddesses are the recognizable faces given to psycho-spiritual images whose carved and painted forms appear in so many sacred places and sacred objects. During the many Ages of Humankind and through innumerable cultures that followed from these remote times, are two enduring images that have remained active in the psyche of humankind, these are the Horned God and the Great Mother Goddess. The re-emergence of these same two recognisable forms have come down to us in Witchcults of Western Europe as the Devil and the Witch. Since before medieval times these two archetypal forms, a masculine divine animal god and a feminine universal mother goddess, became distorted into symbols of evil through the teachings of a growing dominance of Christian religions, especially in Europe. Converted into a Horned Devil and the Hag Witch it is these images which remain current in many peoplesâ&#x20AC;&#x2122; minds when the word Witchcraft is mentioned. Contemporary Witches have both drawn upon and rejected these images, generally preferring to revive the more positive forms of expression of ancient Pagan psycho-spiritual practices. It might be argued that the inspiration and revival of interest in Witchcraft is a response from the psyche (soul), a search for soulful things in the world and our awareness of our deep connection with earth. The Pagan world-view can generally be described as, Mother Nature is the outer expression of the Divine. It is here we see one of the strongest contrasts between monotheistic (one-god) religions and the polytheistic (many-gods) religions. That is, the monotheists seek a 9

god outside of Nature and dominates over it, verses the polytheists who seek the divine within self and expressed outwardly as Nature. Another contrast between these two religious views is in the rejection and repression of the psychic experience generally by monotheists. In contrast, the immersion of polytheistic Witches' practice of embracing and valuing of the psychic experience above that of religion. Witchcraft actively encourages and acknowledges a psychic dimension to life and gives expression of it through the many techniques and practices found in Magick. Ultimately though the great divide between the two theologies is in absolutism of monotheistic religion, while even if some Witches principally worship one divine form, they still acknowledge other peoples’ rights to have different divine forms, even that of Christians. 2. CONTEMPORARY WITCHCRAFT Generally speaking, the modern expression of Witchcraft was inspired by the late Gerald Brosseau Gardner (1884–1964). Through his written works he reintroduced the old Anglo-Saxon word for Witch, Wica (sic), and this has become the accepted name for the some of the spiritual practices of modern Witchcraft. Gardner’s involvement in British Witchcraft was from sometime in the 1930's. His first published work on Witchcraft was a fictional story entitled “A Goddess Arrives”, 1939. He was acknowledged as folklorist and amateur anthropologist. Gardner’s academic interest in Witchcraft and magick can be traced from several sources—the works of anthropologist Dr. Margaret Murray; his association with the master occultist Aleister Crowley, who admitted Gardner into the O.T.O. (a magickal order); and finally, 10

through his practical involvement and initiation into a Witches' coven said to be surviving in the New Forest area of England. Gardner was one of the first people in modern times to use the word Wicca to describe Witchcraft. The word wica (sic) was defined by Gardner to have originally meant wise, and hence Witchcraft was simply the craft of the wise. However, research has generally refuted this definition, offering instead several other possible origins of the word Wicca: wicca Old English, related to Middle Low German wicken, to conjure; vicka Swedish, to move to and fro; and again the Old English wice and wic, probably from the Germanic wik, meaning to bend. Whatever the true meaning, Gardner thought it a good idea to publically reintroduce Witchcraft as Wicca and it has stuck. (Incidentally, the Old English word wicca was likely to have been pronounced wicch-a, and hence wice was witchy, or simply witch.) 3.

A DESCRIPTION OF WICCAN RITUAL:

Within modern Wicca certain rituals are held in common. The following is a basic ritual formula used by many contemporary Wiccans in their practises. The Witch robes him/herself or works skyclad (i.e. naked). A Circle is cast with the ritual sword or knife (athamĂŠ) and then is consecrated with the four elements (earth, water air, and fire). Then stellar or elemental nature deities are invoked at the cardinal points of the Circle. An invocation is then incanted to a specific God or Goddess to imbue the Witch with the god's qualities. At Full Moon and Dark of the Moon there are also specific rites that are used to manifest the divine within the Witch in the form of various the Moon goddesses. Whether working alone or within a Coven, the Witch might perform a whirling dance within the Circle called raising a Cone of Power. This 11

is a stepping, pacing dance done faster and faster until a powerful psychic tourbillion or Cone of Power is raised. When executed correctly the energy raised charges the Witch's subtle and physical bodies, producing an ecstasy of psychic currents and experiences, the psychic reflex. This may manifest through the Witch in acts of psychic projection through spell casting, divination, healing, or evocation of familiar spirits. Ritual and dance represent just two of the Eight Magickal Paths or practices used by some contemporary Witches. The other practices include: herbal knowledge; the ability to concentrate the will; experience of trance states which includes astral projection; the control and stimulation of psychic (vital) forces earthed in the body; the invocation of the gods; and the application of sexual magick. 4. A DEFINITION OF WITCHCRAFT Over the years I've come understand the term Witchcraft in a variety of ways, but I've found I could synthesise these often complex ideas into a simple and succinct statement as follows:

Witchcraft is a practical system of mysticism whose method is known as Magick. To help clarify what is meant by this definition I will define the terms of reference so as to not be misunderstood. Witch: one who functions either consciously or unconsciously in the psychic realm. The word psychic is from Ancient Greek psyche, the domain of the soul, spirit or mind. Witchcraft: a developed or crafted natural ability to function in the psychic realm. Wicca is merely another term for Witch and the practices Witchcraft. Mysticism: the direct experience of communion with the Divine, usually experienced in an ecstatic or elevated state of consciousness. 12

This word is related to Mystery from the Latin word myein meaning, to close oneâ&#x20AC;&#x2122;s eyes, and mystes one initiated, particularly one initiated into a Mystery religion. Magick: in its highest form the fulfilment of personal destiny via self knowledge. In the lower forms, magick is the attempted influence of mundane reality. In discussing this particular definition of Witchcraft my focus is upon the personal experience within the psyche rather than the idea of adopting a Witch-persona. I would argue that it is the individualâ&#x20AC;&#x2122;s ability to experience of the Witch as a psychic phenomena of the Self rather than the mere adoption of a belief system that ultimately determines who is a Witch. Some people have a natural propensity to manifest and give life to the Witch within and experience this as an evolving and living psychic identify. In the right environment this may develop through an ever-widening variety of experiences, which is expressed as Magick. 5. WICCA VERSES WITCHCRAFT Although the real reason is not certain as to why Gardner sort to re-introduced the term Wicca, instead of simply sticking to the more commonly used word Witchcraft, few would argue that most contemporary Witch covens clearly prefer the term Wicca. The reason for this is not hard to find given the stigma attached to the word Witchcraft. The arguments for and against a preference in describing oneself as either a Witch or Wiccan evidence a great deal of literalism about those who practice Witchcraft. However, if we embrace the idea of viewing Witchcraft as more a psychic phenomena of the Self, this then opens us to other possibilities. (By psychic the inferred meaning is a part of one's psyche, or personal unconscious.) It is less then about 13

religion and more to do with the practice of Magick and Initiation into the Mysteries. 6.

THE NATURAL OR WILD WITCH

In other words one may not be a witch 24 hours of the day, but at certain times the emergence can be felt. This is usually at times of psychic stress. In fact, many of the practices of Witchcraft help aid this emergence. These include: the use of inspired ritual; the sensuality of nudity and dance, anything that help us to step aside from egocentred consciousness. This psychic awakening of the natural Witch can therefore be experienced by any sincere person if they are prepared to explore their wild and uninhibited nature; for it is in these neglected places of the psyche that the instinctual witch can thrive and be directly experienced. This is the domain of the natural or wild Witch, who unapologetically awakens from deep within the psyche. This Witch is that part of ourselves that yearns for the return of night (the unconscious hours), who leads us to seek out the uncivilised parts of our nature so that we may cultivate and extend her powers. This Witch is unrestrained by social mores, a true heretic of society and makes us connect with our true ourselves when we feel we don't fit in. When being a Witch is experienced in this way, as our link to the wild, we may begin to reanimate our primitive and forgotten powers. Being a Witch under these conditions is not a religious label, but is more to do with experiencing our instinctual and psychic powers as an expression of magick. These natural instincts may manifest in a variety of familiar and unfamiliar forms. Our intuition is one such form it can take, while others include clairvoyance, astral and psychic projections and even a natural ability to heal; all are manifestations of the Witch.

