2001
The foundation which I am trying to lay here (having used many of
Paul Foster Case's own words) is that of the willing sacrifice. If we
go back far enough in Human History, we will find Human sacrifice. It
is nothing to be proud of certainly, but it is nothing to hide from
either. In the first note I explained why this practice was performed.
What I did not address was how the sacrificed body was used. Because
it was considered to be descended from other Divine Kings (the Breed-
ing I spoke of), it was believed that the flesh and blood of the Slain
God contained mystical properties. Therefore small bits of his flesh
were distributed to the Clan, and diluted portions of his blood were
consumed. In this way, the Clan was connected to his divine nature. In
time, animal sacrifice replaced Human sacrifice, and later still
plants served as the Slain God. But the practice of consuming the
Slain God never changed. Today it is still performed in the ritual of
cakes and wine, which represent the body and the blood of the Slain
God (now Lord of the Harvest). In some Traditions the cakes symbolize
the God and the wine symbolizes the Goddess (that is, their "essence"-
). This is all part of the Mystery Tradition, and goes deeply to our
very core as members of a Clan, a Race, a People, or a Nation.
An excellent book on the subject of the Divine King/Slain God is
WESTERN INNER WORKINGS by William Gray.
Dear Seraluna, Yes, I have seen the Robin of
Sherwood series from England. I nearly fell out of
my chair when Robin met Herne. You have no idea
how close that series got to certain aspects of
the Aridian Tradition (did you notice that Herne
was played by an Italian actor?). At the sanctuary
of Nemi in Medieval Italy, there were outlaw camps
in the forests of the Alban Hill Region. Aradia
lived with the outlaws at Nemi for a period of
time, before she disappeared. The legend of the
King of the Woods at Nemi, goes back to Antiquity.
He was a outlaw and a guardian of the Grove.
Because he was outlawed he often wore a hood, and
was called the Hooded Man/the Hooded One. He
became the symbol for the god of the forest, lord
of the Trees, etc. He had to accept a challenge to
his "kingship", which was always a fight to the
death. In this aspect he represented the Slain
God.
As I stated in an earlier post, the Hooded One
came after the Horned One of the Forest, and so
was called his son. The Horned One was a Stag God.
When Humans began to grow crops, the Animal God
figure began to lose its high stature, and the
Slain God was transferred into the crops, which
were slain at the harvest. Blessings,
Raven
----------
INNER TEACHINGS - THE HANGED MAN
2002
The title of the "Hanged Man" means, in an occult sense, "suspen-
ded mind" because "man" and "mind" are from the sanskrit root (used by
early occultists). The title refers also to the utter dependence of
Human personality upon the Cosmic life. He hangs now as a co-worker
with the Divine, having placed his own Ego out of the way of the
Divine inflow. Only in this way can he attain the Higher Conscious-
ness, and become useful to his People. The sacred tree of the grove
represents the bridge to the other worlds, and it is the Consciousness
which "hangs" upon the tree, which serves to unify Humankind with the
Divine.
The mental attitude suggested by the Hanged Man, then, is "Not my
Will, but Thine". This is ever the position of the Adept, as, indeed,
it is the position of every person who works in any field of applied
science. It is an illusive, personal thing which is but the reflec-
tion, or mask, of "Thy Will", which is the purpose or motive of the
Cosmic Life - a Will absolutely free, and certain to be realized.
The foundation which I am trying to lay here (having used many of
Paul Foster Case's own words) is that of the willing sacrifice. If we
go back far enough in Human History, we will find Human sacrifice. It
is nothing to be proud of certainly, but it is nothing to hide from
either. In the first note I explained why this practice was performed.
What I did not address was how the sacrificed body was used. Because
it was considered to be descended from other Divine Kings (the Breed-
ing I spoke of), it was believed that the flesh and blood of the Slain
God contained mystical properties. Therefore small bits of his flesh
were distributed to the Clan, and diluted portions of his blood were
consumed. In this way, the Clan was connected to his divine nature. In
time, animal sacrifice replaced Human sacrifice, and later still
plants served as the Slain God. But the practice of consuming the
Slain God never changed. Today it is still performed in the ritual of
cakes and wine, which represent the body and the blood of the Slain
God (now Lord of the Harvest). In some Traditions the cakes symbolize
the God and the wine symbolizes the Goddess (that is, their "essence"-
). This is all part of the Mystery Tradition, and goes deeply to our
very core as members of a Clan, a Race, a People, or a Nation. An
excellent book on the subject of the Divine King/Slain God is WESTERN
INNER WORKINGS by William Gray.
Dear Raven, What do you think of the view that,
besides consuming a part of the Slain King's body,
the people also spread the diluted blood and
perhaps the body itself around the fields to
sanctify them? It would also fertilize them, since
a dead body contains a lot of nitrogen. Jana
Dear Jana, Yes, that is exactly what was done with
the majority of the body. I come very close to a
violation of secrecy oaths with this, but...here
goes. In the Autumn Equinox Rite there is perfor-
med a Mystery Play in which the Divine Victim is
symbolically slain. A skull is present at this
rite, and symbolizes the former divine victim. A
token fluid of the life essence of the new "King"
2003
is obtained, and mixed with a token portion of
fluid from the High Priestess. This is placed in a
bag and is buried in a sacred garden, where ritual
plants are grown. Originally it would have hung in
the Forest on a tree, to provide for a plentiful
hunt, or buried in a cultivated field for abundant
crops. Today we offer it up for the needs of our
Clan, whatever they may happen to be at the time.
In ancient times the Divine Victim was cut up into
pieces and given to the soil. Small portions of
his flesh and his blood were incorporated into a
"communion" meal, and given to the Priest(ess)hood
to distribute. Today we still perform this ancient
rite, hidden within the ceremony of cakes and
wine. Today the sacrifice comes from the Plant
Kingdom, but the Human connection is still there,
and the ancient current still flows through the
Ceremony. As Humans evolved spiritually, so too
did their practices. But nothing is forgotten,
nothing is ever forgotten... Raven
----------
INNER TEACHINGS - THE TIDES OF POWER
There are certain Tides of Power within the Bound Ether of the
Earth which aid us in all of our works of Magic. The Stars, Sun,
Planets and the Moon radiate their influence upon us through the
Magnetic Sphere of the Earth. In Eastern Occultism these Tides are
called the Tattvic Tides, and the medium through which they flow is
called Prana. This is the substance just above Terrestrial Matter,
known as Etheric Matter, of which there are two kinds: Free Ether &
Bound Ether.
Free Ether is that which surrounds the Sun, and through which
pass the Earth and other Planets within its sphere of influence. Bound
Ether is that which surrounds the Earth itself (or any planet) and may
be called the Magnetic Sphere.
As the Earth orbits the Sun, revolving on its axis as it does so,
centers of stress occur in the Magnetic Sphere of the Earth. As a
result there is a positive current of energy flowing from the East to
the West, and a magnetic current passing from North to South during
six months of the year (which reverses for the remaining six months).
The "positive" currents emanate from the northern center, and the
"negative" from the southern center. The Winter Solstice marks the
beginning of the positive current which reverses after the Summer
Solstice to negative. These currents of energy are marked by the
Lesser Seasonal Rites of the Old Religion, occurring at the Solstices
and Equinoxes The terms "positive" & "negative" refer to electrical
and magnetic energies of an etheric nature, as well as to those ener-
gies which we might call "waxing" and "waning".
----------
2004
BEING "OF THE BLOOD"
It was once believed that certain individuals, namely royalty or
other spiritual leaders, were actually descended from the "gods" (or
in some cases from non-Human Races such as the Elven or Fay). It is
obvious from this that their blood was held to be very precious, since
they were considered to be "Dedi-gods". Since they represented the
spiritual base power of the Clan, it was important to preserve the
purity of their Bloodline, and to ensure that it was passed along
through the Generations. In those early times it was taught that the
gifts of psychic abilities were maintained and transmitted by a direct
blood link with the Priestesshood/Priesthood (who were themselves
either direct descendants by bloodline, or were indirect by virtue of
having "received" the Royal Blood). This is one reason why the Church
ordered the slaying of whole families of Witches during the Inquisi-
tion, in hopes of destroying the ancient Bloodlines. It is interesting
to note that witches were very often associated with Fairies and other
non-Human Races, and were considered to be different from Humans, in
many European tales of Folklore.
Symbolically, anyone who drank of the Blood of one of these
Descendants was said to be "of the Blood" and could in turn, pass on
the blood through ritual communion of the Wine and Cakes (which were
anointed with the Royal Blood, of either a direct descendant, or
indirect blood receiver).
As the Old Religion grew, anyone who was born into the family of
those who had been of the blood, were considered to be also, and this
was the basic significance of being "hereditary" (along with being
reborn among those who one had known and loved before).
It is also interesting to note that the "cords" used in the
Initiation Ceremony, are remnants of those cords which once bound the
Sacrificial King.
----------
CONCERNING THE TOOLS & TRAPPINGS
If one looks closely at the tools of the Craft, it is easy to see
that they resemble the weapons of a Knight. The tools to which I am
referring are the Athame, Chalice, Wand and pentacle (in the Aridian
Tradition the athame is called the Spirit Blade, and bears different
symbols as well as a slightly different aspect).
