Review: The Wildwood Tarot

The Wildwood Tarot By Mark Ryan & John Matthews & illustrated by Will Worthington
ISBN 978-1-85906-318-7
http://www.aeclectic.net/tarot/cards/wildwood/review.shtml

 

In 1996 I started using the GREENWOOD TAROT which was designed by Marc Ryan and Chesca Potter. I still use it with pleasure.

However it is no longer available. Recently Marc Ryan decided to team up with John Mattews and Will Worthington to create a new tarot deck based on the Greenwood Tarot. It became the Wildwood Tarot.

I was curious to see the new deck, wondering how close it was to the old but also what was different.  The most important thing though was “Does it work in the way I know the GT?” In a word… yes it does! Despite the very different illustrations and some changes with the animal and bird attributions of the court cards, the general feel is remarkably similar.

It feels slightly biased towards a more masculine approach. I suspect that is because the illustrations are less colourful, less ethereal.

I am still not used to the differences with the court cards. One of my favorite cards was the Queen of Cups = Heron. Now Cups are Vessels and the Queen is the Salmon. In the Wildwood Tarot the King of Vessels is the Heron. Strangely enough the attributions for the court cards in Wands/ Bows is the same. Gone is the Reindeer (was King of Cups) and new is the Eel (Knight of Vessels).

The names of the major arcana are generally the same as in the GT. The illustrations of the minor arcana are wonderful. The nine or Arrows/ Dedication is beautiful. Compared to the 9 of Swords in the Rider Waite deck the Wildwood card is actually a relief. (Yes you’ve guessed it.. I am forever getting 9 of arrows 🙂 )

Card The Seer from the Wildwood deck

The Seer

And the names  and numbers of the major arcana have also changed: [Greenwood tarot] (Rider Waite)

0 The Wanderer [the Fool] (The Fool)
1 The Shaman [the Ancestor] (The Magician)
2 The Seer [the Star] (The High Priestess)
3 The Green Woman [the Archer] (The Empress)
4 The Green Man [Justice] (Emperor)
5 The Ancestor [the Lovers] (The Hierophant)
6 The Forest Lovers [Balance ] (The Lovers)
7 The Archer [the Greenman ](The Chariot)
8 The Stag [the Greenwoman] (Strength)
9 The Hooded Man[the Blasted Oak]  (The Hermit)
10 The Wheel [Strength] (The Wheel of Fortune)
11 The Woodward [Reflection] (Justice)
12 The Mirror [the Wheel] (The Hanged Man)
13 The Journey [the Guardian] (Death)
14 Balance [Death]  (Temperance)
15 The Guardian[the Hermit] (The Devil)
16 The Blasted Oak [Judgement] (The Tower)
17 The Pole Star [The Seer] (The Star)
18 The Moon On Water [the Moon] (The Moon)
19 The Sun of Life [The Shaman ] (The Sun)
20 The Great Bear [The Sun ] (Judgment)
21 The World Tree [The World Tree ] (The World)

This takes some time of adjustment.Fortunately the meanings of the cards are the same.

The illustrations by Will Worthington are wonderful. An exhibition of his work is being planned at the Atlantis Bookshop later this year – 2011.

All in all I am very pleased with the Wildwood Tarot and would recommend it to everyone who has tried to get the Greenwood Tarot.

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Alizon the Witch – an extract from ‘A history of the Pendle Witches & their magic’

Alizon the Witch – an extract from ‘A history of the Pendle Witches & their magic’ by Joyce Froome.
416 p. ISBN 978-1874181-62-0. GBP 16,99
See:  www.carnegiepublishing.com,
Reproduced with permission

CHAPTER ONE

ALIZON THE WITCH

The evidence of John Law…  About the eighteenth of March last past, he being a peddler, went with his pack of wares at his back through Colne-field: where unluckily he met with Alizon Device… who was very earnest with him for pins, but he would give her none: whereupon she seemed to be very angry; and when he was past her, he fell down lame in great extremity.

(The Wonderful Discovery of Witches in the County of Lancaster by Thomas Potts.[1])

“Unluckily he met with Alizon Device….” Eleven people died because John Law was at Colne-field that day. His argument with a teenage girl triggered one of the most dramatic and horrifying witchcraft cases in English history. The trials caused such controversy that a pamphlet, The Wonderful Discovery of Witches in the County of Lancaster, was written “by commandment of his Majesty’s Justices of Assize in the North Parts” to give the official version of what had happened.[2] It’s a blatantly biased account; but in spite of all its distortions it still can’t hide the fact that the defendants suffered an appalling miscarriage of justice.

At the heart of the case was the conflict between the local Justice of the Peace, Roger Nowell, and Alizon Device’s family. The Wonderful Discovery includes the statements Roger Nowell took from them – from Alizon herself, her older brother James, her sister Jennet (about nine years old), her mother Elizabeth, and her grandmother Elizabeth Sothernes.[3] It’s a disturbing record of a battle of wills fought out through a series of grim interrogations. Roger Nowell ruthlessly falsified evidence, but for a simple reason. He was convinced of his suspects’ guilt.

