Showing posts with label spiral castle. Show all posts
Showing posts with label spiral castle. Show all posts

Thursday, October 27, 2016

The Red Meal: The Housle

It is a common part of many religious traditions to partake in a small, sacrificial meal at the end of the rite or ceremony. We, too, participate in a Eucharistic tradition of imbibing en-spirited wine and consuming en-spirited grain as representations of sacrifice needed for the magic we have performed.

In many witchcraft traditions, this meal is called "Cakes and Ale" or "Cakes and Wine." We call it the Housle, or Red Meal, and base it in part on a ritual created by fellow walker of the crooked path, Robin Artisson.

Here follows our own rite of the Housle.

Preparation

When the compass is first laid, place the following items in the Castle Perilous (southwest corner): Dark bread in a bowl (or lipped dish) and Red Wine in Silver Quaich or Chalice.  In the Spiral Castle (center, near the stang) will be placed the Red Knife.

Ritual

1. The sacrificial meal is brought from Castle Perilous to the Spiral Castle by the Witch.
2. Tread the Mill widdershins three times while singing the Housle Song. (see below)
3. Say, “For our Ancestors, our Gods, and Ourselves, we do this.”
4. Bless the bread by saying: “Here is bread, flesh of the Earth, blessed to give us life and strength. I consecrate it in the name of the Old Ones.”
5. Kill the bread by saying: “I take its life and give it to Them.” Cut it with the red knife.
6. Bless the wine by saying: “Here is wine, blood of the Earth, blessed to give us joy and abundance. I consecrate it in the name of the Old Ones.”
7. Kill the wine by saying: “I take its life and give it to Them.” Slide the knife over the top of the quaich/chalice to cut its throat.
8. Each person eats and drinks of the Meal, making whatever personal offerings they like into the bowl.
9. The remainder of the wine is poured into the bread bowl, and each person dips their finger in and anoints themselves. This can also be used for blessing tools, etc.
10. The Meal is either given to the ground now (if outside) or later (if inside) with the following Declaration:
“As some is taken, so is this given
By the sons and daughters of the family of the Old Faith.
I give it to the Ground.
I give it to the Old Ones
That above and below will become one.
For what is taken is truly given,
And what is given is truly taken.
The day and night are wed
As the living and the dead.
Here is shown a Mystery.”


The Housle Song
To the tune of Greensleeves

To Housle now we walk the wheel
We kill tonight the blood red meal
A leftward tread of magic's mill
To feed the Gods and work our Will.

Red! Red is the wine we drink!
Red! Red are the cords we wear!
Red! Red is the blood of God!
And red is the shade of the Housle.

In October of 2013, three of us recorded ourselves singing the chant and posted it to YouTube.

Saturday, October 22, 2016

The Three Realms



Sky, land, and sea,
Three-in-one, one-in-three.
~Celtic prayer

In most traditional cultures, people have viewed both the outer world and the inner planes are corollary concepts, where the macrocosm is a reflection of the microcosm, and vice versa. A great many of these cultures, including the ones from which the American Folkloric Tradition draws spiritual nourishment, see the Universe (both the inner and outer planes) as divided into three distinct realms of experience, wisdom, healing, and magic.

Worldwide, the Three Realms can be said to incorporate an Upper Realm (heavenly, celestial sphere), a Middle Realm (earthly, terrestrial sphere), and a Lower Realm (infernal, underworldly sphere). The beneficence or maleficence associated with these realms is dependent on the culture. Each has its own dangers and its own rewards. Each is inhabitant by its own sort of people, guarded by its own warriors, and ruled by its own leaders.

American folkloric practices draw most heavily from Celtic lore and Druidic practice. The Upper Realm is called Ceugent (ky-gent) and is an airy sphere of intellect, ideas,and future-sight. The Middle Realm is earthy Gwyned, which is the here and now, consensus reality. The Lower Realm is called Abred, and it is a watery realm of the subconscious, emotion, memory, and the past.
 