7. CONCLUSION This approach in using an alternative interpretation to what it may mean to be a Witch places a greater emphasis upon the personal psychic function and the importance of personal experience. By looking for the Witch within we may begin to think in terms of wanting to do more than simply learn from others. We are more likely to seek self-Initiation into the Mysteries; to be using self-initiative in the contribution of our own psychic study and knowledge base; and we will almost certainly find greater value in our own experiences above that of others as a basis for belief. Perhaps old Gerald Gardner had it right when he spoke of Witchcraft in the following terms: "It is the old case of: Unless you experience it yourself you will never believe. When you have experienced it, you don't believe, you know." (Quote from "Witchcraft Today", Gerald Gardner, 1954.

The symbolic form of the Tree of Life glyph, showing the Sephiroth (emanations) and Paths with special attention drawn to the â&#x20AC;&#x153;Middle Pillarâ&#x20AC;?. On a macro cosmic level the Tree of Life is an esoteric representation of the Universe, while at a microcosmic level it depicts the psychic anatomy of humankind.

Middle Pillar Meditation The name “Middle Pillar” is a reference to the central column or pillar shown on the “Tree of Life” illustration; an esoteric map of the universe, as well as a guide to the psychic anatomy of human beings. This ritual meditation was originally used by the magickal Order known as the Golden Dawn, active at the turn of the century. The practice was later expanded upon by Aleister Crowley when he joined the Ordo Templi Orientis (O.T.O.) and later for his own Order the Astrum Argentum (A.A.). It is from this period where New Aeon or Thelemic components were introduced. Its present form, as used by Dark Circle, was developed by Tim Hartridge. The purpose of the Middle Pillar practice is to aid in bringing about awareness of the subtle energy centres (generally called “chakra”) of the psychic anatomy, known variously as ‘chi’, prana and the vital force. As a ritual practice it can also be used as a means of connecting to the general energy field or group mind (known as an “egregor”) of the Coven. The practice is divided in to two parts – the first being designed to activate the chakra, while the second part of the ritual is devised to invoke and activate the current of Aeon in respect to individual and group “Will”.

Chakra

CORRESPONDING GEMSTONES AND COLOURS The following table is not based upon any traditional correspondences, rather is an intuitive expression of the essences within the psychic anatomy. CHAKRA GEMSTONE

COLOUR

Crown

Diamond, Lapis Lazuli White, Indigo, night sky

Third Eye

Sapphire

Deep Blue

Mouth

Moonstone

Pale Blue

Throat Emerald

Green

Heart

Topaz

Golden (Yellow, dawn)

Solar Plexus

Amber

Orange

Navel

Rose Quartz

Pink

Sex

Ruby

Deep Red (Scarlet, flame)

Feet

Onyx (Lodestone)

Black (Russet, earth)

Whole Body

Opal

Myriad of colours

A FEW PRACTICAL NOTES: The movements should be done slowly, so that you glide gracefully through the etheric field of the body electric (the Aura). Using your finger tips, sensitively feel through the auric field. If you wish, alternate your hand gestures with an open hand and that of the “Wand” mudra. The Wand or “Will” mudra is formed by placing the thumb between the index and middle fingers of both hands. The sound of the words and names used should resonate through the body, while vibrating and projecting outwardly, around the body in all directions. The meaning of the ancient words and names are explained at the end the Middle Pillar ritual .

Middle Pillar Ritual STAGE 1: CREATING THE MIDDLE PILLAR MC

“I open my arms and embrace the infinite stars of space. I open my mind and I hear the call of the celestial name of the Mother of Night – NUIT.”

(ALL

Raise both hands above and outstretched over the head. Slowly rotating, call “NUIT” into space with the MC Visualise yourself expanding through the crown of your head into an ever widening horizon of the night sky.)

“I tremble, I shiver, and light pours through my body. My feet dissolve and I descend a deep, deep well in whose waters are reflected the light of a single star – HADIT.”

(ALL

Draw hands down the centre of the body to touch the ground. With the body now squatting, call “HADIT”. Visualise the infinite stars of space converging through the crown of your head. Imagine as the light rushes through your body, you are drawn downward into an abyss where the radiant light of a single star ripples in the deep waters of Time.)

“I draw to my heart, my centre, the event–act , the now – “RA–HOOR–KHUIT.”

(ALL

Standing erect, hands touch the chest, calling RA–HOOR–KHUIT. Visualise your centre of being floating in an abyss between the infinite expanse of space above and infinite deep below. At your centre, feel pure conscious awareness.)

STAGE 2; ACTIVATING THE CHAKRA As each of the following psychic centres are touched upon, visualise starlight radiating down the central column and outward through the chakra. MC

“The third eye – VISION.”

(ALL

Using yours hands in the mudra of the “wand of Will” touch the centre of the forehead and direct consciousness into the Ajna chakra, the Third Eye.)

“Lips – SPEECH.”

(ALL

Touching the lips, draw consciousness to the mouth and lips, the centre of invocation and evocation)

“Throat – EXPRESSION”

(ALL

Touch the throat, and cry “AIWAZ”, whilst letting hands and arms spread out from this centre. Once fully extended, then bring them slowly back to the centre of the breast.)

To the heart centre – “LOVE”.

(ALL

With hands on the breast.)

To the Solar Plexus centre – “ENERGY”.

(ALL

Touch the Solar Plexus, and cry “THERION”, whilst letting the hands and arms spread wide from this centre. Again once extended, then bring them slowly back to the navel.)

To the Naval centre – “WELL–BEING”.

(ALL

With hands now on the naval.)

To the Sexual centre – “INSTINCT”

(ALL

Touch the sexual centre and vibrate “BABALON”, let the hands and arms spread wide.)

S TA G E 3 : A C T I VAT I N G T H E G R O U P M I N D O F T H E 20

COVEN AS PSYCHIC CURRENT 1.

Hands curve and grasp the other as in the Yin–Yang/ Yab-Yum mudra, and call – “LAShTAL”.

Right hand upheld in the mudra of the wand, and the right foot extended, call – “THELEMA”.

The formula of FIAOF is executed and pronounced in the following way:

i. Call – “OOee”. Grasp with the index finger and thumb of the right hand, the left breast, cupping the left arm beneath as is supporting a child.

ii. Call – “Yaa”. Stiffen the body and extend arms to form a trident.

iii. Call – “Yoy”. Cross arms on the breast and bow head slightly, finishing with an “OO” sound.

Cup hands together raising ring and little fingers perpendicular to the rest and call – “AGAPE”.

Link hands with others in a circle (or if working alone simply open one’s arms wide) and call – “AUM”.

With everyone grasping hands and a circle thus formed, the ritualists begin to rotate in a ring, chanting – “ABRAHADABRA”. The chant increases in pace, building to a climax, when the MC opens the spinning circle so that individuals orbit on the spot.

Analysis of Words Magickal Exegesis: a short list Gods and Goddesses:

NUIT: (pronounced Nu-ee) Infinite space, infinite stars = I.S.I.S = Isis Ancient Egyptian goddess of the night sky, usually depicted as having a deep blue body filled with stars. Her Thelemic magickal designation "Infinite space and infinite stars" conceals her other name "Isis". HADIT: (Had-de) The infinitely small atomic point, the bindu. A Thelemic god, but consider the complement to Nuit. He is the infinitely small point and heart of every star. RA-HOOR-KHUIT: the 'Child' of Hadit and Nuit, the event-act, the now. A title of Ancient Egyptian god Horus as the 'Enterer'; literally meaning - 'The crowned and conquering child'. AIWAZ: The medium or channel permeating the present current of the Aeon (Age), zeitgeist. The Thelemic spirit which communicated the 'Holy' book 'Liber Al'. THERION: Literally, the 'wild', the life-force within us, the

animal

powers. Ancient Greek name equated with the Horned Gods whose power is in the phallus. BABALON: Literally, the 'Gate of the Sun', the seductive powers, the kalas. A Thelemic deity and feminine form of Baal whose powers are in the vagina.