Alizon and her family openly practised magic. Their lives and values were shaped by a complex magical culture – a strange fusion of Christian and pre-Christian elements. Magic gave them practical ways to deal with everyday problems – illness, bad luck and unhappiness in love. But it also had a profound effect on their spiritual beliefs. There was very little evidence that they had committed any of the crimes they were accused of. But their magic called on the help of supernatural forces that Roger Nowell sincerely believed were evil.

The case of the Pendle witches raises questions that are still important today. Questions about guilt and truth; about the relationship between the material world and the realm of the spirit; about good and evil; and about the nature of magic and the nature of power.

*
John Law, the peddler, encounteed Alizon just outside the small town of Colne in Lancashire, on the edge of the spectacular moorland around Pendle Hill. Just 400 metres away was an inn, where no doubt he hoped to find some buyers for the goods in his pack. Mostly he sold small items such as ribbons and buttons. This was a rural community, and many people were paid not in cash but in farm produce. Money was scarce.

John travelled this route regularly, and for the local people he was also an important source of news and gossip. He may even have sold pamphlets and ballads about some of the more sensational recent news stories. The growth of printing and literacy meant that even in country districts people were well aware of current events and the latest controversies.[4]

The year was 1612, and one of the subjects most hotly discussed in early 17th century England was witchcraft. This was the mid-point of the English witch-trials period. It had begun fifty years before, and the last execution of an alleged witch would be in seventy years’ time.[5] And on this particular March day it was especially topical. A local woman had just been tried for murdering a child by witchcraft (and found not guilty) at the Lent Assizes at York.[6] In fact, there was so much suspicion of witchcraft in the area that at the August Assizes at Lancaster there would be three unrelated witchcraft cases.

John probably felt uneasy as soon as he saw Alizon. He seems to have recognised her immediately[7], and he would have known she was a ‘wise woman’ – someone who practised magic. Alizon would never have referred to herself as a witch. In the 17th century the word ‘witch’ had a very narrow meaning – someone who used magic to do harm. In fact many people regarded wise women and cunning men (as male practitioners were often called[8]) as their main defence against witches. Much of Alizon’s magical power came from a healing charm that was handed down in the family from generation to generation, and which they claimed “would cure one bewitched”.[9]

In fact one book written at the time accused wise women of stirring up the fear of witchcraft and encouraging the persecution of innocent people:

He sent to the [wise] woman at R.H. and she said he was plagued by a witch, adding moreover, that there were three women witches in that town, and one man witch: willing him to look whom he most suspected: he suspected one old woman, and caused her to be carried before a Justice of the Peace… She was committed to the prison, and there she died before the Assizes.

(A Dialogue Concerning Witches and Witchcrafts by George Gifford[10] )

But wise women and cunning men could themselves be witches. When the cunning man John Walsh was arrested in 1566, his interrogators specifically asked “whether they that do good to such as are bewitched, cannot also do hurt if they list [want to].” He replied that “he which hath the gift of healing, may do hurt if he list, but his gift of healing can never return again.”[11]

Also, of course, injuring someone physically was not the only way to harm them. It could be argued – and was – that all magic was essentially evil, even magic used for healing. It seduced both the practitioners themselves and their clients away from God, because it could only be performed with the help of the Devil and evil spirits:

He [the Devil] worketh by his other sort of witches, whom the people call cunning men and wise women… and by them teacheth many remedies, that so he may be sought unto and honoured as God.

(A Dialogue Concerning Witches and Witchcrafts[12])

By witches we understand not those only which kill and torment, but all diviners, charmers, jugglers, all wizards commonly called wise men and wise women…; and in the same number we reckon all good witches, which do no hurt but good, which do not spoil and destroy, but save and deliver… These are the right hand of the Devil, by which he taketh and destroyeth the souls of men.

(A Discourse of the Damned Art of Witchcraft by William Perkins[13])

This was not a new idea. It had been the official view of the Church throughout the Middle Ages:

Magic is… a teacher of every kind of wickedness and evil-doing, [it] lies about the truth and in actual fact does harm to people’s minds, it leads them astray from God’s religion, persuades them to worship evil spirits, lets loose a degeneration of virtuous behaviour, and drives the minds of those who pursue it towards every type of crime and forbidden wickedness.

(Didascalion by Hugh of St Victor[14])

Indeed, John Law, on his travels through Pendle, had heard many sinister rumours about Alizon and her family. There were stories that her grandmother’s exceptional powers were the result of a visit from a spirit that had left her insane for weeks. It was said that Alizon’s brother James – who was probably not yet twenty – had already murdered at least one person by witchcraft. And apparently Alizon herself, who was only about seventeen, had bewitched a child, although the child had recovered after a confrontation between Alizon and the father.[15]

But anyone in John’s line of business must have been a tough character used to dealing with all kinds of strange people. Why didn’t he just sell Alizon the pins and get rid of her?

