Scrying

A crystal ball used for scrying

Scrying is the technique of gazing into an object such as a crystal ball or mirror for the purposes of divination. Anyone can learn to scry, but, like most things, it takes a little practice at first. The amount of time you use for scrying can vary from a few minutes to half hour.   

Scrying is comparable to meditation, and is most easily performed by individuals familiar with meditation techniques and working with their intuition.

Dim the lights of the room and set the scrying object in front of you. Relax your eyes and gaze steadily into the surface of the tool. Do not worry about if you are staring "correctly", rather, if you need to blink, blink! If you feel your gaze shifting, allow it to happen. Stay relaxed, and stay focused on your question.

Typically a mist will seem to form on the surface of the object, almost as if a veil is being lifted before your eyes. It is important to not become too excited at this occurrence, rather you should strive to remain calm and focused. Eventually, the mists will clear, and you should be able to pick out shapes or images in the scrying surface. These images may appear as crude symbols, or occasionally with the clarity of a photograph.

Although you will actually see these images with your eyes, what has happened is that the images themselves begin to form in your mind via your intuition. As this stage progresses, you will no longer see the images projected onto the scrying surface. Rather, you should allow your attention to focus on these mental images.

As the images become clearer, you will find that you know things about what you are seeing. Background information will come to the surface of your mind. Pay attention to what you know about the images you are seeing. This stage is marked by astral impressions, which is evident by the dreamlike quality of the state.

Tools used for Scrying

Although the crystal ball is the immediate tool that comes to mind when visualizing a scrying witch, it is far from the only one available. Other methods of scrying include:

A scrying mirror is a concave glass painted black on the reverse side.

•  Water in a black bowl or cauldron
• Scrying Mirrors
• Crystal Balls and/or scrying stone jewelry (also known as a keek stone)
• Fire/flames
• Incense smoke

Beginners to scrying may find it easiest to scry from fire or smoke, or to add a silver coin to a the back bowl of water. These methods allow a point of focus, depth, and in many cases movement which lulls the intuitive mind into a working state.

Scrying Tips

Following the candle scrying ceremony outlined here, relax your eyes and stare at your face in the mirror. Your face will darken, as with shadows, and will shift shape. This is extremely useful for past life work.

When scrying with a crystal ball, it is useful to hold the ball in one or both hands with a piece of black velvet behind it. It may also be helpful to turn the ball occasionally.

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 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.