witches workshop handbook

Wicca, Magick, Alchemy

exploring the psychic experienceContacts

Web sites: www.witchcampaustralia.org.au www.witchesworkshop.com www.nuitsveil.com.au.tt

E-mail: [email protected] Telephone: 0416 339 706Post: PO Box 179 Newtown NSW 2042

Copyright © Tim Hartridge 2000-2008

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: [email protected]

WitchesWorkshop and Witch Camp Australia

are projects created by Tim Hartridge.

WitchesWorkshopHandbook

W i t c h e s W o r k s h o p

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Table of ContentsWorking 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


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Working Guideline

to working in a Witch’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


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acknowledgment of the facilitator . 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 .

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


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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 advice - you'll save yourself a lot of heartache if you only

share the your experiences with people who have the maturity to

appreciate such things .


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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 – the

Horned God and the Great 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 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 peoples’ 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 deep Psyche (Soul) and our

awareness of our connection with world . 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)


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religions . That is, the One-God dominant over and outside of Nature,

verses the Many-Gods within and as Nature .

Another contrast between the religious views is the general

monotheistic rejection and repression of the psychic experience . This

contrasts with the Witches’ practice of embracing and valuing of the

psychic experience . 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

monotheism, 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 was "A Goddess Arrives", 1939 .

He was acknowledged as folklorist and amateur anthropologist . His

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) . His practical involvement

was through his own initiation and participation in 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


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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 rename Witchcraft to 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 .

The Witch robes him/herself or works skyclad (i .e . naked) . A Circle is

cast with the ritual sword or knife (athame) 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 Witch as the Moon goddess .

Whether working alone or within a Coven, the Witch might perform a

whirling dance within the Circle called raising a Cone of Power. This

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, or evocation of familiar


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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

Witchcraft is a practical system of mysticism whose method is known as Magick.

Witch: one who functions either consciously or unconsciously in the

psychic realm . (‘Psychic’ 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: merely another term for Witch and Witchcraft .

Mysticism: the direct experience of communion with the Divine,

usually experienced in an ecstatic or elevated state of consciousness .

(Related to Mystery Latin myein meaning, to close one’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 the attempted influence of mundane

reality .

In discussing this particular definition of Witchcraft our 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 individual’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


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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 reasons are not certain as to why Gerald Gardner

re-introduced the term Wicca instead of 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 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 - things that help us to step aside from

ego-centred 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


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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 .


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The symbolic form of the

Tree of Life glyph, showing

the Sephiroth (emanations)

and Paths with special

attention drawn to the

“Middle Pillar” .

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 .


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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” .


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ChakraCORRESPONDING 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 .


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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 .)

MC “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 .)

MC “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 .)


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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 .)

MC “Lips – SPEECH .”

(ALL Touching the lips, draw consciousness to the mouth and

lips, the centre of invocation and evocation)

MC “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 .)

MC To the heart centre – “LOVE” .

(ALL With hands on the breast .)

MC 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 .)

MC To the Naval centre – “WELL–BEING” .

(ALL With hands now on the naval .)

MC To the Sexual centre – “INSTINCT”

(ALL Touch the sexual centre and vibrate “BABALON”,

let the hands and arms spread wide .)

STAGE 3: ACTIVATING THE GROUP MIND OF THE


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COVEN AS PSYCHIC CURRENT

1 . Hands curve and grasp the other as in the Yin–Yang/

Yab-Yum mudra, and call – “LAShTAL” .

2 . Right hand upheld in the mudra of the wand, and the

right foot extended, call – “THELEMA” .

3 . 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 .

4 . Cup hands together raising ring and little fingers

perpendicular to the rest and call – “AGAPE” .

5 . Link hands with others in a circle (or if working alone

simply open one’s arms wide) and call – “AUM” .

6 . 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 .


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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;


2 32 3

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 .


2 42 4


2 52 5

Casting the Witch’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 . In

fact, there can be quite specific types of Circles for different rituals

and different psychic regions, each with their own specific type of

construction .

In the following notes are two examples of the spells and rituals used

in Circle casting . 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 can’t play a part . They can,

and I personally take great care to develop

ri tual in a form which assists me

aesthetically, but not at the sacrifice of

magickal results . In other words any artistic

enhancements that are incorporated in ritual

should serve a useful purpose and not be an

end in itself .

An example of an

Elemental Circle with

Solar and Seasonal

correspondences for the

Southern Hemisphere .


2 62 6

Basic Circle Rite

The ritualist (Master/Mistress of Ceremonies – MC) sits or stands

with others in a circle . It is helpful to have the floor or ground marked

(suggest using flour [if outdoors], masking tape, a silken cord, a rope

or a specially designed ritual mat) . If a ritual sword is available the

MC can trace the Circle by turning on the spot, or walking around the

perimeter of the Circle or (when sitting with others) by passing the

sword around the Circle, from one person to the next . As the

Circle is formed, the ritualists should visualise the

electric-blue light of etheric energy building around

them .

RITUAL FOCUS AND INTENTION

As each element is passed around, the Circle

members try to acquire some of the qualities

of the element they are holding . One

objective of the ritual is to share you

associations with the other members of the

Circle .

Here is a brief list the key associations with the elemental

tools .

Spirit/Group Mind/Sword - the ritual intension, he group cohesion .

Earth/ NANTA - heavy and solid; the body, experienced through the

physical world .

Water/ HCOMA - cool and fluid; astral body, emotional experiences .

Air/ EXARP - lightness and expansive; mind and sense of Self,

abstract qualities .