Magickal Words:

LAShTAL: LA (Nuit) united with AL (Hadit) and the field of their interplay ShT (Set), the fire of the serpent (Kundalini). THELEMA: Literally Ancient Greek the 'Will'.

'Will' in Magick is

not ordinary 'willfulness', but the 'True Will' of destiny. FIAOF: Individual letters represent a magickal theory/formula F=00,00 infinity; I= Isis, birth; A- Apophis, death; O=Osiris, rebirth; F= infinity. From Infinity we are Born, we Die, and are Reborn into Infinity. AGAPE: 'Love', Greco-Roman, the creative act and compliment of Magickal Will. Equated with ancient 'love feasts' and Venus as art and beauty, a true expression of Self. AUM: Also AUMGN and OM, the root vibration of creation. An expression Thelema-Agape. ABRAHADABRA: Not the corrupted 'abra-cad-abra', but the formula of the 'Great Work', the accomplishment of 'True Will'. In Alchemy the great work or 'Magnum Opus' is the process of creating (Agape) true gold (Thelema). In other words, finding value in your True Self.

Casting the Witchâ&#x20AC;&#x2122;s Circle WHY WITCHES USE A CIRCLE? The main purpose is to create a psychic space, a gateway for consciousness to move in between the mundane reality and a psychic reality. In general, it is not for the purpose of keeping things out as is sometimes supposed. Rather, it aids the witch on pathways within. Circles maybe created for a variety of different rituals purposes and giving access to different psychic regions. The method of construction can likewise be found vary from one practitioner to another. In the following notes are two examples of the spells and rituals typically used in our Coven practices. Once these methods are mastered it is recommended that each ritualist adapt their own preferred methods. A GENERAL NOTE ABOUT RITUAL Please keep in mind that successful results are achieved through properly developed techniques and are not in anyway dependent on good ritual theatre. This is not to say that aesthetics canâ&#x20AC;&#x2122;t play a part. They can, and I personally take great care to develop ritual in a form which assists me aesthetically, but not at the sacrifice of magickal results. In other words any artistic enhancements that are incorporated into

An example of an

ritual should serve a useful purpose and not

Elemental Circle with

be an end in itself.

Solar and Seasonal correspondences for the Southern Hemisphere.

Basic Circle Rite Generally the order of the actions taken in performance of the Circle Casting ritual are as follows: everyone is seated on the ground in a circle; holding the sword or wand up the master/mistress of the circle states the intention of the ritual; then the sword or wand is passed around the circle with the words spoken in a call-and-responce; next the four elements are passes by a representative person who first shares what the element means to them; as each element is passed around the appropriate elemental name is resonated; afterwards everyone takes hands and visualises the aura of the Circle encompassing their surroundings; and finally the grail of wine is held to the centre with everyone reaching forward to touch it and saying the words to charge it. It is helpful to have the floor or ground marked in some way. I suggest using flour if outdoors, masking tape, a silken cord, a rope or as I prefer, a specially designed ritual-mat. If working solo and you have a ritual sword, athamĂŠ or wand, you can trace the Circle by simply turning on the spot or walking around the perimeter of the Circle. If you are working with others I suggest you all sit or stand in a circle and pass the sword around the Circle, from one person to the next. As the Circle is formed, all the ritualists should visualise the electric-blue light of etheric energy building around them. An Elemental Circle

RITUAL FOCUS AND INTENTION

taking into account local

As each element is passed around, the Circle members try to acquire

environmental conditions

some of the qualities of the element they are holding. One of the key

for Sydney.

objectives of this ritual is to share you associations with the other 26

members of the Circle. Below is a brief list the key associations with the elemental tools. SPIRIT/Group-Mind/Sword—the ritual intension, the group cohesion, if you know the other ritualists well perhaps associations of friendship. EARTH/NANTA/Pantacle—heavy and solid; the body, experienced through the physical world. WATER/HCOMA/Cup—cool and fluid; astral body, emotional experiences. AIR/EXARP/Censer—lightness and expansive; mind and

Using the elemental

sense of Self, abstract qualities.

attributes of the Zodiac to

Fire/BITOM/Brazier—warmth and energetic feelings; spirit and soul,

determine corresponding

divine or universal principals.

cardinal directions.

When you begin to build the Circle it is useful to think of the elements in the following way: The Sword is the Group Mind or Will and Intention of the Coven. As the Earth pantacle is passed from one person to the next your bodies become the material base which manifest the Circle. As the cup of Water is passed, this is the sharing of emotions and feelings in Coven. As the censer of Air is passed, this is our charged thoughts, the group mind directed toward the Coven’s creative impulses. Finally, the brazier of Fire is passed around as the Coven’s life-spark, it’s vitality and energy. With the completion of the of the elements being passed around, the Coven all take hands in a circle. They breathe and visualising a flow etheric energy for a few minutes moving through one person to next in the auric field of the Circle. Finally the Grail of wine is held up and the words to charge it are spoken by eveyone. It is then shared by each person taking a sip and passing it on with a kiss. 27

THE CIRCLE CASTING The MC usually states the intention of the ritual and shares some personal associations with what the sword represents to them. Next, the words for the Circle spell are speken by the MC:

"The Sword cuts a circle round about;"

The response by coven members is:

"Power stay in, world stay out."

This spell is repeated at least 3 times, or more usually until the sword returns to the MC. The MC then seals the circle with the words: "The Sword has cut a circle round about;" And the response is: "A world within, a world without." ELEMENTS The four elements are now in turn either carried around the circle, or else passed around from person to person. Using each of the elements in an order to suit your purposes, the spirit names (the essences) are resonated as the elements are passed around. (See Enochian notes.) "EXARP" (air–Censer of incense); "HCOMA" (water–Chalice of water); "NANTA" (earth–Pantacle of earth); and "BITOM" (fire– Brazier of fire). Before each element is passed around the circle, the ritualist for the element shares their spontaneous associations and thoughts about the element. Then as the elements is passed around, the circle members try to acquire some of the qualities of the element they handle. Eg, Earth is solid and heavy, Water is cool and fluid, Air is light and expansive, Fire is warm and energetic.

An alternate Circle rite COMBINING THE USE OF THE ELEMENTAL PENTAGRAM INVOCATIONS: MC stands at centre of the space. If the circle is cast with others, then they can attend to the elements at the quarters, holding them up as each quarter is addressed. Alternatively, the Coven may follow the MC around the Circle from the side and/or behind as the four pentagrams and Circle are traced. AIR

MC holds the sword or their personal Athamé to their forehead before beginning to trace the pentagram at each quarter, focuses upon the quality of the element assigned. As each elemental pentagram is traced with the spirit names or essences resonated vocally by all the ritualists present. MC facing east draws an invoking Air pentagram and resonates the name: "EXARP” (The resonance should extend in and through the pentagram opening an astral doorway.)