These realms are accessed spiritually through the use of shamanic trance techniques that generally incorporate the image of a World Tree or a Holy Mountain. Both of these images represent a concept called the Axis Mundi, the cross of the world. It is a nearly universally perceived spiritual and energetic construct. Carl Jung described this phenomena as the Collective Unconscious. It is also called the Consciousness Unit. However we define or describe it, shamans and witches have been going to the Tree or the Mountain since time immemorial to tap into the wisdom, insight, and healing that can be found within.

For purposes of spiritual travel (or "witch flight"), we use the image of the Spiral Castle (Caer Sidhe) spinning around to open its gate to the different points of the wheel of the year.  Its spire reaches up to the North Star, and its caverns are home to the great forge and the cauldron.  The pole is symbolized literally in our circles by the raising of the stang. By its virtue we can "ride" the stang to any place in the realms, though we may also use our own personal riding-pole, or gandreigh, to do so. Read more about the Stang and World Tree here.

Here are some associations for each of the three realms.

First Realm
Ceugent
Upperworld, Upper Realm
Realm of Sky, Wind, Otherworld
Struggle and enlightenment
Preservation: the undying realm, absence of decay
Birth, beginnings
The mind
Breath
Expansion/expansiveness
Perspective
Movement, setting in motion (beginning)
First arm of the Triskle
Spire of the Spiral Castle
Entry through flight or climbing
Metacognition
Black Knife/Athame

Second Realm
Gwyned
Earth world, Center world, Realm of Land, Middle Earth
Day-to-day struggles and concerns
Consensus reality, the here and now
Physicality
Living bones and flesh
Harsh realities
Progress, action, doing
Going through something
Middles
Limits and limitations (perceived and real)
Second arm of Triskle
Place of the Doorway of the Spiral Castle (and the Tor on which the Castle sits)
No entry needed (already in this realm)
Manipulation of perception/changing one's reality/glamory
Consciousness
White Knife/Kerfane-Bolline

Third Realm
Abred
Underworld, Realm of the Sea
Barrows, carins, caves
Initiation/Dragon chamber beneath the Tor of the Castle
Deep mystery
Truth beyond substance or thought
Emotion
Healing the soul
Rest
Death and preparation
Empathy
Blood, birth fluids, menses, semen, sweat
Oceans, lakes, ponds, pools
Inner self
Subliminal, Unconscious, Subconcious
Entry through caves, wells, etc.
Springs and wells bring energy/life from the third realm to the second
Third leg of Triskle
Red Knife/Shelg

Saturday, October 12, 2013

The Castles: Cross-Quarter Watchtowers of the Spiral Castle

The four Castles of the AFW Tradition can be thought of as four Watchtowers on the Spiral Castle. These Watchtowers (Castles) house the four treasures of the Trad and are kept by the Kings and Queens -- aspects, essentially, of the Witch Father and Witch Mother.

Why Castles? That is an excellent question.

Robert Cochrane writes about the castles of Arthurian legend playing a large role in his sense of the Arte Magical. He discusses the Castles and the Two Kings and Two Queens only a little in his letters with Wilson and Gills, but they are mentioned and even explained to a certain extent.

Also, my (Laurelei's) teacher within the Craft talked a little of Castles as a circle-casting system. However, we never had enough instruction in that system to adequately make use of it.

So, as we read through the Cochrane materials together, we addressed this question of Castles head-on. Did they fit our system? Which Castles were they? What and who was in them? What purpose did they serve?

The many castles that are mentioned within Arthurian legend (and beyond, in sources like the Mabinogian, etc) are integral parts of the Quest. They each hold treasures and are kept by wise and sometimes fearsome Masters. They guard the Mysteries, each in their own way. So, yes, we saw them as symbolically linked to the Tradition we were creating.

The following is a simplistic overview of each of the Castles. In time, we hope to have fuller descriptions of each. (As of this writing, we only have two described in their own posts.)