The athame is symbolic of a Knights sword. The wand is a lance,
the chalice is a helmet (turned upside down) and the pentacle is a
shield. These Craft tools are the "weapons" of a spiritual warrior, or
a Priest(ess) as in the tradition of a Shaolin.
The cords of Initiation, as mentioned earlier, are remnants of
the bindings which once held the Sacrificial King/Slain God, and mark
an individual as a member of this ancient mystery tradition. The altar
is symbolic of the portal, which is the tomb. It is the Gateway throu-
2005
gh to the other Realms. The ritual circle represents the unbroken
Cycle of the year, which is at the heart of The Old Religion.
The Watchtowers at the elemental quarters represent the portals
to the higher Realms, which lay beyond this World. The Watchers them-
selves represent the "awareness" of our Path, as it is imprinted upon
the Planes ("watched", so to speak). There are many other such as-
sociations, but I thought that I would mention just a few. These are
not commonly known, or discussed, and the knowledge of them will soon
disappear if someone doesn't pass them on. You may consider it Witch-
lore, but it is quite a bit more...
----------
RAISING A PLANT FAMILIAR
The purpose of this technique is to raise, or grow, a plant as a
"familiar" (serving spirit) or as a magical plant. In ancient times, a
small circle of stones was set around the chosen plant, to "bind" the
numen there. Then a hole was dug down toward the roots (carefully) and
a chosen power stone was set in place, to "charge" the plant.
Today the technique has been expanded, but is still true to the
original intent. You can begin with a seed, or young sprout. Simply
prepare the soil for planting, in a secluded area, which is suited to
the physical needs of the plant. Place a stone or crystal of your
choice about three inches deep into the soil. Quartz crystals are a
good choice, but you may wish to consult a table of correspondences
for various stones, etc. Next fill in the soil over the stone, and
plant the seed (or sprout) as is appropriate. Then lay a circle of 8
stones around the plant site. At each of the four elemental quarters
place a crystal of the same type as the one you buried (these four are
part of the 8 forming the circle). The other stones may be of any kind
you wish, as long as they compliment each other, in relationship to
their occult nature. Space the stones to allow for the growth of the
plant.
I will give two techniques for the raising of a plant familiar.
These will show you how to establish contact with the plant numen, and
how to communicate your purposes to the plant familiar. In this way
the plant will become charged, and conscious of your needs. Then you
will have a physical and spiritual helper, for your works of magic and
healing.
This technique is important to magical work involving herbs. Dry
herbs in an herb store are not charged (in most cases) and can only
serve through their remaining physical properties. There is, however,
the placebo effect to consider, as well as coincidence, and self-delu-
sion. These have been used successfully for quite some time. I will
not deal with these here, as most popular Authors are doing an excel-
lent job of passing this off on us as authentic spells.
2006
I intend to give you the actual techniques which empower herbs,
and whose effects were the basis for the powers attributed to herbs
from ancient times. No Con, just the facts.
Method 1: If planting by seed, wait 7 days after the sprout appears to
proceed with the following (if a young plant, wait 7 days after plan-
ting it). Remove the stones between the quarter stones, and plant a
seed at each point. Next bury the quarter stones where they lay, at
least an inch deep. The seeds may be of the same type as the plant
within the circle, or an assortment. Each day, place both palms upon
the ground within the circle, forming a triangle with fingertips
(index fingers touching & thumbs touching). The stem of the plant will
be in the open area of the triangle, centered between your hands.
Using your imagination & visualization abilities, sense your
power flowing out through your arms, from your personal power center
(just below the navel for women, and at the solar plexus for men). You
must also talk to the plant and send it visuals, communicating your
needs and desires through mental images. You must take good care of
the plant from this point on, and keep it from harm. To create a
strong bond with your plant familiar, you can add 3 drops of your own
blood to a quart of water, and use this to water the plant as needed.
Magically, you have first increased the level of the numen throu-
gh the crystals. Secondly, you have extended its power and influence
to the other plants. This is because these plants became alive under
the influence of the center crystal and plant. They were also bathed
in a cross quarter current of energy, controlled from the center
entity, through the quarter crystals. If you need the physical parts
an herb for your spells, potions or whatever, then use only the plants
enclosed within the original circle of stones, and never the center
plant. The center plant IS the familiar, and the others are merely
extensions of it.
The final step in creating this plant familiar, is to establish
your "link" and your "rapport". To do this, you must sit comfortably
before the plant, and stare at it. Allow your eyes to lose focus and
your vision to blur. In this state, observe the shape of the plant,
trying to leave your mind blank. The plant will "send" you an image as
you stare. You will receive this as a distortion of the plant's shape,
so that it will begin to resemble some other creature such as an
animal or an insect. This new shape is the spirit of the plant, and
you will employ this image as you work with the familiar.
The familiar can give you extra power in any magical work, when-
ever you summon it. "House plants" can become protective entities for
your home through plant magic. Plants can be given as gifts, charged
for a special purpose.
To summon the familiar, you simply imagine your plant in it's
setting, and visualize it becoming the spirit creature. Mentally call
it to yourself, and allow it to enter into your personal power center.
To empower through the familiar, mentally send in into any herbs
which you are charging (instructing it as to the desired effect) and
2007
imagine that it passes power to them, imagine them glowing after
contact with the familiar. When you are finished, always return the
familiar to the plant.
----------
MOON LORE
It was once believed that:
1. The shadowed areas of the Moon were forests where the
Goddess Diana hunted, and the bright areas were plains.
2. That the Moon was a spinning wheel, upon which the Goddess
spun the lives of Men and Women.
3. That the Moon was a gem worn by the Goddess, and that
the stars were decorations upon Her gown.
The names by which the Moon was called, as she appeared in each
month of the year, varied with the significance of the seasonal month.
In October and November we see the need for preparations for Winter.
In February, the wolves were drawing closer to the villages looking
for food. In March the sounds of ravens signaled the coming of Spring.
April through June we see the signs of growing things. In July, the
Moon marks the signs of
horns and antlers upon young animals. In September, of course, we find
that the time is marked to reap the Harvest.
Names of the Moon:
October: Hunter's Moon
November: Larder Moon
December: Long Night Moon
January: Winter Moon
February: Wolf Moon
March: Raven Moon
April: Meadow Moon
May: Flower Moon
June: Rose Moon
July: Antler Moon
August: Piscary Moon
September: Harvest Moon
----------
MOON MAGIC
The accumulation and direction of the subtle forces of the moon,
is one of the arts of Witchcraft. Moon magic is a personal art, even
though there are basic guidelines. In ancient times, witches held the
position of the Moon priestesses/priests. In coastal regions, and upon
islands, witches were also Sea Priestesses/Priests. The use of water
from the sea was an important aspect in Moon Magic (salt being a
crystal form). The "charging" of water, and the release of the "char-
ge" through evaporation, was an important aspect. So too was the
soaking of woods and herbs in sea water, which were later dried, and
2008
burned as incenses and offerings. Two excellent books on this subject
are MOON MAGIC and THE SEA PRIESTESS by Dion Fortune.
The use of Portals to gain access to the Lunar Realms, and the
building of magical images there, is a very important aspect of Moon
Magic. The actual "essence" of the power used in Moon Magic, origin-
ates out among the stars. The Sun draws in the stellar influences and
transmits them into our Solar System. The Planets within our System
absorb this energy which then merges with their own vibrations or
energies. The Planets, in turn, then emanate a composite energy within
our Solar System. Each Planet's energy or vibratory pattern is unique,
and influences other planetary bodies and forces, within each planet's
sphere of influence. This is the basis of Astrology and Planetary
correspondences in Magic (this is how and why it works). The Moon is
the focal point of power upon the Earth. The Moon absorbs, condenses,
and channels all of these forces, which are then carried to our Plan-
et, upon the Lunar Light Spectrum.
Agrippa, a 15th Century magician, understood these principles
when he wrote "...but the Moon, the nearest to the heavenly influ-
ences, by the swiftness of her course, is joined to the sun, and the
other planets and stars, as a conception, bringing them forth to the
inferior world, as being next to itself, for all the stars have in-
fluence on it, being the last receiver, which afterwards communicates
the influence of all superiors to these inferiors, and pours them
forth upon the Earth..."
Aradia, the Holy Strega, told her followers to seek the Moon
above all others, for the purposes of Magic. In the closing prayer of
the Full Moon Ritual, we find these words which Aradia's followers
were later to have written :
" O' Goddess of the Moon...teach us your ancient mysteries.-
.. that the Holy Strega spoke of, for I believe the Strega's
story, when she told us to entreat Thee, told us when we
seek for Knowledge, to seek and find Thee above all oth-
ers".
Agrippa understood this also, when he wrote, "Therefore. her (the
moon) motion is to be observed before the others, as the parent of all
conception......hence it is, that without the Moon intermediating, we
cannot at any time attract the power of the superiors..." What Agrippa
spoke of, is what witches have known for Ages: The Moon is the focal
point of power upon the Earth. Without the Moon we cannot make use of
the Universal Forces beyond her.
In Moon Magic, the ritual altar is the focal point for the Lunar
forces which are drawn upon. Women are the vessels for Lunar Energy,
receiving and directing the magical force. Men can also become lunar
vessels, but women are much better suited (as their biology is more
attuned to the Moon's Cycles, than are men's biology). The method used
by both women and men will be given in another note (part 4 or 5,
depending upon available space).