Perhaps he didn’t want to take off his pack at the roadside, when there was an inn so close. But he could easily have explained that politely, and got Alizon to go with him to the inn. Instead, things quickly became tense. According to John, Alizon became “very earnest”. Alizon’s own statement adds more details:

This examinate [Alizon] demanded of the said peddler to buy some pins of him; but the said peddler sturdily answered this examinate that he would not loose his pack.[16]

‘Sturdily’ means more than just ‘obstinately’. In the 17th century it meant ‘harshly’, or even ‘violently’.[17] In Alizon’s version, it seems clear that John didn’t want to sell her the pins.[18]

Buying pins would also have been quite an extravagance for a young girl like Alizon. It would have been unusual for her to be paid in cash, so she would have had very little actual money. Making pins by hand was labour intensive, so 17th century pins were far from cheap. In fact it’s likely that many country people normally used blackthorn points – pins made from the thorns of blackthorn trees. They were light, slender and sharp, and could be snapped off the tree for nothing.[19]

It’s clear that Alizon was very determined to get hold of some metal pins, and John was equally determined she shouldn’t have them. It may seem strange that such a serious argument – which had such terrible consequences – should have started over something so trivial. But in fact pins were far less trivial then than they are now.

Today when we think of the tools of magic we think of wands, crystal balls and rings of power – glamorous and mysterious things. But in practice the object most often used for magic was the pin. It was used in spells for protection, for healing, for divination, to bring good luck, to curse, to reverse a curse, and for love magic. Its significance is recorded in a rhyme still often said today:

See a pin and pick it up,
All the day you’ll have good luck.
See a pin and let it lie,
Sure to rue it by and by.[20]

It was love magic, of course, that was of particular interest to teenage girls:

The women have several magical secrets handed down to them by
tradition… as, on St. Agnes’ night, 21st day of January, take a row of pins, and pull out every one, one after another, saying a Pater Noster, or Our Father, sticking a pin in your sleeve, and you will dream of him, or her, you shall marry.

(Miscellanies by John Aubrey[21])

Another 17th century spell was a little more complicated:

Yet I have another pretty way for a maid to know her sweetheart, which is as followeth. Take a summer apple, of the best fruit you can get, and take three of the best pins you can get, and stick them into the apple close to the head, and as you stick them in, take notice which of them is in the middle, and what name thou fancies best give that middle pin and put it into thy left-handed glove, and lay it under thy pillow on Saturday at night but thou must be in bed before thou lays it under thy head, and when thou hast done, clasp thy hands together speaking these words:

If thou be he that must have me
To be thy wedded bride,
Make no delay but come away
This night to my bedside.

(Mother Bunch’s Closet Newly Broke Open by T.R.)[22]

A very similar version recorded in the early 20th century used an onion instead of an apple. The account is clearer about how the pins should be positioned. Nine pins were used, with eight forming a circle and the ninth “given the name of the ‘true love’” and stuck in the centre. In this case, the spell had to be performed on St Thomas’s Eve, and the saint was invoked in the charm:

Good St. Thomas, do me right,
Send me my true love this night,
In his clothes and his array
Which he weareth every day.

(Pins & Pincushions by E.D. Longman and S. Loch[23])

As well as spells to summon a vision – or perhaps it would be truer to say the spirit – of her lover, a girl could also use magic to bring him to her in person:

If a lover did not visit his sweetheart as often as she wished, she roasted an onion stuck full of an ounce of pins. The pins must have never been through paper, and were supposed to prick his wandering heart and bring him to his lady’s feet.

(Pins & Pincushions[24])

Again, this is a spell recorded in the early 20th century, but it’s based on the same principles as one recorded five hundred years earlier, used by Matteuccia di Francesco, an Italian wise woman. A client wanted to regain the affection of her lover, who was ill-treating her. Matteuccia and her client worked a spell that involved melting a wax image over a heated tile, while the client recited a charm linking the image to her lover’s heart and binding him to her will. Apparently the spell was a great success.[25] Wax images could be heart-shaped as well as in the shape of a human figure. One is mentioned in the 17th century play The Witch by Thomas Middleton – “Is the heart of wax stuck full of magic needles?”[26] In the play the image is used for a curse, but images were used just as often for love-magic as for cursing. The methods were the same: it was the intent that was different.

In many ways, though, an apple or onion was a better representation of a lover’s heart than a wax image. An apple would remind whoever worked the spell of the apple Eve gave Adam, which robbed them of their sexual innocence. An onion ‘bleeds’ when it’s cut, and, as a root, contains the energy the plant needs to survive, just as the energy of the heart is essential to the survival of the human body.

So did John Law suspect that Alizon was about to use her evil powers to seduce some unfortunate young man? Or perhaps Alizon was not alone. She was, after all, either leaving or heading into town. Perhaps she’d met up with a group of friends.[27] Perhaps John was confronted by a whole gang of teenage girls joking about the magical havoc they were about to wreak on Pendle’s male population.

