Weather Magic

Witches were once believed to be able to raise the wind at their pleasure. In a confession made at Auldearn in Nairnshire in the year 1662, certain women accused of sorcery said, "When we raise the wind, we take a rag of cloth and wet it in water, and we take a beetle and knock the rag on a stone, and we say thrice over":

I knock this rag upon this stane,
To raise the wind in the devil's name.
It shall not lie until I please again!

When the wind was to be allayed the rag was left to dry.

In Scotland, sailors and fishermen would buy a piece of rag with three knots within it, from witches who were said to tie up the winds to fill their sails, The winds were released by untying the knots as follows: The first knot produced a wind to fill their sails, the second a strong wind, and the third creating a tempest or storm. Other examples of making the rain include tossing a flint stone over one's left shoulder or sprinkling water with a broom.

To Whistle Up the Wind

Like attracts like. As you focus your breath, so can you use it to whistle up the wind. Focus your energy and inhale. Infuse the inhaled air with your energy in a command. Whistle, and as you do, command the wind to blow as you are forcing the air from your mouth. The sharpness and tone and length of the whistle will denote the type of wind you are summoning. For example, a short, sharp and loud whistle will bring on a gust. The wind may also be controlled by the use of an old magical phrase:  Sha Gadda Galat. When used with the proper concentration and Will, these magic words will bring up the wind and will call in magic.

Cutting a Storm

This spell should be kept for diverting severe weather only. To cut a storm you will need your black handled knife. Focus on becoming at one with the oncoming storm, and when you can feel the rush of the thunderstorm within you, run screaming at the approaching storm, brandishing your knife. Plunge the knife into the earth with the blade facing the wind. As you do this visualize the storm being cut in two and diverting itself around you.

Familiars and Familiar Spirits

Woodcut depicting witches giving the names of their familiars.

Witchcraft, as we have said before, is a kind of survival or revival of ancient European shamanism.  Just as shamans work with totemic spirits and spirit guides, so do we work with our familiars and familiar spirits.

A familiar is a creature that regularly helps a witch with her Craft.  A familiar can be corporeal (existing in flesh and blood in this realm) or incorporeal (a spirit or astral body).

Corporeal Familiars

The first kind of familiar is usually a common household pet that the witch has a very special kind of working relationship with.  There is a bond (an energy link) created between the witch and her corporeal familiar that is forged through mutual love and trust.  Sometimes this bond is formalized through the creation of a blood link.  This is done by feeding the creature a bit of your own blood.

In the Middle Ages, the Inquisitors of the Catholic Church believed the pets of accused witches to be possessed by demons. A witch was supposed to feed her familiar spirit with her own blood, which the animal sucked from her body at a special nipple that became known as a witch's mark. This nipple might be anywhere on the body. It was identifiable to the witch-finders of the Inquisition because it was completely insensitive to pain. A long needle might be thrust into it without the awareness of the witch, if her eyes were covered or averted during the operation.

Mr. Jinx on the main altar.

A corporeal familiar is usually a singular creature, even if the witch has a plethora of animal companions with which she is close.  This animal will make itself useful whenever the witch is practicing the ways of the Craft in its presence.  Indeed, my own precious companion gets excited whenever I even so much as approach an altar, or talk a bit about the Craft.  He is at my side now as I write this entry.  He has, in accordance with the lore of familiars, even taught me certain types of magic.

Also existing in this realm is the plant familiar.  A plant familiar is a plant grown with offerings of energy and intent to a specific purpose.  The most famous of plant familiars is the storied Aluran, which I will write about more in another entry.

Incorporeal Familiars

The spirit familiar is a creature that most witches are less... ahem... familiar with.  The spirit familiar fits the classical idea of an imp or demon spirit that the witch associates with that gives her workings special power.  The spirits of the Goetia, or the Lesser Key of Solomon, fit the requirements for a spirit familiar nicely, and many of them (Valfor, Paimon, Buer, Purson, Gaap, Malphas, Shax, Alloces, Amy, Amdusias, and Belial) specifically manifest and act as familiars.