2009
The Moon altar is placed facing the West Quarter. The altar
itself should be round, but a square or a rectangle is OK. In the
center of the altar, place a bowl of saltwater. A white sea shell is
then set into the center of the bowl. As this is done, whisper the
name of the Goddess who rules the current phase of the Moon, under
which you are working. The new moon belongs to Diana (De-ah-nah), the
Full Moon to Jana (Jah-nah) and the waning Moon to Umbrea. Around the
bottom of the bowl. set nine white shells, forming a crescent (horns
upward, as in a smile). If the magic is for the gain of something,
place the shells from right to left. If the magic is for the removal,
or loss of something, then place the shells from left to right.
As each shell is placed, chant the name of the Goddess who
presides over the goal of the magical influence you desire. Matters
concerning "beginnings" are under Diana. Matters involving "forces",
energies, or powers are under the influence
of Jana. Matters of Death, decline, and stagnation are ruled by
Umbrea.
Censers of Moon Incense are placed around the bowl, upon the
altar, forming a triangle (so you have 3 incense containers forming a
triangle, with the Moon Bowl in its center). A reversed triangle (V)
is formed for manifestations desired upon the physical plane. Upright
triangles (A) are formed for manifestation upon the astral plane.
During the magical work, the energy is focused into the altar
bowl (or moon bowl, as it is often called). This can be done in
several different ways. In group rituals, members may point their
ritual blades at the Priestess, who stands before the altar. The
members visualize their energy flowing from their themselves, through
their blades, and into the aura of the Priestess. The Priestess then
visualizes this collective energy flowing from herself, through her
own blade, into the moon bowl. Or she may simply place her palms over
the bowl and focus the energy out through her hands. During this
technique, she may recite an incantation, stating the purpose of the
"charge", or the group may chant the spell's intent. One of the ways
in which energy can be raised for this technique, is through deep
breathing. Each person draws in air slowly and deeply, and exhales as
they visualize the energy flowing outward through their ritual blades,
or their hands. Eastern Mystics teach that the Ether of our planet can
be drawn in through the breath, and condensed as pure energy. This
they call "Prana".
Another method is to "enchant" the water. Begin by passing your
right hand, palm down, over the bowl in a clockwise manner. Perform
nine passes, then do the same with your left hand. You will need to
create a Chant which will serve to describe your intent. It can be a
simple rhyme, or whatever you want. As you chant, blow gently upon the
water slightly disturbing the surface. Formulate the incantation to be
as descriptive as you can, about what you desire.
Once you have spoken the incantation into the bowl, it is time to
release the "charge". One technique for this is to boil the water, and
observe the steam as it evaporates. Boil it until all of the water is
gone. As the steam rises up, repeat your incantation, and watch the
2010
steam as it moves upward. It is carrying off your magic, so that it
may take effect. Think this as you watch it (thoughts ARE things).
Another very old method is to pour out the contents of the bowl
into a stream, or river. As you do this, you recite a simple rhyme
spell, such as :
" Water to water
a witch's spell
I give this stream
to speed it well"
Receiving the Moon's Light: (for women)
The Priestess receiving the Full Moon, will need an assistant.
The assistant will require a silver disk, smooth and highly polished.
If absolutely necessary, a small hand mirror may be used in its place.
The Priestess will stand or kneel before the altar, with her head
bowed down. The assistant will part her hair at the base of the skull,
using water or oil to help separate the hair, if it is short.
While the priestess visualizes the form of the Goddess merging
from behind, into her own form, the assistant will reflect the Moon's
light upon the base of the skull, using the silver disk. You will find
that this is quite difficult in city light pollution, and works best
in a country setting, or a desert. Once the Priestess receives the
Moon she can channel it into the Moon bowl, or she can "store" it
within her Being for seven days. This light is pure Lunar energy, and
can be "impregnated" with whatever "thoughtform" the priestess des-
ires.
Receiving the Moon's light: (for men)
The Priest receiving the Full Moon, does not need an assistant,
but may choose one if he desires. Men cannot receive the Moon in the
same manner as women, nor should they visualize the Goddess merging
with them. The Priest will stand, or kneel, before the altar with his
head slightly bowed. Using a polished brass disk, the Moon's light is
reflected upon his forehead. At this point the Priest will visualize
himself as the Full Moon itself.
Once the light is received, the Priest can channel it into the
bowl. Men do not "hold" Moon Light very well, and it is best to
channel it off before the seven day period, which the Priestess
enjoys.
There are several ways for a woman to receive the Moon's Light,
without any assistant. The technique I gave in this subject note, is
just one of the magical techniques. The Moon may also be received in a
religious setting (no magic intended, just a blessing or a union with
Deity). In these modern times, you can set up a mirror behind you, and
angle it so that it reflects down upon you, if you desire to try the
magical technique. One of the old ways of non-magical union, was for
the woman to lay nude beneath the Full Moon in the Full Moon Goddess
Posture. This posture is also referred to as the Star Goddess Posture,
2011
and is an X formation, arms and legs spread out wide. The woman
anoints herself with an oil of the Moon, just below her navel (forming
a crescent with the oil). As she lays upon the earth, she will look up
into the Moon, and slowly draw in the muscles of her abdomen, as she
mentally pictures that she is drawing down the light of the Moon, into
herself. Just as men draw power into themselves through the solar
plexus, a woman draws power into herself through the navel region
("pit of the stomach" kind of thing. This is the center of a woman).
This is just one method, but it can be a powerful experience.
----------
ARADIA
This is the Legend of Aradia, who was called the Holy Strega
(pronounced Stray-gah). Strega is the Italian word for witch. She
lived in Italy during the 14th Century, and brought about the revival
of the Old Religion, among the peasants who were enslaved by Feudal
Lords and the Church. Charles Leland wrote a book in 1894 called
ARADIA, gospel of the witches. Unfortunately, his material is a
Christianized distortion of the original text.
In 1508 A.D. the Italian Inquisitor Bernardo Rategno (having
studied witch trial records preserved in the archives of the Inquis-
ition at Comom) wrote a text called the Tractatus de Strigibus. In
this text he states that the "witches sect" had begun to "expand"
about 150 years earlier. This would place the "expansion" around 1350
(14th Century). In the Aridian Tradition we believe that this confirms
the legend of Aradia. In Leland's ARADIA, he also tells the tale of a
woman who travelled about Italy teaching The Old Religion. According
to this story, there once was a young woman from the town of Volterra
who "travelled far and wide, teaching and preaching the religion of
old times, the religion of Diana, the Queen of the fairies and of the
Moon, the goddess of the poor and oppressed". Leland goes on to say
"and the fame of her wisdom and beauty went forth over all the land,
and people worshipped her, calling her La Bella Pellegrina (the
beautiful Pilgrim)". In the Aridian Tradition, we believe that this
legend is based upon the true life story of Aradia. We consider her to
have been a great Teacher, and a type of Avatar, but we do not worship
her. We do, however, honor her each Full Moon by the telling of her
Legend, and by drinking to her memory.
According to our teachings, Aradia formed covens (called groves)
in central Italy. She taught the Old Religion of Nature, and of Magic,
but above all she taught a Spirituality. Beyond this she gave hope to
peasants whose lives were made miserable, in service to the wealthy
class. She taught them personal power, and personal value, in an Age
when the Church taught them shame and sin, and servitude. Aradia
returned their beautiful pagan heritage back to them once again. A
heritage which was preserved in secret by courageous Priests and
Priestesses of the Old Religion. Aradia taught Harmony with Nature,
and directed her followers to merge with Nature through Seasonal
Rites, and ritual observation of the Full Moon.
2012
The "Charge" of the Goddess, known to many Wiccans, originally
came from the Italian. The beginning paragraph can be found in Lel-
and's text. Doreen Valiente now claims to have written it sometime
during the 1950's or early 1960's. Leland recounted a portion of it in
1894, with an english translation from the Italian. I copied from a
copy of it which came to the U.S. in 1946. So, this is all very
curious to me!! In the next note I will post the Italian Charge, as
written by the followers of Aradia, during the late 14th Century
(well, a public version of it, anyway).
FROM DOMI O'BRIEN Part of the problem, Raven,
was that Leland was a Marxist, and Aradia was
written less to record the legend than to place
his political theory in a folklore frame.
FROM RAVEN GRIMASSI I've heard that theory
about Leland, and its influence on his book. I do
not personally believe that it is correct. When
you read all of Leland's books, it is quite clear
that he was extremely fascinated by the Witchlore
of Italy. This was a man who spent many years of
his life in Italy, and elsewhere, tracking and
recording myth after myth. He spent a lot of time
with Lady Vere de Vere (Italian Folklorist) and
Professor Milani (Director of the Archaeological
Museum in Florence) recording Italian Witchlore.
His intense love of this subject is evident in his
book LEGENDS OF FLORENCE, as well as several of
his other books, including ETRUSCAN MAGIC & OCCULT
REMEDIES. Whatever his political leanings may have
been, ARADIA is more the result of a con job by
the so-called "witch" Maddalena (and his obsession
with preserving the old Witchlore), than it is
anything else. It is curious that actual elements
of true Italian Witchcraft were obtained by Mad-
dalena. She was well known by the Craft, in those
days, as a Gypsy Con-Artist, but clearly she did
come upon some valid aspects of The Old Religion.