There was nothing noble or exalted about the aims of wise women and cunning men. They and their clients were very ordinary people. They wanted magic to get them out of difficulties, and bring them a little pleasure in life. And that was one of the things that made magic so abhorrent to the authorities – the God-fearing men of Church and State. What if it was true that a girl like Alizon could know a spell to turn a young man’s heart? How could someone like her – an unruly, disrespectful, bad-tempered teenage girl – have some kind of strange power? Only if she was a tool of the Devil.


[1] Thomas Potts, The Wonderful Discovery of Witches in the County of Lancaster, “Published and set forth by commandment of his Majesty’s Justices of Assize in the North Parts”, “Printed by W. Stansby for John Barnes, and are to be sold at his shop near Holborne Conduit”, London, 1613, p.R4v. There was also a first edition published in November 1612 (see Marion Gibson’s preface in her invaluable edition of witchcraft case pamphlets, Early Modern Witches, Routledge, Abingdon, 2000, p.173ff.). There are a number of versions currently in print – see Bibliography. From now on this will be referred to in the notes as WD. Page numbers in 17th century works are often a combination of letters and numbers. Pages are also often only numbered on one side. By convention, the back of the page is designated by adding the letter v. When I quote any original source written in English, I have modernised the spelling and capitalisation, but left the grammar and punctuation unchanged. I have left place names and proper names as spelt in the original.

[2] WD title page. WD in fact covers four witchcraft cases – the trial of Jennet Preston at the York Assizes in July, and three cases tried at the Lancaster Assizes in August: the Pendle witches, the Salmesbury witches, and Isabel Robey. The Pendle case was the most complex – nine trials involving twelve people. It was also linked to the case of Jennet Preston, as part of the evidence against her was a statement from James Device claiming she was involved with the Pendle witches.

[3] I have opted to spell proper names as they are spelt in the original sources. Often names are spelt in a number of different ways; if one spelling seems generally preferred to the others I have used that one, otherwise I have used the spelling that appears easiest to read. For a number of reasons, I have opted to use first names when discussing people who feature prominently in the account. I sometimes use a combination of first name and surname, but to do that on a regular basis would quickly become tedious for the reader. It’s obviously impossible to use surnames alone when so many of the people are related and have the same surname. Also, today we generally refer to people by their first names, and although this would have seemed over-familiar in the 17th century, to do anything else would, in my opinion, distance these people from the modern reader – something I am anxious to avoid. In this (as in much else) I am following the example of Emma Wilby in her ground-breaking book Cunning Folk and Familiar Spirits, Sussex Academic Press, Brighton, 2005. Elizabeth Sothernes is also referred to as “alias Demdike”. This was a legal formality – Justices of the Peace were obliged to note other names that suspects might be known by (Michael Dalton, The Country Justice, London, 1618, p.266). As today, these various names were usually the result of people marrying more than once, with women’s maiden names also being given. Elizabeth is also referred to as “old Demdike”, a nameThomas Potts takes up with relish in his commentary (Bv, F2v), no doubt because of its ugly and vaguely insulting sound; but the epithet ‘old’ may have been purely descriptive –  she certainly was elderly (around eighty (Bv)) – or even respectful. In Cornwall until very recently ‘old’ was used of someone particularly clever, regardless of their age (personal communication from Paul Tonkin).

[4] See Joad Raymond, Pamphlets and Pamphleteering in Early Modern Britain, Cambridge University Press, Cambridge, 2006.

[5] Agnes Waterhouse was executed in 1566, and Alice Molland in 1684. Incidentally, 18th March was technically still in 1611, as in early 17th century England the legal year began on 25th March.

[6] Jennet Preston – more of her later. She lived at Gisburne, just over the border in Yorkshire. Although she wasn’t released until early April, her trial was probably around the middle of March. The week Alizon and John Law had their confrontation was probably the last week the York Assizes could have been held. The Lent Assizes were generally held in March, and York always came before Lancaster. Also, Roger Nowell would almost certainly have gone to the Lancaster Assizes, and as he was at home for the week beginning 30th March, the Lancaster Assizes must have been held before then. WD p.Y.

[7] He was a middle-aged man who’d no doubt travelled the same routes all his working life, and probably knew almost everyone in Pendle. There’s no reference in his statement to making any inquiries about Alizon’s identity.

[8] The terms wise man and cunning woman were also used. The word witch was used for both men and women – although, of course, statistically women were far more likely to be accused of being witches.

[9] WD p.Kv.

[10] George Gifford, A Dialogue Concerning Witches and Witchcrafts, “Printed by John Windet for Tobie Cooke and Mihil Hart, and are to be sold in Paul’s Churchyard, at the Tiger’s head”, London, 1593, p.C. (George Gifford’s surname is actually spelt Giffard on the title page of the pamphlet, but seems to have been usually spelt Gifford.) A discussion of witchcraft and magic by fictional characters. Gifford uses different characters to put forward a range of views and beliefs commonly held at the time, so that his protagonist can demolish them and demonstrate the evils of magic with a mixture of dubious logic and highly selective Biblical quotations.

[11] The Examination of John Walsh, “Imprinted at London by John Awdely, dwelling in Little Britain Street without Aldersgate”, 1566, p.A6v. In fact the pamphlet has “he which hath but the gift of healing”; however, the word “but” does not occur in the original record of the examination, Chanter MS 855B ff.310-12, Devon Record Office.