Spirit bottles on an altar.

In Vodoun the familiar spirit is known as the Ti Bon Ange or "little good angel".  This spirit is housed in a lidded jar draped with beads, and made offerings to maintain its energy.  This concept can be translated for our purposes by use of a spirit bottle or jar.  A suitable vessel is selected, such as a fancy sugar bowl, or an empty liquor bottle with some character to it.  If you are fortunate you may find a spirit bottle in the shape of an animal, or with a human face, or even an impish one.  Fill the spirit jar with nail clippings, a lock of your hair, and a bit of your blood (if you are a woman of childbearing age some of your menstrual blood would be ideal, as this is the very blood of life).  Add any herbs or charms you feel are appropriate for the type of spirit you want to attract.  Lodestones painted red and fed iron fillings are a good start.  Drawing powder (powdered sugar) or honey are also good additions.

When you have created a spirit jar ready to house a spirit you will need to lay a compass and tread the mill, asking the Gods of our tradition, the Ancestors, and the Mighty Dead to send forth a familiar.  Traditionally it is the Witch Father, in our tradition named Azazel or Tubal Qayn, who offers a familiar spirit to a witch. The payment for this service is determined by the stone bowl, but is traditionally a piece of silver. After receiving a familiar spirit offer it food -- your own blood is best, but milk, bread, honey, or alcohol are all acceptable.  Keep your familiar spirit's jar in a safe place, and adorn it with offerings.  Feed it on a regular schedule, at least once a month.  The familiar spirit can be sent forth to do tasks for you, can teach you the Craft through inspiration and dreams, and can add its energy to any spell as you see fit.

I have also heard of familiars being tied to pieces of jewelry, such a a ring, certain stones, and even mojo hands.  Let your intuition guide you.

In fairy tales familiar spirits come in times of need or crisis, such as Rumplestiltskin (who notably can be controlled by knowledge of his true name), and Puss in Boots (who is inherited as a kuthun and serves his master in exchange for a pair of boots).  Familiars are also alluded to in many Mother Goose rhymes, the most useful of which gives a formula for procuring a familiar spirit.

There was a crooked man, he walked a crooked mile.

He found a crooked sixpence upon a crooked stile.
He bought a crooked cat, which caught a crooked mouse.
And they all lived together in a little crooked house.

"There was a crooked man" -- there was a cunning man, or a witch.

"he walked a crooked mile." -- he tread the mill.

"He found a crooked sixpence" -- he made an offering of a bent sixpence, or silver (see Peter Paddon's Grimore for Modern Cunning Folk for an excellent explanation of this custom).

"upon a crooked stile." -- in liminal space, astral space (a stile is a structure which provides people a passage through or over a fence or boundary via steps, ladders, or narrow gaps).
"He bought a crooked cat," -- he received a familiar.

"which caught a crooked mouse." -- the familiar needed to be fed immediately.
"And they all lived together in a little crooked house." -- he took the familiar in and gave it a place of rest, such as a spirit bottle.

Links and Link Cutting

Magical links are threads of energy fed through the astral that connect each of us and affect us in diverse ways. Links can be formed through repetitive action, great emotion, or an act of Will or magic.

While we were in the womb the first link, the umbilical cord, was formed. At birth that first cord is cut, and we become an independent life. As children we have other links, such as those to our parents and our parents to us. As we develop the links are broken or cut and new links form. As we grow into adults our links with our parents evolve into a basic heart link. As we form relationships new links form, and if they are heart links they are almost always healthy. Heart links make us more caring and give us a feeling of connection.

Some kinds of links are not as healthy. In most people there is often a tangled mess of links weighing them down,  hindering them from life. Links to our hands and feet prevent us from acting of our free will. Links to the back, knees elbows, and navel are some of the links that remain from over protective or manipulative parents. There are links from lovers past and present, If these are heart links they are good but most are there to control or manipulate us. We can and do form links to the people we fear or dislike most either by accident or in misplaced efforts to control them. Remember that all links go both ways. Negative links are draining on us and can hold us back from our potential. Link cutting is a powerful and transformational ritual in which we dispose of all negative or unnecessary links.