Most of the text is utter nonsense, but there is
enough there to make you go Hmmmmmmm.
----------
THE CHARGE OF ARADIA
(To her followers)
"Whenever you have need of anything, once in the month when
the Moon is full, then shall you gather in some deserted
place, or within the woods, and give worship to She who is
Queen of all Witches. Gather then all together, within a
circle, and secrets that are as yet unknown shall be rev-
ealed. And you must be free within your mind and your
2013
spirit, and as a sign that you are truly free, you shall be
naked in your rites. For therein is the essence of spirit,
and a knowledge of joy. Be true unto your own beliefs, and
keep to the Ways, beyond all obstacles. For ours is the Key
to the Mysteries, and the Cycle of Rebirth, which opens the
way unto the Womb of Enlightenment. I am the Spirit of
Witches All, and this is Joy and Peace and Harmony. In life
does the Queen of all Witches reveal the Knowledge of
Spirit. And from Death does the Queen deliver you unto
peace, and renew your Life again.
When I shall have departed from this World, in memory of
me, make cakes of grain, wine, and honey. These shall you
fashion in the shape of the Moon, and partake of these
cakes, and of wine, all in my memory.
Offerings then shall you give unto She is who our
Mother. For She is the beauty of the earth, and the white
Moon among the heavens, and the Mystery which gives Life,
and ever calls us to gather in Her name. Let Her worship be
the ways within your heart, for all acts of love and pleas-
ure, are as rituals unto the Goddess. But to all who seek
Her, know that your seeking and yearning shall avail you
not, until you know the Mystery. For if that which you seek,
is not found within you, you shall never find it without.
For She has been with you since you entered into the Ways,
and She is that which awaits attainment, and your journeys
end".
This is an altered version of the full length "Charge" as it
appears in the Aridian Tradition. On the next note I will post Lel-
and's version, which was written in 1894. Following this I will post
one of the popular Wiccan versions, which will probably be better
recognized. I am sorry that I cannot post the actual Charge, but this
one comes very close (without dishonoring my oath of Initiation).
(Leland's version - written in 1890):
"When I shall have departed from this world, whenever ye
have need of anything, once in the month, and when the Moon
is full, ye shall assemble in some secret place, or in a
forest all together join to adore the potent spirit of your
Queen, my Mother, great Diana. She who fain would learn all
sorcery yet has not won its deepest secrets, them my mother
will teach her, in truth all things as yet unknown. And ye
shall be freed from slavery, and so shall ye be free in
everything; and as a sign that ye are truly free, ye shall
be naked in your rites, both men and women also: this shall
last until the last of your oppressors shall be dead; and ye
shall make the game of Benevento, extinguishing the lights,
and after that shall hold your supper thus:"
(Leland goes on with the conjuration, and blessing, of the meal for
the Sabbat, and then concludes the Charge)
2014
"And thus shall it be done: all shall sit down to the supper
all naked, men and women, and, the feast over, they shall
dance, sing, make music, and then love in the darkness, with
all the lights extinguished; for it is the Spirit of Diana
who extinguishes them, and so they will dance and make music
in her praise".
I just thought that you might find this of interest. There are
many verses in Leland's writing, which Doreen Valiente now claims to
have written for Gerald Gardner, circa 1958. (Text from: ARADIA,
gospel of the witches by Charles Leland)
FROM: JANA HOLLINGSWORTH A version of
the Charge of the Goddess appeared in Charles
Godfrey Leland's ARADIA around the turn of the
century. According to Raven Grimassi, it was known
among Italian traditional Witches long before
that. The Leland publication alone would indicate
that Valiente merely rewrote it.
The Charge of the Goddess--who wrote it?
Was Leland the first one to note it?
Did Doreen create
It in Fifty-eight?
Or did they from Italy quote it?
FROM: JANICE BURGESS Doreen adapted and
expanded the Charge from a bit that is in Aradia.
The part in Aradia is not nearly as beautifully
written and doesn't contain as much text as Dor-
een's adaption. It also contains things that
modern pagans probably wouldn't understand cul-
turally or want to include as they wouldn't apply
well at this point in time. I'm a fanatic about
where things come from and always like to know
although, like you, it doesn't affect my enjoyment
of the work at all. I like getting credit for
what I've written and like to extend the courtesy
to others as well, so I guess that's part of it.
I also just went through a lot of problems with a
book I have coming out this fall. I wanted to
include things like chants and songs I've been
hearing for over 10 years in the appendix. I had
to track down who had done what and get permis-
sions from all concerned. Most of them I wanted to
use had been done by friends. A few I had no idea
who had written them. It was really a mess. It
cured me from ever jotting something down and
using it and taking it for granted I would remem-
ber where it had come from later on.
FROM RAVEN GRIMASSI Yes, Doreen based her
version of the Charge on ARADIA by Leland (among
other writings as well). The beginning of the
2015
Charge ("once in the month and better it be when
the Moon is Full...") comes from Aradia's ins-
tructions to her followers. In Leland's ARADIA it
is in Chapter 1, being the last English trans-
lation there. I will provide the first section
here for you, directly from Leland's book:
"...whenever ye have need of anything, once in
the month and when the moon is full, ye shall
assemble in some desert place, or in a forest all
together join to adore the potent spirit of your
Queen, My Mother, great Diana. She who fain would
learn all sorcery yet has not won its deepest
secrets, them my Mother will teach her, in truth
all things as yet unknown. And ye shall be free
from slavery, and so shall ye be free in every-
thing; and as the sign that ye are truly free, you
shall be naked in your rites...". Remember, this
was first published in 1890. Seem somehow fam-
iliar?
----------
ITALIAN CRAFT
As an introduction to this subject, I'll begin with some excerpts
from a few books. In the LEGENDS OF FLORENCE we find these words by
Charles Leland (written 1895):
"The witches of Italy form a class who are the repositories
of all the folklore; but, what is not at all generally known
they also keep as strict secrets an immense number of
legends of their own, which have nothing in common with the
nursery or popular tales, such as are commonly collected and
published....Lady Vere de Vere, who has investigated witch-
craft as it exists in the Italian Tyrol, in an admirable
article in La Rivista of Rome (June 1894) tells us that "the
Community of Italian Witches is regulated by laws, trad-
itions, and customs of the most secret kind, possessing
special recipes for sorcery" which is perfectly true. Having
been free of the community for years, I can speak from
experience. The more occult and singular of their secrets
are naturally not of a nature to be published..."
After consulting with Lady Vere de Vere (Italian Folklorist) and
Professor Milani (Director of the Archaeological Museum in Florence)
Leland wrote (concerning Italian Witchlore), "That this is of great
antiquity is clear, for out of this enchanted forest of Italian
Witchcraft and mystical sorcery, there never came anything, great or
small, which was not at least of the Bronze, if not Neolithic Age". In
his book, ARADIA, Leland writes of the popular Christian image of the
witch, but goes on to say: "But the Italian Strega or sorceress is in
certain respects a different character from these. In most cases she
comes of a family in which her calling or art has been practiced for
many generations..."
2016
In Leland's ETRUSCAN MAGIC & OCCULT REMEDIES we find these
statements: "Among the cliffs and scrubby moors of northern Italy
there dwell today descendants of an ancient people whose stubborn and
exotic mystery has provoked historians to conflict, linguists to
despair, archaeologists to poetry, and poets to philosophy. For almost
two thousand years the astounding secret of their existence was kept
without living whisper save in the anachronistic echoes, recorded for
the first time in this book, of Tuscan Catholic peasant voices calling
through unbroken generations upon the pagan deities of their remar-
kable ancestors..."
Later in this book he states "But I was much more astonished to
find that in Tuscany, the most enlightened portion of Italy, under all
Roman rule, an old pagan faith, or something like it, has existed to a
most extraordinary degree. For it is really not a mere chance survival
of superstitions here and there, as in England or France, but a
complete system, as this work will abundantly prove".
----------
LA VECCHIA RELIGIONE
(The Old Religion)
ITALIAN WORD ENGLISH WORD
Strega (Stray-gah) Witch (female)
Stregone (Stray-go-nay) Witch (male)
Treguenda (Tray-gwen-dah) Sabbat
Veglione (Vay-yoe-nay) Esbat
Stregeria (Stray-gare-e-a) Witchcraft
Boschetto (Bos-ket-oh) Coven
La Vecchia (La-vek-kia) (slang) The Craft
The Old Religion of Italy is called La Vecchia Religione (La-vek-
-kia Re-lidge-oh-nay). In La Vecchia, female witches are called Strega
and males are called Stregone. In the structure of a Boschetto there
are several offices or positions. Most groups are run by a woman who
is a High Priestess, assisted by a man who is a High Priest. The High
Priestess has an assistant known as Dama D'onore (Dama-Dee-o-nor-ay).
This is like a Queen's attendant except that it the Goddess who she
actually is serving during the ritual, represented by the High Pries-
tess. The High Priest has an assistant called "La Guardia" who is the
Guardian of the ritual area. In the days of the Inquisition it was his
duty to protect the High Priestess and High Priest if the Christians
should attack the ritual gathering. It was also his responsibility to
2017
keep the new initiates from disrupting the ritual, by helping move
them along as needs be. Both positions of service are "in training"
for the respective positions of High Priestess and High Priest.