[12] George Gifford, A Dialogue Concerning Witches and Witchcrafts, p.A3.

[13] William Perkins, A Discourse of the Damned Art of Witchcraft, Printed by Cantrell Legge, Printer to the University of Cambridge, 1618 (first published in 1608), Chapter 7, Section 5. Where sources have numbered chapters and/or sections, I give these instead of page numbers, since they are, in practice, more use to modern readers.

[14] Hugh of St Victor, Didascalion, early 12th century. Translated by P.G. Maxwell-Stuart in his fascinating anthology, The Occult in Mediaeval Europe, Palgrave, Basingstoke, 2005, p.71.

[15] WD pp.B3, H3v, S2v, discussed in more detail later. The question of how old Alizon and James were is a tricky but important one. WD links them together and says of both of them that they were “in the beginning of their time” (p.F2), suggesting that they were similar in age and both quite young. It then later says of James, “He were but young, and in the beginning of his time” (p.I). In fact we don’t even know for sure that James was older than Alizon, but he was charged with more serious crimes going back over a longer period, so it is a reasonable assumption. Rossell Hope Robbins, in The Encyclopedia of Witchcraft and Demonology (Spring Books, Feltham, 1968), confidently asserts that Alizon was only eleven (p.298), but that seems unlikely. Alizon is described in her indictment as a “spinster”, so she must at least have been approaching marriageable age. Life expectancy was of course lower in the early 17th century (although average life expectancy was slewed by high childhood mortality rates), which must have made a difference to people’s perception of what would have been “the beginning” of someone’s life. Even two hundred years later, in Sense and Sensibility Jane Austen portrays Colonel Brandon (admittedly humorously) as “an old bachelor” and of “advanced years” at thirty-five. That makes it unlikely you would be considered “at the beginning of your time” at, say, twenty-five. On the other hand, Thomas Aikenhead, the Edinburgh University student sentenced to death for blasphemy in 1696, pleaded for mercy on the grounds of youth because he was only twenty when he committed the offence (see A Complete Collection of State Trials, compiled by T.B. Howell (T.C. Hansard, London, 1812) (aka Cobbett’s Complete Collection of State Trials), Vol.XIII, pp.918-939, Proceedings against Thomas Aikenhead). As for internal evidence within WD, it’s clear that Alizon was angry enough about the pins to frighten John Law – someone probably not easily scared – which suggests the kind of uncontrollable rage not unknown in teenagers. And it’s clear that from very early in the case Roger Nowell based his strategy on the assumption that James would be vulnerable to interrogation. Taking these considerations into account, I would estimate a minimum age for Alizon of sixteen and a maximum for James of twenty-two, with their most likely ages being around seventeen and nineteen.

[16] WD p.R3v.

[17] The Compact Edition of the Oxford English Dictionary, Oxford University Press, 1971.

[18] Later John’s son Abraham made a statement claiming that Alizon didn’t have the money to pay for the pins. But he wasn’t there, and his statement is suspect for a number of reasons, which will be discussed in more detail later.

[19] See E.D. Longman and S. Loch, Pins and Pincushions, Longmans, Green & Co., London, 1911, pp. 2, 20ff, 148, 153, 187, and Plate II Illustration 1. For the use of the term ‘blackthorn point’ see Francis Jones, The Holy Wells of Wales, University of Wales Press, Cardiff, 1954, p.111.

[20] There are, of course, several versions of this rhyme, including a more modern one that begins, “See a penny, pick it up….” This is the version my mother taught me when I was a child. She told me that if I let the pin lie I would rue it because a witch would stick it in an image of me.

[21] John Aubrey, Miscellanies Upon the Following Subjects, Second Edition, Printed for A. Bettesworth , J. Battley, J. Pemberton and E. Curll, London, 1721, “Magic”. First published in 1696.

[22] T.R., Mother Bunch’s Closet Newly Broke Open, printed by AM for P. Brooksby, London, 1685 (also quoted by C.J.S. Thompson, The Hand of Destiny, Rider & Co., London, 1932, p.44).

[23] E.D. Longman and S. Loch, Pins and Pincushions, pp.46-47.

[24] E.D. Longman and S. Loch, Pins and Pincushions, pp.40-41.

[25] The original trial document, edited by Domenico Mammoli, and including an introduction and English translation, was published in Rome in 1972 as one of a series of papers about the history of Todi, Res Tudertinae – 14, entitled The Record of the Trial and Condemnation of a Witch, Matteuccia di Francesco, at Todi, 20 March 1428. Richard Kieckhefer discusses it in his book Magic in the Middle Ages, Cambridge University Press, Cambridge, 1990, citing Candida Peruzzi, “Un processo di stregoneria a Todi nel 400”, Lares: Organo della Società di Etnografia Italiana-Roma, 21 (1955), fasc. I-II, 1-17. He mentions this particular spell on p.60.