Every time we do spell craft or send a thought form we are connected to the work by a link. It is through this link that magical returns travel, be they good or ill. These links can be formed purposefully to weave fate.

A blood link is permanent and cannot be cut. Blood links cannot be created without your knowledge and consent. They are used for some handfasting rites and for initiation into the lineage of certain traditions of the Craft. The blood link, or red thread, connects a witch to the ancestors, gods, and mighty dead of the tradition.

The Rite of Link Cutting

You will need: The black handled knife, salt and water, a besom.  You must be skyclad.  It is best to do this ritual with a partner, who can assist you with hard-to-reach links, and act as a second set of eyes for any lingering links.

To begin cast a lay the compass and cast a circle.  Sit quietly and breathe deeply.  Sense your etheric body.  Feel and/or see the links in your energy field.  Some links may be heavy cables, others may be as fine as spider webbing.

When you are open to sensing the links, you may begin by taking up the athame and dragging it like a razor just over the surface of your skin.  Imagine you are shaving away the links.  When the athame gets too full of psychic sludge, simply shake it off and rinse it in the salt water.

You may find that certain links are too thick to cut through cleanly.  These will require you to pull them out by the root, just as you would pull a stubborn garden weed.  If after pulling a deep link you feel a psychic tear in your energy field, simply cleanse the area with salt water. This will patch up any holes in your aura left by links.

Link cutting can be stressful and emotional work.  Remember, each of these links is there for a reason!  Some of them may have been draining you for years.  You may feel a great catharsis after cutting a particularly deep link.  This is another reason it is best to perform this ritual with a trusted partner. They may be able to help you through your potential emotional upheaval.

The final link to be cut is the one leading out of the mouth and down into the digestive tract.  This link is kept for last as it is a very painful and exhausting link to remove.  Gagging and nausea are common side effects.

After you have completed the business of link cutting you will notice that the circle you are in is filled with psychic sludge that you have cast off.  Take up the broom and sweep up the sludge.  You will notice that, remarkably, the sludge does not adhere to the besom. Sweep it right through the boundaries of the circle and though your home out the back door.  Toss the salt water after it.  Return to the ritual area and take the circle down.  Rest.  The ritual is complete.

Note: After this ritual you will want to do immediate blade care on your athame, as the salt water can damage the blade.

The Witch's Library

I'm a librarian by trade, so surely you knew this post was coming eventually.

There are hundreds of books about witchcraft available on the market today, and it can be difficult to sort out the useful works from the tripe!  Complied below is a list that I personally recommend for beginning witches, or those looking to expand their knowledge of Craft.  This is by no means a complete list, as I can only recommend those books which I myself have read and gleaned some good from.  Please add your own suggestions in the comments.

Books Central to Our Tradition
These writings are recommended to anyone who seeks to practice AFW.

The White Goddess: A Historical Grammar of Poetic Myth by Robert Graves
Call of the Horned Piper & Masks of Misrule by Nigel Jackson
The Writings of Roy Bowers (Robert Cochrane)
The Real Mother Goose by Blanche Wright

Trad Craft Basics
These books will give you a good introduction to Traditional Witchcraft practices.

The Roebuck in the Thicket by Evan John Jones & Robert Cochrane, editor Mike Howard
Witchcraft: a Tradition Renewed by Doreen Valiente and Evan John Jones
The Forge of Tubal Cain by Ann Finnin
Grimore for Modern Cunning Folk by Peter Paddon
The Witching Way of Hollow Hill by Robin Artisson

General Witchcraft
These books, combined with a few others from each section will give you an excellent foundation in Craft.