There are four degrees, or stages, of attainment, within La
Vecchia. The 1st is a time of training and orientation. The 2nd is
becoming a Priestess or a Priest of the Old Ways. The 3rd is becoming
a High Priestess or High Priest. The 4th is when a person actually
dies, and we say that she, or he, has taken 4th Degree.
Over all of the 3 Degrees, is the position of Grimas (Gree-mahs).
A Grimas oversees the Tradition as a whole, and is responsible for its
preservation. A Grimas makes sure that nothing is ever written out of
any ritual material, or edited from any oral teaching. In Italy, this
is a much respected position, and a Grimas always has the final word
in all matters regarding the preservation of the Ways. This position
can be held by either a woman or a man, though for the most part, La
Vecchia is a matriarchal system. A High Priestess always has "auth-
ority" over that of a High Priest. However, a Grimas (regardless of
gender) always has "authority" over the High Priestess, in matters
concerning the integrity of the Tradition as a whole. Each Clan has a
Grimas, and this is why the Religion has survived intact down through
the Ages. Preservation of the Ways of a People requires a structured
System. Without this you have, well, look around...
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THE LARE HOUSE
In the Aridian Tradition, we have a belief in spirits known as
the Lare (Lar-ay), or Lasa (Lah-sah). In a way, these are spirits who
carry the memories of our Ancestors. They are the Collective Con-
sciousness of our Clans. They are also Nature spirits similar to the
Elven or Fay, but are considered a different Race.
The Lasa appear in Etruscan Mythology and the Lare appear in
Roman Mythology. In the Aridian Mythos there is a blending of the two.
Aridian Initiates are required to obtain, or to construct, a Lare
house, as part of their training. These spirits houses can be of any
design, however the Roman Temple design is the most common. These are
simply two pillars supporting a cross beam. At the base is a small
protruding ledge upon which offerings may be placed. As part of the
Community rites a votive candle is placed on the ledge. Whenever
someone in the Family has a birthday, or some other personal event,
the candle is lit as part of the Celebration. The children of our Clan
seem to enjoy lighting the candles, and sharing in the tradition of
the Lare.
Offerings are placed before the Lare house on each of the Season-
al Rites, and each Full Moon. These are usually offerings of grain, or
nectar. Nectar is a mixture of milk, honey and wine. As part of the
Rite of the Lare, the names of our ancestors (and "departed" Clan
members) are recalled in a "toast" before the Lare House. This tradit-
ional rite has served to preserve the lines of descent back into Time.
2018
We view the Lare as many spirits who comprise a single Conscious-
ness. In other words as a Community of spirits. They are connected to
us through our worship of the Nature and the Old Ways, and through
that of our Ancestors. Through our practices they recognize us as
those who gathered in ancient times, and they "follow" us through
Time. This is a very primitive belief, but is still honored today.
----------
ARIDIAN PANTHEON
I thought that you might like to know about some of the Gods and
Goddesses of the Aridian Tradition. The list given here is only
partial, and I am using the common names of these Deities. In the
Aridian Tradition the original names of the Deities are not revealed
until the Second Degree Initiation (as they are considered names of
the Priestess Craft/Priest Craft). These are names, however, which we
do use:
The Goddesses
TANA: the Star Goddess (Universal Aspect)
JANA: Goddess of the Moon, and the Mysteries of the Moon
FANA: Goddess of the Earth, and of Fertility
FORTUNA: Goddess of Fortune, Fate, and Luck
CARMEN/CARMINA: Goddess of the casting of spells, and of
Enchantments
DIANA: The Triad Goddess: Maiden, Mother, Crone. Goddess of
outcasts, outlaws, slaves, and oppressed Peoples.
Diana encompasses many other Goddesses, and is the
name also used for the Moon Goddess, Earth Goddess,
and Star Goddess.
UMBRIA: Goddess of the Shadows. Umbria is the Dark Aspect of
the Goddess (waning moon), and rules with DIS in the
Underworld. Goddess of things which are Hidden, or
secret.
NOX: Goddess of the Night. Nox rules the Darkness which
falls upon the Earth, and all within it. She is the
sister of Umbria, and shares her associations
(except for the Underworld connection). Nox can be a
bit on the sinister side if care is not taken.
ASTREA: Goddess of Justice
COPIA: Goddess of Abundance and Plenty
2019
PERTUNDA: Goddess of sexual love and sexual pleasure
The Gods
JANUS: God of the Sun, and god of all beginnings, portals,
doorways, and thresholds. It was Janus who brought
the elements into harmony from Chaos.
FAUNUS: Nature God of Fertility (similar to Pan)
TANUS: The Star God (Universal Aspect)
TERMINUS: God of boundaries, protector of personal property
DIANUS: Nature God of Fertility, similar to Faunus except
that he is a Stag God instead of a Goat God. He is also known
by the name Kern or Cern.
FEBRUUS: God of purification and initiation
COMUS: God of revelry, feasting, drinking, and the "pleasures of
the night".
CORVUS: Messenger of the Gods. Also the Trickster God,
known as Raven.
LUPERCUS: The Wolf God
ANTEROS: God of Passion and Sexual Unions
VIRBIUS: God of outcasts and outlaws. Guardian of
Sanctuaries
FROM: JANA HOLLINGSWORTH
Are the secret names of the deities in Etruscan? Or are you
not allowed to say?
FROM: RAVEN GRIMASSI
I cannot go into this completely, but I can say that many of
the names can be found in the Etruscan Pantheon. Some of the
names are not exact matches, but are so close that they
surely must have a common origin. There are a couple of
names, however, which seem to be unique unto themselves. The
curious thing about our relationship to Etruscan, is that we
do not share the basic Mythos. Little is known publicly of
Etruscan Mythology, but in many cases what we do know does
not match Aridian Mythology. Their Underworld mythos, for
example, is completely different. On the other hand, many of
the natures of the Gods & Goddesses do seem to match. Per-
haps it is a case of ancient Roman eclecticism, but then
again we do not consider our Tradition to have grown out of
Roman Religion entirely. Curious...
----------
2020
WATER SCRYING
This technique is a very ancient one, and common among Shamanis-
tic Traditions. Divination is the ability to see what patterns are
forming towards manifestation. What you "see" is actually what is
likely to occur if nothing changes the pattern being "woven". Here is
a technique which I teach: Pour some bottled water into a cereal bowl.
Mix either a blue or a green food color into the water, so that the
liquid is dark enough to hide the bottom of the bowl. At this point
you have a reflective surface. Place two candles as your source of
light, so that the light does not reflect upon the liquid (off a foot
or two, in front of you should do it). Next is a series of hand passes
over the liquid, slowly and deliberately. Magically speaking, the
right hand is of an electrical nature/active charge, and the left hand
is of a magnetic/receptive charge. Right handed pass will strengthen
the image and left handed passes will attract the image to form. Begin
by making left handed passes over the bowl, in a clockwise circle,
just a few inches above the water (palms open and facing down). Stop,
and gaze into the dark liquid, not At the liquid, but INTO the liquid.
You will need to repeat these passes as you go, from time to time.
Alternate between the left hand and the right hand. This requires
patience, and time. Use
your intuition as you sit before the bowl. Make sure the area is
quiet and there are no distractions.
Drinking some Rosemary tea, prior to Divination, can aid in the
work. There are several herbs which aid the Psychic Mind, this is just
one of them (careful though, Rosemary can be toxic in large quan-
tities).
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ELEMENTALS
In the case of an artificially created elemental, you must
specifically state the date in which it will cease to exist. If you do
not, it is quite likely that the elemental will move off into the
astral, and begin to manifest there. It does not require a name in
order to exist. The purpose for giving it a name, is to have some
control over it, while it serves its designed purpose. Whether it
survives as a permanent, and separate entity on the Astral Plane, is
dependent upon many factors. The danger here is, though, that it is
still connected to its "creator", and once established upon the
Planes, can effect the creator in return. This is why it is essential
that its lifespan be stated once it is created, and a method for
making sure that it "ceases to be" must be ready as well. Usually,
this is done by making a hollow image of the elemental and filling it
with a magical condenser. Once "charged", by simply pouring out a bit
of the condenser at a time, the elemental will ebb away. Once the
fluid is gone, so too is the artificial elemental.
Now, as to the ethics of all of this .....
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2021
BEFANA - A "CHRISTMAS WITCH"
Just wanted to share an old custom from Italy, concerning a witch
during the Yule/Christmas Season. Though purely pagan,it is still a
part of the Season there (among Christians and Pagans alike). In Italy
there is a figure similar to Santa Claus, except that she is a witch
named Befana. On January 6th, children set out stockings to be filled
by the "good witch" Befana. She has a consort who accompanies her
(usually in Festival Parades) named Befano. Early in the evening an
indeterminate number of people gather, and Befana takes to the streets
accompanied by her husband and entourage. She is accompanied by a
makeshift band of 3 or 4 musicians, and a live horse. They will go
from house to house, singing the Befana song. Having done this, the
Befana and her company receive a glass of wine, or a bite to eat, and
continue on.
