A Riddle in Stone

In Justine Glass's book Witchcraft the Sixth Sense is a curious photograph of a menhir from Brittany with many symbols carved in bas-relief on it.  The image is reproduced below.

Menhir image from Witchcraft the Sixth Sense

It is claimed that these images detail the three mysteries of Witchcraft. The first, shown on the right-hand side of the carving are the male mysteries.  The second, shown on the left-hand side are the female mysteries.  The third are the mysteries of the Priesthood, necromancy, the ancestors, and death-and-rebirth, shown in the center.

Robert Cochrane makes the following comments on these mysteries:

The Faith is made of three parts - of which I know two. The first part is the masculine mysteries - in which is enshrined the search for the Holy Graal - and is the basis of the Arthurian legends. This is the order of the Sun - the Clan of Tubal Cain. Under it come learning, teaching, skill, bravery, and truthfulness. In the distant past, the male clan was lead by a woman who was their priestess and chieftan. This is the origin of the legend of Robin Hood - and surprisingly enough began the Old Testament, and later, Christianity since both Jesus and Moses alike preached a version of the Masculine mysteries - Mithriasm was also a development of this - and the tradition was followed through into the middle Ages when the Plantaganet Kings were officers of the masculine aspect of the Faith (The name 'Plantaganet' means 'The Devil's Clan'). The effect of the masculine mysteries upon the world can hardly be under emphasized - since a very considerable portion of civilization owes its origin to them. To name but a few - Commerce, Lawmaking, Law- giving, Parliament, The early forms of universities and craftsmen's guilds - which lead to knowledge being contained and taught, surveying, all sciences such as metallurgy, astronomy and so on ad infinitum. The masculine mysteries were the direct creators of modern civilization as we know it now. It must also be remembered that originally the Mystery was conducted by a woman - and that she was the presiding genius behind many of the fundamental discoveries that created civilization. These mysteries are depicted as a javelin, a cockerel upon a pillar, a ladder, a flail, a twelve-rayed sun and a ladder of eight rungs and a sword or battle ax. Basically they have to do with control over three of four elements, especially that of Fire.

     The feminine Mysteries are the deeper - connected with the slow tides of creation and destruction, of the cycle of life and death. they are best expressed in the pentagram - Life/Birth, Love, Maternity, Wisdom, Death/Resurrection. They are connected with all things that grow - all creatures of flesh - fertility and sterility - the mystery of the woman who is Virgin/Mother/Hag in one person. They are in essence the cycle of life, and the universality of life - and they express themselves in deep intuition and feelings - in other world terms they control the unconscious, as the male controls the conscious. That is they are what the Jews describe as the second emanation of the Sephiroth - emotion, sensation, imagery, empathy and intuition. They are expressed in symbols as a broom, a flask, a cup, a glove, a distaff and a shift - all of which have a symbolic meaning in the Faith. The clan of Women is lead by a man, who acts as a priest, and teaches the feminine mysteries. Each one of these symbols has a value in wisdom, and I will teach you both what I know about them in forthcoming letters. Today, since there are so very few, the old system has broken down and the families teach their children both mysteries, so that the tradition will not be forgotten entirely. In the past the male and female clans were separated except for the nine Rites or 'Knots' of the Year - when they came together and worshipped Godhead. Also, a great deal of traditional rite has been lost - but it will be recovered again one day, since things and thoughts alike do not die, they only change.

The image below is a clearer photo of the menhir, and the symbols may be more easily discerned.

Menhir de St.Uzec II photo.  Click for larger image.

Starting at the lower left hand corner and working up and down, the carvings seem to be:  A broom, a distaff, an ear of grain, a goblet, a moon, a pitcher, a glove, a knife, a tablet or book, a shift, three stacked squares, three nails or keys, a girdle or braided cords, blacksmith tools, a winged fairy supporting the Goddess, a twelve-rayed sun, a cock on a pillar, a skull, a flail, crossed bones, a ladder, a spear, a walking staff, and a bell.  These are not necessarily the same symbols as Cochrane presents in his letter, nor to Justine Glass.  We will explore each of these tools in the future.

Special thanks to our reader Scylla for a source for a clear image of the menhir.

Stang and Distaff

Stangs from Cornish Witchcraft website

Evan John Jones claimed that Robert Cochrane informed him that there were three branches of witchcraft. These were said to be memorialized on a megalith detailed in Justine Glass's much-maligned book Witchcraft: The Sixth Sense for which Cochrane was a source of information.  Though he intentionally provided Ms. Glass with misinformation throughout the book, he claimed until his death that the analysis he provided regarding the menhir and the Mysteries of Witchcraft were true. The meat of his analysis, available in full in Justine Glass's the book, is repeated as Craft teaching in Evan John Jones's work The Roebuck in the Thicket.

