The Real Witches’ Craft: Magical Techniques and Guidance for a Full Year of Practising the Craft
Kate West
A follow-up to the best selling The Real Witches' Handbook. The book includes more practical advice on becoming a Wiccan and teaches the skills and techniques necessary for celebrating this craft.This book enables you to take your magic on to the next level and provides the further skills and techniques for powerful magic making. It provides the sort of guidance and development usually found in the first year of Coven life.The Real Witches’ Craft moves on from the simple spells and rituals of The Real Witches’ Handbook to more advanced magic, teaching the skills and techniques of practising magic.This book will teach you how to:- Balance the elements to create effective magic.- Raise, focus and direct magical energy to powerful effect.- Strengthen the five senses in order to help towards developing the 6th sense.- Use divination and scrying – tarot, runes, fire, etc.- Design your own spells.- Use the Moon's phases for magic.
The Real Witches’ Craft
Magical Techniques and Guidance for a Full Year of Practising the Graft
Kate West
This book is dedicated to my readers, without whom there would be no point, and also to all those who really do watch, listen, think, learn and grow in the ways of the Old Ones.
May you shine and grow, may you live in harmony with the land, and be at peace with yourselves. May you find love in those you love, and receive care from those you care for. May your wants be few and your rewards be many. And may you be ever free.
Blessed Be Kate
MAKING MAGIC WORK (#ulink_312417d2-37f0-53a4-a122-a1e459660119)
The path of the Graft is as much a journey of self-exploration as it is a journey into other worlds, if not more so. To understand what lies around us we have to develop and refine our own self-knowledge and awareness. We need to put aside the limitations we learned through our formative years so that we can appreciate the skills and talents we truly have. It is only through a process of self-development that we can become who we’re really capable of being, and thereby truly able to realize the magic we know we’re capable of working to help ourselves and the world around us.
In the letters written to me by readers, and in conversations with those who come to hear me speak, I am often asked how to learn and develop the abilities which go to make magic and spells really effective; how to learn to meditate, visualize and so forth. I’m also asked why some spells never seem to come together or to actually work. These are the things which cannot just be read about; they have to be practised, over and again in order to develop our skills, even by experienced Witches. In a Coven, these are the skills which the High Priestess endeavours to develop in her Covenors, but many Witches today do not belong to a Coven, so this book is a guide to developing the techniques to make magic work.
Magic, as I have so often been heard to say, is not cookery. It is not simply assembling a series of ingredients and following a recipe from a book. Nor is it something which can be bought: no matter how much money you spend on books, tools, equipment, candles, crystals or whatever, it still will not enable you to create magical change. Neither is it a question of discovering special ‘words of power’, incantations, chants and so on, which will summon invisible aid to do your bidding. There is no quick route to learning how to create effective magic. Magic and, for that matter, the other aspects of Witchcraft, depend upon learning and practising certain skills and techniques. The good news is, however, that these skills are present to a lesser or greater extent in everyone, and the techniques to learn them are available to all; it just needs guidance, application, repetition and effort.
There are several keys to effective magic: The ability to control and balance the energies of the five Elements of Air, Fire, Water, Earth and Spirit that are within each of us. The ability to harness those energies as they are in the world around us and to focus and direct them in order to create the intended change. Knowledge and understanding of the ways those Elements manifest themselves in others. The ability to fully use the senses of sight, hearing, touch, taste and smell, to enable the development of the sixth, or psychic, sense. The knowledge this brings makes it possible to make magical change without unwanted side effects. The ability to develop and maintain focus and control in order to minimize the effort required. The ability to visualize, for it is true seeing of the magical intent which makes the magic happen. The ability to use one or more methods of divination which not only give the opportunity to see what might otherwise be hidden, but which also help to determine the potential consequences of our magical actions, and indeed whether they are necessary. An understanding of ways in which magic works and why it sometimes does not. Correctly identifying magical needs. The best use of the different tools and equipment to enhance magical intent. Ways of designing the spells you cannot find in books. Creation of the Sacred Space for the working of magic at any time or place. Knowledge of the divine, the Goddess and the God, which is a key part of our Craft. Use of the Moon’s phases to enhance magic and ways of turning the spell around when it cannot wait for the ‘right’ time. Ways of stopping and undoing spells, as well as methods of protection and defence. How to use the energies of the seasons to enhance magical work throughout the wheel of the Year.
This book examines all these aspects of the Craft, explaining how they contribute to the creation of magic, and giving techniques for developing and enhancing the required skills. Each chapter explores a skill and gives exercises to enhance your abilities. Some of these may appear simplistic, and some may appear to have little to do with the practice of Witchcraft, but when practised and mastered they come together to provide the techniques necessary to create effective magic and spell-craft. If you were working within a Coven, these would be the skills you would learn and practise in training sessions, enabling you to become an effective member of the magical team. To get the most out of these, take your time and go through them carefully.
Some you may have to repeat a few times, as these are skills you probably have not practised before. Think of it as being like exercising a new set of magical muscles. Most experienced Witches have their own versions of these kinds of exercises and practise them regularly, no matter how long they have been in the Craft. There is no reason why you should not continue your existing magical practices alongside these areas of study. If you do, you will notice an increasing effectiveness in the magic you work, as each of the abilities starts to take effect. A few of the exercises require certain conditions: phases of the Moon, a particular type of weather, and so on. It is up to you whether you pause in your study and wait for the appropriate conditions or whether you carry on and return to them at a later date. But do try to ensure that you cover them all.
Be aware that everyone is different and learns at a different rate. You may well find that some skills are easier or harder to master than others, and it may take several months to master a technique; if so, persevere, it will be worth it in the long run. You may also find that there are periods when you cannot devote as much time as you would like, or when you are tired, worried or just find it hard to focus. At these times you may want to pause and reflect on how far you have come, rather than pushing yourself further. You can always take a break and come back to your studies a few days or weeks later. The Craft will still be there when you are ready to go back to it.
I strongly recommend that you keep a record, or journal, of your magical practice, often called a Book of Shadows. Make notes of what you did, what you hoped would happen, and what the actual results were. Remember to include information on the phase of the Moon, and on your feelings before, during and after your workings. Not only will this provide you with a record of your progress and help you to determine what works for you and what doesn’t, but later you will find it an invaluable record of which spells are most effective in themselves.
Whilst this book is written in chapters which allow you to practise each technique separately, there is an element whereby you may find that it is only after you have worked through the whole that you can really appreciate the individual components and the contribution they make to your practice of the Craft.
We are so used to the promised quick-fix solutions to the problems of life, from TV instant makeovers to self-help books which promise to turn our lives around in a week, that we have forgotten that it takes time and effort to achieve really worthwhile skills. Some people ask me why I don’t just write down the ‘hidden secrets’ of Witchcraft. The problem with this is that such ‘secrets’ are those same skills which take time and practice to learn. The Craft is not, and will never be, a quick-fix. Just as the ‘inner secrets’ of the Craft are the achievement of balance and control over ourselves, which enable us to utilize the energies within and without, there is no such thing as ‘advanced spells’; there are only advanced Witches whose spells really work.
Of course, Witchcraft is not just about spells and magic, although these factors are the most obvious difference between this and other belief systems. Throughout this book I have also endeavoured to touch upon the other elements of the Craft which all go towards the making of a Witch.
One of the things I have noticed as I write books on the Craft is that each layer of questions I answer reveals yet another layer of questions. Not that this is unexpected, for it’s an inherent part of the Craft that the more you know, the more you find that there is to know. But it does indicate that whilst, by the time you get to the end of this book, it will have answered some of your questions it will also, if it does its job, give you another set of things to think about and more questions to ask.
So, if you would seek some answers, and some new, better and far more interesting questions, read on.
Blessed Be Kate
Table of Contents
Cover Page (#u861ffc00-8d2f-599d-94bb-478e5a3febaa)
Title Page (#u23b3e76b-5f3a-5b86-97af-c02af048be2c)
Dedication (#u910f158e-1a32-5c11-bd3d-ffd935676bfb)
Making Magic Work (#u38f4d707-f094-5c26-9c73-85b8000edfb0)
Chapter One (#u99772856-447f-59ec-99c2-2f1dd5a56431)
Chapter Two (#u5fb5ffac-e131-5322-8ffc-c9234967779a)
Chapter Three (#litres_trial_promo)
Chapter Four (#litres_trial_promo)
Chapter Five (#litres_trial_promo)
Chapter Six (#litres_trial_promo)
Chapter Seven (#litres_trial_promo)
Chapter Eight (#litres_trial_promo)
Chapter Nine (#litres_trial_promo)
Chapter Ten (#litres_trial_promo)
Chapter Eleven (#litres_trial_promo)
Chapter Twelve (#litres_trial_promo)
Index (#litres_trial_promo)
Acknowledgements (#litres_trial_promo)
Copyright (#litres_trial_promo)
About The Publisher (#litres_trial_promo)
Chapter One (#ulink_2714c086-e096-5ee9-8529-8448d2c1ac68)
ELEMENTS:
The CoRneRstones of MaGic
Knowledge and understanding of the Elements underlies the whole of the Craft and is essential to the creation of effective magic. Almost every aspect of the Craft relates back to the Elements in one way or another. Whilst it is possible to work some spells without a thorough understanding of them, such spells are generally less effective and often do not work accurately, or even at all.
The Elements we refer to in the Craft are not those of the periodic table but the basic attributes or forces of nature and the land. They are Air, Fire, Water, Earth and Spirit. In their various forms these are the aspects of nature from which all life comes and which affect all aspects of our whole existence.
Air is the wind, from the gentlest summer breeze to hurricanes and tornados which can devastate the earth. All living things need air, in one form or another, to breathe. Fire is the heat and light of the Sun, as well as the flames which can be sparked to bring light into our homes, or to run wild and burn all in their path as in the forest fire. All life needs light and heat, to a greater or lesser degree, to survive. Water is everything from a gentle shower to the heavy rain, as well as streams, rivers, oceans and seas, whether still or in the grip of a great storm. At its most savage it is the tsunami or tidal wave which sweeps all before it. Again all life forms require water for survival. Earth is the rocks, stones, pebbles and crystals as well as the soil from which things grow; it is also the earthquake which can erase all life. It is the medium in which the plants grow, which form the basis of the food chain. Spirit is the mysterious and divine spark of life, the difference between something which lives, grows and reproduces, or which lies still and inert.