The Glass Castle – Caer Witrin, Glastonbury


Keeper: The Holly King, Janicot, the Goat God
Treasure: Glass Orb 
Symbol: an empty blue circle
Location: upon a cloud, northwest
Times: Yule
Totems: Goat, Holly, Wren


Castle of Revelry – Valhalla, Hell, Golden Castle

Keeper: Hulda, Freya, Brighid
Treasure: Golden Lantern 
Symbol: a yellow circle with a yellow dot at its center
Location: surrounded by a Lake of Fire, northeast
Times: Spring Equinox
Totems: Hare, Goose, Birch


Stone Castle – Caer Bannawg, Four-Cornered Castle, Hillfort

Keeper: The Oak King, Basa-Jaun, Cernunnos, the Stag God
Treasure: Stone Bowl 
Symbol: a green circle with an equal armed cross
Location: upon a hill, southeast 
Times: Midsummer
Totems: Stag, Robin, Oak


Castle Perilous – Grail Chapel, Binah, Bloody Castle, Silver Castle
Keeper: Silver Queen, Cerridwen, Babalon
Treasure: Silver Chalice 
Symbol: a red circle with a horizontal line
Location: surrounded by a Lake of Blood, southwest
Times: Autumn Equinox
Totems: Chicken, Swine, Vine

Tuesday, March 13, 2012

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.

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.

 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.

Monday, February 20, 2012

The Gandreigh

A gandreigh is a riding pole used to fly out astrally to access different realms.  The gandreigh can be a broom, a staff, a stang, or even a wand that the rider uses to send forth a fetch for the astral body to inhabit.

Nigel Jackson writes:
"The stick is the Gandra which is both the magic wand and stick that straddle the Witch of the North. It is a variant of the classic broom or forked stick of witches in Europe. The armies of the night-flying creatures on sticks are called "the gandreigh" in Old Norse. This applies to the flight of witches and the dead ghost hunting Wild."
The gandreigh is not used for physical flight through consensus reality, rather it acts as a world tree by which we can access levels of being through "flying" (or climbing) up and down the pole.

In our tradition the world tree is symbolized by the Spiral Castle, although the stang, staff, or broom is a personal tool which acts as an expression of this energy.  It is the witches most personal tool and is usually destroyed upon a witch's death or given as a kuthun.

Friday, February 3, 2012

Charm of the Spiral Castle

In a silver castle
far beyond the sea
grows a golden apple
on a silver tree.

On the Isle of Apples
through the pearly mist
stands a spiral tor-mound
on which the castle sits.

Waters flow upon the isle,
pools of life-in-death.
A sacred river circles it
the ancient stream of Lethe.

The castle spins between the worlds
to touch the vault of heaven.
Stars dance around its towers four
two Bears, one Crown, the Sisters Seven.

Upon the highest tower
with linen at her feet
spins the castle's Lady
in her uneasy seat.

Down below the castle
iron touches fire,
where Cain pounds at the anvil
all that we desire.

The Mighty Dead reside within --
Ancient, wise, and brave --
for those who walk the Crooked Path --
seek Rose Beyond the Grave.

Seek the turning castle
by right of Scarlet Thread.
It won't be found with mortal eyes
but ones hallowed by the dead.

~Natalie Black, Imbolc 2012

Monday, October 24, 2011

The Stang on the Hill (or, The World Tree, or the Spiral Castle)

The Spiral Castle Tradition doesn't actively work with a "world tree" image, per se. That is to say, we don't use the image of a tree to serve the purpose of what the World Tree does in the cultures in which a World Tree is found. However, both our Spiral Castle and our stang upon the ancestral mound (which sits in the middle of the physical space of the compass as we work magic), serve exactly the same purpose, as I believe you will see.

Background and Purpose of the World Tree

The mythology and function of the World Tree seems to be a universal theme in cultures all over the world. References to a World Tree (or Cosmic Tree, Tree of Life, etc.) can be found in the Scandinavian, Finnish, Baltic, Hindu, Shinto, Native American, Mayan, Siberian, Hebrew, Christian, Egyptian, Mediterranean, Byzantine and Celtic spiritual beliefs and practices (to name only a few – the most easily discovered).