In a book by Carol Field (celebrating Italy) Befana is associated
with Hecate. An etching by Bartolomeo Pinelli in 1825, shows Befana
as the Mother Goddess seated and surrounded by fruits, grains, and
other items of the Harvest. The celebration of Befana ends in a
burning in effigy. Upon a hill a pyramid of corn sheaves, brushwood,
and pine branches are piled. The effigy of Befana is placed on top,
and fire is set to the wood. Chestnuts are tossed in as symbols of
fertility. Custom says that if the smoke blows to the West, then the
crops will be poor. If to the East, it is an omen of a year of abun-
dance. This has many similarities to the Slain God Mythos. This rite
is not one of punishment, but one of replenishing the Earth through
returning the Life Giver, Herself. In Italy today, candy images of
Befana, and statues are available during the Season. My mother says
that Befana and Befano are remnants of the old God & Goddess of the
Witch Clans, preserved by witches from the time of the Persecution.
Seems likely when you do some research. There are two books (written
in Italian) which present the associations of Befana with various
seasonal rites. These are; The Sacred Day (a book of Festivals) by
Franco Cardini. The Calendar: festivals, myths, legends, and rites of
the year (also by Cardini - professor of History at the University of
Florence).
The words to the song follow, however something is lost in the
translation (as they say). Also, even in the Italian there is little
attempt at rhyme:
"Upon the wind the snow is falling
and is blown on the wind before, and with a light step
she descends to us, a witch that is dear to you all
a witch that many here love
who comes every year to find you
she has arrived with us 'la Befana'
every heart is full of joy
from among the valley, villages, and countryside
our Befana has arrived here
she has brought a great sackful of gifts
that she wants to give to you dear children
that promise to be good for their mothers and fathers."
(tempo changes here, and another verse begins)
2022
"and now friends you that are here
we want to sing and dance
and a ballet we want to do
with the Befana and Befano
and we want to salute you all
friends we shall always remain
and the Befana before she goes
wishes you all happiness and prosperity".
This is repeated twice. Another part of the custom which I
neglected to mention deals with the children preparing for the arrival
of Befana (before the festivities). Each child writes his or her
wishes upon a piece of paper and places it in the fireplace, allowing
the small bit of paper to float up the chimney.
My mother says that the Befana customs differ somewhat from
region to region, in Italy. I know that in Naples, the street fes-
tivals are no longer commonplace, and I hear that in the region of Val
d' Aosta the Befana celebrations have all but vanished. Still, the
custom survives (due to the Children, no doubt). The Old Lady is still
going strong!
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HISTORICAL BACKGROUND
For those who expressed interest in the Aridian Tradition, I
would like to share the following historical background material:
In 30 B.C. (common era) the Roman poet Horace, wrote a work which
is called the Epodes of Horace. In part, it is a dialogue between he
and a witch (from Naples,Italy) named Canidia. In epode 5 he assoc-
iates Proserpine and Diana with witches in a Mystery Cult. In epode 17
he also names these goddesses as "Patron" goddesses of Witchcraft, and
states that witches use a book called Libros Carminum by which they
"call down the moon", make philtres and evoke spirits. Other Roman
writers of the Era such as Lucan and Ovid clearly support the theme of
Horace's writings. From this we can conclude that the association of
witches with Diana was common knowledge. The association of Proserpine
with the Old Ways is important also, as can be seen in the Underworld
mythos/descent legend. Bear in mind that this is being said in 30 B.C.
in Italy (not in the 1950's of Gerald Gardner). As will be seen here,
the association of Diana with Italian witches, will come to be called
"The society of Diana".
Epode 5 : "...Night and Diana, who command silence when secret myst-
eries are performed, now aid me: now turn your vengeance and influence
against my enemies' houses..."
Epode 17: (to Canidia) "Now already I yield to your mighty art, and
suppliant beseech you by the realms of Proserpine, and by the powers
of Diana, not to be provoked, and by your books of enchantments that
are able to call down the fixed stars from heaven Canidia, at length
spare your magic words, and turn backward your swift wheel..."
2023
(Canidia replies) "...must I, who can move waxen images and
call down the Moon from the sky by my spells, who can raise
the vaporous dead, and mix a draught of love, lament the
effect of my art availing nothing upon you?"
So, you can see that this association of Diana with Italian witches
is quite old. Also note the use of the term "call down the Moon" with
the Italian witch Canidia.
FROM ROBERT THOMAS It should be noted for the record that
Horace was writing a satire in the Epodes, rather than a
study on witchcraft. This indicates that the things in it
were not his own inventions (except maybe the book-name) but
were public opinion of the times. The concept of drawing
down the moon can be traced back to the witches of Thessaly,
and is mentioned as early as 300 BCE in Greek literature.
Also, the "popular" witch (as opposed to the actual witch)
was almost always female and worked exclusively with the
chthonic powers (i.e., the scary ones) like Night (Nyx), the
Furies, the Harpies, Hekate, Diana, Selene, etc. etc. as
opposed to the Olympian gods.
FROM RAVEN GRIMASSI Actually, Horace wrote his satires in
the SATIRES OF HORACE. The Epodes were lyric poems/songs,
and were written for various reasons. The dialogue concern-
ing the witch Canidia was not intended as a study of Witch-
craft, but simply illustrates some of the common thinking of
the Era. You mention Diana and Hecate as the "scary" ones,
as opposed to the Olympian gods (who I assume you think are
the good guys?). To a witch, the powers of Night are not
scary, nor are its Deities. My mother used to say that the
moon was more powerful than the sun, because the moon can be
out at both day time, and at night. But the sun can only
show itself during the day (a most inferior light). The
Olympian gods represented the restrictive Roman System, to
early Italian witches, and they preferred the deities of the
common folk. Diana was, among other things, the goddess of
the oppressed (something Rome was rather fond of doing). I
find the non olympians worthy in their own RITE. There is
little more beautiful than the night of a Full Moon, and a
circle of Her children in loving worship, beneath Her. We
see the Sun/God as Her worthy Consort, and a balance. When I
see what goes on during the day, such as Corporations
spewing filth into the air and the waters, governments
plotting against one another, Wall Street and so forth,
well...now that is scary !
FROM ROBERT THOMAS No, no, Raven, you misunderstood. I
don't personally think that the chthonic gods are scary at
all; I'm friends with most of them, and one of them is my
patron! I meant that they were scary to the average Roman
citizen of the time. Horace's writings reflected popular
opinions of witches, rather than their actual practices. In
all of the Classical and Greco-Roman spells that I've seen,
the Olympians were not excluded; anybody that they thought
2024
might be willing to help, they invoked. A number of the
spells read like Hesiods Theogony with a request tacked on
to the end, so I wouldn't call them limited in their scope.
Still, to the educated Roman citizen, the witch was thought
to represent a dangerous feminine power which was not under
the control of the Empire and thus was antagonistic to the
Roman way of life and to its gods (the Olympians) as well.
This was their (the Romans) conception, not the truth of the
matter. These conceptions were what Horace was drawing from
when he wrote his works, since this group (the educated
Romans) were the audience for which his works were intended
(actually, they were the only ones who could read them,
since literacy was not common among the people). Hope this
has made my point a little clearer and look forward to
reading your other posts...Gwydion
----------
FROM MARTIN DUGAN III Is it true that you guys really worship the
ancient gods of Rome and Greece?
FROM RAVEN GRIMASSI Different cultural Traditions worship
different deities.
I follow an old Italian Tradition and worship some of the
ancient goddesses and gods who were known to the ancient
Romans. A wise Holy Woman who lived during the 14th Century
in Italy addressed the issue of there being different gods
in an interesting manner. She was asked which God should be
worshipped and she answered saying: In a man's lifetime he
is known by many names and titles. To one person he is
called "brother" and by another he is called "father". To
still another he may be called "cousin" or even "husband".
Some may call him "sir" or some by his given name, but is he
still not the one man ?".
She was addressing the issue of Deity and the need for
Humankind to give it a name or a title. She taught that
Deity was not as petty as Humankind and had no need to be
addressed by a particular name only, or in a particular
manner only. These were Human concepts and expressions of
the limited understanding of Humankind.
Oops, sorry, I guess I wandered away from your original
question... Blessings to you, Raven
----------
We chose the word "Aridian" instead of "Aradian" for two reasons.
First there was an Aradian system already established in the mid-west
during the early 80's and they were following a modified version of
Leland's Aradia. I did not want to be confused with their system.
Secondly, Arida was the name of an old village in Italy where Aradia
and her followers first began to practice as a group. So, we decided
upon the term Aridian (two birds with one stone, so to speak).
----------
2025
ARTS OF WITCHCRAFT
This is a series of notes concerning the arts of the Craft;
meaning magic and ritual etc. This first note is on "energy".
When you hold your hands a few inches apart, palms facing, you
create an electromagnetic field between them. This magnetism indicates
the presence of polarities; opposite poles which attract one another.
The first thing we can say about energy is that it is composed of
opposites. The best way to understand these opposites is to think of
them as directions of force:
feminine -----> <-------- masculine
negative -----> <-------- positive
inward ------> <-------- outward
Though we divide them to talk about them, these opposites within
energy can never be separated. One cannot exist without the other.
Positive and negative pulls are both necessary for movement. Together
the two create vibration. When opposites are in the correct relation-
ship the result is balance.
The second thing we can say about energy is that it IS balanced.
Balance is the natural state of the Universe. However when energy
becomes plural it is reduced to positive and negative charges and is
considered unbalanced. Because they are incomplete forms of the
universal "all", energies set up separation between the whole and its
parts.