This chapter will focus primarily on the four Elements of Air, Fire, Water and Earth. To ancient mankind these Elements were the things which influenced and controlled every aspect of daily life, which determined whether there was enough to eat and whether the people prospered or not. These Elements could bring plenty or famine, give or take life. Indeed they still can and do, you only have to watch the news to see the effects of hurricanes, forest fires, drought, famine, earthquakes, landslides, tsunamis and other results of too much or too little of any of the Elements. The fifth Element, Spirit, is the difference between things living and things not, and is also the Divine, the Goddess and the God. The chapter on Spirit focuses on the Goddesses and Gods and on ways of developing your understanding of them. In the meantime, when called upon to do so, visualize them in whichever way feels most comfortable to you.
In the Craft, and some other belief systems, the Elements are not only physical forces in nature, they are also a part of us. Air is our thoughts, that part of us which thinks; it is also our breathing and the sense of smell. Fire is our passions and enthusiasms, those strong feelings which can take over and make us act or react. It is the beat of the heart and the sense of sight. Water is our emotions, joy and laughter, sorrow and tears. It is the blood that runs through our veins and the sense of taste. Earth is our physical form, the body, and the sense of touch. Spirit is that intangible part of us which can be called the sense of self or soul.
The Elements are also present in, and linked to, other aspects of life; time of day, season of year, age of a person, and direction of the compass. Air, which should always come first, both represents and is represented by morning, spring, youth, and the East. Fire is the afternoon, summer, adulthood and the South. Water is evening, autumn, middle age and the West. Earth is night, winter, age and the North. Spirit encompasses them all. The Elements are also a part of everything we do in ordinary life. Air is the idea and thinking process. This is the reason why Air is first, for thought should always precede and lead to any action. Fire is the enthusiasm which makes us want to put thought into action. Water is our emotional involvement. Earth is the actual physical making it happen. Spirit is the spark which brings it all to life, the part of our inner self which we give to make it special and ‘our own’.
The Elements are also the foundation of the Witches’ Circle. Each is called, invoked or summoned to attend, and each is assigned the quarter which relates to its compass point; i.e. Air in the East, Fire in the South, Water in the West and Earth in the North. Spirit is both the Goddess and the God, and the self, it is also both the centre of the Circle and its whole. We also use colours to represent the Elements: yellow for Air; red for Fire; blue for Water, and green for Earth. However, other colour combinations are sometimes used. To craft an effective spell we must firstly have the idea (Air), we need to be enthusiastic about it (Fire), we become emotionally involved with it (Water), and then we put it into action (Earth), but we must also add a bit of our inner self (Spirit) to make it happen.
These attributes of the Elements show how important they are in both life and the Craft, for not only are they powerful forces of nature but they also pervade every part of our lives and our inner being. To create effective magic it is essential that we get to know and understand the Elements and everything they link to. To make that magic work the way we want it to, we have to be able to harness their energies both from inside us and from outside. The first step towards this is to actually experience the Elements in nature.
PRACTICAL WORK 1
Take time out to experience each of the Elements in its natural state in turn. Be prepared to spend a little time on each; at least 15 minutes, preferably more. Do not be tempted to try to deal with more than one Element on any one day. As these exercises really must take place outdoors, please make sure that you pay attention to your personal safety. If you can, remove your footwear so that you are in direct contact with the earth. Also experiment with having your eyes open and closed. Try to use all of your senses: sight, hearing, touch, smell and taste. In the case of the latter, you may find it better to inhale through your mouth rather than, for example, actually placing soil into it. Pay attention to how each Element makes you feel both physically and emotionally.
Air – On a windy day, go to a high point, preferably one which is not sheltered by trees or buildings, where you can experience the Element of Air. If it is cold, make sure you wrap up well. Feel the air blowing through your hair, moving your clothes and trying to buffet you. Take with you a few leaves or flower petals and cast them into the wind, watching how it takes them, lifts them and moves them. As you stand there, give thought to other types of winds, both stronger and gentler.
Fire – On a hot and/or sunny day go to somewhere which is sheltered from the wind, where you can lie down in the sunlight. Absorb the heat and light of the Sun, feeling also the warmth of the land you are lying on. Take your time to think about all the things which depend upon heat and light, but do not risk sunburn or look at the Sun itself. Imagine what life might feel like with much less, or much more, Sun.
Water – Here are two ways of experiencing Water; do both if you possibly can so that you can compare the experiences. First, go out in the rain, lift your head up and catch some drops in your mouth. Allow the rain to wash over you, look at the ways it lands upon trees and plants and the way it soaks into the earth. Also observe the way it behaves when it lands on the pathway or road, and look at the effects it has on the things around. Whilst you are there, consider the benefits of the rain. Secondly, go to a stream, river, pond or lake which is not too dirty or polluted. Put your naked feet into the water, and use your hands to splash a little onto your face. Again, give thought to life with much less or more water, and consider those parts of the world where all the water is frozen as well as those where water is scarce. If you live near the coast, then also do the second part of the exercise in the sea, perhaps even going right into the water and submerging yourself completely if it is safe to do so.
Earth – The first part of this exercise is best undertaken in your own garden, or in that of someone who is prepared to let you actually dig the earth. If neither is possible then you can use a tub or container of earth as an interim measure, but do try to return to the Element at some point. Dig a hole wide enough for you to place both hands in it, and deep enough that you actually go beneath the top 2-3 inches. As you dig, look carefully at the things within the soil, both living and inanimate. Use your hands to feel the texture, both on the surface and further down. If you can, place your feet into the earth too. The second part may be something you have to defer until you go on a trip to somewhere suitable. Find some rock formations – they don’t need to be huge or particularly impressive. Place your hands flat on the rock surface. Look
at the stone to see what is growing there, noting colour, texture and the direction of any lines and cracks. Consider the forces and energies that resulted in their being. If you have the chance, try also to visit a cave so that you can also experience being surrounded by the earth.
When you return home after each experience, make sure that you write it up, including all the thoughts and feelings that came to you whilst experiencing each Element.
You may find it helpful to start a new page or section of your journal for each Element, as this is only the first of several exercises on the Elements and you may wish to group all those relating to each Element together. As you go to sleep on the night of your experience, make a real effort to recall all those thoughts and feelings. If you dream of the Element you might also like to write this up.
Once you have given yourself the chance to really feel the Elements in nature you may find that you begin to feel differently about them. For example, attempting to appreciate the part that Air and Water play in the cycle of life makes it easier to understand the need for rain and storms and hence make it easier to accept ‘bad’ weather. You may also find that you enjoy being out in the Elements in a more meaningful way. Many Witches make a point of regularly taking the time to enjoy the experience of the Elements as they can actually draw energy from them.
Following on from the experience of the Elements in nature you need to get to really know them within. As mentioned before, each Element has its counterpart in ourselves: Air is thought, Fire is passion, Water is emotion and Earth is our physical being. It is important that we get to know how the Elements are working within us as this colours our feelings, the way we behave in life and react to others. If Air, or thought, is dominant, then we may spend too much time in abstract thought and nothing will get done. If Fire, or passion, is emphasized then we may find that we react without considering the consequences; anger or passionate love, for example, can make us do things which we subsequently regret! When Water, our emotions, dominate then we can be easily moved to tears or laughter, even though it may not be a good time or place. And being overly focused on the physical realm, or Earth, can easily result in not being able to focus or concentrate on anything else, in the same way that a bad toothache can make it impossible to attend to almost anything else.
Because the energies of the Elements are the key to working magic then it is important that we really understand our internal Elemental balance. Any imbalance will have to be addressed before we can work magic, otherwise the results may not be what we intended. Working magic when Air is dominant can result in spending all your energy on going over the problem but little personal involvement. Of course, if Air is absent, then the spell will not be thought through or may be misdirected. If Fire is dominant then there is the risk that a spell may be fired off in anger, and regretted later! If Fire is absent then you are unlikely to have the strength of feeling to actually put the magic into action. Where emotions are high, and Water is dominant, it is hard to focus on anything and your spell will almost certainly come to nothing, if indeed you actually complete it. Where the emotions are not involved then there will be no feeling. When Earth is over-emphasized then there is a tendency to expend all your energy on the physical bits and bobs which come with magic, like the tools, candles, etc rather than actually making the magic work. Without Earth then it is unlikely you will even get around to doing anything. This understanding of the way we really feel would be a lot easier if we were all truly in touch with ourselves all of the time. However, once we leave early childhood we are all taught to reign in our feelings, not to show anger or weep open tears. We even learn to suppress some of our physical needs; not eating because it is not the ‘right’ time, concealing discomfort to wear fashionable or ‘correct’ clothing, etc. For these reasons it is important to spend time learning how to get to know our inner feelings as they really are, rather than the way we hope they are.
PRACTICAL WORK 2
During parts of the following exercises you may access some fairly strong feelings, so before you begin it is a good idea to make sure you are prepared to deal with these and are able to bring yourself back to ‘normal’. In the Craft we sometimes call this returning to ourselves ‘grounding’ or ‘earthing’, and it is something which should take place after any kind of meditation, as well as any form of magical working. Probably the best way to ground yourself is to have a warm drink and something to eat, preferably sweet, to replenish your physical energy as well. Alternatives include briskly rubbing your arms and legs with your hands, or fairly strenuous but tedious physical activity such as doing the vacuuming!
Dealing with strong emotions can be somewhat harder, and often it is best to allow them to work themselves through; if you feel like crying then do so, if you feel anger then go and pummel a pillow or cushion, and so on. Because these exercises can arouse strong feelings you may want to ensure that you will have privacy both during and afterwards. Part of the object is to learn how to handle your feelings, so please don’t try to suppress them. On the other hand, many people find that they have no residual effects after the experiences, and this, too, is perfectly normal. As with the preceding exercises only try to deal with one Element on any one day and write it up as soon as you can.
Air – In some respects, deliberately bringing the Element of Air, and thought, to the fore is the hardest to achieve; as it is hard to think, and think about how you are thinking, at the same time. Because of this here is a selection of exercises you can choose from:
Imagine you are going away for a few days. Try to choose somewhere particular but which you have not visited before. Take a pen and paper and make a list of everything you think you might need to take with you. Plan for every situation, event and weather you can sensibly imagine happening. Be as detailed and thorough as you possibly can. When your list is finished, make a second list, this time assuming you can only take one very small bag. When both are complete, compare the way you felt whilst compiling each.
In your head, calculate the number of seconds in a year or, if you find this easy, the number of seconds you have been alive.