Fire/ BITOM - warmth and energetic; spirit and soul, divine or

universal principals

When building the Circle using this method, it is useful to think of the

An Elemental Circle

taking into account local

environmental conditions

for Sydney .


2 72 7

elements in the following way:

The Sword is the Group Mind or Will and

Intention of the Coven . As the Earth pantacle

is passed is this the material base, our

bodies, which manifest the Circle . As the

cup of Water is passed, this is the emotions

of Coven, our feelings and desires . As the

censer of Air is passed, this is our charged

thoughts, the group mind and the Coven’s

creative impulse . Finally, as the brazier of Fire

is passed around the Coven inflames the Circle

with the spark of life and vitality .

THE CIRCLE CASTING

Words for the Circle Spell by the MC are:

"Sword cuts a circle round about;"

The response by circle members is:

"Power stay in, world stay out."

This spell is repeated at least 3 times, or 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) . As each element is passed around, individual ritualists

Using the elemental

attributes of the Zodiac to

determine corresponding

cardinal directions .


2 82 8

try to acquire some of the qualities of the element they handle . (See

appendix I for Enochian names.)

An alternate Circle rite

COMBINING THE USE OF THE ELEMENTAL

PENTAGRAM INVOCATIONS:

MC is 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 .

MC holds the sword or their personal Athame to their forehead before

beginning at each quarter and focuses upon the quality of the element

assigned . As each elemental pentagram is traced the spirit names or

essences (also known as Enochian words of power) are resonated by

the ritualists .

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.)

The MC then continues,

“Hear me in the East and recognise mine intention."

Turning slowly, a quarter of the circle, to the North, the MC says:

"East by Air to North by Fire, the line is cast and the

two are one."

MC facing north draws an invoking fire pentagram:

"BITOM - Hear me in the North and recognise mine

FIRE

WATER

EARTH

AIR


2 92 9

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:

"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.”

West Quarter ritualist, taking a handful of water, traces an equal-

armed cross in the air with the words:

“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


3 03 0

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" .

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 some 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 .


3 13 1

The Witches RuneA 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.)


3 23 2


3 3

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

mediæval 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

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3 4

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 .

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3 5

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

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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 .

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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 .

FiRESpiritual Principle of Light.Mental Element of Action.Emotional/astral Virtues: courage, initiative, enthusiasm. Vices: anger, jealousy, vindictiveness.Mundane Fire, solar energy, generation of

body energy.Season, Time Summer. Noon.Direction, Zodiac North. Leo, Sagittarius, Aries.Colours, Metals Red, orange. Gold, iron.Process Combustion.Charge/Quality Electric (shining, expansive, hot/dry).

WATERSpiritual Principle of Love.Mental Element of Fluidity (Creativity).Emotional/astral Virtues: compassion, tenderness, forgiveness. Vices: treachery, emotionalism, instability.Mundane Water, rain, sea, saps, bodily fluids.Season, Time Autumn. Dusk.Direction, Zodiac West. Scorpio, Pisces, Cancer.Colours, Metals Blue, sea green. Silver.Process Dissolution.Charge/Quality Magnetic (reflective, contracts, cool/moist).

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AiRSpiritual Principle of Life.Mental Element of Intellect.Emotional/astral Virtues: diligence, optimism, dexterity. Vices: Frivolity, gossiping, boasting.Mundane Air, fragrance, winds, breathing.Season, Time Spring. Dawn.Direction, Zodiac East. Aquarius, Gemini, Libra.Colours, Metals Yellow, pale blue. MercuryProcess Evaporation.Charge/Quality Neutral (porous, light, warm/moist).

EARTHSpiritual Principle of Law.Mental Element of SolidityEmotional/astral Virtues: patience, endurance, reliability. Vices: Laziness, stagnation, depression.Mundane Earth, minerals, skeletal system.Season, Time Winter. Midnight.Direction, Zodiac South. Taurus, Virgo, Libra.Colours, Metals Olive green, russet, sand yellow, black. Lead.Process Decomposition.Charge/Quality Electromagnetic (dark, heavy, cool/dry).

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3 93 9

Building the Black and White MirrorsIn 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 .


4 0

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


4 1

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' .


4 24 2


4 34 3

Sympathetic Magic

Witches’ 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 magicians-

kings, 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


4 44 4

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.


4 54 5

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 artist-

magician 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 Spare’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

Spare’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"


4 64 6

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 he’d direct

his focus upon the sigil . The symbol would become a sort of psychic-

battery, 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 spell’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:


4 74 7

"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 —

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:


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4 9

INITIATIONTHE 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 .

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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 .)

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

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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

profane the ceremonies witnessed there by talking about their

experiences . This was generally ensured by strict vows of secrecy and

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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

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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 time, 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

delight in to fade and die ?

Death replied:

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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 .

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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

the whole Initiation ceremony . The rite may be broken down into the

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'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) .

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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 .)

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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 – "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 .

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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 .

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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:

• GoddessasConsciousSelfjourneystounitewiththeUnconscious

Self . (Reference - Hero with a Thousand Faces by Joseph

Campbell, see page 105)

• As themethodology of thework of the Shaman orWitch, a

journey to the Underworld (Unconscious) to retrieve forgotten

powers . (Ibid . page 99)

• The betweenworlds, the uniting of theGoddess (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) .

• TheGoddessasthepersonificationof(heroic)Lifejourneystothe

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 .

• TheGoddess asConsciousness (Ego) surrenders toDeath (the

Unconscious) in order to facilitate a transformation .

• Pairs of opposites theGoddess andGod,Life andDeath,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' .

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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 .

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Appendix II

Another Circle OpeningExcerpt 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,


West by Water to South by Earth,


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.

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