Separations of such, manifest physically and mentally. Held as
such they must occupy definable territories. You may have noticed this
in yourself perhaps as a sadness in the heart area or fear in the pit
of your stomach. These are energies occupying space. When energies are
held in by emotion they can be felt as a weight or a presence. Another
word for energy is ego. Ego separates us from the All. The truth is
that we are no more or less than anything around us. Everything is a
physical manifestation of energy in its state of positive and negative
charges. The effects of magic are worked through the aspect of energy
which the modern systems sometimes term "od" or "odic" force. It is
the vital element which flows through all terrestrial globes and all
living beings. By its various influences this agent attracts some
things to others and keeps other things away as well. The Human body
radiates this energy. It can submit one person to another's will.
The Odic force is capable of being consciously developed, energized
and intensified. It is this power concentrated and directed which is
the basis of personal magic. The will of the person performing a work
of such magic concentrates and controls the energy. This concentration
of energy is then sent to its goal, either stored in a talisman or
sent in a thought-form to the person or thing to be effected. The
power of the odic force must be used in accordance with the solar and
lunar tides, as well as Cosmic Tides.
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FROM JANA HOLLINGSWORTH In your first note concerning
energy, you say that energy is "composed of opposites," by
which you mean it is polar in nature. This sounds like you
mean ALL energy is polar. While electro-magnetism is polar,
the other three forces of nature-- the strong force, the
weak force, and gravity-- are not. The magical energy you
describe is similar to electro-magnetism, but electromag-
netism is not by any means the only force in the universe.
Although the analogy between electromagnetism and magical
polar energy is clear, they don't seem to me identical
because magic is not always perfectly polar. There is more
flexibility in magic than there is in electromagnetism.
Physicists have never yet found a magnetic monopole, but in
magic they're everywhere. Hmmm...there ought to be a good
limerick in this somewhere. I'll think about it.
TO JANA HOLLINGSWORTH This is indeed too complex an issue
to fully cover in a BB format, unfortunately. When I speak
of energy polarity I am speaking of magical energy. It is
an old teaching that each of us has within ourselves an
energy current comprised of masculine and feminine polarit-
ies (active & receptive). When we raise magic, or draw
magic, we cannot help but give it dual polarity because that
is our nature. In the Eastern mystical traditions they
would call this the Ida and Pingala currents (which divide
and flow from the base chakra, cross each other at the heart
chakra, and then flow into the 3rd eye uniting once again).
If we take the old Occult axiom "As above, so below" we can
also say that the Creators set within all things this same
Ida & Pingala nature (since it would be their imprint on
their creation). The nature of the artist is always within
the nature of his or her art. So what I am speaking of is
the etheric essence of energy. On a mundane level I do not
know a great deal about the physical properties of all
"natural" energy forms. But I do know that things are not
always as they seem, or appear to be. The occult nature of
a physical object, or a physical property, is not always
readily apparent ( I suppose that is why it is called
"Occult", meaning hidden or secret).
I don't know if this helps clarify my statements or not. I'm
just sort of winging it here, but I think I've covered the
basic concept. I would be happy to go into this more if you
have any other questions or comments. I do not claim to be
"all-knowing", but I am pretty solid on occult science.
FROM JANA HOLLINGSWORTH If we count etheric or occult
energy as a fifth force of nature, then the Creators made a
universe with two polar forces and three which are non-pol-
ar. That means we, their creations, have natures which are
both polar and non-polar. The strong and weak forces have
tiny ranges of sub-atomic size, while gravity--the weakest
of all forces--is thought to have infinite range. It becomes
weaker with distance, but never quite disappears. Is magical
energy similar to gravity in this respect? Is its range
limited or infinite? Does it fall off with distance? Does it
2027
travel at the speed of light? Does it exhibit wave/particle
duality? I don't necessarily expect answers, but I find
these questions interesting. They can be answered about all
other forms of energy. I expect no one has studied magical
power in these terms, but if magic is a form of energy there
ought to be answers somewhere.
FROM: RAVEN GRIMASSI When you can pluck the wave/par-
ticle duality from my hand it will be time for you to go
. Sorry... I would not count occult energy as an
additional force of nature but as an animating element
within nature. You lost me on the polar universe stuff
though. Great questions !! Let me tell you what I know
about how magic works and manifests, and perhaps some
answers might appear. First of all the action of magical
manifestation actually takes place within the astral dimen-
sion. Time and space as we understand it, does not exist
there. So I would not say that the range of magic is
infinite, but rather that it behaves (from our perspective)
as though it had infinite range because it manifests
without reference to distance. The effects are as though it
had infinite range. As to speed of travel, I would say that
it is accurate to say that magic travels at the speed of
thought, whatever that might be. Magical energy is affected
by a variety of external forces. Magical force fields, such
as protective pentacles, can slow or deflect the force.
Greater forces such as those exerted by deity or high level
spirits can certainly alter the course of one's magic. I
always tell my students that there are only two reasons why
one's magic will ever fail: one is that it was performed
incorrectly (including at the wrong time) or a greater force
opposes it. Does this help ?
FROM JANA HOLLINGSWORTH I don't know the actual speed of
thought, but it is the speed at which electrical impulses
travel across one's neurons, and is considerably less than
the speed of light. Perhaps magic could be thought of
cutting through the "Elsewhere" portion of a space-time
diagram where all particles MUST travel faster than light. I
don't mean that literally, but as an analogy for the astral.
I don't know the current status of the theory of tachyons
(faster-than-light particles). It may be entirely old hat.
My knowledge of physics is based on popular books and
subscriptions to SCIENTIFIC AMERICAN and SCIENCE NEWS, so
I'm not always up-to-date.
Making an analogy between physics and magic helps me make
sense of what's going on with magic. I fear I'm a theore-
tician of magic more than a practitioner; despite a horo-
scope loaded with psychic potential, my talent for practical
magic is nil. So I try to work up theories of magic instead.
I suspect we may someday discover that magic and quantum
physics are intimately related. Which science fiction writer
said that any sufficiently sophisticated technology is
indistinguishable from magic?
2028
As for wave/particle duality, it is yet another pair of
united opposites:an electron is a wave or a particle (female
or male) depending entirely on how you choose to look at it.
If you don't look at it at all, it is neither and both; it
is entirely potential.
FROM RAVEN GRIMASSI Thanks for the scientific info. I'm
sure that Occult Science and Physical Science are definitely
related, and perhaps someday Physical Science may catch up.
Just to add another aspect; the plane of forces (elemental
plane) flows like a river to and from the physical dimension
and the astral dimension. It is this plane which carries
magical energy to the Astral Plane where it takes on the
image of the desired effect. Once the thought is formed
there, it then passes back through the Elemental Plane and
manifests upon the Physical. Perhaps the substance of the
plane of forces has more to do with the physical science of
which you speak. It would make sense because the substance
of the Elemental Plane is more closely related to physical
matter than is the astral.
FROM JANA HOLLINGSWORTH There has to be some unity of
physical and metaphysical forces or magic wouldn't function
in the physical world.
BTW, I think it was Arthur C. Clarke who said that any
sufficiently sophisticated technology is indistinguishable
from magic.
----------
ARTS OF WITCHCRAFT: MAGIC & ENERGY
There are many different types and styles of magic involved in
the practice of magical Witchcraft. Some covens/practitioners differ
in the type used; some use all and some may combine only a few techni-
ques. Basically they may be organized into two categories; operative &
ceremonial. The first covers spells, words of power, the use of
unguents/potions, etc. The second is concerned with the operation of
Craft rituals. The aspects of magic can be thought of in this manner:
Sympathetic, ritual, raised, drawn, and sex magic.
Ritual is a means of concentrating and attracting those energies
which are symbolized through the use of gestures, word phrases and
images (symbols, runes, etc). The magical theory being that by acting
out certain symbolic gestures, with concentration upon their meanings,
one can attract sympathetic energies inherent throughout the Universe.
These energies can be directed by the use of one's controlled will.
This aspect is sometimes called the witches' pyramid.
The witches' pyramid is a glyph which symbolizes the mentality
necessary for the directed manifestation of magical energy. It is
comprised of these attributes:
Personal Will
2029
Imagination
Visualization
(all three of these must enclose the expectation of success)
Will
*
(expectation)
* *
imagination visualization
Expectation is essential to a successful manifestation. You must
will a thing to be, imagine the outcome in your mind, and visualize
what it is that you desire. But beyond this you must have the expec-
tation that it will manifest as you desire it to.
FROM MICHAEL MAGEE What in all of Ma Natures perfection is
Sex Magick???? Sounds messy?
FROM RAVEN GRIMASSI Sex magic is the use of energy raised
through sexual union. This is the most condensed and
powerful form of energy which can be raised from the human
body. Some Craft Traditions employ it in the 3rd Degree
Initiation ceremony. In Eastern mystical traditions it is
known as Tantra. The ancient Egyptians employed it as well.
The energy raised in sex magic is sometimes referred as the
kundalini power, or serpent power. The headdress of ancient
Egyptian rulers bore a serpent protruding from the forehead
of the wearer. This was symbolic of the serpent power having
been raised to the 3rd eye, the sign of Divine Union, or
samadhi. The kundalini force is seated at the base of the
spine and governs the sexual nature of the individual. In
magic it is drawn up through each of the Chakra points, to
the third eye, employing sexual energy.