Imagine a conversation with someone you know fairly well, but make it about a subject neither of you knows a lot about. Try to imagine what each of you will say, and make it last for at least ten minutes.
Afterwards, consider how it felt to be strictly focused on mental activity: were you at all aware of your body, or other aspects of yourself?
Fire – If you have a real fire then this is best, otherwise place several candles in front of a mirror so that you can see lots of flames. Do make sure that they are in secure holders and not likely to set the room on fire! Now recall a time when you were really very angry – anger is often the easiest passion to recall. Think through the whole situation from the first things that upset you until you can really feel the anger rising up inside of you. Once you are truly angry, stop for a moment and think about how your whole body and mind feel. You may find that you are shaking, sweating or have other physical symptoms. If another person was the cause of this anger, ask yourself how you would feel about working a healing spell for that person right now. Once you have explored the sensations, either work through the feeling or let it subside naturally. Make notes on the build-up of feelings, how you felt when they were at their most powerful and how you felt as they were released or subsided.
Water – To explore your emotions do both parts of this exercise: In the first part run yourself a deep, pleasantly warm bath. Make sure that you have a specially warm and fluffy towel to hand for afterwards, and a box of tissues within reach just in case. Once you are in the water think back to an event which was particularly sad; perhaps the loss of a pet, or the break-up of a relationship. Again, allow yourself to really experience the feelings that made up the emotion. Write this up fully as before.
Do the second part on a separate occasion: Choose a humorous book to read or film to watch, making sure it is something which will really make you laugh out loud; often this will be something you are already familiar with. Alternatively, recall a really funny situation that happened to you, or which you have heard about. Allow the humour to build, and afterwards give thought to how you felt. When you write this up, compare it with experiencing sadness and see what, if anything, you feel the build-up of the two emotions have in common, and what is different about each. Also compare the way they leave you feeling once they have subsided.
Earth – This exercise is one which may take several attempts to complete, as lots of people fall asleep when first trying. It is, however, something you might like to repeat many times as it is very relaxing. Prepare for bed in the usual way: if you are in a relationship you may need to have an early night when your partner will join you later. Lie on your back with no pillows under your head. Try to ensure you are lying
straight with your feet slightly apart and your arms beside you but not touching your sides. Focus on your breath until you are breathing slowly and evenly in through your nose and out through your mouth. Now, starting with one foot, move one toe at a time, then stretch and flex the foot. Do the same with the other foot. If you can’t actually move your toes one at a time, do your best. Now flex the ankles one at a time, then rotate them. Going slowly up your body, bend and flex each muscle group or joint as best you can. Continue right up to moving your neck, chin, mouth, eyes, eyelids and eyebrows. If you are still awake, repeat the process in reverse. When you have finished, your whole body should feel completely relaxed. Lie there for a few moments and think about how each part of your body felt before, during and after you moved it. Imagine your mind travelling through all the parts and try to see them in your imagination. Ask yourself how they really feel: are there any aches, pains or discomforts? Which parts feel good, which don’t? The following day, and only after you have written up the first part, stand naked in front of a mirror and make a point of looking at all the parts of your body. Compare how you feel about the way each looks, with how they actually felt in the movement exercise.
The above exercises allow you to explore your feelings in association with the Elements in an experimental way, but this is somewhat artificial as it relates to feelings you have deliberately summoned and, to a certain extent, controlled. In daily life things are not usually quite so straightforward. During the course of any one day you will go through a lot of different feelings; some quite mild, some stronger. You will also have mixes of feelings; for example, someone makes you a bit angry (Fire), but because you are not allowed to show that, you also feel frustrated (Water). It is important that you learn to recognize the more subtle feelings, and their different combinations, as this enables you to take the appropriate corrective action before starting magical work. To gain a better understanding of how the Elements affect you it is a good idea to keep a record of your feelings for a short while.
PRACTICAL WORK 3
The Element Diary – For at least one week, keep a detailed record of your feelings, linking them with their associated Elements. Make entries for first thing on waking, mid-morning, lunchtime, midafternoon, early evening, and last thing at night. You may also find it helpful to note any triggers you can identify which may have brought on these feelings.
After just a week of this you will already have a far greater understanding of the ways the Elements work in your life. You will also find that you start to have far more control over the ways you react to people and events around you. One of the effects of this is that you can begin to avoid situations, and sometimes even the people, which affect you badly. The next stage is to begin to find ways of effectively dealing with your feelings. Not by suppressing them but by balancing them.
The first step towards this is to find simple, easy to recall images which, for you, instantly identify each Element. For some people this means remembering the Elements as they actually experienced them in nature, for others it can be visualizing the colours. I have a series of mental ‘video clips’; time-lapse images of clouds rushing across the sky, a volcano erupting, waves crashing on the shore, and a cliff face I used to visit often. Whatever your personal triggers, when you recall them they should immediately invoke each Element totally; in terms of all the senses, as well as the internal feelings of each. If you don’t already have a series of memorable images then spend some time working on them. One Witch I know spent time creating abstract pictures of each. She made these pictures close to the Elements in nature; on a hill, in the sun, by a stream and in the garden surrounded by freshly turned earth. Whilst drawing her pictures she focused on all the aspects of each Element, revisiting the feelings, sights, sounds, smells, etc of each, and she dedicated them to each Element. The effort she put into these images was well worth it, as every time she wants to recall them they come easily to mind. Another, who is a singer, worked on finding musical tones which bring the Elements immediately to mind. Once you have decided which form is best for you, practise it regularly until you can recall each Element fully whenever you want.
After this you will need to identify ways of sending them away with equal ease. For a mental picture you might imagine a particular Element fading until it is no longer visible, or see it being covered by a coat of ‘paint’ which causes it to disappear. Sounds can be imagined as getting quieter, and so on.
PRACTICAL WORK 4
Find and develop mental images which bring to mind each of the Elements in turn. Keep practising until you can hold the images of all the Elements at the same time. Don’t expect to actually ‘see’ all four at the same time, but you should be able to maintain the feeling that they are all present. When you are able to bring them all to mind with ease, and hold them in your mind at the same time, then work on a way of sending each away, just as effectively.
Once you have mastered this, you can start to apply this technique to balance the Elements within. Continue using your Element Diary, but this time, every time you note a feeling, take a moment to recall each of your Elemental images in order. Whatever your feelings, bring to mind your images of Air, Fire, Water and Earth in that order. When you have all four in mind, revisit the images, but this time make each fade in your mind. Remember to note down how effective this was in reducing your feelings and balancing the Elements within.
It is very unusual for this technique to be effective straight away, and most Witches find that they have to practise over and over to achieve it fully. Moreover, there may well be times when your feelings are so strong that you find the exercise almost impossible to carry out. Don’t worry, this does not mean you have failed, but it does indicate that there are times when our feelings are so strong that it would not be a good idea to work magic. In fact, you should not attempt to work magic if you cannot achieve a balance in the Elements, as this will directly affect the results of your spell. If you are angry, even if it is unrelated to the spell you are working, then Fire will be in the ascendant and you may not give enough thought to constructing your spell. Likewise, if you are ill you may not be able to judge your Elemental balance accurately, let alone achieve focus and control.
Getting to grips with the Elements within can be used to give an insight into the ways others behave, and how they may react to life. If you observe those around you, you can often tell which Element(s) is (are) influencing their actions, and in some people which Elements they allow to control most of their lives. Some people are so Air-based that their life is all thinking and planning, with little actually getting done. These are the people you find need constant reminders and are not very practical. With others it may be Water, and they lurch from one emotional crisis to another. Fiery people are impulsive and often start many things, finishing few of them. Earth-based individuals are often practical but can seem cool and unemotional. This is one of the ways that those who are interested in Astrology use to guess the ‘star sign’ of people they meet, as all the signs are linked to the four Elements. Gemini, Libra and Aquarius are Air signs. Aries, Leo and Sagittarius are Fire signs. Cancer, Scorpio and Pisces are Water. Taurus, Virgo and Capricorn are Earth. However, in Astrology, as in the real world, few people are that uncomplicated, so they will often be influenced by more than one Element at a time, and can have different influences at different times. The observation and understanding of those around us is one of the key skills of the Witch, as it helps us to choose the best kinds of spell to achieve the desired effect.
PRACTICAL WORK 5
Give some thought to those around you. Which Elements are they most closely associated with? Try not to make it obvious that you are studying them; it will make them uncomfortable around you and is a good way to spoil relationships! Also, give some thought as to how this might affect the way you deal with them. For example, if you are seeking a favour from someone who is very Air-based, then it might be best to give a well thought out reason why they should help. But if they are Water-based then you could consider giving emotional reasons, and so on. If you experiment in this way, remember to make notes both before and after to see if your assessment of others is effective, and to help you develop your skills.
Of course, the effects of the Elements are not just limited to people; everything in the world is linked either to them or by them. Remember, they link to the times of day, the seasons, and even the ages of mankind. Hence, you can feel, and use, their influences in everything you do. If you need to plan something, then you might want to invoke Air. Conversely, if you are in need of rest, then you might want to bring Earth influences into your life.
In the Craft, the Elements are the corner-stones of the Circle, as well as of any magic or spells we may work. The Circle is on the one hand our Sacred Space, as a church or temple might be in other beliefs. But it is more than just a place to work. Its creation actually contributes directly to the actions which take place within it, as well as having specific purposes connected to the working of magic. It provides a protected area for all magical workings, where other, possibly negative energies, or just distractions, cannot enter. It contains the magical energy we raise to make the magic work, until the time when we release it to send it to its destination. Above all, it actually brings together the five Elements in such a way that we can add their energies from around us to those that we bring from within ourselves.
CREATING THE SACRED SPACE
Whether you are one person working alone, or a group, it is worth learning how to create the Sacred Space in a fairly formal way first, in order to understand how it works. First, an area, whether indoors or out, needs to be cleared, so that you can easily move around in it. It need not be large, but should have enough space to comfortably fit the person or people working within it, as well as any tools and equipment they may want or need to use. The traditional Circle is nine feet in diameter, but you may not have the luxury of that much room. The space will usually contain an Altar, which may be simply a table or surface onto which you put the things you will be using. If you are working indoors, this will include items to represent each of the Elements; incense for Air, a candle for Fire, a dish of water for Water and salt for Earth. The Goddess and the God may be represented by images, candles or other items. Visual links of this kind are more important in group working than they are when you work on your own, as everyone has to be focused on the same thing at the same time. If you are working magic which is going to centre around candles, a talisman or other physical objects, then these too should be on the Altar so that you do not later need to leave the Sacred Space to fetch anything. First, stand in the East of your area, facing the East, and holding firmly in your mind the image of Air that you developed earlier, call on the Element saying:
‘I call upon the Element of Air, to join with me here in the Circle.’When you can actually feel the presence of Air, say:‘Blessed Be.’
