The Transformation of “Witchcraft”



I came of age in the 1970s. Those were the early days of the feminist movement. I always loved femininity, so the idea of becoming a miniature – (and the was the word they used) man had no appeal foe me.  I was always a rebel and wanted to be seen as a realm person, having equality with men, but I did not want to be one. I was also always very drawn to the moon. I was a natural clairvoyant and telepath, and artist and visionary. Of curse back then there was not really any language for those things, especially in traditional New England. I had to come to the west coast to find put that I “wasn’t really from here.” and that I ” shouldn’t try to fit in.”

In the 1980s the Women’s Spirituality Movement emerged. I have since learned that most “movements” are concocted by socila engineers to promote their hidden agendas and that indeed the feminist movement was a CIA psy-op designed to get women  into the workplace so they could be taxed.  But since I had to deal with this movement, spirituality resonated with me much more that any corporate ambition. I was working class so that was all Greek to me.

The books were pretty good too. The Jungian things, books like Moon Moon by Anne Kent Rush produced in those hand made 1970;s hippy style paperbacks, books like Margaret Murray’s God of the Witches, and especially Dione Fortune’s Sea Priestesss. I had also studied Surrealism in art school and read about the girl friend of one of the famous painters or poets…hmmm. I think Paul Eluard, describing his girlfriend as mysterious, in the garden at night, a witch. These works resonated with me and my natural affinity to nature.

I grew up in nature. My playground was the woods, exploring the woods, discovering wildlife, reading fairy tales, dressing in my mother;s cats off clothes, pretending to be otherworldly among the trees, at the woodland lake, in the meadow with the ancient stone walls. Woman as sibyl, as shamaness, as fairy take witch had a great appeal for me. I was not alone in this. We all grew up much closer to nature than people do now despite their “green movement” which isn’t really green but corporate. The forest was my refuge and my healer, a place of magic.

As a forest person, I’d always been naturally attracted to Druidry. The White Goddess by Robert Graves sealed that resonance for me.

Over the last 20 years a very dark strain has entered in. Via heavy metal music, horror films,  books. Satanism has replaced the lovey celebratory nature of the seasonal rituals and “witchcraft” seems to be deteriorating into the evil that our Medieval ancestors  feared. Perhaps even then the art of the wise woman, the healer , the shaman, the cunning man deteriorated into evil, just as the pagan religions fell into orgies of human sacrifice and war.

This development has been extremely distressing to me. I do not want to be associated with this darkness. When I played Cameron / Babalon in Babalon in London, I did it as a creative project ( I had been an actress at one time). I had no idea who jack Parsons and Marjorie Cameron people were. Playing the Babalon roletwas fun, but as I hate war, I was disturbed at the Jack Parson’s excitement invoking “Force and Fire, my friend, Force and Fire” as the most desired reality in the Aeon of Horus. I never liked Crowley and still don’t. I am not a destroyer, but a preserver and creator. I feel I’ve spent my life watching everything I love being destroyed.

Now, I feel the old mythopoetic path of witchery is being destroyed. This probably has more to do with why I don’t write to this blog any more than anything else. These ideas work great in fiction, so that is where I will explore these themes. In fiction light and dark can dance without raining bombs on innocent people in sacrifice to some awful un-God. The theme of human sacrifice haunts us all because it is in our ancestral memories, but frankly it is the devil in the psyche that Christ sought to redeem so that it could end forever. The whole thrust of Christianity is to raise consciousness to a high vibrational level, thereby starving the dark lords and escaping their clutches. This is why they hate Christ. I never hated Christ. In fact, before I lived in London, my witchcraft was solidly aligned with the Virgin Mary.

Anyway this is my little rant. I wish for all my readers who are drawn to Malifecium that you see the error of your vision, that is it is a form of demonic brain washing manufactured to bring you down to the lowest common denominator. It backfires. It will not feed you.

The Wicca religion is filled with beauty, but one must always know that the God it celebrates is the Devil. It doesn’t have to be, but it seemd to be going more and more in that direction. This is the Being that is being uploaded into the ethers now. Not a nature God, or joyful, fertilizing spirit, but something evil.