----------
ARTS OF WITCHCRAFT: MAGICAL LINKS
All things connected with a person contain an energy link with
that person. For example, a person's hair holds the vibra-tions of
his/her energy pattern, and by the use of sympathetic magic that
person can be influenced by energy directed to him/her. This could be
used for emotional healing of that person, motivation, or whatever.
The hair acts as a point of concentra-tion and as a kind of "homing
device" for the directed energy. The same is true for unwashed items
of clothing and other personal items. By making an image of an in-
dividual and placing his/her personal items within it, one creates a
center of focus.
2030
Works of magic for the gain of something should be done while the
moon is waxing (new to full) and works to be rid of something or to
undo something should be performed when the moon is waning.
Cord magic is a basic magical tool in witchcraft. The theory
being that by concentrating a desire upon the cords, using them as a
focus, one can raise and condense magical energy. This energy can be
set into the cord itself by knotting the cords at the point of great-
est concentrated effort. In other words, you concentrate on your
desire and make an exclamation of the desire as you quickly make a
knot (pulling it tightly as you confirm the desire). Later, untying
the knot will release the desired effect. This can be helpful when
working with someone who really bothers you a lot. You can set the
message "leave me alone" into the cord (knot) and untying it (sec-
retly) when the person is really on your nerves. In this case you
would simply think about the person so that you raise your emotions on
the subject, then begin to loop the cord into a knot. Before pulling
the cord tight into a knot, visualize the person's face. Then shout
(out loud or within yourself) "Leave me alone!". Visualize the person
leaving you alone as you continue for a moment to exert tension on the
cord.
As with all forms of magic, be responsible when you perform a
work which effects another person. Why you do something is often more
karmically established than what it is that you did. For example, if
you harm someone in order save another person's life as opposed to
harming someone because you seek revenge, there is a difference in the
karma which you are establishing for yourself. Obviously, you should
seek to harm no one in the first place.
----------
ARTS OF WITCHCRAFT: THE UNIVERSAL CONDENSER
Condensers are fluids which are used to carry magical charges.
One method of charging them is to place your hands together palms down
(as you might for a "push-up" exercise) so that the index finger-tips
meet as do the tips of the thumbs. Next inhale deeply, visualizing the
full moon above your head. Bring the triangle opening in your hands
over the condenser liquid and exhale three times through the opening
and upon the liquid. As you do this visualize the light of the moon
pouring down through your head and into your lungs (as you inhale) and
then visualize it flowing out with your breath as you exhale.
The Condenser: take 2 level teaspoons each of camomile flowers
and eyebright and place them in a bowl. Boil two cups of water on an
open flame and then add the herbs. Set the mixture aside to cool for
15 minutes. Then filter the mixture through four layers of clean linen
cloth/cheesecloth.
This condenser can be used medicinally as a lotion or magically
for evocations (also to improve clairvoyance). Diluted in 7 parts of
warm water it can be drank for stomach problems. Undiluted it can be
used for various minor aches & pains by applying it to the area with a
cotton soaked pad for 1 - 2 hours. Ears can be treated by applying
2031
it with cotton balls in an "earplug" fashion. For clairvoyance place
soaked cotton balls upon your closed eyes for about 20 minutes. To
increase occult sensitivity in the palms of your hands (for psycho-
metry) use the cotton pads on your hands for the same 20 minute
period.
----------
ARTS OF WITCHCRAFT: MAGICAL USES OF THE FOUR ELEMENTS
There are four basic systems which are useful in creating magical
influences related to the four elements of earth, air, fire and water.
Fire works through combustion, water through mixture, air through
evaporation, and earth through decompo-sition. These aspects are
incorporated in the completion of a spell or other magical work.
Generally you will have some material left over to dispose of (wax,
ashes, and so forth) and it is correct to use one of the elemental
methods to complete the final stages.
If your spell was to influence a person then the earth element is
used. If it was to accomplish a specific goal then fire is good.
Romantic works are best with water and matters concerning mental
creativity employ the element of air.
The following examples can be used to complete whatever spell you
were working on.
FIRE: Take a piece of paper or cloth and moisten it with the univer-
sal condenser. Place this in front of you and concentrate on the work
of magic. Strongly imagine your thoughts to be filling the material.
Imagine your desire being "written" by your thoughts across the
material. When your concentration is breaking then the material is
fully saturated. Now simply burn the cloth or paper in an open
fire. While it is burning concentrate on your desire. The
fire releases the charge and merges it with the element.
AIR: Take a small metal container and fill it about half full. Add 3
drops of universal condenser. Put the container over a flame and
concentrate upon your desire as you gaze into the water. As the steam
begins to rise, imagine your desire being drawn up and carried off.
Continue until all the water has been evaporated.
WATER: Take a container and fill it about half full with fresh water.
Add 3 drops of universal condenser and 3 drops of rubbing alcohol. Now
impregnate the water with your concentrated desire. When you feel that
it is full pour the water into a stream, river or any moving body of
water.
EARTH: With this element your concentration is centered on the
universal condenser which you place in a jar after it has been loaded.
Then this is poured out over a selected spot of earth to be absorbed
directly into the element of earth.
FROM JANA HOLLINGSWORTH A good, useful, practical note. It
seems people often use the four elements only for casting a
2032
circle, or simply have them represented on their altars.
It's a good idea to use a specific element for a specific
purpose, rather than always calling on all four. I suspect
these spells would be best performed outdoors, making the
elements seem more real. Pouring one's spell-water into a
stream would feel better than pouring it down the drain.
----------
ARTS OF WITCHCRAFT: THE COMPONENTS OF RITUAL & MAGIC
There are essentially five so-called ingredients which comprise
the art of creating successful works of magic, or effective ritual.
You can adapt them, or arrange them according to your own needs, so
long as you employ them all. They are:
1. Desire
2. Timing
3. Imagery
4. Direction
5. Balance
Let's look at each one and gain an understanding of the concept.
DESIRE: this can also be thought of as motivation, temptation, or
persuasion. You must be sufficiently moved enough to perform a ritual
or work of magic, in order to establish enough power to accomplish
your goal. If you care little about the results, or put only a small
amount of energy into your desire, then you are unlikely to see any
real results. The stronger the need or desire, then the more likely
it is that you will raise the amount of energy required to bring about
the change you seek. But desire or need is not enough.
TIMING: In the performance of magic, timing can mean success of
failure. The best time to cast a spell or create a work of magic is
when the target is most receptive. Receptivity is assured when the
target is passive. People sleep, corporations close over-night &
holidays, etc. One must also take into account the phase of the moon
and the season of the year. Work with nature and not against it.
IMAGERY: The success of any work also depends upon images. Anything
which serves to intensify the emotions will contribute to success.
Any drawing, statue, photo, scent, article of clothing, sound or
situation which helps to merge you with your desire will greatly add
to your success. Imagery is a constant reminder and acts as a homing
device in its role as a substitute. Imagery can be manipulated and
modified "all according to the will of the witch, and the very
blueprint that is created by imagery becomes the formula which leads
to realization of desire". Surround yourself with images of your
desire and you will attract the proper vibrations which will attract
the object of your desire.
DIRECTION: Once enough energy has been raised you must direct it
towards your desire. Do not be anxious for the results because
anxiety will act to draw the energy back to you before it can take
2033
effect. Try to give the matter no more thought so as not to drain its
effectiveness. Mark a 7 day period off on your calendar and evaluate
the situation 7 days later. It usually takes about 7 days for magic
to manifest (one lunar quarter).
BALANCE: The balance factor is simply the "reality check" or prac-
tical mentality which keeps you focused in actuality. You must
discern the need for any work of magic you engage upon, and take into
consideration the practical concerns of the phase of the moon and
other factors. Remember that every work of magic has an ongoing
connection with yourself, and you must consider the intent of your
actions. This deals with what many call "the 3-fold law". According
to this teaching, every magical act with return back to you with more
increased intensity (sort of like tossing a rock up in the air, and
having it speed back down upon you). This is also an aspect of
'Karma", or the accumulation of debts which must be paid (in a mys-
tical sense).
The balance factor is also applied to any perception of super-
natural manifestations, psychic attack and so on. Always consider the
mundane causes first before you leap into a paranoia of supernatural
attack. When things go "bump in the night" it more likely your cat
than it is a spirit. There is an old saying in the medical field
concerning diagnosis: "When you hear hoof beats, think horses before
zebras". I think this applies to magical or psychic phenomena as
well.
MICHAEL POE
ANCIENT EGYPTIAN METAPHYSICS
Many requests for me to do some teaching (largely from a book
that I am now writing on ancient Egyptian Metaphysics and Personal
Worship) about metaphysics, worship and the ancient Egyptian trad-
itions. To start off, I want to briefly quote some ancient Egyptian
philosophers to give you the gist of ancient Egyptian philosophy and
Metaphysics. The next note I enter will be on general comments on
ancient Egyptian metaphysics. The material I will use is NOT from
Masonic or Rosecrucian but from authentic Egyptian sources. In many
cases I can quote the exact sources, most are translations of papyrus,
temples, tombs, etc. Having studied the subject for 33 years, gotten a
degree on the subject, and working on the book for 10 years, I will
pass on some of what I have learned. All of the translations are from
Egyptologists and Archaeologists. To quote an old Egyptian philosopher
(found written on his tomb), Ptah hotep :
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