The Watchers

The Watchers, or Grigori, are ancient angelic beings associated with stellar lore that watch over witches. They are sometimes envisioned as the Watchtowers of the witch’s circle.

In the stellar cults of Mesopotamia there were fourstars known as Lords or Watchers. Each of these stars “ruled” over a cardinal point of the compass, circa 3000 BCE. Aldebaran was the star of the Vernal Equinox, and was the Watcher of the East. Regulus, star of the Summer Solstice was the Watcher of the South. Antares was the star of the Autumnal Equinox and was the Watcher of the West. Finally Formalhaut was the star of the Winter Solstice and Watcher of the North. Seven-stepped pyramid towers were constructed bearing symbols of each of these four stars and times of year. These ziggurats formed the first instance of the Watchtowers.

The Watchers are echoed in the four winds of the ancient Greeks, and in the four Archangels of Christian belief: Michael (Fire), Gabriel (Water), Raphael (Air), and Auriel (Earth). However, the Watchers are also mentioned as fallen angels in the apocryphal  Book of Enoch. These Watchers are said to have instructed the daughters of men in certain magical arts. The usual associations are as follows:

• Araqiel: signs of the earth
• Armaros: enchantments
• Azazel: masking, smithing, and witchcraft
• Barqel: astrology
• Ezequeel: signs of the clouds
• Gadreel: making weapons
• Kokabeel: stellar lore
• Penemue: written spells
• Sariel: lunar magic
• Semjaza: herbal magic
• Shamshiel: solar magic

These Enochian Watchers were said to have mated with the daughters of men and produced a race of giants, the Nephilim, who were gifted with magical powers. These Nephilim possessed odd genetic traits that are similar to the “Witches’ Marks” of old, such as giantism, extra teeth, polydactylism, and supernumery nipples. Indeed, some modern witches still claim descent from certain specific fallen angels.

Qayin Lore -- Melek Taus, Lucifer, Azazel, Shamash

Melek Taus

All Gods are not one God. The Ancients didn't see it that way, and we are not trying to put forth that claim, either. And yet, there are Gods -- great, ancient spirits (daemons ... δαίμων) who are so closely related in myth and religion that we can't mistake their relation. Just as a Red Thread connects us to the Witchfather who brought the Cunning Fire to humanity, so too does the Red Thread connect many of beings from whom mankind has sought wisdom.

This is our experience with Azazel (who is called a demon -- literally, a "spirit"-- and an angel -- "messenger"), Qayin/Cain and Tubal Cain, as we've expressed in other posts. Very directly, in our communications with the Witchfather, he uses these names of himself almost interchangeably, and we have come to use them the same way.

There are other sources of information, though, that inform our understanding of Qayin-Azazel, and we'd like to share them.


Melek Taus

"Melek" means "king" or "angel" and "taus" means "peacock." The peacock angel is the central figure, the benevolent and creative demiurge, of the Yezidis. He is seen as repentant after the fall from God's grace, his tears quenching the fires of hell.

Though the Yezidis would disagree, others in the Arabic world (particularly those practicing Islam), equate melek Taus with Lucifer or Satan. Kabbalistically, Yahweh rules in the heavenly/spiritual kingdom of Kether, and Melek Taus (Lucifer/Azazel) rules in the earthly kingdom of Malkuth.

Within the sacred text of the Yezidis, the Black Book, specific reference is made to Azazel, equating the Peacock Angel with Azazel. There are several versions of this book extent from the Middle Ages, copies transcribed online.

Alchemical Symbol for Antimony

Azazel and Alchemy


We have touched on Azazel before, but there are some specific and noteworthy things to share about Azazel's connection to alchemical lore.

Enoch reveals to us that Azazel shares with humanity "all the metals and the art of working them...and the use of antimony." As it turns out, antimony (or stibium), was critical to the alchemical process of creating the Philosopher's Stone. This same element was called kuhl (or kohl) by the ancient Arabs. (You might also recall references to women decorating their eyes with this substance, and that art also being taught by Azazel. This may, in fact, have been a veiled reference to the alchemical process and not to cosmetics at all.)

Sir Roger Bacon tells us that when antimony is processed with vitriol, it is reduced to a "noble red oil" with all of the lesser sulfur having been purified out of it in the process. Red, then, is Azazel's color.

It is doubly his color when we consider that man is made from red clay, according to Middle Eastern tradition, and that Azazel is master of the material world from which man is made.