[26] Thomas Middleton, The Witch, Act 1, Scene 2, written around 1615 (see the Introduction by Elizabeth Schafer to the edition published by A & C Black, London, 1994).

[27] It’s only common sense that Alizon had a social life, and we shouldn’t abandon common sense just because we’re dealing with a witchcraft case. And as we shall see in Chapter Two, love divination was (and still is) often a social activity, and the line between love divination and more aggressive love magic was a thin one. It’s also important to resist the propaganda in WD and other witchcraft accounts that portrays practitioners of magic as social outcasts. We know this wasn’t true of Alizon because one of her statements describes her laughing and joking with a friend (WD p.E4v). The belief that Alizon had magical powers might have made some people avoid her, but it would have made other people cultivate her friendship. If there were other girls involved, that would explain why John doesn’t mention his suspicions about the pins in his statement; but there are plenty of other reasons why that might not have been included: Roger Nowell might have told John that his son had said Alizon couldn’t pay for the pins, and John might not have wanted to contradict him; John might have been reluctant to admit to knowing anything at all about magic; he might have thought Alizon wanted the pins to make a witch bottle – counter-magic to remove a curse, which would have put Alizon in too good a light to be mentioned; and even in the 17th century, pure speculation by a witness was generally not considered good evidence.

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Maan van de speer 2010

Vandaag is het 10 juni 2011 het is vandaag een koele en rustige dag… er schijnt regen onderweg te zijn. Het hele voorjaar is het warm en droog geweest, te droog voor de natuur. De regen is meer dan welkom! Zo op het eerste gezicht merk je er niets van, alles is prachtig groen.
Twee weken geleden waren we in Havelte op de heide… ”toevallig’ even weer bij ons hunebed D54 en wat waren de venen daar droog! Het is een prachtig veengebied… maar hier was het watertekort goed te zien. Veel drooggevallen vennen en water dat wel 50 cm onder het gewone peil stond. Ik las van de week in de krant dat het 2 weken onafgebroken zou moeten regenen om dit aan te vullen.
Ons hunebed 🙂 D54 is op 21 november 2010 de plek geworden waar mijn man en ik onze handvasting hebben georganiseerd… dat wist ik in juli 2010 (de tijd van dit verhaal) nog niet… zo zie je maar weer, hoe zaken kunnen verkeren… de twee eiken bij het hunebed staan nu voor ‘ons’ en het hunebed is de plaats van onze verbinding. En de rode steen… die ligt op mijn altaar tussen twee prachtige oude sleutels…
De volle maan van de speer is de maan die je attendeert op het richten op je doel. Je vuur richting te geven en je vuur niet te verspillen met doelloosheid of versnippering van je vuurkracht. Echt gericht op je doel af en volhouden…niet even oplaaien en alle kanten op flakkeren. Echt te gaan voor je doel, dit kost tijd, aandacht en een lange adem.

Volle maan van de Speer ‘Bouw aan je zelfvertrouwen!’
Maandag 26 juli 2010

Mijn intentie voor deze volle maan.
Vanavond gaan wij (mijn man en ik) met een groep mensen naar de hunebedden in Havelte.
Mijn intentie voor deze avond is om deze plek goed op me in te laten werken. De stilte te zoeken en de afzondering. Ik ben natuurlijk gewend om alleen de volle maan te beleven. Ik laat deze avond haar loop hebben in de hoop een mooie ervaring te hebben.
De intentie van mijn speer is een sterke doelgerichte baan te volgen. Een baan dwars door deze wereld. Een baan die opvalt door haar levensvreugd en haar doelgerichtheid hierin.

Een hele warme en sterke volle maan viering gewenst!