The World Tree takes many forms, extends in to many realms, is associated with many animals, but essentially has the same function in each culture. It always, no matter which version of the world tree is being described, connects the realms of existence in a sort of pathway that is (or is a symbol of) the act of creation. Through it, communication and the gaining of knowledge is possible. It is a symbol of both the macrocosm (the universe) and the microcosm (the person).  It is infinitely complex and surprisingly simple.

Connecting the Realms
   
The World Tree connects the realms of existence as they are seen and numbered according to a particular culture. The most common representation of this seems to be the idea of three realms (sometimes being divided into three sections). The Upper, Middle and Lower Realms – usually described as the heavens, Earth and the Underworld; or the Land of the Gods, the Land of Men and the Land of the Dead.

Communication/Messages

Many of the Gods receive messages from animal or spirit beings who travel up and down the tree. Likewise, shamans and priest/esses the world over are said to have the ability to climb the tree to gain the knowledge/wisdom of the other realms and to communicate with both Deity and the dead. This allows them, then, to bring back the advice or wishes of the spirits that guard and protect human life. Indeed, one of the shaman’s or priest’s responsibilities has always been to know the wishes of Deity (in whatever form it takes) and to communicate those wishes and wisdoms to the people.

Consciousness Unit

There is a body of evidence that suggests that the World Tree is a depiction of the “Consciousness Unit” (or CU) – sometimes also called the Collective Unconscious (though I think that is a misnomer since so many spiritual seekers are, in fact, conscious of it). Those who have been trained in out-of-body, meditative and astral techniques have all witnessed a similar structure that can be described as a tree. However, in some cultures, it was described as a mountain (hill, mound, Tor) or a tent (or in our case, a castle).

It is generally seen as nested spheres of energy or consciousness – one structure that houses several others, which house yet more. Although the people who saw it were all likely to have seen exactly the same structure, they used different words to describe it when they were once again in the physical world. This, of course, would all be based on cultural and linguistic limitations and understandings. The most universal description is that of a tree.

Priestly Training

In many cultures, there is the pervasive use of the World Tree as a tool for the training and initiation of preists/shamans. Though the ceremonies differ somewhat, many of them involve a time of sacrifice upon the tree. Others require that the initiate climb the tree (either physically, spiritually or both) to seek information or to trace the steps of creation/wisdom. It is, of course, not surprising, then, to think of Odin’s 9 nights on Ygdrassil as a sort of initiatory model – leading to the use of vision quests, the witches’ cradle, and the actual climbing of a tree as part of the priest’s initiatory process. (The Hanged Man in the Tarot could be said to be suspended from the World Tree to seek a new perspective or initiation into greater mysteries.)

Stars and the World Tree

There is a great association between the World Tree and two specific celestial bodies. The first is the North Star (Pole Star). In many cultures, this star is said to be the pin or tack at the top of the World Tree. (It reminds me of the star atop a Christmas tree, though the association would have been much older than Christianity. It was probably a part of the Cabalistic mysteries, and therefore absorbed unwittingly into the Christian mythos. Or, which is more likely, since I have seen no reference to the Pole Star in the Cabalistic World Tree information I found, it was probably assimilated from the older Indo-European practices and beliefs. Perhaps the Yule tree used in so many Germanic tribes was, in fact, an echo to Ygdrassil.)

The other celestial body associated with the World Tree, specifically in Mayan culture, is the Milky Way. Of course, I take some liberty in referring to an entire galaxy as one celestial body, but the idea is understood. In some descriptions, the Milky Way is called the World Tree. In others, it is seen as perpendicular to the World Tree.

In fact, the Mayan calendar is said to spring from the World Tree. It is this same calendar which, with the Mayans’ uncanny mathematical understanding of the “wobble (or precession) of the Earth’s axis, dates the Winter Solstice of 2012 as the point when the next cycle of that same wobble will begin. It is on this date that the North Star, from the Earth’s point of view, will point directly into the center of the Milky Way.

The starry connections to the World Tree are significant for the Tradition at hand, as well. In Robert Cochrane's writings, pay attention to his references to "Caer Ochren." They are in close concert and connection to the statement "I am a Hill," which he follows up with a description of a castle of seven gates, upon a gloomy hill, turning to the elements.