FIRE

The MC then continues, “Hear me in the East and recognise mine intention." Turning slowly, a quarter of the circle, to the North, as the MC says: "East by Air to North by Fire, the line is cast and the two are one." WATER MC facing north draws an invoking fire pentagram: "BITOM—Hear me in the North and recognise mine intention." Turning say: "North by Fire to West by Water, the line is cast and the two are one." MC facing west draws an invoking water pentagram: 29

EARTH

"HCOMA - Hear me in the West and recognise mine intention. Turning say: "West by Water to South by Earth, the line is cast and the two are one." MC facing south draws an invoking earth pentagram: "NANTA - Hear me in the South and recognise mine intention." Turning finally back to the east quarter, the MC says: "South by Earth returning to East by Air, the line is cast and All are One." THE CONSECRATION OF THE FOUR ELEMENTS The attendants of water (west) and earth (south) bring the chalice of water and the pantacle of earth (with the container of salt) to the centre of the circle. The chalice is held on the pantacle and a little salt is mixed in the water chalice. The following spell is then recited: EARTH & WATER South Quarter ritualist: "Let the Salt of the Earth admonish the Water to bear the virtue of the Great Sea.â&#x20AC;? West Quarter ritualist, taking a handful of water, traces an equalarmed cross in the air with the words: â&#x20AC;&#x153;Mother be thou adored." The attendant of the West then carries the chalice around the circle starting at the East (or from wherever the circle casting has started). The other ritualists chant: "HCOMA". (If desired, the ritualist may sprinkle the water as he/she moves around the circle). Next, the attendant of the South carries the pantacle around the circle, presenting it at each quarter (again starting at the East), while the other ritualists chant: "NANTA". 30

FIRE & AIR The attendants of air (east) and fire (north) fuel the censer with incense (air) and light a flame in the brazier (fire – using methylated spirits). The elements are then brought to the centre of the circle and held one above the other. The ritualist of the East Quarter then says: "Let Fire and Air make sweet the world." The ritualist of the North Quarter, making the sign of the cross with the flaming brazier, then says: “Father be thou adored." Each element (the flaming brazier and censer of incense) is carried around the circle. While the others, using conscious pore breathing* and visualisations, chant the appropriate calls: "BITOM" (fire), and "EXARP" (air). In this way the elemental qualities build, imbuing the circle with the qualities of the element. Thus the Circle is cast. *“Conscious pore breathing” is a technique usually applied in the Franz Bardon’s Hermetic magical practices. It involves simply visualising the breath being drawn in and out through every pore in the body. When continued for so me minutes the effect is subliminally transferred to the etheric field (subtle energy field) of the body. An overall sensation of expanding and contracting may be felt and later elemental qualities are consciously impregnated using the catalyst of the breath. The elemental qualities are for example warmth with fire, coolness with water, lightness with air, and heaviness with earth. See Hermetic Magick notes within.

The Witches Rune

A traditional chant for raising a “Cone of Power” during dance. "Eko, Eko, Azarak; Eko, Eko, Zamilak; Darksome night and shining moon, East then South, then West then North, Harken to the Witches’ Rune – Here we come to call ye forth. Earth and Water, Air and Fire, Wand and Pentacle and Sword, Work ye unto our desire, Harken ye unto our word! Cords and Censer, Scourge and Knife, Powers of the Witch’s blade – Waken all ye unto life, Come ye as the charm is made! Queen of Heaven, Queen of Hell, Horned Hunter of the Night – Lend your power unto the spell, And work our Will by magick rite! By all the power of Land and Sea, By all the might of Moon and Sun, As I do Will, So Mote It Be; Chant the spell and be it done. Eko, Eko, Azarak; Eko, Eko, Zamilak. (Repeat for as long as you can or until energy climaxes) Azarak, Zamilak, . Azarak, Azarak, Azarak" (All drop to the ground and attempt to leap the abyss of the gateway between the worlds.)

Notes about the words from “The Witches’ Rune” The original words were written by Doreen Valiente and Gerald Gardner in the 1950s and are slightly different to the words currently used. The words at some point were changed from an earlier version of couplet rhyme (AA, BB, etc) to the better known arrangement of alternating rhyme. There was also a difference in the titles from “The Ancient Call” to the more familiar “The Witches’ Rune” The Ancient Call “Darksome night and shining moon Hearken to the Witches' Rune. East and South, West and North Hear me now, I call thee forth. By all the powers of land and sea Be obedient unto me. Wand and pentacle, cup and sword Hearken ye unto my word. Cord and censor, totem and knife Waken ye all into life. By all the powers of the Witches' blade Come ye now as the charge is made. Queen of Heaven, Queen of Hell Send your aid unto my spell. Horned Hunter of the Night Work my will by magick rite. By all the powers of Land and Sea As I will, so mote it be. By all the might of moon and sun As I say, it shall be done.”

The Witches’ Rune “Darksome night and shinning moon, East, then South, then West, then North, Hearken to the Wiccan Rune. Here we come to call you forth! Earth and water, air and fire, Wand, and pentical and sword. Work ye unto our desire, Harken ye unto our word! Cords and censer, scourge and knife, Powers of the witche's blade. Waken all ye unto life, Come ye as the charm is made! Queen of heaven, Queen of hell, Horned hunter of the night. Lend your power unto our spell, And work our will by magic rite. In the earth and air and sea, By the light of moon and sun. As our will, so mote it be, As it is said, so be it done!”

53 43

The Language Of The Witches The incorporation of this chant into contemporary Wiccan ritual has been passed along through the Gardnerian and Alexandrian “Book of Shadows”. It’s meaning and significance was generally not understood until Michael Harrison's scholarly work in “The Roots of Witchcraft” 1973, cast some light onto it’s probable meaning. Using his linguistic skills to demonstrate and explain how he arrives at the meaning of this strange chant, Harrison attributes a credible argument to suggest that it’s likely origin is from the Basque language. Harrison’s translation speaks of the gathering of the family (famolas) for the November eve feast (Hallowe’en), a celebration that holds particularly strong significance in the European Witchcraft tradition. While the original print version of the evocation is thought to have come from a thirteenth century French miracle play “Le Miracle de Théophile” (circa 1261) by the trouvère Rutebeuf, the playwrite offers no translation. In his play a sorcerer named Salatin (possibly a version of Saladin), evokes the Devil to sell his soul. However, the play is thought to refer to a story about St. Theophilus of Adana, who legend has it, makes a pact with the Devil; only to later regret this and calls upon the Virgin Mary seeking redemption and restoration of his soul. Harrison’s translation of the evocation opens up the question, where did the playwright Rutebeuf get it from? Also the words “Eko, eko Azarak, Eko, eko, Zomelak” do not appear in the French play. Gerald Gardner published his version of this chant in his occult novel, “High Magic's Aid” 1949. Here it is used to invoke the gods preceding the initiation rite and begins with the familiar “Eko, eko Azarak, Eko, eko, Zomelak”. “Le Miracle de Théophile” (Ci conjure Salatins le deable.) Bagahi laca bachahé, Lamac cahi achabahé, Karrelyos. Lamac lamec bachalyos, Cabahagi sabalyos, Baryolas. Lagozatha cabyolas, Samahac et famyolas, Harrahya.

Wiccan version Eko, eko, Azarak Eko, eko, Zomelak Bazabi lacha bachabe Lamac cahi achababe Karrellyos Lamac lamac Bachalyas Cabahagy sabalyos Baryolos Lagoz atha cabyolas Samahac atha famolas Hurrahya!

The opening lines of the Wiccan version are thought to have come from an article entitled “The Black Arts” written by well known Thelemite, Major-General J.F.C.Fuller. This was first published in the 1921 edition of the journal Form (an art magazine edited by Austin Osman Spare) and later reprinted in the 1923 edition of “The Occult Review”. Fuller gives no source for this chant, but his version goes: Eko! Eko! Azarak! Eko! Eko! Zomelak! Zod-ru-koz e Zod-ru-koo Zod-ru-goz e Goo-ru-moo! Eko! Eko! Hoo...Hoo...Hoo!