Om 20.00 stappen we in de auto. Een vriendin van ons gaat ook mee, zij is uit Ommen naar ons in Zwolle gekomen en samen rijden we naar Uffelte vanwaar we naar Havelte zullen gaan. Nog nooit heb ik zo’n reis ondernomen voor een volle maan.
In Uffelte aangekomen, bij de prachtig ingerichte Ger van Yoka. Yoka heb ik leren kennen via haar foto’s, op Hyve, van de inrichting van haar Ger (een ronde vilten nomadentent). Zij woont daar het jaar rond, prachtig in de bossen in Uffelte. En Aivy een bewoner van de Hobbitstee daar vlak in de buurt kent de hunebedden heel goed. En toen hij een maand geleden aanbood om eens een volle of donkere maanwandeling te organiseren…was het niet moeilijk. Om 21.30 gaan we op weg, het begint al schemerig te worden. De dagen worden duidelijk korter. Na een korte rit met het busje van Aivy komen we bij de hunebedden. Er is een fotograaf bezig met foto’s maken en er staan nog een paar auto’s. We gaan naar het kleinste hunebed D54. Dit is het hunebed dat niet verplaatst is. De originele bodem is met betonplaten afgedekt, niemand kan er opgravingen verrichten. Er schijnt een grindbed  op de bodem te liggen en die bodem is zo’n 1,70 cm vanaf het plafond gemeten. Nu ligt er een dikke aarde bodem en kan je net onder de stenen kruipen. Als archeologen beter kunnen prepareren gaan ze pas onder het grindbed kijken. Nu gaan we er vanuit dat het een riteplek betreft.
Een plaats waar men overgangsrite hield. Gewoonlijk waren deze riten in grotten, in de schoot van moeder aarde. De vroegere mensen hebben deze grotten nagemaakt met grote stenen en aarde. De hunebedden lagen oorspronkelijk onder de aarde hoop. Hunebed schijnt een verbastering van Holbergje te zijn… heeft niks met een bed te maken.
Zo, even een stukje kennis/giswerk 😉
We benaderen D54 van de zijkant of achterkant. De ene steen die er voor ligt is een overblijfsel van de toegangspoort. Het lijkt wel een ondergronds iglo als je het zo bekijkt. Aivy legt ons uit dat je het hunebed als moederschoot kan bezien en het dus niet netjes is om haar van voren te benaderen 😉
Tussen de twee eiken door benader ik het hunebed. Ik voel niets speciaals. Het is een prachtige plek. Ik had hier graag echt alleen geweest. Toch ga ik direct na de zijwaartse benadering naar de toegangssteen. Een rode steensoort en ze ziet eruit als een pijlpunt, die naar het hunebed wijst. Ik neem plaats op haar en direct krijg ik “Weten” door. Weten, niet kennis… weten is intuïtie, weten van binnenuit. Langzaam naderen ons de Witte Wieven, ze komen vanaf de weg over de heide op ons aan. De wetende wijven, mooi om dit zo achteraf te bezien, witte wieven zijn de mistflarden maar ook een verbastering van wetende vrouwen.
Ik loop nog een tijdje om D54 (wat klinkt dat toch “niet”) maar voel niks bijzonders. Dan merk ik de waterlopen in het zand op. Het heeft de hele dag gestortregend en het water loopt door de voordeur en om het hunebed heen. Zo mooi om dit te zien. En het hunebed is schoon gespoeld van alle in- en afdrukken van de droge tijd. Ik besluit ook naar binnen te gaan en te gaan liggen. Zo lig ik een tijd op mijn rug in het redelijk droge hunebed. Het is rustig in mij. Op een gegeven moment komen er wat koppies kijken, “Ben je daar”. Ik was je even kwijt 😉 Als ik er uit kom, komt mijn man naar me toe. Hij heeft iets in zijn hand, langzaam opent hij zijn hand. Ik denk dat hij een hagedisje heeft ofzo, hij ziet die diertjes altijd. Dan laat hij een rode steen zien, exact in de vorm van de toegangspoortsteen. De steen die tot me sprak, zo mooi! Hij ligt nu op mijn altaar, een kleinood.
Als we weglopen om naar het grote hunebed D53 te gaan, komt de maan opeens door de wolken heen… zo helder! Dan neem ik een spurt terug en met een ‘kontje’ van mijn man beklim ik D54 (nu klinkt het als een berg). Dit wilde ik eigenlijk direct doen maar uit respect had ik het niet gedaan. Bovenop D54 neem ik de Artemis-houding aan, de speerwerphouding, met mijn hazelaarstaf… die ik altijd bij me heb. Mijn ene voet op de ene steen en mijn andere voet op een andere, best wel wat ver uit elkaar. Gericht op een prachtige volle heldere maan, totdat ze weer verdwijnt achter de wolken. Wat een krachtig gevoel is dat om daar zo te staan… misschien was de heuvel ook wel een krachtplek en niet alleen de binnenkant ;-). Ik spring wat over het hunebed heen (niet echt lichtvoetig) en glij er aan de achterkant af. Met wat hulp van een ieder wordt ik opgevangen. Zo blij om aan mijn eerste ingeving toe te geven. En niemand had gezegd dat dit niet mocht… wel dat je zonder te voelen direct op haar af kon lopen, en dat je dan iets oversloeg. Nou ik heb echt gevoeld… maar het meeste voelde ik óp haar.
Op naar D53. In een open cabrio zitten twee jongelui te vrijen, zij bovenop hem… motor aan. D53 is verplaatst na de oorlog. De Duitsers hadden hem afgebroken om een vliegveld aan te leggen. Na de oorlog is hij weer opgebouwd, maar de oorspronkelijke plek is onderkend. Tussen de twee hunebedden ligt nu een asfaltweg. Aivy verteld dat het waarschijnlijk  mannelijke en vrouwelijke riteplekken waren die nu helaas van elkaar afgesneden zijn door deze weg, kan. Duidelijk is wel dat er lustig oplos gevreeën wordt tussen hen in ;-). We benaderen D53 netjes van achteren of opzij. Ik kruip door de toegangspoort (die hier nog is) het hunebed in. D53 is het grootste hunebed van Nederland… echt groot. Hier krijg ik echt en grot gevoel. Dan kruip ik er ergens opzij uit en klim erop. Met wat klim- en springwerk kom ik op de vierde steen aan en die zit heerlijk. Aivy en Yoka komen er ook op. De rest blijft beneden. Samen genieten we zo van de nu wolkeloze hemel en een prachtig heldere maan.
Het is er zo stil… als de motor van de auto, van het vrijende stelletje, niet de hele tijd aan had gestaan. Op weg naar het busje van Aivy, besluiten we om de cabrio heen te gaan staan, lol 😉 Zij zit  heerlijk bovenop zijn schoot te wippen en kijkt absoluut niet vreemd op als we daar staan. Ik vraag of de motor misschien uit mag… ”Gut, helemaal niet door gehad… tuurlijk ;-)” Wij wensen hen nog een mooie avond. Als we daarna langsrijden moeten we nog een laatste maal gedag zeggen, raampje naar beneden en een over en weer “Fijne avond!”. Tja, nu is het er echt stil. Nu, achteraf stonden ze waarschijnlijk op de perfecte plaats op het perfecte moment perfect geil te zijn! Soms moet je het even “Weten”.
Toch heb ik het alleen zijn gemist. Ik ga heel graag met donkere maan nogmaals die kant op, of één van de andere hunebedden daar in buurt.
De volgende dag, na vier uur onkruid wieden (en hele pijnlijke benen van het op z’n kop staan) toch gaan lopen… alleen al tegen de spierpijn. Als ik nu ga zitten kan ik morgen niet op of neer. Met frisse tegenzin loop ik het schelpenpad af. Paraplu mee in plaats van staf, het regent. Wat loop ik zwaar! Ik zwalk van links naar rechts, de kisten aan mijn voeten wegen lood. Na een kwartier eindelijk in het buitengebied. Het asfalt loopt stukken lichter! Het ruikt naar mest. De boeren hebben duidelijk geprofiteerd van het weer. Ondertussen is het droog geworden en alles is fris… behalve de lucht ;-). Maar dat wendt snel. Het hoge gras is gemaaid langs de wegen. Het geeft zo’n ingesloten gevoel als het hoog staat, nu is het wijds. Ik loop gewoon even naar Boom 8, besluit ik. Luca is er niet… logisch het is net droog en geen maan te zien, hij is vast binnen, lekker bij de etensbak. Als ik bij de bomenrij aankom zie ik opschot bij Boompje (Boompje was het zevende knotwilgje in de bomenrij en vorig jaar is zij omgewaaid. Boompje was mijn volle maan maatje waar ik altijd contact mee maakte. Ze had aan één kant geen schors meer. Ze was een fractie van de bomen naast haar. Ook rotte ze in op de naakte plek en in een heftige storm, vorig jaar, is zij om gegaan.)
Het opschot blijkt een hele mooie uitloper van Boompje te zijn. Vlak boven de grond heeft zij een nieuwe tak gemaakt. Dit kan uitgroeien tot een hele nieuwe sterke boom! Als de reeën haar nu maar met rust laten!!! Of de andere vegetariërs. Vorige volle maan ben ik langs haar gelopen omdat de reeën in de weilanden stonden en die keer ervoor was ik te duizelig… tja, en dan is het snel twee maanden verder en een nieuwe boom verder 😉 Natuurlijk maak ik contact met haar en ik krijg “Liefde” van haar. Dan ga ik naar Boom 8 en van hem krijg ik “Overmoed”, ik vraag hem goed voor Boompje te zorgen. Bij Boom 6 vraag ik hetzelfde, steun voor Boompje… van Boom 6 krijg ik “Kracht”. Het lijkt ondertussen wel een rebus of ander woord raadsel… ”Weten” van D54 en “Liefde, Overmoed en Kracht” van de bomen. Ik denk dat ik met het maken van het offer voor het wickerbeest ( een fenix dit jaar ) deze woorden eens goed door kauw. Ieder jaar maak ik een mooi dank -en wens offer voor dit wicker gebeuren op Castlefest.