Mastering Witchcraft: A Practical Guide for Witches, Warlocks & Covens by Paul Huson
The Rebirth of Witchcraft, Witchcraft for Tomorrow, & Natural Magic by Doreen Valiente
Witches All by Elizabeth Pepper
Witchcraft: a Mystery Tradition by Raven Grimassi
Wheel of the Year by Pauline Campanelli
Courting the Lady: A Wiccan Journey, Book One: The Sacred Path by Patrick M. McCollum

Wiccan Classics
These books are unabashedly Wiccan, in the sense that they can trace their way back to the practices of Gerald Gardner.

High Magic’s Aid, Witchcraft Today, & The Meaning of Witchcraft by Gerald Gardner
The Witches' Way, Eight Sabbats for Witches (available collected as A Witches' Bible), The Witches' God, & The Witches' Goddess by Janet & Stewart Farrar

Craft History
Many of these books were inspiration for the modern Craft movement.

The Triumph of the Moon-A History of Modern Pagan Witchcraft & Stations of the Sun by Ronald Hutton
Aradia or the Gospel of the Witches of Italy by Charles G. Leland (Pazzaglini Translation)
The Golden Bough by James George Frazer
Gods of the Greeks by Karl Kerenyi
The God of the Witches by Margaret Alice Murray
Ecstasies: Deciphering the Witches' Sabbath by Carlo Ginzburg and Raymond Rosenthal

Totemic Information
If you want to know more about the totems of our tradition these are a great place to start your research.

Tree Wisdom: The Definitive Guidebook to the Myth, Folklore, and Healing Power of Trees by Jacqueline Memory Paterson
The Celtic Tree Oracle: A System of Divination by Colin Murray, Liz Murray and Vanessa Card
Druid Animal Oracle by Philip Carr-Gomm, Stephanie Carr-Gomm and Bill Worthington
Sacred Mask Sacred Dance by Evan John Jones and Chas Clifton
Animal Speak by Ted Andrews

Spellcraft
When you want to work magic this is where you should start.

Cunningham's Encyclopedia of Magical Herbs & Book of Incense Oils and Brews by Scott Cunningham
The Element Encyclopedia of Witchcraft & The Element Encyclopedia 5000 Spells by Judika Illes
A Century of Spells by Draja Mickaharic

I also suggest you explore these trad-craft reading lists to inspire further book lust:
Probus Lecto: a Clan of Tubal Cain reading list
The Witch of Forest Grove's suggested reading list (Sarah Lawless also writes Pagan Bookworm, a witchy book-lover's blog)
The Ancient Keltic Church's reading list
Traditional Witchcraft Research Network reading list
The House Shadow Drake reading list
The White Dragon recommended reading list

The Eight Ways of Making Magic

Symbol for the Eight Ways of Making Magic

In the Gardnerian tradition of witchcraft (Wicca) there are said to be eight ways of raising power for magical purposes.  They are as follows.

1. Meditation or concentration
2. Chants, Spells, Invocations.
3. Projection of the Astral Body, or Trance
4. Incense, Drugs, Wine, etc.
5. Dancing
6. Use of the Cords
7. The Scourge
8. The Great Rite

You can combine many of these ways to produce more power.

To succeed in magic it is said you need the following five things:

1. Intention. You must have the absolute will to succeed, the firm belief that you can do so and the determination to win through against all obstacles.
2. Preparation. You must be properly prepared.
3. Invocation. The Mighty Ones must be invoked.
4. Consecration. The Circle must be properly cast and consecrated and you must have properly consecrated tools.
5. Purification. You must be purified.

Note that just as there are eight ways of making magic, so are there eight sabbats in the wheel of the year, and just as there are five steps to magical success, so are there five points on the pentagram.  Eight and five are reoccurring sacred numbers in the Craft, and eight times five is forty, a number used in many magical applications.  For example, the scourge is often used in counts of forty.

Although I was trained and raised in a Gardnerian coven, and I value the insights and experiences I gained there I am now walking a different crooked path.  Let's analyze the eight ways of making magic and the five steps to success from an AFW point of view.

