The Staff

Note that this is a discussion of the generic witch's staff. It is not to be confused with the Blackthorn Staff or the Distaff, both of which are different tools with distinct characteristics. These tools will be discussed in future entries.

Witches' staves

The staff is a straight stave cut from any wood.  It can be of any length, usually ranging somewhere from waist height to just slightly taller than full height of the witch who will be using it.  There is no specific type of tree that is chosen for a staff, rather, the witch will wander the woods at will, communing with the spirits there, and feeling for a young tree that is willing to give its life for the creation of a magical tool.

You may already have a piece of dead-fall or a walking stick which you wish to use for a staff.  If you do not, you should seek for a young tree in a copse of other trees.  This will encourage the tree to be straight, and will leave less impact on the forest. Raise the power and send it coursing into the potential tree. Tell the tree in your own words what you are seeking and then ask it if it is willing to give itself to become your staff. The tree must give consent before proceeding.

You will need to make an offering to the tree.  The traditional offering is, as always, a piece of silver.  Birdseed and fertilizer are also good choices, especially if you choose to make ongoing offerings to the tree over a course of time.  When you are ready to harvest your staff take the offerings to your tree along with a mundane handsaw that has been consecrated for this purpose, the shelg, bottled water, and a first aid kit.

Confirm a final time that the tree agrees and desires to be your working tool.  Lay a compass to hold the energy in the grove. Make your offerings to the grove.  Ask the tree to send its life force down into its roots. Cut the tree down with the handsaw, concentrating on the purpose of your task.

When the tree falls use the shelg to cut your palms.  Hold the tree and let your blood and spirit fuse with the wood. Consecrate the wood in the name of any deities and powers that you wish.  Clean your wounds and bandage them well. Use the handsaw to cut your staff to the length you desire.  Cut any “scrap” wood from the tree that you wish to use for besom handles, wands, etc.  Scatter the remaining wood and branches throughout the grove, leaving as little trace of your work as possible.

If you are working from a piece of dead-fall wood be certain that it has not been compromised by rot or insects, then proceed to blood the wood just as you would with a newly felled tree.

You may choose to adorn your staff however you wish.  You may remove the bark, or leave it on.  Your staff can be as elaborate or as simple as you like, and it may evolve in style and decoration as you grow and change in the Craft.  Some witches choose to keep their crane bag hanging from their staff.

One thing that must be done before the staff is used formally in ritual is the shodding of the staff.  You may choose to do this during a consecration ritual for the staff.  To shod the staff you need only to drive a nail up into the bottom end of the staff.  This seals the staff as a weapon in the name of Qayin, and creates it as a properly iron shod steed.

The staff may now be used to cut the boundary of the river of life and death when laying the compass.  It can also be ridden both as a gandreigh and a tool for treading the mill.

The staff is a truly personal tool of a witch. It is not passed down as a kuthun to students or family.  It is best if the staff is destroyed upon a witch's passing, or that it is given back to earth, water, or fire with the witch's remains.

July Totems: Eagle

In our tradition we divide the year not only by eight solar and agricultural holidays, but also by the Kalends. We celebrate twelve months of the year by the common calendar, plus a special thirteenth month for Samhain.  These month cycles are associated with different totemic spirits. Each month is assigned an animal, a bird (or other flying creature), and a tree. July's totems are the Hound, the Eagle, and the Elm.

The totemic associations are as follows:

Hound (Cu) – loyalty, protection, guidance
Elm (Lemh) - elves, light, purification, wisdom
Eagle (Iolair) – light, renewal, loyalty, intelligence, courage
 

Eagle

Golden Eagle

In America, the two primary species of eagle are the Golden Eagle and the Bald Eagle. It is a symbol of freedom for Americans, and it was likewise a royal and bird among Romans, Egyptian pharaohs, Greek Thebans and the Celts of Ireland and Scotland.

The eagle has a long association with sky Gods, such as Zeus and Asshur, which strengthens the bird’s connections to the sun, storms, lightning and fire. Eagle is often associated with war and bravery, as well.

Native Americans hold the Eagle in highest esteem among birds, and Eagle medicine was greatly prized. Most tribes have an eagle clan, for instance, and eagle songs, dances, and ceremonies are all well-known.

Druids, as well, valued eagle magic and were said to choose this form for shapeshifting for certain ceremonies. In fact, the eagle is almost as powerful and popular a bird in Celtic myth and legend as it is in Native American lore. It is one of the four most frequently mentioned birds in the Irish and British traditions (along with the raven, swan and crane). The eagle is particularly intertwined with the salmon at a symbolic level in Celtic myth – one representing the heights of intellect and vision; the other representing the depths of emotion and the unconscious.

Eagles are known for their swiftness, keen vision, strength, and courage.

July Totems: Elm

In our tradition we divide the year not only by eight solar and agricultural holidays, but also by the Kalends. We celebrate twelve months of the year by the common calendar, plus a special thirteenth month for Samhain.  These month cycles are associated with different totemic spirits. Each month is assigned an animal, a bird (or other flying creature), and a tree. July's totems are the Hound, the Eagle, and the Elm.

The totemic associations are as follows:

Hound (Cu) – loyalty, protection, guidance
Elm (Lemh) - elves, light, purification, wisdom
Eagle (Iolair) – light, renewal, loyalty, intelligence, courage
 

Elm

Common tree in both England and America. Its folk name is “ Elven” (because of its long-standing association with elves, both the Seelie and Unseelie Courts of the Fey).

Attracts love when carried and protects against lightning strikes – both because of elven associations.

Associated with death, the grave and rebirth in legend and myth. At Orpheus’ song upon emerging from Hades’ underworld realm, the first Elm grove is said to have sprung into existence. Elm was also used for coffin wood later in English tradition, linking it to this early mythos and to the elven lore that connects the elves with burial mounds.