Lucifer


Oh my Holy Goat, there is so much that needs to be said about Lucifer in relation to the Witchfather. There is so much dross to sift through, so much misinformation that has been propogated about this one figure over the millenia, to reach the golden kernels of wisdom.

For now, let's keep it very simple, shall we?

Lucifer is the "light-bearer." He is Qayin in the East, the Morning Star. He is the torch-bearer of wisdom, inspiration, the Divine Spark, the Cunning Fire.

He is "Prometheus" (literally, "fore-sight"), who rebelled against God (the Gods) to give Fire (the Cunning Fire) to mankind and fell from Divine Grace.


Utu/Shamash

The Nephilim, the "Fallen Angels" or spirits who descended into the material realm to interact with and guide mankind, were first seen as the "Shining Ones" or Gods of Sumerian lore. We've mentioned them before, and we'll write more about them in future posts, but for now, I'd just like to make the connection between Utu/Shamash and Azazel.

It's not a new connection. We're not the first to have made it, by any stretch. You can read this account, for starters. (There's lots of information there about goetic daemons and their counterparts in other lore.)

Utu is the Sumerian name, while Shamash is the Babylonian name for the Sun God of justice,law and salvation. He is linked in a triad with the Nannar-Sin (the Mood God) and Ishtar (the fertility-Earth Goddess, who incidentally is represented by the planet Venus, the Morning and Evening Star).

Ishtar and Shamash are divine twins.

Tubal Cain: an Introduction

Names
Tubal Cain, T'Cain, Qayin, Qābīl, Kain, Vulcan, Hephaestus, Wayland, Gobannus, Atho, Janus, Óss, Azazel, Azazil, Melek Taus, Lugh

Stations of the Wheel
East and West, Samhain and Beltane, October & May, Gates of Fire and Water, Blood and Merry Moons

Totems
Cow, Hawthorn, Bee (May) Toad, Elder, Crane (October)

Tools
Sword, Stang, Shelg, Anvil

Of special interest to Witches is the concept of the Smithing God. Metalsmiths were among the first alchemists, and, by virtue of their powers of transmutation of ore into steel, they were once credited with magical powers. Blacksmiths were considered the mages par excellence of this group, and today we find iron horseshoes (iron ore transformed into the God's horns) prized as good luck symbols. The Smithing God is often associated with lameness, which is attributed to a folk practice of laming the village smith so that such an important member of society could not leave. The shambling step of the lamed God is echoed in the most basic Witch dances.

Tubal Cain appears to mean "he who spices the craft of Cain." Gordon Wenham suggests that the name "Cain" means "smith”, or that he is called "Tubal Cain" in order to distinguish him from the other Tubal, the son of Japheth. Henry Morris suggests that etymologically, his name is "the progenitor of the name of the Roman God Vulcan."  Tubal Cain is sometimes thought to be the progenitor of the Celtic peoples.  He is the “first ancestor” and the Witchfather.

Genesis 4:22 says that Tubal Cain was the "forger of all instruments of bronze and iron" or an "instructer of every artificer in brass and iron". Although this may mean he was a metalsmith, a comparison with verses 20 and 21 suggests that he may have been the very first artificer in brass and iron. T. C. Mitchell suggests that he "discovered the possibilities of cold forging native copper and meteoric iron." Tubal-cain has even been described as the first chemist.

According to the Book of Enoch, which brings Azazel into connection with the Biblical story of the fall of the angels, located on Mount Hermon, a gathering-place of demons from of old.  Azazel is represented in the Book of Enoch as one of the leaders of the rebellious Watchers in the time preceding the flood; he taught men the art of warfare, of making swords, knives, shields, and coats of mail, and women the art of deception by ornamenting the body, dying the hair, and painting the face and the eyebrows, and also revealed to the people the secrets of witchcraft and corrupted their manners, leading them into wickedness and impurity.

According to Luciferian tradition, Azazel and Tubal Cain are the same entity.  Azazel having chosen Tubal Cain as his earthly vessel when he lead the rebellion of the fallen angels.  Tubal Cain is of the line of Cain, through his father Lamach, marking him with the holy blood of Lucifer.  By teaching the daughters of man witchcraft, Azazel/Tubal Cain became the Witchfather.