Maxine Sanders even writes about it in the opening to her autobiography, Firechild describing a Druid ritual at Stonehenge in 1968:

“The ceremony went on until the killing of the old king when, after a few moments of dramatic knife waving it became apparent that the play acting was taking a sinister turn. Alex ( Sanders) was suffering sincere but blunt jabs that were trying to penetrate the beautiful, luckily thick, robes he was wearing; there was terror in his eyes and panic in his voice. The normally sedate priests and priestesses were screaming for the lifeblood of the old Oak King, the king of the witches, my husband…. This was witchcraft!”

So it was spelled out even then. I am curious about what you think.

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Ogham: The Mysterious Language of Trees – part 2

The Alphabet of the Gods

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According to the Irish Bards of old, the Ogham was received by a great poet, mac Elatha mac Delbeath from the God Ogma Grian-ainech or Ogma Sun-Face, a mercurial God of language and poetry. It was instantly conceived as a magical tool. One only has to cast the mind back to the times when uttering spells and charms was enough to change reality at will, or to recall the opening of the Bible, “In the beginning was the WORD”, in order to grasp the power of letters and language in the old world before books usurped the power of communication and turned language into a standard collection of letters printed on pieces of parchment. Of course every witch knows that books themselves in those times were believed to be magical, and for some of us, they still are.

The first letter written was the Ogham for Birch, Beth, carved seven times on the birch bark paper by Ogma for the God Lugh, as an oracle to warn him that his wife would be carried away.

Blogger, Kevin Jones, at: www.taliere.tripod.com, has these interesting things to say about the word Ogham:

Ogham is named after Ogma. However, in Greek ogmos means a line, row or
furrow, which is quite an apt description of Ogham… In Scots Gaelic the word
for Ogham, oidheam, means ‘a notion of anything, an idea, an inference, hint’.
This is an accurate description of the Ogham. The cognate word in Latin,
agmen, means both ‘boatmen’s oars’ and ‘speech’, which is very apt! There is
also the rather obscure word ogygia which is best translated as primeval or
‘before time’. This may or may not be related but if it is, it is apt since the
Ogham does concern primeval things.

Primeval…yes! What could be more primeval than the trees and the sky and
the birds and the earth?

Wooden portal of the Stave Church at Urnes

Deer nibbling the leaves of the Ash Tree
that is also like a door into the Otherworld.

Witches Wheel

Two trees on either side of a path can be perceived as gateways
into the Otherworld. Therefore you must pass between two birches on the Eve
of Samhain, or All Soul’s Night, to begin your journey around the Wheel of the
Year through the grove of sacred trees.

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photo:Michael Hudson

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As pretty as the correspondences are, I feel the current popular trend of creating Celtic Tree calenders with Birch on the threshold of January is  wrong. The Ogham is an ancient Celtic system. The ancient Celtic calender, and one adopted by many who follow a magical Celtic path, begins at Samhain and the Rites of the Birch are meant to be carried out at that time.

Robert Graves, author of The White Goddess, was among the first to popularize the Ogham as the sacred alphabet of the Celts.  He also claimed that all true poetry sprang from this sacred source, magical words formed of magical letters seeded in the subconscious of the inspired poet, and behind that was the power of the Great Goddess. His description of this alphabet, which he called Beth, Luis, Nion, or Birch, Rowan, and Ash respectively, follows the Celtic year of thirteen lunar months. beginning on November first.

I am following the order of trees in a poem I wrote in the early 1980’s called Witches Wheel. I wrote this poem under the influence of The White Goddess, well before the New Age version of Ogham hit the bookstores under the guise of “Celtic Astrology”. Each tree in this book is accompanied by a stanza of this old poem of mine, which was the first poem I ever had published. Even this order is unusual, but it the one that works for me. I give my reasons in the text, though I wrote the poem in a completely intuitive, stream of consciousness state that intellectually justified none of my choices.