Hermetic Magick Alchemy INTRODUCTION This section has been designed to assist you in improving your personal and psychic understanding of the Self as well as an appreciation of the Hermetic approach to Magick and Witchcraft. Because you may have had little experience in some of the areas to be explored I ask that an open (though questioning) mind be maintained. Throughout the course I will be referring to the Elements, specifically Fire, Water, Air, Earth and Spirit (also known as Ether or Akasha). From an Hermetic point of view these form the basic ingredients and composition of the physical and psychic Universe. Hermetic principles have long been part of both the metaphysical and mundane sciences. For example, they are used in Astrology as a way of describing the subtle differences in the nature of the zodiac signs by attributing the Fire, Water, Air, Earth characteristics to them. Equally, the principles of the elements have been used in ancient and mediĂŚval medicine, and not least in the practices of Magick. All these sciences are traditionally said to be the gift of the god Hermes (and hence "Hermetic"), an ancient Greek form of the Egyptian god Thoth, deity of wisdom and knowledge. The Hermetic sciences conceive the nature of the universe as a unity of inter-dependent parts, or Elements, to which all things hold a natural affinity or correspondence. For example, the spice "pepper" could be said to exhibit a fiery taste, and in another way, someone displaying an emotional experience of "anger" could be described as 37

having a fiery temperament. Both are therefore said to be correspondent to the element of Fire. By this sort of analogy the various components of the physical universe and human experience (i.e. everything) can theoretically be catalogued and attributed to one or another Element. Although these two examples of a "spice" and an "emotion" are operating in quite different ways, there is nevertheless said to be a "Sympathy" by virtue of their fiery principle. By understanding such sympathies we may gain access to the basic principles by which the Hermetic Magician operates to try to cause changes in his (or her) universe. The Hermetic Magician seeks to understand not only the principles of Hermeticism, but to apply these principles practically. In the general field of Occult studies it is not uncommon for people to immerse themselves in the psychic reality without a full understanding of the operative principles. This is not unlike the average motorist who drives quite confidently, despite a complete ignorance of the mechanical workings of the vehicle he or she drives. The Hermetic Magician studies the causes and effects of psychic phenomena and seeks to comprehend them through Hermetic principles and theorem. For the Hermetic Magician, everything can be given an Elemental attribute which responds then to a perceived natural law.

First Principles Everywhere about us we observe light and dark; or put more precisely those things emitting light or radiating energy, and those things that absorb or reflect energy. These are the basic characteristics of everything found in the universe and are symbolised by the mundane elements of Fire and Water. These are also said to have the qualities of dryness and moistness, hotness and coolness, electric and magnetic respectively. The elements of Fire and Water, while exhibiting the individual qualities of Light and Dark, are also perceived as having emerged from a primal Kaos or Causal Principle. This is otherwise known as Spirit, Ether or Akasha, the so-called Fifth element. There may be parallels found between this concept and the Oriental view of the Tao and its emerging sub-principles of Yin and Yang. In summary, the basic qualities of Fire are described as electric, exhibiting the characteristics of shining, penetrating and expanding. Water contrastively exhibits magnetic qualities, and is absorptive, contracting and reflective by nature. The polarities of these base elements, Fire/electric and Water/magnetic, are pervasive in the universe. They can be projected onto most things as a way of viewing the world, eg. Sun and moon, hot and cold, production and consumption, outer and inner, and so on. Hermetic Magick also attempts to explore a number of subtle ideas related to this basic concept. For example, the "eye" in general is perceived as having "magnetic" qualities, on account of its function of absorbing light. However, we are all perfectly acquainted with the notion that the eye is a window on the soul; in other words there is a subtle "something" which "shines" out of a person's eyes and it is that 39

aspect of the otherwise "magnetic" eye that can be described as "electric". This argument results therefore in a concept of the elements exhibiting a dominant nature as well as sometimes having a dual secondary nature. The other two elements of Air and Earth are akin to the basic electric and magnetic qualities respectively, but also display certain unique characteristics. Air, owing to its mundane quality of movement, is a sub-element to Fire. It holds also a mediumistic attribute, acting much as a conductor element, and is therefore sometimes described as neutral. Earth, on the other hand, while essentially a receptive element, and therefore a sub-element of Water, also has the unique characteristic of being composite, capable of sustaining both Fire and Water, or electric and magnetic characteristics at once, not unlike a bar-magnet. It is therefore described as the electromagnetic element. The Hermetic view of the world and indeed creation can be summed up as follows. The origin of the Elements is to be found in a primal Kaos, the Ether, known also as the Causal Principle. The Ether, containing all, has no differentiation of parts and is therefore formless. However, in its First Cause or act the ether created a dynamic, which manifested in a differentiation of natural opposites. These opposites were Light and Dark, or the elements Fire and Water. Out of this differential tide the Universe was pulled between these two opposites and a third element simultaneously appeared. This was Air, and acted as a neutral medium between the two primal elements. Via the Air, which provided the means for interplay between Fire and Water, a resultant element known as the Manifest or Earth was produced. The fusion of opposites contained in Earth is said to result in the elemental characteristics of both Fire/electric and Water/magnetic and is seen in the form of an Electromagnetic substance.

Elemental Tables The four primal elements (and even the abstract fifth) can be used to catalogue and map not only the physical universe, but the emotional, mental and spiritual worlds as well. The tables below (known as tables of Correspondence) illustrate this concept. N.B. The elements orientation are apply for the Southern hemisphere.

FIRE

Spiritual

Principle of Light.

Emotional/astral

Virtues: courage, initiative, enthusiasm.

Mental

Mundane

Element of Action.

Vices: anger, jealousy, vindictiveness. Fire, solar energy, generation of body energy.

Season, Time

Summer. Noon.

Colours, Metals

Red, orange. Gold, iron.

Direction, Zodiac

North. Leo, Sagittarius, Aries.

Process Combustion. Charge/Quality

Electric (shining, expansive, hot/dry).

Spiritual

Principle of Love.

Emotional/astral

Virtues: compassion, tenderness, forgiveness.

Mental

Mundane

Season, Time

Direction, Zodiac Colours, Metals

WATER

Element of Fluidity (Creativity).

Vices: treachery, emotionalism, instability. Water, rain, sea, saps, bodily fluids. Autumn. Dusk.

West. Scorpio, Pisces, Cancer. Blue, sea green. Silver.

Process Dissolution. Charge/Quality

Magnetic (reflective, contracts, cool/moist).

Principle of Life.

Emotional/astral

Virtues: diligence, optimism, dexterity.

Mundane

Season, Time

Direction, Zodiac Colours, Metals

AIR

Spiritual Mental

Element of Intellect.

Vices: Frivolity, gossiping, boasting. Air, fragrance, winds, breathing. Spring. Dawn.

East. Aquarius, Gemini, Libra. Yellow, pale blue. Mercury

Process Evaporation. Charge/Quality

Neutral (porous, light, warm/moist).

EARTH

Spiritual

Principle of Law.

Emotional/astral

Virtues: patience, endurance, reliability.

Mental

Mundane

Season, Time

Direction, Zodiac Colours, Metals

Element of Solidity

Vices: Laziness, stagnation, depression. Earth, minerals, skeletal system. Winter. Midnight.

South. Taurus, Virgo, Libra.

Olive green, russet, sand yellow, black. Lead.

Process Decomposition. Charge/Quality

Electromagnetic (dark, heavy, cool/dry).

Building the Black and White Mirrors

In order to progress in metaphysical or magickal work it is considered

important to become aware of any imbalances in the psyche. This exercise is an attempt at trying to bring imbalances to our conscious attention, and then trying to find ways of correcting or improving the situation. Using the concept of a 'mirror' the exercise is accomplished by drawing up a set of tables and recording the elemental attributes of our personality. That's quite a tall order, but if we treat this exercise as a working practice, we'll gradually become more skilled at the exercise and develop an accurate assessment. The aims of this exercise are to: 1. Begin an assessment of the elemental qualities in our personality; 2. Gain an appreciation of how the elements are at work in our lives; 3. Begin looking at ways in which we can create a balance; 4. Help us in understanding an Hermetic analysis of problems. We start by familiarising ourselves with the Elemental and allocate 'personality' qualities. Think about why these have been allocated to a particular element and how they manifest in our lives generally. Next, draw up a table with five columns and add the headings of Earth, Water, Air, Fire and 'Undetermined'. Allow yourself plenty of room to write single words or short descriptions. Describing the process is relatively straight forward, but you will need to ideally spend a week of daily sessions of about 15-20 minutes to achieve a proper result.