Now move to the South of the area and repeat the process and words for the Element of Fire. In the West call upon Water, and in the North call upon Earth. In many groups the words will be accompanied by drawing the invoking pentagram, the five-pointed star, of each Element in the Air. Remain facing the North and call upon the Goddess and the God saying:
‘I do call upon the Goddess and the God to join with me in these my Rites.’
Visualize them coming from the North to be with you and when you feel their presence say:
‘Blessed Be.’
If you have preferred deity forms then you can name and visualize these; there is more on this later in the book. Lastly, move to the North-East of the Circle and with the forefinger of your strong hand draw a circle in the air around the outer boundary of the Circle. As you do so, visualize an electric blue light creating a circle which becomes a sphere containing the whole circle, and say:
‘I do cast this Circle as a place of containment and protection. A place between the worlds and a time outside of time.’
Make sure that you overlap the start and finish points of the circle and then say:
‘Blessed Be.’
Note that you should always move Deosil; that is clockwise, when creating and working in the Circle.
Your Sacred Space is now complete and ready for you to perform whichever magical action you need. Usually, this will include raising energy, the spell or magic, and celebrating the Rite of Wine and Cakes, all of which are covered later in this book. At the end of magical working you then need to dismiss the Elements and thank the Goddess and the God.
Again, start in the East of your area, facing the East, and holding firmly in your mind the image of Air that you developed earlier, call on the Element saying:
‘I give thanks to the Element of Air, for joining with me here in the Circle. Hale and farewell.’
Let the image fade in the way you practised earlier, and when you feel it has departed, say:
‘Blessed Be.’
Now move to the South of the area and repeat the process and words for the Element of Fire. In the West dismiss Water, and in the North, Earth. In many groups the words will be accompanied by drawing the banishing pentagram of each Element. Remain facing the North and call upon the Goddess and the God, saying:
‘I give thanks to the Goddess and the God for being present here with me in these my Rites. Hale and farewell.’
Visualize them returning to the North and say:
‘Blessed Be.’
Lastly, move to the North-East of the Circle and with the forefinger of your strong hand draw a circle in the air around the outer boundary of the Circle. This time visualize the electric blue sphere fading and dissipating, and say:
‘I remove this Circle and return this place as it was before.’
Make sure that you overlap the start and finish points of the circle and then say:
‘Blessed Be.’
You can also return the area, perhaps replacing furniture and so on, to its original state. Lastly, have something to eat and drink to ground yourself, and write up your journal, leaving space for any outcomes to be added later.
Learning and practising this way of creating, and later removing, the Sacred Space is a good way of finding out how it feels, even though you may choose to use a less formal way for most of your magical working. Obviously, not all spells can wait until you have the time and space for a formal circle. Sometimes you may have an urgent need to work magic when you are not at home, or alone, and you can hardly start clearing an area and reciting invocations in a busy public place! On these occasions you can work completely within your head, summoning each Element, inviting the Goddess and the God, and drawing the Circle, all without moving or speaking aloud. There is more on this later.
PRACTICAL WORK 6
Practise formal invocations of the Elements. Remember to banish each, every time you call upon it, even if you do not think you were successful. You do not want even traces of Elemental energies hanging around. I have heard of cases when an Element has not been banished, resulting in burst pipes or an overflowing bath (Water), or electrical faults (Fire), and so on. Alongside this, practise bringing forward only your internal images of them, so that you can compare the way both forms of invocation feel. Aim to give your mental images the same energy as the more complex invocations. And, of course, note down your feelings regarding each technique.
The more you practise this the easier it will become, until you reach a point where all four can be brought to mind at will, taking only a little longer than it does to think of each in turn. This not only goes towards enabling you to work effective magic virtually anytime or anywhere, but it can also be used to balance yourself in daily life. Most of us have times when a dominant feeling or emotion affects the way we behave; for example, an argument at home can leave us angry, upset or confused, all feelings which are not helpful at work. Or someone else’s inconsiderate driving may leave you cross and irritable, feelings which you don’t want to take home to your family. If we can achieve balance we can put those feelings aside and behave in a way appropriate to the people around us, rather than taking out our frustrations on them. One of the ways of doing this is by taking a few moments to invoke and then banish the Elements. Of course, you may need to find a few moments of privacy to do this, but even a toilet cubicle should provide you with a little peace and quiet!
PRACTICAL WORK 7
Whenever you experience a strong feeling which is inappropriate to the setting you are in, make a point of invoking and banishing each of the four Elements. After you have done this, also take a moment to thank the Goddess and the God for their help. As with the other exercises, write this up as soon as you can.
It is important to remember to use this technique at the right time. You do not need to suppress feelings which are appropriate to the problem and in the appropriate setting. For example, if you are short-changed in a shop then it is right to point this out and to summon the manager if you do not get satisfaction. But if you feel that this is the ‘last straw’ in a day full of niggling aggravations, it is not right to berate the assistant as your first action. Use the balancing before making your point, whatever it be, calmly and sensibly, rather than explosively. Don’t use it to suppress perfectly reasonable comments.
In some Covens knowledge of the Elements is taken very seriously and new members are set specific ‘tests of the Elements’ as a part of their early training. These can involve such things as visiting an underground cave and having the lights turned out, to gain a better appreciation of the sensation of Earth. Or total immersion in the sea for Water. In other groups, individuals are encouraged to set themselves their own ‘tests’ and to report back on what they did and how they reacted. Certainly, it is worth taking any opportunity to increase your understanding of the Elements. Some of the more ‘extreme’ ways include: taking a hot air balloon ride; attending a well-organized fire walking and have a go; taking an underwater swimming class; and getting a trusted friend to cover you up to the neck in a layer of pebbles on a stony beach. Of course, you can also think up your own. If, like many, you have a concern or fear about any particular Element, you will also find that is the experience you will gain most from. Having said that, please do observe safety considerations and don’t take unnecessary risks.
Having worked through the above exercises you may want to work the Elemental Ritual near the end of this chapter. Of course, you could also work this Ritual at any full Moon, but it will be more effective if you have done the preparatory work. It gives you the opportunity to gain a greater experience of one of the four Elements and, if you haven’t done so before, to create the Sacred Space. You can also revisit later to work with each of the other Elements. It can be worked by one person on their own, or by several people together if you prefer. It centres on contacting one of the kinds of Elemental being.
The Elemental Beings, or Elementals, are the ‘life-forms’, or creatures, made directly of the Elements. Sylphs are the creatures of the Air. Salamanders are those of Fire. Undines are the creatures of Water, and Gnomes the creatures of Earth. Try not to confuse these with their fairy-tale counterparts who are often depicted as being cute beings akin to the fairies of childhood. Remember that they are not only made of their representative Elements but that they are capable of being the extremes of those Elements. They should not be invoked casually, but should be treated with respect and should always be thanked, whether or not you feel you succeeded.
To try to contact any of the Elemental beings you need to create the right environment for their presence. Burning an appropriate incense can also help to attract them. In each case it is a good idea to spend a short amount of time focusing all your thoughts on the Element in question, and perhaps to review your notes on some of the preceding exercises so that you can immerse your mind in thoughts of the Element. Then, when you are truly ready to concentrate, you will be set to try to detect the Elemental in question.
Sylphs are the beings of the Air. They are light and are in fact around us all the time, however their presence can usually only be detected in smoke or mist, as it is their moving of the medium which is observed rather than their actual forms. When the smoke from incense moves without a draft or other movement in the room, this is the action of Sylphs. They are most easily attracted to light scents such as Jasmine and Lavender, and to the scents of seasonal flowers. As they dance and play in the winds, your invocation is more likely to succeed on a day when there is only the lightest of breezes, and they prefer an atmosphere which is warm and moist.
Salamanders are the beings of Fire. They can be seen dancing in the flames of a candle or a fire. If you have an open fire then there will almost certainly be salamanders there. They can be attracted to the flame of a red candle, and when the air is completely still you can see them move the flame. They require conditions which are hot and dry. It can also help to burn incense of rose or lotus. Note that these Salamanders are not the same as the lizards of the same name!
Undines are the beings of Water, and are present in all natural waters: rain, streams, rivers and the sea. They prefer water which is moving but can be attracted to still water, so long as it is cold, as they need conditions which are cold and wet. To invoke them, you will need to collect a bucket full of water from a natural source, and to use it within 24 hrs before it loses its ‘life’. Use incense of sandalwood or cedar wood. After your invocation, gently place your hand deep into the water and, if you are fortunate, you will feel the Undines moving in the water around your fingers.
Gnomes, the beings of Earth, are found in all forms of earth. They are the beings which gave rise to the myths of Gnomes in fairy stories, but unlike any description you will have come across before. They are so slow moving that they are almost beyond the reach of
our senses. Probably the best way to come into contact with them is by lying full length on the earth and feeling for their presence with your mind. Place a few drops of musk or patchouli oil onto the ground to encourage them to make themselves known. If you intend to work indoors, then immerse your hands into a large bowl or tray of freshly gathered earth. Gnomes prefer conditions which are cold and dry and are often easier to detect when the earth is cool; winter or early morning.
ABOUT RITUALS
Do not be put off by the term Ritual. A Ritual is simply a series of Rites, or actions, brought together to make a whole. The central part of a Craft Ritual is usually a spell or spells. Rituals are not necessarily performed by groups of people; they are often performed by Solitary Witches. The usual complete format of a Ritual is as follows:
Prepare the area – that is clearing a space large enough for what you intend to do. If you are on your own and do not need a lot of equipment you will only need enough space to stand, kneel or sit, without falling over things!
Set the Altar – which simply means gathering together in one place everything you will need. Again, if you are on your own you may only need space for a candle, or some incense. Of course, occasionally you may need space for more. At times, an ‘Altar’ may even be a designated area on the ground or the floor. It is simply a question of having somewhere where everything is together, making it easier to avoid losing, or tripping over things.
Invoke the Elements – which, as you have practised above, becomes quicker and easier the more experience you have.