Fachan

1. Meditation or concentration
Concentration on a subject is the most basic form of raising and sending energy.  The evil eye is nothing more than negative thoughts clarified through intent and projected through the sense of sight. Meditation is a deeper form of concentration, and can be enhanced through specific postures and gestures.  These postures can be compared to eastern yogic traditions although they have roots in Celtic forms of magic, such as the one-legged one-eyed stance which emulates the posture of the crane and the fachan for battle magic.  Fergus Kelly in The Guide To Early Irish Law makes a statement that helps define it as a magic that kills. Kelly writes:

"...some of their sorcery was effected through córrguinech, a term which seems to mean 'heron (or crane) killing', and apparently involved the recitation of a satire standing on one leg with one arm raised and one eye shut."

2. Chants, Spells, Invocations
This way of raising energy encompasses many different techniques, all of which have to do with the spoken word.  Chanting is the original idea behind "enchantment".  The words of a chant can reinforce the intent of the magic, or they can be seemingly nonsensical words with traditional meaning.  An example of this kind of chant is the popular so-called "Basque Witches Chant".

Eko, eko, Azarak

Eko, eko, Zomelak

Bazabi lacha bachabe

Lamac cahi achababe

Karrellyos

Lamac lamac Bachalyas

Cabahagy sabalyos

Baryolos

Lagoz atha cabyolas

Samahac atha famolas

Hurrahya!

Spells, just as they sound, were once written or "spelled" documents detailing the results desired. This form of magic was especially popular in ancient Rome, when "spells" would be written on lead tablets and given to one of the elements. (burning, tossing into water, burying, etc.)  Nowadays a spell is any set of actions that brings about change through an act of magic.  They often utilize components with specific correspondences to the desired outcome.  Hoodoo uses its own traditional recipes and spell components to work magic. 

Invocation is a special kind of vocalization used to invite the presence of the Old Ones.  Also included in this is the concept of evocation.  Invocation is the inviting of a spirit into oneself. Evocation is the inviting of a spirit to be present in local space.  Invocation is a carefully learned skill in many traditions.  It demands trust and an understanding of the other realms.  The spirits that we work with in our tradition are ancient and powerful.  Safety and discipline are paramount during an invocation.

3. Projection of the Astral Body, or Trance

Projection of the astral body is a technique taught in several ways in our tradition.  One can "fly" out on a broomstick or other gandreigh by use of an ointment, potion, or shamanic training.  The fetch is an etheric construct used for projecting the astral body into that it may wander in that form.

In truth, all of the ways of making magic seek to bring the magician into a form of trance, even if it is very light.  Through trance we perceive other realms and can manipulate the energy links that connect all things as one. Drumming and guided meditation are two ways that trance can a achieved. Many of the following ways of making magic also assist in achieving trance.

Amanita Muscaria

4. Incense, Drugs, Wine, etc.
Entheogens have a long and storied history in the Craft, particularly the Solanaceae. They have been used in flying ointments, transformation elixirs, herbal incenses, smokes, anointing oils, washes, and any mixture you can think of.  Also popular in certain circles are amanita muscaria, wormwood, damiana, hashish, syrian rue, and countless others. Wine, of course, is central to the Red Meal, and also serves as a gentle way to let slip our egos and find ourselves outside of consensus reality when used in moderation.  All of these substances are dangerous, and several of them are also illegal.  This is certainly one of the ways of magic that should not be attempted by the untrained witch.

5. Dancing
Dancing may be the oldest form of celebration and communication.  It is central of the raising of power through the treading of the mill.  The mill is tread by moving widdershins with a lamed step over ground where the compass has been laid.  More vigorous treading of the mill can happen in large groups where the spiral is danced inward and outward in a kind of follow-the-leader procession.  Dancing in circles around a bonfire is an ancient and pan-cultural tradition.  This form of raising power can be witnessed at many sabbats and festivals around the world.

Warricking in preparation for scourging

6. Use of the Cords
7.  The Scourge
These, also known as warricking and stropping, are often used in combination to produce the desired trance state.  The cords are used to slightly restrict blood flow to certain areas of the body while the person being bound is made to stand or sit in uncomfortable positions also used to restrict circulation.