Crosses and Mountains

I am grouping crosses and mountains together because I see them as two similar, perpendicular derivations of the World Tree concept. Mountains, specifically, have been mentioned in several works as other ways of seeing the CU (the thing that the World Tree represents – that is to say “everything.”)

I only go into this idea of perpendicularity because its recurrence seems significant to me. In fact, the World Tree itself is sometimes described as vertical, sometimes as horizontal. Perhaps it is both, in a sense. Or, it could be, as the Cabalists have described it, that there are two different trees that are essentially one World Tree. The Tree of Life, in this line of thought, is vertical, and the Tree of Knowledge is horizontal. (They are depicted as columns running between certain spheres.)

This perpendicular meeting between two poles/columns/pillars is the symbol of a cross. It is balance. It is life hinged on wisdom, and wisdom hinged on life. It is the cross of sacrifice as seen in the Christian mythologies. It is the equilateral cross of the elements in the Celtic cosmology. It is the tree on which Odin hung. Moreover, it is the crossroads at which magic and initiation happen.

Then there is the mountain, whose base is the horizontal axis. The line from the base to the peak is the vertical axis. In some cultures, a specific mountain has been their World Mount. And mountains the world over have been deemed as sacred. In fact, many cultures have created mountains as representations of the concepts embodied within the World Mount/World Tree concept. The Great Pyramid of Egypt is a prime example of this, while the Celtic Tors are examples known to many others. The sacred mountain connects the realms just as the World Tree does. The Torprovides access to the three realms. Medieval witches, too, were said to fly to Bald Mountain at Samhain for their great revel.

 
The Animals of the World Tree


Typically, eagles are said to dwell in the uppermost branches of the World Tree, with other birds living in some of the lower ones. Deer and horses are associated with the trunk of the tree, while snakes are seen twisting around the roots.

Although these images are fairly consistent throughout the various cultures, the Norse Ygdrassil houses all of them, and a few others. Specifically, there is an eagle at the top (which associates the eagle in my mind, then, with the Pole Star). Between the eagle’s eyes perches a hawk. There is a dragon that is twisted among the roots, as well as other snakes and serpents who help him gnaw at those roots. A certain squirrel delivers messages between the Dragon and the Eagle, who are feuding. Other bringers of messages associated with Ygdrassil are the ravens who bring messages to Odin of Midgard and Niflheim (the middle and lower realms). There are also stags, a goat, and a hart who roam the branches and trunk and eat the leaves of the tree.

Interestingly, the name of the tree means “Odin’s Horse” (because he rode it to attain enlightenment). This is interesting because so many of the other World Tree mythologies have sacred kings or gods tethering their horses to the trunk of the World Tree. Furthermore, the word Cabala is derived from the same Latin word as the word for horse (equus). (I know it seems like a stretch, but the Spanish word for horse is caballo, and the Italian is cavallo,which certainly show the progression of the word into derivations.) Therefore, horses are largely associated with the World Tree. So much so that at least one version of the World Tree is named as a sort of horse -- a means in itself of "traveling."

Stang-Rider

Just as a priest or shaman is trained to ride the tree, so is a witch or anyone of us of sorcerous ilk trained to ride the stang, walk through the Spiral Castle, fly on the broom. The broom, after all, is fashioned from a forked staff -- a stang at its heart! These tools are aids in achieving soul flight, in fully experiencing the world around and within us, before and behind us, below and above us. In a great many ways, they are all the same tool, just fashioned in a different package.

Tuesday, August 9, 2011

The Stang, The Broom and the Spiral Castle

I (Laurelei) have worked exclusively in covens that have used the Stang as a central point of focus in ritual. Because of this, I have a couple of nifty pics of Stangs that were once near and dear to my heart.




The picture above depicts the Stang adorned for a wedding -- hung with an arrow, which is draped with a white linen shirt. This adornment is used in other situations, as well, which we'll describe in detail in another post. (In the covens of my former Tradition, the Stang was located behind the main altar, which was oriented to one side of the ritual space. You'll note how that differs from the Spiral Castle Tradition's placement of the Stang in a moment.)