Invite the Goddess and the God – we will work on this later in the book, but for now I will introduce a very simple form of this.
Cast the Circle – if the purpose of the Ritual involves raising energy and directing it to make a spell work, then a proper Circle is needed, but as this Ritual is intended for personal development you do not yet need a formal Circle.
Raising the energy for a spell – which I will go into in more detail later.
Performing the spell or other purpose.
Grounding or earthing – which is sometimes performed by the Rite of Wine and Cakes and at others is simply having something to eat and drink after tidying up.
Dismissing the Quarters – as you have read above.
Thanking the Goddess and the God.
Taking down the Circle – only if it was required.
Tidying up – which is simply putting things away.
This may all seem quite complex, but is in fact very straightforward. Whilst in a Coven the process may be quite formal, a person on their own can do most of this in their mind using the skills developed in this book. As this is the first Ritual in this book I am going to use the slightly more formal way of calling the Elements, but if you are practised you can do this in your mind.
THE ELEMENTAL RITUAL
First, select which of the four Elemental forms you would like to experience. Then get, or create, the medium which they inhabit; incense for Sylphs, flame for Salamanders, water for Undines and earth for Gnomes. If you wish you can also light incense of the scent they prefer and a candle of the appropriate colour; yellow for Sylphs, red for Salamanders, blue for Undines or green for Gnomes. Please ensure that any candles and incense are in secure fire-proof holders and cannot set anything alight. Have to hand your magical journal or Book of Shadows. You will also need some matches. Place these together on the surface you have designated as your Altar area. Spend a little time reviewing your experiences with this particular Element and its associations, and in considering what you hope to achieve with your Ritual. Also consider your personal state of mind: are you personally in balance, and if not where does the imbalance lie? Address this using the techniques above.
Select a time when you are not likely to be disturbed or interrupted. Turn off the ringer on the phone, or put it out of hearing. Ensure pets are settled, and so on. When you are sure you are ready to begin, start by creating the Sacred Space as mentioned earlier.
Invoke the Elements:
Standing in the East, and facing that direction, call on the Element of Air saying:
‘I call upon the Element of Air, to join with me here in this Circle.’When you can actually feel the presence of Air, say:
‘Blessed Be.’
Then call Fire in the South, Water in the West, and Earth in the North.
Next invite the Goddess and the God:
Still facing the North, close your eyes, visualize the Goddess and the God and say:
‘Gracious Goddess, Mighty God, I call upon you to guide me, guard me and protect me in these my Rites. Blessed Be.’
Then cast the Circle:
Lastly, move to the North-East of the Circle and with the forefinger of your strong hand draw a circle in the air around the outer boundary of the Circle. As you do so, visualize an electric blue light creating a circle which becomes a sphere containing the whole circle, and say:
‘I do cast this Circle as a place of containment and protection. A place between the worlds and a time outside of time.’
Make sure that you overlap the start and finish points of the circle and then say:
‘Blessed Be.’
Remember to move Deosil at all times.
Light the incense and candle if you choose to have them. Sit or kneel before the Elemental’s medium and gaze into it. Focus your mind on the Element and invite the appropriate Elemental to come to it, by reciting three times the appropriate invitation from the ones below:
‘Gracious Sylphs, beings of the Air, I call upon you. I freely give this offering of incense, that, if it please you, you will come forth and let me know of your presence. Blessed Be.’
‘Mighty Salamanders, beings of the flame, I call upon you. I freely give this offering of fire, that, if it please you, you will come forth and let me know of your presence. Blessed Be.’
‘Elegant Undines, beings of the Water, I call upon you. I freely give this offering of natural water, that, if it please you, you will come forth and let me know of your presence. Blessed Be.’
‘Noble Gnomes, beings of the Earth, I call upon you. I freely give this offering of living earth, that, if it please you, you will come forth and let me know of your presence. Blessed Be.’
Continue to look at and focus on the Element in question. With your mind, consider all its aspects – what it is like at its gentlest and fiercest, the effects it has on the land, plants, and in your life. Include all its associations or correspondences. Recall all of your experiences of working with it. Continue doing this until you perceive an Elemental is present. When this happens, try to clear your mind of all conscious thoughts and simply focus on the Elemental. Try not to force your thoughts, but rather relax and allow your senses to ‘observe’. You may find thoughts, sensations or even images coming to you; do not attempt to analyse these at the time, but try to remember them for later. When the Elemental departs, or you can no longer hold your attention, thank them. You should give your thanks whether you thought they were there or not, as they may be present without showing themselves.
‘Gracious Sylphs, beings of the Air, I thank you. May you depart in peace to your realm of the skies and the winds. Blessed Be.’
‘Mighty Salamanders, beings of the Fire, I thank you. May you depart in peace to your realm of Sun and flame. Blessed Be.’
‘Elegant Undines, beings of the Water, I thank you. May you depart in peace to your realm of water and the oceans. Blessed Be.’
‘Noble Gnomes, beings of the Earth, I thank you. May you depart in peace to your realm of the rocks and the soil. Blessed Be.’
Before removing the Sacred Space make notes on any thoughts, feelings or impressions you felt. Also include your thoughts on them.
Dismiss the Elements:
Standing in the East, and facing that direction, call on the Element of Air, saying:
‘I give thanks to the Element of Air, for joining with me here in the Circle. Hale and farewell. Blessed Be.’
Repeat in the South for Fire, West for Water and North for Earth.
Next thank the Goddess and the God:
Still facing the North, close your eyes, and say:
‘I give thanks to the Goddess and the God for being present here with me in these my Rites. Hale and farewell. Blessed Be.’
‘Then remove the Circle:
Move to the North-East of the Circle and with the forefinger of your strong hand draw a circle in the air around the outer boundary of the Circle. This time visualize the electric blue sphere fading and dissipating, and say:
‘I remove this Circle and return this place as it was before.’
Make sure that you overlap the start and finish points of the Circle and then say:
‘Blessed Be.’
Wait a further five minutes before extinguishing incense or flame, or before disposing of water or earth, so that the Elemental(s) may leave at their own pace. Water or earth should be returned to the land sensitively, not just dumped. During this time it is a good idea to have something to eat and drink, even if it is only a glass of water and a biscuit, to ground yourself. Magical work of any kind brings that part of you which operates on the psychic plane to the fore, and you need to redress this before returning to dealing with the material realm. After all, you wouldn’t want to be driving on the same road as someone who was partly in a trance!
When you feel you would like to repeat this Ritual for the other Elementals, remember to only try to contact one form in any one Ritual, and one Ritual in any one day. Remember, practice of the Craft should enhance your life, not take it over.
As I mentioned earlier, knowledge of the Elements is essential to the practice of the Craft and to making spells and magic work. Furthermore, the invocation of the Elements when making the Sacred Space is a key part of this, for it draws their energies from both within and without. With a little practice you will not need to do this in as formal a way as here, as you will be able to invoke and banish using visualization only. But it is a good idea to be able to use either technique. Having said that, there is no reason why you should need to speak the above invocations out loud, you can say the words in your head if you prefer.
THE ELEMENTS AND THE WEATHER
Whilst the Elements we refer to are not the same as the weather, they are associated with each other in many people’s minds. Sometimes the term ‘the Elements’ is used to mean or describe the weather. Certainly, one of the expected, and very useful, skills of the Witch is the ability to predict and even to change weather conditions. From the perspective of the Craft it is not necessary to do either of these on a large scale; we are usually only interested in what affects a small local area and for a short period. It is one thing to ensure you have a dry period for an outdoor event, but we do not want to intervene in the weather to the extent that we upset nature’s own balance. Like many other forms of magic, it is also as well to be aware that changes are possible, but not miracles. Whilst you may be able to achieve a warmish day in winter, there is no point in seeking a heatwave!
The first step towards working with the weather lies in understanding it. To do this it is helpful to observe it carefully. Not just whether it is raining or not, but by looking at the direction and strength of the wind, and the shapes of the clouds. Use your other senses too; quite often you will find that there is a smell similar to moist earth just before rain comes, or that the air tastes different before snow, and so on. Personally, I also find that my nose becomes very cold when rain is on the way! Look, too, at other indicators: quite often animals and small children behave in different ways before a change of weather. If you live in the country you will probably be aware that livestock tend to lie down before rain, and huddle together when it is going to get colder. Certainly, children become more excitable and restless before the wind picks up, as any observant parent or teacher can tell you. Practise looking at the sky and the signs regularly and you may save yourself getting caught out by sudden changes in weather.
Once you are attuned to the weather and the seasons then you can consider working magic to make change when you truly need to.
Weather Workings
Most people are familiar with the children’s chant ‘Rain, rain, go away, come again another day.’ Or its variant, ‘Rain, rain, go away, come again by night not day.’ Both of these can be worked as spells, so long as they are performed with balance, focus and intent.
To perform them effectively, as with all spells, invoke the Elements and call upon the Goddess and the God. Say either of the spells three times, whilst actually being outdoors in the rain. Remember to dismiss the Elements and thank the Goddess and the God afterwards, and expect results to be soon but not necessarily immediate.
A similar spell goes, ‘The clouds are sheep, the wind their shepherd. Shepherd, take your sheep away.’ This is intended to remove both clouds and rain.
To raise a wind, perhaps to dry washing, stand with your back to whatever air movement there is, and blow three times whilst focusing on a gentle increase in wind.
‘Delayed magic’ can also be worked. It used to be common, but is now much less so, for sailors to ‘buy the wind’ from a Witch. The Witch would tie three knots in a cord, which the sailor could untie at need. The first is for a breeze, the second for a wind and the third for a strong wind. In this case, the Witch would have used magic to visualize and tie each form of wind into the cord, so that it could be later released.
Every Coven I know of has its own weather worker, usually the person who shows most natural skill at this kind of magic. It is their task to try to ensure that conditions are as good as possible when outdoor rituals are intended. This form of ‘in advance’ magic is worked keeping in mind the seasonal norm, for instance, if it is winter then the spell is worked to make the Ritual site a little warmer and drier than might be expected. The worker will visit the site in good weather, then when they need to work the magic they will use all their experiences of that visit to create a spell which comes as close as possible to the preferred weather. This is not to say that Witches avoid the cold or wet, for we are nature based, but some places can be unsafe if it is particularly inclement. Likewise, there are some events which can be nearly intolerable if it is too hot; I have tried to do a dance and chant workshop in brilliant sunshine, but I’d rather not!