Using the metaphor of a mirror we will build two lists to reflect the negative and positive qualities of the elements in the psychic makeup of our personality. By recording these qualities we can gradually build the so-called Black and White Mirrors. Start by writing down any negative or detrimental qualities that come to mind that you feel you possess. They might be things that only manifest from time to time, or under certain conditions. The heading 'Undetermined' is useful to place items when you can't immediately allocate them to an element; you can then come back later and place the item under the correct element. As you write these things down also allocate a degree of significance. Use a value of 1 for something that rarely happens, 2 for something manifests occasionally, and finally 3 for those qualities that occur most often. Using this scoring system will help you later in determining how the elements are weighted in this assessment. If you do this exercise over a week or more you should have a reasonable collection of data with their values. All you have to do then is an addition of the columns in order to find out which is the dominant elemental force manifesting nonconstructive in your personality. What do we do about it once we've assessed the problem area? There are several things that can be done to help in creating a strategy to deal with negative elemental qualities. The first method is to create an elemental counter-balance via the technique of Conscious Pore Breathing in of the complementary opposite element. For example, if you have too much negative Water, then you do an exercise of 44

Conscious Pore Breathing-in of Fire in order to 'dry' out the negative Water overload. A second strategy is to use this breathing exercise in combination with Hermetic Yoga Mudra, Asana and Ritual postures. Adopting the appropriate elemental posture, begin impregnating your aura with the corresponding elemental qualities needed. For example, if you had too much negative Fire (over excitable, angry and agitated), then adopting the mudra for Water and with conscious breathing you will gradually saturate your auric field with Water qualities (calming, soothing and cooling-off). Alternatively, there are a couple of other methods, although not expressly based on the elemental balance. The first option would be to simply stop oneself. This is known as the 'fight' or 'control' method, and it might work in some instances. For example, simply stopping oneself from being overly sensitive, or not sensitive enough. Another method is to use 'auto-suggestion'. To do this, you formulate a positive statement and repeat like a mantra. It must be worded in the present tense and with an imperative command. For example, you are Prize Fighter, but you feel like a Chicken every time you've got to fight. You would need to formulate a mantra or affirmation of positive reinforcement by repeating to yourself "I am the Champion!" or "I conquer!" This method is sometimes done in connection with Cord magick or creating a 'witch's ladder'.

Sympathetic Magic Witchesâ&#x20AC;&#x2122; Spells 1. INTRODUCTION In describing the methods and principles on which many of the traditional forms of Witchcraft spells rely it's important to appreciate that generally practitioners view a pervasive energy in all things. This animating energy is also capable of forming a psychic relationship to any other thing, whether living or not. All acts of ritual magick and witchcraft operate upon an acknowledge that this psychic energy may be transferred via a natural and sympathetic connection. Sir James Frazer, a 19th century Anthropologist suggested that from primitive times humankind understood that there was a psychic energy or a spiritual force, which pervades nature. He describes in his magnum opus The Golden Bough, that contact with this psychic force was most acute in certain individuals, most usually the magicianskings, the spiritual leaders of many indigenous tribes. For the purpose of our mainly modern application, Frazer's magician-kings are conceptually the same as our Witches, individuals who have a propensity to function in both the mundane and psychic worlds. 2. PRINCIPLES Frazer offers the term Sympathetic Magic to describe an ability to influence the mundane world by psychic means. And as the term implies, sympathy is the effect of being simultaneously affected with the same feeling, or a tendency to share another person's feeling (Oxford English Dictionary). However, in the world of Magick this sympathy holds much greater weight by virtue of the two Laws of Sympathy. These specifically state "that like produces like, or that an effect resembles its cause" known as the Law of Similarity; and 47

secondly "that things which have once been in contact with each other continue to act on each other", known as the Law of Contact. These two laws of Sympathetic Magic are also given the names Homeopathic or Imitative Magic, and Contagious Magic. Examining any traditional Witches' Spells and you'll see immediately that the principles on which they are based can be explained and understood through these two laws 3.

AN EXAMPLE

Taking as an example a spell which uses an image of a person in the form of a doll, (also called a poppet or fith-fath). The doll is made in a form resembling the person it is intended to influence. This uses initially the Law of Similarity and is an act of Imitative Magic. The doll might also have included in it of some personal item from the individual it is intended to influence. This is the principle of the Law of Contact, an act of Contagious Magic. The combination of these two principles are readily found in may forms of Sympathetic magic, the classic example being of course the pin-stuck Voodoo doll.

Sigil Magick The word Sigil is from the Latin word sigilla, meaning a little figure, statuette or image. It is related to other words like sign, signature and significator. The term sigil was commonly used in magick before the time of the twentieth century and still to denote the sign of a spirit or other occult symbols. In the early twentieth century, an Occult artist named Austin Osman Spare developed a unique method of art and image he described as Sigil Magick . Austin Osman Spare (1886-1956) a well known English artistmagician and his practice of Sigil Magick has become an established technique of the Western Magickal Tradition. Today it is amongst one of the most popular forms of contemporary spell-craft methods used and it is one which our Coven regularly employs. Since Spareâ&#x20AC;&#x2122;s time there has been a number of alternate forms or variations of Sigil Magick, but all are essentially based upon Spare's original method. 1.

THE METHOD

Spareâ&#x20AC;&#x2122;s method in the creation of images of intent used his considerable artistic abilities and talent for trance art. He would start by writing down in clear a statement his intent or desire. For example for such sigil of desire from Spare is as follows: "I, Zos Apuleius, desire the strength of my Tigers for my purpose is toward a great evil - therefore, let loose the fierceness of my Tigers so I receive great obsession." Having formulated his desire in a written form, Spare then proceeded to reduce or concentrate the statement by removing the repetition of extra letters. For example, in his statement he says, "I Zos Apuleius, desire the strength of my Tigers .. etc." The repeated letters such as "i" 49

and "u" are removed so that they appear only once and we wind-up with the following series of letters "izosapuledrthngfy ... etc". Next, he would proceed to assemble these letters into a type of monograph, but without regard to having to keep the letters separate or necessarily discernible. The graphic fusion of letters into a single symbol would produce for him his Sigil of desire. The title Zos Apuleius was an occult name used by Spare and his Tigers were totemic or atavistic powers he frequently employed. These Tigers are not dissimilar to idea of the Witches' Familiar Spirit, and not surprising Spare learned much about the practice of magick through his contact with an elderly Witch known as Mrs. Patterson. Once the Sigil had been formed, Spare would charge or empower it with that ever emotional (psychic) energy he could access. Psychic energy included stress of any type, such as lust, fear, in fact anything he found exciting. In an emotionally psychic charged state heâ&#x20AC;&#x2122;d direct his focus upon the sigil. The symbol would become a sort of psychicbattery, absorbing the life force of the magician-witch. At this point it should be explained that Spare felt the sigil, or what it represented would become animated at an unconscious level and seek fulfilment in the life of the magician or witch. The sigil will have become an obsessing psychic and unconscious force, a Spirit seeking one thing - fulfilment. The methods Spare used to animate or charge his sigils of desire were of course critical to the spellâ&#x20AC;&#x2122;s success. The more intense the psychic libido, the greater the likelihood of its incarnating or taking flesh. Spare describes his understanding of the power of this technique in his Book of Pleasure: 50

"All desire, whether for pleasure, knowledge or power, that cannot find natural expression, can by Sigils and their formulae find fulfilment from the sub-consciousness." 2. EXAMPLES Many of Spares artworks are littered with sigils and his magickal language known as the Alphabet of Desire. It is best to see some actual examples of his work in order to gain a practical appreciation of his system of Sigil Magick. See â&#x20AC;&#x201D; http://www.hermetic.com/spare/grimoire_of_zos.html The following more complex example is from the quoted web page.

This example uses of both some shorthand sigils and his alphabet of desire. Spare described it as a Sigil for Pleasure and apparently reads: "I desire a large-bottomed woman for social congress". He then combines this complex into a simple condensed sigil:

INITIATION

THE DARK JOURNEY AND THE UNDERWORLD

Comment:

Myth and ritual are the basic elements of spiritualised exercise. To para phrase Joseph Campbell - the Ancients participated in these as a natural course, but we have almost rationalised these out of existence. Gerald Gardener spoke in terms of a mutual co-operation between the Gods and ourselves - they need us as much as we need them. In this respect, the value to be found in Witchcraft especially as Mystery tradition, is in the opportunity to participate in the Sacred - the Mysteries. Myth and ritual enable us as limited mortals the opportunity of experiencing the Eternal (the Gods, Spirit). This participation in something which is much bigger than we are has the power to transform and help us perhaps realise our unthought of potential, to experience a profound depth to life. It is in and through the use of myth and ritual that we can temporarily surrender the limited Ego and experience the Self as eternal.