The cords are also used in knot magic, and as a symbol for the magical link.  Through the contemplation of certain knots, plaits, and other features of the cord a trance state can be achieved much like in the use of a rosary or prayer beads.

The scourge is used almost always in a light stroking motion to encourage blood flow into certain areas.  Only in extreme circumstances is the scourge used in anger or with force. Light, rhythmic application of the scourge can produce trance just as would a steady drumbeat, or the use of the lamed step.

8. The Great Rite
The Great Rite in full is the act of sexual congress between two individuals who have each invoked a God or Goddess.  Another term for this act is the hieros gamos. What Gardner was actually getting at by including this as one of the ways of making magic was the ideal of sexual energy being used as a conduit for magic.  Anyone can do this, partnered or not, invoked or not. It is quite popular in modern chaos magic circles, particularly those influenced by the work of A.O. Spare.  In our tradition we refer to the use of sex magic as drewery.

The Stone Bowl

In our tradition the Summer Solstice is associated with the Castle of Stone, the King of which is the Oak King Cernnunos, and the treasure of which is the stone bowl.  The stone bowl is a very real working tool in this tradition, and is one of the first tools a witch procures.

Within this tradition of Craft, we recognize the demand for energy exchange when working magic. This exchange, or sacrifice, happens whether we are aware of it or not. It varies beyond our understanding, as sometimes a small charm can require a great sacrifice, whereas a huge spellworking may not require any exchange at all. It is because of this element of chance that we choose to be aware and actively involved in this sacrifice whenever we perform magic. Furthermore, we understand that every act of magic (whether selfless or selfish) requires this sacrifice, and we perform this divination prior to every spell.

The three stones (see below) are cast into a shallow dish bearing the markings shown above. These markings form a central glyph  representing both the laying of the compass and the wheel of the year.  It is divided into quadrants, each with a circular symbol that represent the solar holidays and the four castles. In the center of the design is a triskle, representing the Spiral Castle, the axis on which the compass turns.

The three stones are one of white, one of black, and one of red.  They may be found naturally in these colors, or may be ordinary river pebbles painted the appropriate colors. The three stones represent the White and Black Goddesses and Tubal Cain. The red stone, or Tubal Cain stone, is the indicator stone when casting into the bowl.

To use the stone bowl

Cast all three of the stones into the bowl. Whichever stone the red stone is closest to indicates to which Goddess the sacrifice will be made. This will flavor the nature of the sacrifice.

The distance between the black and white stones indicates the time and/or severity of the sacrifice to be made.

Types of sacrifices

Glass Castle (the light blue circle) – fasting/discomfort
examples: performing a no-kill fast, sleeping on the floor, walking somewhere outdoors barefoot, etc.

Stone Castle (the green crossed circle) – money/material
examples: gifting a personal item to someone, donating money to a charity, volunteering on a project without compensation, etc.

Castle Perilous (the red halved circle) – blood/pain
examples: shedding of own blood with intent, running an endurance race, lifting heavy weights, submitting to flogging, etc.

Castle Revelry (the golden circle with a central point) – abstinence
examples: abstaining from sexual stimulation for a period of time, giving up smoking, alcohol, caffeine, sugar or another addiction for a period of time, etc.

The Spiral Castle (the silver triskle) – no sacrifice necessary

Examples

Figure 1: The red indicator stone is nearest to the white stone, which is in the Castle of Stone. A material/monetary sacrifice to the White Goddess is called for here. The white stone and the black stone are far apart in the bowl, so the sacrifice must be large.

Figure 2: The red indicator stone is nearest to the black stone which in in the Spiral Castle, so no sacrifice is necessary for this working.

 

Figure 3: The red indicator stone is nearest to the black stone in the Castle of Revelry. A sacrifice of abstinence is called for in honor of the Black Goddess. The black and white stones are near to each other in the bowl, so the sacrifice is minimal.