However, knowledge and understanding of the Elements is simply the first step towards working effective magic, so I’d like to move on to some of the other steps.
Chapter Two (#ulink_d2beda07-cf39-5cd9-b8fb-1b0631d2648c)
CREATING THE POWER TO MAKE MAGIC
Magic doesn’t just happen because you say the ‘right’ words or go through the ‘right’ movements. Nor is it cookery; simply putting the ‘ingredients’ together to get a result. There is more to the practice of effective magic than simply assembling the ‘right’ tools, equipment, candles and crystals and saying the ‘right’ words. For spells and magic to work they have to have energy, which is also needed to focus and send the magic to its intended destination. Much of this energy comes from the person working the magic, which is why magical working is usually quite tiring. Indeed, if you are not tired after working magic, then you are probably not putting enough of yourself into it.
The energy used in magical working comes from outside as well as from within. It is in part the energy of the Elements, which we discussed in the first chapter. But it is also that of the Goddess and the God who we call upon when we create the Sacred Space. But most of all, it is our own personal energy which can be harnessed and directed. This is often referred to as magical power, and the techniques to access it are called raising power. However, it is important to realize that we are not talking about power, or control, over others, but control of ourselves to create power for use in magical working.
We all have magical power within us, but it is usually dormant until we learn to access it. For many people it is also suppressed in our younger years, as demonstrating any ‘unusual’ ability has been, for a long time, considered not ‘nice’. It is thought by some that it is the combination of this suppression and the hormonal changes of adolescence which gives rise to poltergeist activity. For some people, their first experience of magical power can be when they find themselves in extreme circumstances, much in the same way that some people exhibit ‘superhuman’ strength when a loved one is endangered. However, this is not an effective way of dealing with the day-to-day magic which we want to practise. Moreover, it is usually harder to maintain the focus and control needed when in the grip of extreme emotion. So we need to learn how to harness this energy when we wish.
WAYS OF RAISING ENERGY
Whilst magical power is inherent in everyone, some people find it easier to harness than others. Because of this there are a number of techniques which are often recommended. Since the time of Gerald Gardner these have sometimes been grouped together and called the Eight-fold Path, although that actually encompasses more than eight different methods. Some of these are more appropriate for achieving a state of altered consciousness than for actually raising energy for magical working. Here I will give the Eight-fold Path as it is usually depicted, but will discuss its components separately. All of them are intended to create a state of altered consciousness, but it is important that this is controlled, otherwise the practitioner will not be able to focus and control the power.
1 Meditation or concentration
In meditation, the mind is focused solely on a single objective, to the exclusion of all other thoughts. For some people this comes very easily, for others it can take months of regular practice to be able to achieve it. Unless you have a very strongly developed will, or in exceptional cases a very strong feeling attached to your magic, then meditation and concentration are rarely enough to raise power for magical work. However, as meditation and visualization are both crucial to the working of effective magic, and not just to raise power, chapters four and five deal with them in some detail.
2 Chants, spells, calls and invocations
Chants are one of the most popular ways of raising power in the Craft today. They are used in groups and by individuals alike. Sometimes they are used on their own, at other times they may be combined with dance and/or music. There are a great number of chants in common use, many of which you can learn at conferences and the like, or which appear on CDs, including my own. Alternatively, you can create your own.
‘Spells’ is used here in a slightly confusing way as it refers not to pieces of magic, as in ‘a candle spell’, but to verses, whether rhyming or not, which are used in a spell as in the verses for weather magic in the preceding chapter. Again, there are many spells available today in books and the like, or you can write your own. It is usually the repetition of the verse which makes it take effect as it is actually a method of focusing the mind on the desired magic.
Calls are usually wordless cries which are sometimes combined with dancing. They are a common feature of ritual dances in many non-western societies, especially those which have strong traditions of inducing states of altered consciousness.
Invocation is the act of calling upon a deity or spirit in such a way that their presence and energy come to the person invoking them. Drawing down the Moon is a powerful invocation which is covered in detail towards the end of this chapter.
3 Trance and astral projection
Very few people are capable of entering a trance state whilst still maintaining the focus necessary to perform effective magic.
Astral projection is a form of trance in which you send your astral body, or spirit, out of your physical form and travel elsewhere. Whilst some people find this easy, there are also those who never master the technique. Should you be one of the fortunate few who find it easy to astrally project, it is important that you do so safely. You need to ensure that both your astral and physical forms are safe at all times, and take care that you know how to return at any time. Certainly, it is not something which is easy to learn through reading, and you may need to find an experienced mentor to assist you. Personally, I feel that neither trance nor astral projection are going to be successful ways of raising power for the vast majority of people, although working on the astral is a different matter.
4 Incense, wine and other aids to release the spirit
The practice of burning herbs and other substances has long been used to create a state of altered consciousness. Indeed, other forms of fragrance can also be used, as they are in aromatherapy. There are many blends of incense around or you can make up your own. If you choose to do the latter it is as well to test anything you create before you actually intend to use it, as you do not want to fill your home with an evil-smelling fog, even if it is effective!
Again, alcohol has been used for thousands of years, but there is a very fine line between the amount which will help to release the spirit and the amount which can interfere with, rather than enhance, magical working.
No responsible person would advise the use of any kind of drugs, whether legal or otherwise, to achieve a state of altered consciousness. Furthermore, it has been found that those who do use them in this way subsequently have enormous difficulty in being able to work without them. Having said that, there are many household herbs which can be made into teas which can help with accessing the subconscious mind, and which are very effective in psychic readings rather than in power raising.
5 Dancing
Again, dancing has a very long history as a way of achieving an altered state of mind. In group workings the circle dance is a very effective way of raising power, and the solitary Witch can dance magic into working. The most effective dances all include moving in a circular motion. To gain a brief taste for this, try spinning on the spot for just a minute: when you stop you should detect a change in your perceptions.
6 Blood control and use of the cords
Using cords to bind a person with the intention of reducing the flow of blood to achieve a state of altered consciousness is something which I do not recommend. Whilst it is possible for a skilled person to tie another in such a way as to achieve this, for the Solitary it is fraught with hideous potentialities, including the possibility of causing brain damage or even death. However, there are safer ways of controlling the flow of blood, such as those used in yoga to slow the heart rate.
7 The scourge
Regular rhythmic use of the scourge can induce a trance-like state, but it is not something that very many people feel comfortable with. Furthermore, it is virtually impossible to achieve on your own.
8 The Great Rite
The Great Rite is a part of Ritual which is usually carried out by a working partnership of Witches. The Rite involves a Priest and Priestess invoking the Goddess and the God into one another and then celebrating their union. It can take place symbolically; in which case the union will be performed with Chalice and Athame in a similar way to the Rite of Wine and Cakes; in token, where the Priest will overlay the Priestess but not penetrate her; or actual, in which the rite is consummated. Note that the Rite of Wine and Cakes, however, has neither the same intent nor effect as the Great Rite; they just appear similar.
Outside of the Eight-fold Path, there are other ways of raising energy: limited fasting; drumming and clapping and other forms of music; working with strong feelings and emotions; giving energy form; grounding; and certain Rituals, such as Drawing down the Moon and the Charge of the Goddess.
FASTING
One method of enhancing your ability to raise power and to work magic which is not included in the Eight-fold Path is to limit the food and drink you put into your body, or partial fasting. Note that this is not the same as starving yourself! For the first 18 hours of the 24-hour period prior to your magical working you limit your food intake to fresh fruit only, taking no food at all for the final six hours before the working. For the whole of this 24-hour period you may drink as much water or plain herbal tea as you wish. Obviously, you should not do this if you have any kind of illness or have a hectic schedule, nor should you do this more than once a month. This cleansing regime will enhance your ability to raise power, and to focus and control it.
MUSIC
Another aid to raising power which is not actually mentioned in the Eight-fold Path is the use of music, although it is perhaps implied in the sections on chant, dance and calls. A timeless technique, music of one kind or another has a long history of being used to enhance magical working. This is especially true of drumming and other forms of percussion, including clapping, and of singing. You only have to go to a well-attended performance of vibrant music to be able to see the way that the atmosphere becomes charged. Performers will tell you that they can feel the energy of the audience rising when their music is appreciated, and that they in turn can use that energy to enhance their performance. Many Witches use music to enhance their working, either creating it themselves or sometimes using pre-recorded pieces. It is worth noting, though, that as many electronic items malfunction when taken into the Circle, the actual machinery is best situated outside of the Circle.
Of all the above techniques, probably the most successful for actually raising power are the use of music, chants and dance, whilst limited fasting will enhance any kind of magical working.
PRACTICAL WORK 1
Experiment with several different kinds of recorded music to see which you find raises your energy levels. You might also like to try different volume levels (although try not to offend those you live with or near to!) and different levels of bass and treble. Most people find that repetitive music with a definite base beat works best, and often that instrumental is better than that with vocals, although there are some chants tapes and CDs where the vocals complement the Craft rather than distract the attention. You might also like to listen to regional, traditional and ethnic pieces, as these often have their roots in Goddess worship. If you can find pieces which build in pace and volume you may also find that these are more effective too. When you have found a few pieces of music then try playing them within the cast Circle to see which still feel strong.
Take this a step further by clapping along to the rhythm, starting by a single clap to the beat and increasing this to two, three or four claps per beat. The idea is to increase the energy input progressively so that the power builds. If you have a drum you could also experiment using this. In most cases it is better to drum with the hands rather than using any kind of stick as the idea is to raise power, not to be as loud as you can.
As with many of the exercises in this book, don’t expect instant results. Most things related to the Craft take time to learn and develop the necessary skills. Remember to write up your thoughts and feelings.
PRACTICAL WORK 2
Once you have found some music which appeals to you, try expressing yourself through dancing to it. Incorporate circular and spinning movements in your dance. Practise until you find a dance which you can feel building energy. Initially, do this without casting a Circle; that way, although you will detect the rising energy it will be able to dissipate quickly, rather than leaving you with unfocused power.
Don’t worry if you feel self-conscious at first; most of us do, although you may find it easier if you can ensure that you will not be seen by others! When you feel ready, try this in the Circle at a time when you have a simple spell to perform and see if you can detect the difference in your magical power.
PRACTICAL WORK 3
Search out some Pagan and Wiccan chants; the Witchcraft Museum at Boscastle produces a CD and my own Coven has also released one of their own. Look for chants which are simple to learn, and repetitive. Learn a couple of these and practise them with, and without, drumming or clapping. Start slowly and gradually increase the pace until you are chanting as fast as you can. The advantage of producing your own music is that you can vary the pace to build the energy you develop.