Prayer of Cain Al' Shajarat
(or Tree/Green Cain, Master of the Forge)

Holy Master,
First and Most Cunning of Tillers
By fragrant smokes
And the power of Thy name
I hallow Furnace, Forge, and Flame:
Cain Al' Shajarat,
Sa'Ira, Sa'Ira, Sa'Ira.


Holy Master,
Unto the Craft of the Green
And the Spirits of the Wise
Bear thou from shadow Celestial Fire
And cause the Dead the rise:
Cain Al' Shajarat,
Sa'Ira, Sa'Ira, Sa'Ira.


Holy Master,
Nine times they Name be sung;
Temper these hands and their Work
In thy Fornax and Forge
For Thine is The Kingdom!
Cain Al' Shajarat,
Sa'Ira, Sa'Ira, Sa'Ira.

~Ars Philtron by Daniel A. Schulke

http://www.chabad.org/library/bible_cdo/aid/8168/showrashi/true
http://en.wikipedia.org/wiki/Azazel
http://www.thevesselofgod.com/theluciferianlegacy.html

The Line of Cain

Are Cain, Tubal Cain, and Azazel the same entity?  Yes!   And no...

Cain, Son of Eve

Cain/Qayin is the son of Eve through the serpent, Ha-satan. In Genesis when Eve says "I have begotten a man with the Lord" she is referring to Lord Satan-Lucifer.  His brother Abel was the son of Adam and Eve, a creature of clay made flesh, whereas Cain was a creature of spirit made flesh.

Cain was the first to till the earth and harvest plant matter. For this reason he is known as the Lord of the Green Kingdom.  While Cain harvested plants, Abel shepherded flocks of beasts.  When the time came for Cain and Abel to make offerings to Yahweh Abel's offerings of blood pleased Yahweh, but Cain's offerings of burnt plants did not.

It was for this slight in the eyes of Yahweh that Cain killed Abel.  Cain offered forth his most cherished gift of blood (his own brother) to Yahweh.  Abel's blood watered the field and made it fertile. The Necrosophic tradition claims that the blood of Abel that 'watered' the garden also empowered it, making the plants within linked to the bloodline of Cain. This is also the origin of plant spirits or the "Black in Green."

Because of the fact that Cain was the first murderer of man, he eventually became the reaper.  He is the Lord of the Western realms, and the guide of the dead.  Cain was also marked for his crime, and it is this mark (the Witches' Mark) that all children of Cain carry, though in diluted form.

Azazel and Tubal Cain

Azazel was chief among the angels in the story of The Fall of the B'nai Elohim in the Book of Enoch.  The B'nai Elohim is a term that refers to angels. It occurs four times in the Old Testament and is rendered "Angels of God" in the ancient Septuagin translation. These fallen angels, or Watchers, descended to the realm of matter (earth) where they took the descendants of Cain as human vessels. They took women as their wives, taught them, witchcraft and other skills. Azazel took Tubal-Cain, the blacksmith, as his vessel and further improved the arts of smith craft and witchery. Naamah was the human vessel of Nahema-Lilith (Lilith the younger or Lilith's daughter).


The Nephilim

The children of the watchers were the giants known as the Nephilim, which derives from the Hebrew naphal (to fall), or the Fallen Ones. (The Greek Septuagint renders this term gigantes, which actually means "earth-born." This is often misunderstood to mean "giants".  They were marked by extra teeth, extra fingers and toes, double crowned skulls, giant-ism, and other traits that future generations would interpret as witch marks.

The Watchers were originally the four stars Aldebaran (the East), Regulus (the South), Antares (the West), and Fomalhaut (the North).  Witches then, are those who can trace their bloodline to Cain -- the Red Thread -- and are the children of the stars.

For more information:
http://theisticsatanism.com/CoEvan/arguments/henotheism/Devil.html
http://www.ixaxaar.com/

Widdershins, Sunwise, and Calling the Circle

Because we have set out to make this a family tradition, sometimes our daughter comes to us with questions that we have taken for granted.  Earlier this week she asked us about what widdershins means and what it is used for.

Widdershins (sometimes withershins, widershins or widderschynnes) means to take a course opposite the apparent motion of the sun, to go anticlockwise or lefthandwise, or to circle an object by always keeping it on the left.[1] The Oxford English Dictionary's entry cites the earliest uses of the word from 1513, where it was found in the phrase "widdersyns start my hair", i.e. my hair stood on end.

The use of the word also means "in a direction opposite to the usual", and in a direction contrary to the apparent course of the sun. It is cognate with the German language widersinnig, i.e., "against" + "sense". The term "widdershins" was especially common in Lowland Scots.