The truth is that the idea of a Celtic Tree calender has more to do with the Celtic Twilight of the Victorian Age than with any historical facts. Nevertheless, it is still a beautiful concept that inspires the imagination and gives us a sense of place in a world where human beings are increasingly alienated from nature.

As one who resonates with the most primal levels in magic, I will attempt to reach back intuitively  into the origins of the Ogham in the mists of the “Dark Ages” on the British Isles.  Fact or fantasy? Who cares!

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The Erotic Realm of Faery

The Erotic Realm of Faery

What are Faeries Really?

The gorgeous production of A Midsummer Night’s Dream by the Ballet Russes is charged with eroticism and the glamor that goes with it. Indeed Shakespeare’s play with its two pairs of lover lost in the moonlit forest, love spells, jealousies, flirtations, deceptions, bands of flower fairies led by the Trickster Faun, Puck,  is a rite of fertility magic. The choreographer has captured the hive quality of fairy beings, fused together in dances of sensuality and ecstasy. Oberon enters with his train of night and crown of branches. Beside him is the child, a grim reminder of the sacrifices of old, for it is Midsummer when the Summer King gives his life to the harvest. Titania is tricked by Puck into making love to one of his hoofed brethren, a donkey, for the fairies do not discriminate.

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Faeries are more than nature spirits. They are the spiritual Intelligences of the earth. Its is Faery from which life springs and to which it returns in never-ending cycles of death and rebirth. Earth is a sexual planet. We see this all around us: constant reproduction, growth, flourishing, impregnating and dying off so more life can be born. This is what earth does. It what faeries do. Therefore Earth is also a Love planet, for love charges eroticism with spiritual power. Mothers tend their young with love so that they will have the strength to survive.

Faeries serve the life force. They are morally neutral but can be bent to human will. To those in harmony, the faeries will appear beautiful and grant gifts of knowledge and creative power. To those of wicked intent who call upon them for selfish purposes, the fairies will take on that pollution.

It’s sad that so there is so much left hand path magic going on today because the spirit world is darkening and suffering and becoming distorted by it, and we see what is happening to the earth. The dark and light Seelie Courts are a totally modern pop phenomenon brought about during the primal rift that separated the worlds.

In the old fertility religions, the peasants would couple in the fields in imitation of the faeries. They shared the erotic life of Faery in recognition that this is the way of the Earth. Done with full spiritual awareness of the energies involved, this was good magical participation at the high tides of the solar festivals. I believe blood sacrifice associated with Midsummer were a degradation of the original rites, because blood was used to embody spirits. This was not necessary before the coming of the Wasteland.

Reynolds-Puck

Wells and Springs are Entrances to Faery

Wells were one of the main entrances and exits between Faery and the outer world. The Arthurian Legend of the Wasteland describes what happened when these portals between the worlds were shut down by invaders. In The Elucidation, the tale is told of a temple of priestesses that tended the sacred wells.  A drink of water from the Priestesses of the Wells was charged with healing power because of its links with the Love vibrations of the Earth and wisdom of the Faeries.

An army of brutal, warlord invaders, led by King Amangons, attacked the Priestess’s temple and raped them and stole their sacred goblet. After that, the wells were closed and the faeries were buried underground, no longer able to interact with mortals and help the earth to flourish. rape destroyed the the sacred sexuality of women and corrupted the lustiness of men to brutality. The continuity of the life forces was severed, the links between the world broken. Thus the earth did not bear fruit and was laid waste.

This was when the sacrifice of the Summer King came about represented by the little boy who is King for a Day with Oberon.

The importance of Faery can thus be seen as very great. Every wound to Mother Earth is a wound to Faery and to the spiritual envelope that is the Anima Mundi or Soul of the World. can we restore the Wasteland before it too late? Even in the Arthurian legend in the 12th century the Grail, representative of the cup of the  Priestesses of the Wells, was withdrawn because of war and destruction of sacred sexuality and feminine.

theladyofshalott_rossetti_1857Lady of Shallott, Rossetti

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