In Italy, Elm and Vine lore is intermingled, especially in the stories of Bacchus, due largely to the tree’s use as a vineyard superstructure.

Elm branches were carried by the clergy and members of the chorus during annual “beating of the bounds” ceremonies, thereby linking the tree with border-marking and rulership.

The Toad Bone Amulet

Witches are infamous for deriving a bit of their power from a magical amulet known as The Toad Bone. The toad bone is first mentioned in Pliny's Natural History, and it disseminates throughout the western world from there. We are primarily interested in the motif of the Toad Bone in the British Isles, and its influence on American folk Craft. Given below is a first hand account of the Toad Bone ritual by Albert Love (b.1886) published in 1966.

‘Well, the toads that we use for this are actually in the Yarmouth area in and around Fritton. We get these toads alive and bring them home. They have a ring round their neck and are what they call walking toads. We bring them home, kill them, and put them on a whitethorn bush. They are there for twenty four hours till they dry. Then we bury the toad in an ant-hill; and it’s there for a full month, till the moon is at the full. Then you get it out; and it’s only a skeleton. You take it down to a running stream when the moon is at the full. You watch it carefully, particular not to take your eyes off it. There’s a certain bone, a little crotch-bone it is, it leaves the rest of the skeleton and floats uphill against the stream. Well, you take that out of the stream, take it home, bake it, powder it and put it in a box; and you use oils with it the same as you do for the milch. While you are watching these bones in the water, you must on no consideration take your eyes off it. Do [if you do] you will lose all power. That’s where you get your power from for messing about with horses, just keeping your eyes on that particular bone. But when you are watching it and these bones are parting, you’ll hear all the trees and all the noises that you can imagine, even as if buildings were falling down or a traction engine is running over you. But you still mustn’t take your eyes off, because that’s where you lose your power. Of course, the noises must be something to do with the Devil’s work in the middle of the night....’ "

This description of the Toad Bone ritual contains many of the elements common to Toad Bone folklore, primarily the stripping of the toad's flesh by placement on an anthill, and the ability of the Toad Bone to float upstream.

In Haggard (ed., 1935, pp. 13-14) we read the following account of the full toad-bone ritual. This version is recounted by an old Norfolk poacher, who states that he had learnt the charm from his grandmother, a person who was quite evidently a typical rural wise-woman. The indications given in the text for the ages of the poacher and his grandmother probably locate the grandmother’s version of the charm approximately around 1850.

‘There was one charm she told me of wich was practiced wen any one wanted to get comand over there fellow creaturs. Those that wished to cast the spell must serch until they found a walking toad. It was a toad with a yellow ring round its neck, I have never seen one of them but I have been told they can be found in some parts of the Cuntry. Wen they found the toad they must put it in a perforated box, and bury it in a Black Ant’s nest. Wen the Ants have eaten all the flesh away from the bones it must be taken up, and the person casting the spell must carry the bones to the edge of a running stream the midnight of Saint Marks Night, and throw them in the water. All will sink but one single bone and that will swim up stream. When they have taken out the bone the Devell would give them the power of Witch craft, and they could use that power over both Man and Animales.’

Natterjack Toad (Epidalea calamita, formerly Bufo calamita)

The toad in question is the British walking toad, the Natterjack Toad, beloved by Doreen Valiente. Natterjacks have short legs that give them a distinct "walking" gait, and possess a yellow line trailing down their back which could be the "yellow ring" sought for.

The Toad Bone was a common element of the society of the Horseman's Word, a group associated with folk magic.

I am indebted to the late Andrew Chumbley for his treatment on the Toad Bone, The Leaper Between, which is, alas, no longer available online other than via the Google Wayback Machine.

Orkney Charm for Becoming a Witch

Standing stones in Orkney

While recording the rapidly disappearing folklore and traditions of Sanday in the 1880s, folklorist Walter Traill Dennison documented the ritual carried out by aspiring witches to gain their magical powers.

The witch had to first wait for a full moon. Then she would go to a solitary beach at midnight where she had to turn widdershins three times before lying prostrate on the ebb - the area between the limits of high and low tide.

She then had to stretch out her arms and legs, and place stones beside them. Further stones were also placed at her head, on her chest and over her heart.

Once enclosed by the circle of seven stones, the witch spoke aloud:

O' Mester King o' a' that's ill,
Come fill me wi' the Warlock Skill,
An' I shall serve wi' all me will.
Trow tak me gin I sinno!
Trow tak me gin I winno!
Trow tak me whin I cinno!
Come tak me noo, an tak me a',
Tak lights an' liver, pluck an' ga,
Tak me, tak me, noo I say,
Fae de how o' da heed, tae da tip o' da tae.
Tak a' dats oot an' in o' me.
Tak hare an hide an a' tae thee.
Tak hert, an harns, flesh, bleud an banes,
Tak a' atween the seeven stanes,
I' de name o' da muckle black Wallowa!

"The person must lie quiet for a little time after repeating the Incantation. Then opening his eyes he should turn on his left side, arise, and fling the stones used in the operation into the sea. Each stone must be flung singly; and with the throwing of each a certain malediction [unrecorded] was said."

Here is a rough modern interpretation of the Orkney charm.

Oh Master King of all that's ill,
Come fill me with the Witches' Skill
And I shall serve [you] with all my will.
Troll take me if I sin!
Troll take me if I fly!
Troll take me when I cannot!
Come take me now, and take me all,
Take eyes and liver, organs and feet
Take me, take me, now I say!
From the brow of the head, to the tip of the toe.
Take all that’s out and in of me.
Take hair and hide and all to thee.
Take heart and brains, flesh, blood and bones
Take all between the seven stones!
In the name of the great black Witch Goddess!