~Wikipedia "Widdershins"

There are many groups that choose to work either exclusively widdershins -- especially those that tread the mill -- or its opposite, sunwise (also known as deosil).  

 In Scottish folklore, Sunwise or Sunward was considered the “prosperous course”, turning from east to west in the direction of the sun. The opposite course was known in Scotland as widdershins (Lowland Scots), or tuathal (Scottish Gaelic, lit. northerly), and would have been counterclockwise. It is perhaps no coincidence that, in the Northern Hemisphere, "sunwise" and "clockwise" run in the same direction. This is probably because of the use of the sun as a timekeeper on sundials etc., whose features were in turn transferred to clock faces themselves. Another influence may also have been the right-handed bias in many human cultures.

This is descriptive of the ceremony observed by the druids, of walking round their temples by the south, in the course of their directions, always keeping their temples on their right. This course (deiseal) was deemed propitious, the contrary course, tuathal, fatal, or at least, unpropitious. From this ancient superstition are derived several Gaelic customs which were still observed around the turn of the twentieth century, such as drinking over the left thumb, as Toland expresses it, or according to the course of the sun. Wicca uses the idiosyncratic spelling deosil - however, this is not used in any of the three Gaelic languages.

~Wikipedia "Sunwise"

 We choose to tread the mill in both directions, depending on the nature of the rite.  We use the mill to lead us either up and out or down and within.  When treading sunwise, the energy rises upward spiraling us into the first realm, Ceugent. Treading widdershins brings the energy down into the land where we can access the third realm, Abred.  Neither of these movements is more desirable than the other, they are both as necessary and as benign as the positive and negative poles of a magnet.  

So, when casting the caim by calling in the gates and castles of the circle which way direction do we choose?  Many traditions call sunwise and dismiss widdershins, but we work the circle in a completely different pattern.

When casting the caim we call inward towards the Spiral Castle.  We call the gates and castles two-by-two to create the old straight track that joins each gate to the center like the spokes of a wheel. 

The circle is thrice cast, as of old, but by the power of the gates and guardians, not by the power of ourselves as casters.  The circle is cast not to hold energy out or even in, but to sain the space.

First we call to the realms, Ceugent above, Gwyned between, and Abred below.  This is the first circle. 

Next we call by honoring the station that the Spiral Castle is turned to in the year wheel.  Therefore, since it is now March as I write this, and the Spiral Castle is open to face the Spring Equinox, we would begin by calling the Castle of Revelry, acknowledging its treasure, the Golden Lantern, and its sovereign, the Golden Queen.  We would then call along the Path of the Queens across to the Castle Perilous, home of the Silver Queen and the Holy Grail.  We continue by calling along the Path of the Kings to the Stone Castle and the Glass Castle.  Each of these paths meet in the center at the stang, or Spiral Castle.  This is the second circle.

The third circle is that of the gates, or Airts, where we call to the four elemental quarters and the Great Gods of our Tradition.  We call to the White Goddess and the Black Goddess through the South and North gates, homes of Earth and Air.  This is the Path of the Rose-Painted Wagon, which is a mystery.

We then call along the Path of the Sun, East to West, dawn to twilight, the road of Tubal Cain.  In the East shines Lucifer/Malek Taus/Azazel, light-bringer, lord of creation and inspiration.  Tubal Cain stokes the forge and the sun rises, the cunning fire rises, the light of reason rises.  Fire blazes forth from the Eastern gate, filling us with warmth and force of Will. 

We echo that calling to Tubal Cain in the West, Lord of the quench tank.  Here Tubal Cain is the Dark Lord of Death and Magic, who peacefully shepherds those beyond the veil, and raucously leads out the Wild Hunt.  He comes from the Western gate, place of Water, land of the setting sun, place of the Blessed Isle of Avalon.  Here lies the weapon of the helm, the mask, the Helkapp by which Death comes silent and invisible.

Thus is the third circle cast. 

Together the three circles, sending out rays in all directions: above and below, north and south, east and west, and all places between, build the Spiral Castle, the stang which we use as a gandreigh to travel out to each of the realms, and all of the places between.

By treading the mill sunwise or widdershins we can travel out or send forth energy to wherever and whenever we choose, guarded by our Gods, and the Watchtowers of legend.