Traditional Mysteries

The first branch of mysteries is the masculine mysteries, centering on the legends of the Horn Child and the Sacrificial King (the Oak & Holly King stories).  The second branch is the feminine mysteries, centering on the mysteries outlined in Robert Graves' The White Goddess and the weaving of Fate.  The third branch, which Cochrane claimed was lost to time, were the Necromantic mysteries.  These have been reconstructed somewhat by modern practitioners like ourselves in rituals such as ancestral worship and the Tapping of the Bone.

The stang, revealed by PIE etymology to be a "stick" or "pole," is perhaps the most complex tool of Traditional Craft.  In it are contained each of the three paths of Craft.


The Stang and Male Mysteries

The most common interpretation of the stang concerns the masculine mysteries.  The stang is often thought of as a simple representation of the Horned Lord or Witchfather, with its forked tines standing in for the horns of the God.  Sometimes the skull of a horned animal is bound to the stang to reinforce this idea.  This practice may have old ties to the use of horned animals as a substitute sacrifice for the King.

Many, if not most, versions of Cochranite Craft use the same elemental quarter associations that we have described here before. Furthermore, EJ Jones actually writes about a very similar deity association, as taught to him by Cochrane, to what we use here at AFW.

East = Fire, the birth of the sun, the seat of the Horned Child
West = Water, the place of the dead, the seat of the Master of the Wild Hunt, the Sacrificial King
North = Air, winter, the Dark Goddess
South = Earth, summer, the Light Goddess

In both the East and West, though not always specifically identified with the name Tubal Qayin, we can recognize him in his guises as the light-bringer and the lord of the dead.

East and West, Fire and Water, are opposed in the Traditional Witch's compass, as are North/Air and South/Earth. Elemental opposites are called into the center along roads of power. We very literally have a crossroads at the center of the compass. What's more, we have a Devil who stands there. He is the Witchfather, the Horned One. The stang, with its horns, is symbolic of Qayin himself and of all the masculine mysteries.

The stang is often dressed by hanging two arrows (sometimes with points up, sometimes with them down) on the shaft. These arrows are symbolic of the male msysteries, as well.


The Stang and Necromancy

The stang is also the world-tree upon which we travel through the three realms.  It allows us to move from this realm to the land of the dead, among other places.  It is a gandreigh that we use to ride to the Sabbat, to cast the caim, and to center the compass.  These attributes make it a prime tool of magic, and one without which we would struggle to contact the dead. An animal skull upon the stang speaks of the masculine mysteries, but it also speaks of the Mighty Dead.

Often, a stang is outfitted so that it can hold a candle between its horns. The flame is said to be the Cunning Fire, the light shared by all Witches. When there is no candle, there is often a middle tine. This middle path, neither masculine nor feminine, is attributed to the Dead.

Our coven places skulls and bones (either crossed or uncrossed, depending on whether we intend to access the Dead or not) near the base of the stang, as well.


The Stang and Feminine Mysteries


The third branch of witchcraft, and the third use of the stang, is as a traditional woman's tool -- that of the distaff. The older versions of a spinner's distaff was either a two or three pronged "stang" ("stick"). The distaff and spindle were once the main daily working tools of all women, and Cochrane is very specific in his writings about the distaff being the main working tool of women of the Craft.  The distaff is a traditional handspinner's tool used for holding raw fibers as they are spun into thread on a spindle.  Robert Cochrane in his writing "On Cords" states:

    “The so-called ‘sacred object’ held in such reverence by some witches was in fact a weaver’s distaff–and could easily be mistaken for a phallic symbol. The weaver’s distaff, bound with reeds or straw, appears frequently in rural carvings and elsewhere. It again has reference to the Craft and supreme Deity. It would appear that the witches were not in the least influenced by Freudian concepts.”

Sarah Lawless, in her excellent post about magical sticks, suggests from her studies that the distaff/stang wrapped in flax for spinning was mistaken for a broom in folklore and art. Quite possibly. The stang is certainly a tool for travel.

Laurelei's first coven/Trad, which was also Cochranite in origin, didn't always hang two arrows on the stang. Often, it was a single arrow, with a linen shirt hung from it. The shirt was either white or black, depending on the ritual or time of year. We cannot deny that the stang is the hayfork that represents the Horned God, but it is also the spinner's distaff (a symbol, then, of the Black and White Goddesses).The linen shirt on a single arrow is an allusion to the flax wrapped around the distaff.

When we  view the stang as a feminine tool in the center of the magical space, the compass can be viewed as the spinning wheel of the Fates, our own Black and White Goddesses.

More Stang Lore to Come

Stay tuned for upcoming posts regarding "Magic and the Stang" and "How to Construct and Dress a Stang."