Mysteries Cults Mysteries Cults or Mystery religions are particularly associated with the Ancient Greco-Roman world, reaching their height of popularity in the first three centuries of the Common Era. Contemporary Witchcraft has intuitively drawn from the Mystery traditions, probably because of the empathic similarities of its nature; however several points distinguish the Mystery cults from ordinary religions.

First, they offered mystical experiences and practices not provided by ordinary religions. Where ordinary religions rely more upon belief, the Mystery cults are centred around a direct personal experience. Second, the "mystery" into which the seeker was initiated cannot be spoken or taught by any ordinary means. The "mystery' was usually experienced through participation in or communication of a myth presented as an allegorical rite. That is, an inner and sacred (therefore 'secret') knowledge was gained through the Candidate's own realisations and participation in mythologically-based ritual. Finally, whereas everyone may engage in the practices of the great public religions, not everyone partook of the Mystery cults. Generally, those with a calling might seek Initiation into the Mysteries. As a general rule members of the cult did not always disclose their involvement and, as a result an underground sub-culture gradually emerged within society. There is also evidence that certain cult centres were perpetuated through private family lines. An example of this is the famous Dionysian cult centre found at the Villa of Mysteries, in Pompeii (79ce), where family members and even household servants took key celebrant roles in the rites performed there. Many of the Mystery cults and their accompanying rites appear to have developed out of such private practices. Wider public acceptance of a cult meant formalising its structure, its priesthood, various beliefs and admittance through an official Initiation rite. (Particularly with public religions there is evidence to support the idea of so-called Mystery schools where a priesthood was specially trained in the practices of the religion.) 54

One can begin to see even in this outline of the Mystery cults the many similarities to certain practices and the method of involvement a Witch has in gaining entry into a Coven: - the Initiation of the seeker into a secret membership or Coven; - the participation in secret practices considered sacred by the Coven; - Witchcraft being 'underground' marks it as 'out of the ordinary sphere' of most people; - certain shared secret teachings which are formalised through the enactment of certain rites, especially initiation rites; - the dissemination of knowledge and practices being handed down in private family lines; and so on.

The Mysteries: The classical Mystery religions involved many far flung cultures Greece, Syria, Egypt, Persia, Rome. The Mystery religions could be found either collectively or individually far from their native origin. While public religions fulfilled the convention of the state, acting as an expression of culture, the Mystery religions were sought generally by those seeking a more satisfyingly personal religious experience. Secretive, the Mystery religions directed their focus through private worship, within closed groups with an emphasis on the inward and personal experience of the gods. This was expressed through the very words they used to describe themselves; 'Mystery' - Ancient Greek 'Mysterion' derived from the verb 'myein' meaning 'to close', a reference to the closing one's eyes and lips. The purpose in such an act of 'closing' appears to have been interpreted in two ways. On the one hand it meant those Initiated into the cult mystery would not 55

profane the ceremonies witnessed there by talking about their experiences. This was generally ensured by strict vows of secrecy and seems to have been quite effective. As a result we have very limited knowledge of the exact nature of the Mystery cults and their ceremonies. The other use of the word 'mystery' was in a metaphorical sense. In this case the 'closing of one's eyes' was the means of entering into a sacred inner experience with the Gods. The nocturnal performance of the Initiatory rites guaranteed the private nature of the ceremonies; and it was subsequently during the celebration of such rites that one would have one's eyes 'opened' again through an experience of gnosis (knowledge). The names used for the ministers of rites express their roles as the revealer of these 'inner' mysteries. The priests in the rites were termed 'hierophant' (hierophantes), meaning 'one who shows things'. The highest stage of initiation in the Eleusean mysteries was that of 'Epopteia' the 'beholder', and Initiates in the greater Mysteries at Eleusis were called 'Epoptes', one who has 'beheld'.

Mystery Rites of Wicca The central 'Mystery' found in contemporary Witchcraft is in the form of a myth known as 'The legend of the descent of the Goddess into the Underworld'. The myth has two principle figures, the Goddess and the Horned God (who is also named as 'Death'). In the story, the Goddess confronts the Horned God of the Underworld in pursuit of knowledge of the Mysteries. As a part of her Initiation, the Horned God uses a secret 'Fivefold' ritual which culminates in a Sacred Marriage.

On other levels the rite is a type of synthesis in transformation, in which a Mysterium Coniunctio occurs or the meeting of the unconscious dimensions of Self. The Wiccan Initiation Rite as a ceremonial ritual is a re-enactment of the first Initiation, this is preserved in the myth of the Goddess of her journey into the Underworld. All that happens to Her will also happen to the Candidate for Initiation, but in an allegorical fashion.

The Myth The legend of the descent of the Goddess into the Underworld. Narrator: In Ancient times, our Lord, the Horned One, was as he still is, the Consoler, the Comforter, but men knew him as the dread Lord of Shadows - lonely, stern and just. Now our Lady the Goddess had never loved, but she would solve all the Mysteries, even the mystery of Death; and so she journeyed to the Underworld. The Guardians of the Portal challenged her: Strip off thy garments, lay aside thy jewels; for naught mayest thou bring with thee into this our land. So she laid down her garments and her jewels, and was bound, as are all who enter the Realms of death, the Mighty One. Such was her beauty, that Death himself knelt and kissed her feet, saying: Blessed be thy feet, that have brought thee in these ways. Abide with me; but let me place my cold hand on thy heart. She replied: I love thee not. Why dost thou cause all things that I love and take 57

delight in to fade and die ? Death replied: Lady, it is age and fate, against which I am helpless. Age causes all things to wither; but when men die at the end of time, I give them rest and peace, and strength so that they may return. But thou ! Thou art lovely. Return not; abide with me ! But she answered: I love thee not ! Then said Death: An thou receive not my hand upon thy heart, thou must kneel to Death's scourge. It is fate - better so, She said. And she knelt, and Death scourged her tenderly. And she cried: I feel the pangs of love. And Death raised her, and said: Blessed be ! And he gave her the Fivefold kiss, saying: Thus only mayest thou attain to joy and knowledge. And he taught her all his Mysteries, and they loved and were one. And she taught him her mystery of the sacred cup which is the cauldron of rebirth. And he gave her the necklace which is the circle of rebirth, and taught her all the magicks. For there are three great events in the life of man: Love, Death and Resurrection in the new body; and Magick controls them all. For to fulfil love you must return again at the same time and place as the loved one, and you must meet, and know, and remember, and love them again. But to be reborn, you must die and be made ready for a new body; and to die, you must be born; and without love, you may not be born; and this is all the Magicks.

Summary comparisons: This myth holds certain similarities to the Classical Greek myth of Persephone and her experience of the Underworld, also with the Ancient Sumerian myth of the Goddess Inanna and her journey in the Underworld. In terms of cult practices there are parallels too with the Dionysian mystery cult in which the Candidate becomes the Bride to Dionysus. There are however some very unique differences in the Wiccan myth which subsequently mark it as distinctive, enabling the myth to communicate some uniquely Wiccan concepts. The basis of the Wiccan Initiation rite is a direct re-enactment of this Myth, with the Candidates identifying themselves in the role of Goddess on her journey to the Underworld.

Rites of Initiation:

Read description from 'The Witches' Way' or 'What Witches Do'. NB. The person undergoing the Initiation is referred to as the 'Candidate' before the rite and the 'Initiate' afterwards.