The Lame Step

The "lame step" is one of the old and identifying markers of Witches and of their God. And their Goddess. Nursery rhymes show us the evidence of the lame step in magic, the Forge God (the first and mightiest God of the CRAFT) is more often lamed than not, and the Witches' Goddess  hobbled on a goose's foot.

Let's look at these examples, and then, let's look at what the lamed step signifies.

Azazel (T'Qayin)

The Forge God and the Lame Step

The lame step could be said to originate, as it relates to magic, with the God of the Forge. As Glaux pointed out in her post regarding Witch Blood and Witch Marks, the first being worshiped as a Forge God has been linked to magic. (In his book Masks of Misrule, Nigel Jackson notes his assertion that T'Qayin and Azazel are the same being.) Nearly all Forge Gods were depicted with a lame step or a misshapen leg in antiquity. The mundane reason for this was very likely due to the residual heavy metal poisoning suffered by actual smiths -- or the fact that otherwise strong men who had suffered some crippling childhood disease or injury could still be trained to blacksmith work. Whatever the case, the image of the smith is intimately linked with that of hobbled or ham-strung, yet powerful, man. A man who understands something (and potentially EVERYTHING) related to the alchemical process, and therefore magic. In the case of T'Qayin and Azazel, this image is that of a goat-footed God.

The goat-foot is one variation of lame step, and it is very intimately linked to the forge. That heavy metal poisoning we discussed bunched the muscles of the leg in a way that it pulled the smith's legs and foot up into a position like he was walking on a stiletto heel. Goat-footed God.

The Goose-Footed Goddess

Goose-Foot

The lame step appears again in the Witches' Goddess in at least one instance. In France, there is a notable story of La Reine Pedauque, the goose-footed queen. Though there is some casual optimism that her story is based a historical queen (named Berthe, who loved spinning fanciful tales for children), the goose-foot is never satisfactorily explained. What is absolutely clear is that La Reine Pedauque becomes (or always was) Mother Goose. Clearer still, with even a little digging and reflecting, is that Mother Goose, is so closely related to the Teutonic Hulda that they are reflections of one another.

Frau Hulda, Mother Hulda, Holda, Holle, Hel. She rides a goose through the night sky and is a spinner. She is the Dark Grandmother and the White Lady. In our Tradition, she sits in the Castle of Revelry at the Spring Equinox, the balance of light and dark and guards the Golden Lantern.

With her goose-foot, she shows us another aspect of the lame step.

The Lame Step in Nursery Rhymes

Cock-a-doodle-do!
Cock-a-doodle-do!
My dame has lost her shoe,
My master's lost his fiddle stick
And knows not what to do.


Cock-a-doodle-do! 
What is my dame to do?
Till master finds his fiddle stick,
she'll dance without her shoe.

Glaux and I love (and I mean LOVE) picking apart nursery rhymes for folkloric Craft clues. We'll have to do some entries dedicated to some of the goodies we've found in them. This one caught our interest on a number of levels. I'll stay away from the bits about how the magister needs his blackthorn staff (the master's fiddle stick) and just point out that the dame is inviting the lame step here. Lots of nursery rhymes feature characters with just one shoe. This forces them to hobble a bit -- like their God, like their Goddess. Here, the dame MUST, but then she goes into it gladly, dancing within the compass.

I can think of three others where characters lose a shoe. In one, the boy goes to bed in his stockings, but missing a shoe. In the second, a girl has lost one of her holiday shoes. In the third, the princess dances out of one of her shoes (and again the fiddler is mentioned). All of these not only point to the lame step, but also to the Witches' Sabbat.

What is the Significance of the Lame Step?

The lame step, we've come to realize, is a marker for those who walk between the worlds. Symbolically, it represents having one foot in consensus reality and one foot in the realms beyond the veil. The lame step is a way of showing that you are between the worlds.

Before we had even made this connection, Glaux and I had decided that the compass would be laid by treading the mill using the lame step.

Papa Ghede

Interestingly, Glaux recently had a discussion with a friend and fellow Witch about the lame step, Ghede's glasses, and bipolar disorder. It turns out that as we look around, a great many of the talented Witches that we know have bipolar, ourselves included. How much is this yet another variant on the lame step? The disorder is a hindrance in Mundania, and it is a trial, but it forces us to see things differently and to live  with a foot in two realms. It is a difficult balance, and our friend pointed out that we always have to be wary of getting too much information from one side or the other. Something to consider.