In the Craft we tend to use a sequence of three or four chants, each repeated several times, and often ending with a repeat of the first. To give you some idea of this, the following is a sequence we might use, each of the chants being repeated four times before moving on to the next:
‘Isis, Astarte, Diana, Hecate, Demeter, Kali, Inanna.’
‘Lady of the Moon, Lady of the Moon. Come to us, be with us, Lady of the Moon.’
‘Power of the music, Power of the song, Power of the magic, Pass the magic on.’
‘Isis, Astarte, Diana, Hecate, Demeter, Kali, Inanna.’
If you have worked through the above exercises you will know how it feels when energy has been raised and should also be aware of the effect it can have on your magic.
WORKING WITH EMOTIONS
There are also ways of raising energy which do not require physical activity, but these are, for most people, much harder to achieve and control. One of these techniques is evoking and focusing very strong feelings. The problem with this is, as mentioned above, that it is quite difficult to focus and direct energies when we are personally involved. However, it is worth working on this, as for some people it can be very effective.
PRACTICAL WORK 4
Think back to an occasion when you were in the grip of very strong feelings. It is important that you choose an occasion sufficiently in the past for you to be able to distance yourself from the feeling, whilst at the same time being able to revisit it.
Think through all the circumstances of that occasion until you can actually ‘feel’ the emotion in question. While you are doing this, try to separate the emotion from the energy that is building within you. This is not easy and you may need to experiment with several memories and feelings. For some people, anger is often the easiest to work with as, whilst we can recall it, it is easier to distance ourselves from the actual emotion. But another feeling which can be accessed is fear: if you think back to a really scary moment in a film, you can often recall the energy-surge you felt, whilst being unaffected by the fear, which you now know to have been generated by the skills of the movie makers.
Once you have identified the feeling of energy rising within you, see if you can take hold of that and bring it into being by thought alone. For most people this will need a lot of practice, but if you persevere you will be able to summon energy at will.
As you practise techniques for raising energy you will soon learn which are most effective for you. You will also find that you can easily tell the difference between effective energy raising and the occasions when it does not come readily. You can use this knowledge to help you to determine when you are in a position to work effective magic. For we all have times when it is better not to try to work our spells. This may be because we are tired or ill. But it can also be because our elements are unbalanced, so if you feel sure that you are well and sufficiently rested you might try to revisit some of the exercises from the preceding chapter before trying again. Of course, there will also be some occasions when magic does not work for reasons which are not easy to identify; in this case it is better to put it aside and perhaps try again the following day.
Having the ability to raise energy is not enough on its own; we need to contain it, which is why we cast the Circle before starting our magic. The Circle has two functions: one is to contain the energy we have raised, otherwise it would simply dissipate rather than building up. The second function is that of protection; for once we open up our inner mind to allow the release of energy, we also open ourselves to energy from outside, and not all energies may be positive. The negative thoughts and feelings of those around us can also influence us and the magic we work, and the Circle protects us from these. Another way we can protect both ourselves and our magic, as well as build the maximum amount of energy, is by keeping silent about our magic. When we tell others about our magical intentions, there is firstly the possibility that someone may find out who could disapprove of the spell. This person may actively, or subconsciously, send negative energy in our direction, which could influence either us or the spell itself. This is why, when you work magic with others, everyone has to agree with the nature of the magic, for even passive disapproval will influence it. Not only that, but the more we discuss our intention, the more we reduce the actual energy we can put into it. Think of it this way: when you are upset by someone or something, you tell others and gradually the telling reduces your strong feelings. Likewise in magic, the more you talk about your intention, the more you dissipate the energy you could have directed towards it.
GIVING FORM TO ENERGY
For many Witches it is not enough simply to think about raising energy, it helps to give that energy a form. One of these forms is called the Cone of Power. In this, the energy is raised in a circular manner into an upward-pointed cone, which rises above the centre of the Circle. The energy is built up, layer by layer, using the base of the Circle as its starting point, and rising high above. It is usually visualized as a white, or electric-blue light, which can be focused into a powerful beam. Once the Cone comes to a point, and it is felt that no more energy can be added, it is released towards its intended destination. The Cone of Power can also be used as a sort of beacon, especially in magic which is intended to draw something or someone towards you, as when seeking a teacher or mentor in the Craft, or when looking for a Coven.
Another form is that of the Earth Dragon. This is most usually used in earth healing magics. This huge dragon is visualized as being coiled up within the planet. It can help to visualize the Earth as seen from space, and it is woken by the raising of energy, before being directed towards the needs of the planet or nature.
PRACTICAL WORK 5
Find a picture or photograph of the Earth as seen from space; if you can find a selection of views you may find it helpful. Next find an image of a dragon; one which looks powerful, but is also attractive to you. If you can, make the dragon picture very nearly as large as the Earth image. Then superimpose the dragon over the image of the Earth. Place this composite picture somewhere you can see it and spend a few minutes each day contemplating it. As you do so, try to visualize the dragon actually blending into the planet.
Once you can do this, then move on to visualizing the dragon uncoiling from the Earth and flying, deosil, around the planet. Practise these visualizations, without trying to work any magic with them, until you feel that you can really see the dragon in your mind’s eye. At this point you may find that the dragon in your mind is not the same as the one in the picture, but this is quite usual. Many of us find that the visualized Earth Dragon becomes quite ‘real’ to us with practice, and takes on a life of its own. As with other exercises, make a point of noting down your thoughts and feelings after each session, and this way you should be able to see your progress.
In addition to raising energy we also need to direct it effectively, which we do by focusing on the object of the magic, not only at the point of releasing the energy, but also whilst we are raising it. For this we use visualization and various magical tools and aids, such as images and candles, etc. Both tools and visualization will be covered in detail later in this book.
GROUNDING AND EARTHING
After every act of magic, spell, rite or ritual we should also ‘ground’ or ‘earth’ ourselves. Working magic of any kind invariably means accessing a state of altered consciousness and we need to ensure that we return fully to the ‘here and now’. Otherwise, you may find that you do not function as well in your daily life as you normally do – it can be quite dangerous say crossing the road, or driving a car, to be even partially on an ethereal plane! Also, when we have raised power for an act of magic, we may not have fully discharged this energy, and this can interfere with daily functioning. It is just as important to ground yourself after meditation, or even a period of intense concentration which may not be associated with Craft.
There are several ways of grounding or earthing ourselves:
Probably the simplest is to have a warm or sweet drink and something to eat. This not only goes some way towards replenishing the energy you have put in, but also gets the body’s physical systems working on a basic level.
If you are outside, earthing can be achieved by placing the hands and bare feet onto the land itself and allowing excess energy to pass into the land.
Another technique is to vigorously rub your arms and legs.
In all cases you should easily recognize the difference in feeling between your magical self and the normal ‘you’.
PRACTICAL WORK 6
Choose a time when you are certain you will not be disturbed, or required to perform any daily activity for at least an hour. Before you start, make a hot or sweet drink and a light snack. Place these somewhere safe in the room you are working in. Also have to hand a simple activity unrelated to the Craft, possibly the TV listings page to read or a simple manual puzzle. Avoid anything which is related to fire, electrical equipment, or is otherwise likely to be risky if you cannot focus your full attention on it!
Cast the Circle in your usual way and raise energy, using whichever of the techniques you find most effective. However, instead of working a spell, just move straight on to removing the Circle. Now attempt your activity. Notice how you feel and how easy or difficult you find it to concentrate on your task.
Next, rub your arms and legs vigorously as well as having your drink and snack. Do both because you are performing a fairly extreme experiment; usually you would not raise energy just to ‘see how it feels’. Perform your task again and notice the differences between your first and second attempts.
If you are still working on developing your ability to raise energy and don’t feel confident that you will be successful, try the following instead: Prepare the food and drink as before, but instead of casting the Circle and raising power, spin around for a full minute before attempting the task. Then earth yourself as described in the previous paragraph and try it again. This is not quite the same, but will give you a rough idea of the need for grounding and earthing. Again make notes on your experiences.
DRAWING DOWN THE MOON
Another way of raising energy is the rite called Drawing Down the Moon, which takes place at the Full Moon. In the modern Craft this has become quite formalized, with a Priest invoking the spirit of the Goddess into a Priestess who then proclaims the Charge of the Goddess to the rest of the Coven. Drawing Down the Moon, when performed successfully, channels the spirit of the Goddess through the Priestess, and the Charge then becomes the words of the Goddess addressed to Her followers. However, this format for Drawing Down the Moon, as given in most ‘modern’ books on the Craft, implies that the Rite is only for those who work in groups or Covens, but this does not have to be the case. There are techniques for Drawing Down the Moon which can be an effective way of raising energy for the solitary Witch.
For the sake of completeness I have included the group, or Coven, form of Drawing Down the Moon, and also a Full Moon Ritual which can be used by the Solitary Witch.
The Priestess stands with her back to the Altar, preferably facing the Moon. The Priest commences by giving her the Five-fold Kiss. The Priestess now allows her hands to move slightly away from her sides with her palms facing forward. Whilst he continues she should look over his head at the full Moon and focus on allowing the spirit of the Goddess to enter her.
With the forefinger of his strong hand the Priest then touches the Priestess in the sigil of the First Degree: right breast, left breast, womb and right breast, whilst saying:
‘I invoke thee and call upon thee Mighty Mother of us all, bringer of all fruitfulness, by seed and root, by stem and bud, by flower and fruit do I invoke thee, to descend upon this the body of thy servant and Priestess.’
He then kneels and, spreading his arms outwards and downwards, says:
‘Hail Aradia, from the Amalthean Horn. Pour forth thy store of love. I lowly bend before thee, I adore thee to the end. With loving sacrifice thy shrine adorn. Thy foot is to my lip.’
He kisses her feet and continues:
‘My prayer, upon the rising incense upborne. Then spend thine ancient love O Mighty One, descend to aid me, for without thee I am forlorn.’
The Priest then rises and faces the group and says:
‘Listen to the words of the Great Mother, she who, of old, was also called among men Artemis, Astarte, Dione, Melusine, Aphrodite, Ceridwyn, Dana, Arianrhod, Isis, Bride and many other names.’
He then steps to the side and the Priestess, facing the group, raises her arms and delivers the Charge.