This particular Stang was made by one of my coven brothers. It had an Ash handle, iron horns (or prongs), iron foot, and an iron hook between the horns for hanging the ram's skull, arrow and candle. It was a tremendous piece!
Fore-running Configuration of the Spiral Castle
The Stang in the picture above was the tool of the coven for which I served as HPS. It was a converted pitchfork, which meant that it also had an Ash handle and iron (cast-iron) horns. One of my coven brothers cut and ground down the middle prongs to provide us with the piece you see. At the time of this photo, it still needed its branding sanded off and its foot shod with iron.

In the Spiral Castle Tradition, the Spiral Castle itself  sits at the middle of our cosmological system. When we lay the compass, we signify this central focus by placing the Stang at the epicenter of the circle. At its base we place the anvil (and hammer), which is our Oath Stone; the skulls and crossed bones (representations and keys to the Ancestors); and our personal fetishes.

We envision the Spiral Castle as sitting atop a Tor, a ritual mound with a sacred chamber inside.

The Spiral Castle, the Stang and the Broom share a certain transvective power with each other. (In truth, the Broom's base staff is a small Stang, as you will see soon.) What the Spiral Castle does for the entire Tradition (accesses ALL wisdom, ALL experience, ALL the realms, gates and airts), the Stang does for the Coven, and the Broom does for the individual Witch.

In his letters (have you started reading those yet?), Cochrane says that the Mystery of the Broom is "spinning without motion between three elements." He also relates this Mystery to the Qabbalistic Middle Pillar and the "path to the 7 gates of perception." He is, of course, talking about the practice of trance-work and meditation -- and using these tools (the Broom, is the metaphor for the tool) in order to access ALL THAT IS.

The Broom (according to copies of Cochrane's letters which I have that actually include illustrations) is constructed from a small, forked Ash staff. Between the prongs of the fork, a sacred stone is bound. The strips used for binding, the broom twigs, and the handle, are each different sacred woods. (Glaux is planning to reproduce the illustration soon.) The stone is a specific stone (which he calls "balanite," and we have researched to be none other than basalt).



Saturday, August 6, 2011

The Witches' Stang

The stang is the central tool and main altar of our tradition. A stang, in its most basic form is simply a forked stick set with its long end into the ground. It acts as an axis on which magic can turn, and as a pole that can be "ridden" by the shaman or witch into different realms. Its forks represent the horns of the Witch Lord.

The stang entered modern Craft by the hand of Robert Cochrane, who called it as "sacred to the People as the Crucifix is to the Christians."  I've written about Cochrane's use of the stang in my July 2011 post on Treading the Mill.

The stang is sometimes represented by a iron-tined pitchfork or a pole with the skull of a horned beast on it. Often in these configurations there will be a candle or torch lit between the two horns or tines, in the style of the icon of Baphomet, or as is shown in this woodcut from 1594 of a sabbat at Treves.

The Horned God with the cunning light between his horns.

Any wood is suitable for use as a stang, although ash, with its connections to Yggdrasill, the tree on which Odin was hung shaman-like for nine days, is a popular choice. Our own stang is based on Him that we honor as the Witch Lord, T'Qain. It is therefore represented by a ram's skull.  It represents both His presence and the Spiral Castle.

Although not as popular as motif as, say, riding a broomstick, there are many examples of witches using the stang to fly in early woodcuts as is shown by the examples below.

Using the stang to carry a cauldron while riding backwards on a goat. It has all the things. ;)

A masked family flies out on their stang.

A witch and her demonic familiar fly to the clouds on a stang.

The stang has antecedents in the Yggdrasill of Norse lore, the Poteau Mitan of Haitian Voudon, and the ascending-pole birch tree of the Yakut shamans.  It is both a world-pillar on which the cosmos (represented by the witches compass) turns and a gandreigh.

Admit it. You want to try out magic with a stang.

For more information I suggest reading the writings of Robert Cochrane, and Nigel Jackson and exploring the links below.

How to Use a Stang
A Special One, But Still a Pole
Posts Labeled "Stang" from This Blog

Friday, June 17, 2011

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.
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