Composition of the Ritual's Structure: In the Myth we are told the following: "And Death raised her (the Goddess) and said: "Blessed be." And gave her the fivefold salute, saying: "Thus only may you obtain to joy and knowledge." The Fivefold Salute is also bestowed upon the Candidate in the rite of Initiation, but more importantly is the key to the symbolic structure of 59

the whole Initiation ceremony. The rite may be broken down into the 'Fivefold' parts in the following manner: "Blessed be thy Feet that have brought thee in these ways." The first stage of the journey (on foot), and the descent into the darkness of the Underworld. "Blessed be thy Knees that shall kneel at the sacred altar." The second stage, the facing of the Ordeal (on one' knees), the testing of the trueness. "Blessed be thy Womb/Phallus without which we would not be." The third stage in which the Candidate is consecrated, a sort of rebirth (through the combined Womb/Phallus). "Blessed be thy Breast formed in beauty and in strength." The fourth stage in which the Tools of the Art are identified. (The Breast representing 'beauty' in woman and 'strength' in man.) "Blessed be thy Lips which shall utter the sacred names." The fifth and final stage in which the Oath is undertaken. (With one's own Lips the names are spoken.) The order of the rite is slightly different from the order of kisses which are given as the Fivefold salute. That is, in the rite the taking of the Oath comes at the third stage and not at the last stage. This would suggest one of two things either the order of the salutations is incorrect, or the procedural order of the rite is wrong; (or it may mean nothing at all).

The Fivefold salute is also related to the Fivefold Bond of the God. This Fivefold Bond was the mode used by the Ancient Celts to bind their God and Oak King for sacrifice. The God's image is said to be Fivefold, that is his face is symbolised in the so-called inverted pentagram. He nature is also Fivefold, a reference to his sacred rites of passage: He is Born, He is Initiated (into adulthood), He is Married, He is Sacrificed, and finally He is Reborn.

Outer and Inner meanings of the Myth: The Rite as a Journey of Return Using the established order of the ritual, the Initiation is essentially a rite of passage. Rites of passage are ceremonies marking important transitions in life. The ritual drama of the Wiccan Initiation, in the form of an allegorical ceremony, takes the Candidate through an enactment of Death; an experience of the entry into, and return from the realm of the Dead. On an 'outer' level the Candidate comes through the drama and is 'reborn' as an Initiate of the Mysteries. On an inner level however the Candidate is conducted through an allegorical experience of the gnosis of dying, the afterlife and rebirth. (The very nature of allegorical ritual is that one thing is said or done, but holds another inner or secret meaning. So that in this case, the five stages of mystery rite hold the symbols of gnosis about dying, the afterlife and rebirth.)

We can gain a sense of the central meaning of the Rite and Myth by examining the first words spoken by the Goddess: "I love thee not. Why dost thou cause all things I take love and delight in to fade and die?" In effect the Goddess is addressing the core issue â&#x20AC;&#x201C; "What is Death?" When brought down to the level of each individual, the question may be read as "What will happen when I die?". Death and what follows is probably the one universal question which concerns us all. Through the allegorical story of the myth (and its ritual counterpart) an attempt is made to demonstrate and offer a response to this question. I would postulate that the meaning to be found in the rite not only makes a cognate response to this question, but also presents to the Candidate a task. The task appears in the form of eight Tools, which in turn represent eight practices and which, if mastered lead to a real knowledge or gnosis of the Mysteries. The following is a condensed interpretive assessment of the Fivefold stages of the Initiation.

What will happen when I die? First stage: the Challenge. (Feet) The Point of the Sword on the Candidate's heart - Death comes and is rarely expected. The Guardians of the Threshold disrobe the Candidate - you take nothing with you, save what you have experienced. Second stage: the Ordeal. (Knees) The ritual flailing of the Candidate - the outer husk (the body) is shaken off. Entry to the 'ghostlands' disorientation, confusion and pain. 62

Third stage: the Oath. (Lips) The uttering of one's name - identity of Self, or Self realisation. Irresistible integration of a coherent Self. Comprehension of a compelling and integral destiny. Fourth stage: the Consecration. (Womb/Phallus) The rebirth or reincarnation of personal Will - personal destiny in the world. Fifth stage: the Tools. (Breast) Vehicles of magick. The practices and means to achieving Initiation. The use of 'strength' (Mars) and 'beauty' (Venus), inner and outer experience. A Summary of the Mystery rite of Initiation: The Candidate is shown through allegory that Death comes at the hands of the Fates and that naught can be taken into the realm of the Dead, save what you learned in this life. In death, the Candidate will encounter 'ordeals' of the Afterlife. The Candidate could suffer the pain of loss, or could become confused in the 'ghostlands'. Salvation can be achieved by calling upon one's name, the magickal identity of destiny. Destiny, or personal Will can be experienced through incarnation (Time and Space). Finally, the Candidate emerges as an Initiate of the Mysteries. The real task of remembering Self (discovering one's integral destiny) can be achieved through magick. Eight tools are presented as the basis of magickal practice and the means for achieving true Initiation. Possession of the occult knowledge of the Mysteries of Death is one level of the meaning of Initiation.

The Rite as a Mysterium Coniunctio An exploration of alternate inner meaning Myth can be paradoxical, can hold many meanings, and of themselves cause new inner meanings to emerge. Summary of possible alternate symbols: • Goddess as Conscious Self journeys to unite with the Unconscious Self. (Reference - Hero with a Thousand Faces by Joseph Campbell, see page 105) • As the methodology of the work of the Shaman or Witch, a journey to the Underworld (Unconscious) to retrieve forgotten powers. (Ibid. page 99) • The between worlds, the uniting of the Goddess (Life) with the God (Death). The union of two Gods (or kingdoms), which are actually one. The exploration of hidden realms, the forgotten (Unconscious) dimensions in which the union can occur becomes the task of the Initiate (Self). • The Goddess as the personification of (heroic) Life journeys to the Underworld. She as the primal Womb is also the world, the earth, the Great Round or the Great Mother. Contained within her is the God who appears dead and inert just like the outer husk of the Seed (which he is). In the myth the Goddess transforms Death into Life by retrieving the germ of life and nurturing it with her. • The Goddess as Consciousness (Ego) surrenders to Death (the Unconscious) in order to facilitate a transformation. • Pairs of opposites the Goddess and God, Life and Death, Being and Void. The Goddess draws the God back from oblivion, which is where he stands (subjected to the forces of Fate), unless he undergoes 'transformation'.

Appendix I

Enochian Elemental Names A brief note about the Elemental names used in the Circle casting rituals. The origin of the four elemental names (Nanta, Hcoma, Exarp, Bitom), are from the works of two 16th century occultists, Dr John Dee and Sir Edward Kelley. Dr Dee was the astrologer to Queen Elizabeth I, and together with Sir Edward Kelley conducted experiments in spirit vision via a “Shew Stone”, i.e. a crystal ball, (currently housed in British Museum). Descriptions of their magickal work explain how an angel would appear in the shew stone and proceed to dictated to Dee and Kelley how they would be able to communicate with Angels via an angelic language. The method entailed using a set of elaborate tablets inscribed with the angelic alphabet. This language and alphabet was named by Dr Dee “Enochian”, after the biblical prophet Enoch, of whom it was also said spoke with Angels. The names we use derive from “Tablet of Union”. These four names act as access points for the essence of each of the four prime elements: earth, water, air and fire. In other words, the sound of these words act to stimulate in the ritualist the potential of all the qualities of the particular element. The idea behind using these names is to aid the ritualist in making a connection with the qualities of the corresponding element. I have found using these names certainly assists me in making a connection to the elementals and imbues the ritual space with a natural balance. As a practical tool in group ritual, it has assisted the ritualists in producing a tangible body of the circle, a pure elemental atmosphere in which the coven could work.

Appendix II

Another Circle Opening

Excerpt Circle Rite from “Lumen in Tenebrae” working The MC says, Let all here know full well, That none but Pagans here dwell. (Marking a unicursal hexagram in the air) We make the sign aright and averse, A hex-mark that none can reverse. (All walking in a circle) We mark this round and cast this rune, Upon this site, in the Dark of the Moon, Our bare feet mark this witches’ round, And thus it becomes hollowed ground. (Passing a candle in a circle from person to another) East by Air to North by Fire, the line is cast and the two are one. North by Fire to West by Water, the line is cast and the two are one. West by Water to South by Earth, the line is cast and the two are one. South by Earth returning to the point begun, and all are one. MC point to the centre and addressing the Circle members says, This dark circle is now cast, And I fix it here to holdfast. 66