There are two key components to this Rite. The first is the ability of an experienced Priest to invoke the Goddess, which can help even the least experienced Priestess to become the vessel of the Goddess. However, the second component, the ability of the Priestess to open her mind to the Goddess, will enhance the Rite, or can help an inexperienced Priest to learn the technique. Obviously, for a Solitary Witch, the latter is essential, as she will be on her own.
PRACTICAL WORK 7—LUNAR DIARY
Every night for a full lunar month (29 days) take the time to look at the Moon. You may need to provide yourself with a diary or calendar which also indicates the time of Moonrise in your part of the world. It is best if you can actually go outside, or at least open the window, but if this really is impossible, then look through the glass. Notice the phase of the Moon; for example, new, first quarter, full, third quarter, or dark, where no Moon is visible. Also take note of whether the Moon is waxing (increasing in size), or waning (decreasing). Even if the sky is clouded over, you should be able to work out its phase. As you do so, consider which aspect of the Goddess this reflects. Keep a record of the Moon; its size, rising time, and position in the sky. If you are able to get outside, notice where the Moonlight actually falls, as the Moon also casts shadows. Alongside these, note how you feel physically, emotionally and spiritually, both in your daily life and whilst performing the exercise. You may like to continue this diary even when you have worked through this chapter, as you will also find it helpful for work later in this book.
SOLITARY DRAWING DOWN THE MOON
As with all Rituals, ensure that you have prepared yourself and everything you will need, including some means of grounding yourself afterwards.
On the night of the full Moon, position yourself so that you can kneel upright, rather than back on your heels, facing the Moon, in its light. Whilst standing, create the Sacred Space in your usual way.
Then kneel in the moonlight, and raise your arms to each side of your head, so that they curve gently upwards. Close your eyes and take several deep breaths to centre yourself. Open your eyes and gaze at the Moon, or just above it as this is better for the eyes. Whilst you do so, focus your mind on the Mother Goddess. You may also like to consider chanting,‘Lady of the Moon, Lady of the Moon. Come to us, be with us, Lady of the Moon,’several times, either aloud, or under your breath. Consider all that she does for you and for the land. Visualize Her energy being carried in the Moonlight, washing over and entering you. When you are sure you can feel her energy within you, read aloud the Charge of the Goddess (below) quietly to yourself, then spend a few moments in meditation. If you have an act of magic you wish to perform at this Esbat, do so now.
When you are ready, remove the Sacred Space in the usual way and ground yourself before going on to tidy up and write up your notes.
Many Witches find that Drawing Down the Moon is a very empowering Ritual, and that it has energizing effects which last well beyond the night it was performed.
THE CHARGE OF THE GODDESS
The Charge may be derived from Doreen Valiente’s Charge of the Goddess, as is the version given below. But it may also be written by the High Priestess, or the Priestess may speak the words which come to her at the time. It is usually recommended that Priestesses memorize the Charge, even though when the time comes in the ritual they may find that other words will come to them.
‘Whenever ye have need of any thing, once in the month, and better it be if the Moon is full, then shall ye gather in some secret place and worship the spirit of me, who art Queen of all Witcheries. There shall ye assemble, ye who would fain learn all sorcery, yet have not won its deepest secrets, to these I shall teach things as yet unknown. And ye shall be free from slavery, and as a sign that ye be really free, ye shall be naked in your Rites. And ye shall dance, sing, feast, make music and love, all in my praise. For mine is the ecstasy of the spirit, and mine is also joy on earth, for my lore is love unto all things. Keep pure your highest ideals, strive ever towards them, let naught stop you, nor turn you aside. For mine is the secret door which opens on to the land of youth, and mine is the cup of the wine of life, and the Cauldron of Cerridwen, which is the Holy Grail of immortality.
‘For I am the gracious Goddess, who gives the gift of the joy of life unto the hearts of man. Upon earth I give knowledge of the spirit eternal, and beyond death, I give peace and freedom, and reunion with those who have gone before. Nor do I demand sacrifice, for behold I am the gracious Mother of all living, and my love is poured out upon the earth. I who am the beauty of the green earth, and the white Moon amongst the stars, and the mystery of the waters, and the desire of the heart of man, call unto thy soul; arise and come unto me. For I am the soul ofnature, who gives life to the universe. From me all things proceed, and unto me all things must return; and before my face, beloved of Gods and of men, let thine innermost self be enfolded in the rapture of the infinite. Let my worship be within the heart that rejoiceth; for behold, all acts of love and pleasure are my rituals. And therefore let there be beauty and strength, power and compassion, honour and humility, mirth and reverence within you. And thou who thinkest to seek for me, know that thy seeking and yearning shall avail ye not, unless thou knowest the mystery; that if that which thou seekest, thou findest not within thee, then thou shalt never find it without. For behold, I have been with thee from the beginning, and I am that which is attained at the end of all desire.’
DRAWING DOWN THE SUN
Whilst there is no reason that a Priest should not be able to channel the energy of the Goddess for his magic, there is a complementary Ritual known as Drawing Down the Sun. This is performed in much the same way, although it is essential that neither Priest nor Priestess looks at the Sun itself, as this can so easily damage the eyesight. In many cases a golden, but not reflective, disc or other solar symbol is placed so that the sunlight falls onto it and the Priest uses this as the focus of his concentration. Drawing Down the Sun is usually performed when the Sun is at its zenith and is therefore a daytime ritual. Whilst Drawing Down the Moon is often performed every month, Drawing Down the Sun takes place far less often, usually only at the Summer and Winter Solstices, as the Craft is a Lunar based belief system and it is the Goddess to whom we primarily look for the source of our magics. The God is her Consort and Her partner through the Wheel of the Yeat, and the changing of the seasons.
There is no well-known equivalent Charge of the God, although many have written their own, but some use a version of the Song of Amergin:
‘I am the Wind of the Sea.
I am the Wave of the Sea.
I am the Sound of the Sea.
I am the Stag of Seven Tines.
I am the Hawk upon the Cliff.
I am the Ray of the Sun.
I am the Fairest among Flowers.
I am the Savage Boar in Valour.
I am the Salmon in the Pool.
I am the Lake upon the Plain.
I am the Hill of Poetry.
I am the Spear Point in the Battle.
I am the God who kindles the Fire Within.
Who, hut I, can make known the Secrets of the Unhewn Dolman?
Who, hut I, can make known the Ages of the Moon?
Who, hut I, can show the Secrets of the Resting Sun?’
At one time the Song of Amergin was thought to be a Christian text, but it can actually be traced back as far as 600BC, and may well be far older. More recently it has been considered to be a Druid verse, but there is little, if any, evidence that it should be considered exclusive to them.
ENERGY SPELLS
Whilst we raise energy for each spell or piece of magic we work, there are some magics which are centred on specific forms of power raising.
Building the Cone of Power to draw something to you
One of the frequently asked questions of the Craft is, ‘How do I find a Coven, or a teacher or mentor, or a magical co-worker?’ The first step is to determine what you actually need, not in terms of a specific person or group, but in terms of your requirements.
To expand: if you are seeking a Coven, how often will you be able to attend? Sabbats, Esbats, and new Moons mean 33 dates per year, almost certainly mostly evenings. Consider how far you are prepared to travel, bearing in mind that many meetings may finish after public transport stops running. Are you able and willing to work outside, or might adverse weather have an effect on your health? Are you looking for a formal structure, with regular training sessions, or one where you are required to make a greater effort to drive your own learning.
Alternatively, if you are looking for a mentor or partner, would you feel happier, at least at first, being with someone of your own sex. Would you prefer someone who you can meet regularly or would you be happy with letters and/or emails? Consider which form of the Craft attracts you: hedgewitch, Gardnerian, Alexandrian or another path.
When you have a clear idea of what you are seeking, prepare your area and create your Sacred Space in the usual way. In the centre of your Circle place a single, unlit white candle in a safe holder. Raise energy in your preferred manner, but as you do so visualize a circle of white light rising from the edges of the Circle. Build it up until it becomes a cone rising high above you. As you are doing this, focus on the specifics you decided you are seeking. Visualize the cone becoming a beacon in the skies which will draw to you what you seek. Once it is at its peak, release its base from the Circle, leaving the beacon to remain above, much like a spotlight pointed into the sky. Now light the candle and keep it by you until it has burnt all the way down. Whilst it is doing so you can complete your ritual in the normal way, and write up your notes.
A word of caution however: if you cannot maintain your focus on the things that you seek, and find your concentration wandering in any other direction, stop the spell immediately and banish both the Circle and however much of the cone you have built. This is to prevent the cone acting as a beacon for things you do not want to draw to you.
EARTH HEALING WITH THE EARTH DRAGON
For some, Earth healing magic is the primary reason for working as a Witch, and they will work magic for the preservation of endangered species, or the rainforest, or to prevent the death of wildlife on our roads, etc. Virtually all their spells will be directed at the healing of the planet and the life which dwells on it. In this case they will use a number of forms of spell working.
For others, it is a form of magic undertaken at times they consider to be of particular need, for example, when there is an oil spill or other potential ecological disaster. Because this is usually directed at a geographical location, raising the Earth Dragon is especially effective for this is a type of magic.
Prepare by researching the problem as well as you can. Watch and listen to TV and radio coverage, read articles on the internet, until you have a clear mental picture of the problem. Try to be aware of the causes: for example, is a rainforest being cleared to make way for the genuine needs of local people or is it being cleared to further the interests of industry? When you are sure that your magical intention is sound, then you can go on to perform your spell at the next full Moon.
If you feel the need, take the picture(s) you created of the Earth Dragon in exercise five into your working area with you. Create your Circle in the usual way. Raise power by whichever technique you have found most effective. Now focus that energy in visualizing and waking the Dragon. Call upon it until you see it rising out of the planet, with its great wings unfurled and its tail stretching out behind it. Watch until you can see it circle the Earth three times. Now focus your energy towards the region which needs help and, stating the nature of the problem, direct the Dragon towards it. Visualize the Dragon swooping down to that area and entering it, plunging deep into the land. Now visualize its presence driving out the problem and restoring the land and life to health and fruitfulness. When you feel sure that the Dragon’s work is done, thank it and give it leave to rest once more. Complete your ritual as usual and write up your notes.
Regrettably, few of us have sufficient energy to achieve Earth healing on our own, but it is certain that when many Witches work this form of magic for the good of the land then things do begin to improve. Many Witches feel that each full Moon Ritual should take the form of three spells: one for the self, one for someone else and one for the land.
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