Boompje is het belangrijkste “Liefde”. Ik vraag de andere bomen om te hoeden over Boompje (en natuurlijk indirect over mij) en zij geven “Kracht” en wees behoedzaam tegen “Overmoed”. Kracht is nodig om te groeien in liefde…  maar waak voor overmoed! Gebruik je “Weten”… niet je kennis, maar je diepere weten om te groeien op een verantwoorde en gezonde manier. Weten in je hoofd, kan zorgen voor overmoed… blijf voelen.
Op de terugweg naar huis hoor ik steeds een “Piep” heel ritmisch. Ik denk dat het, het apparaat is wat voor het schrikdraad zorgt, zo’n accu ding. Toch hapert het soms en als terug piep… piept het even niet. Dan moet het iets levends zijn 😉 In plaats de brug over naar huis te lopen (en dat vervelde schelpenpad) loop ik het geluid achterna. Het “Piep” wordt steeds harder. Hoog boven in een wat kalende boom, tegen de donkere lucht goed te zien, zit een uil uit volle borst “Piep” te doen. Waarschijnlijk een ransuil. Bosuil doet oehoe en steenuil is veel kleiner. Als ik een tijd sta te kijken en te piepen, klinkt er een zacht “Piep” uit de bossen achter de piepuil. En dan komt er nog een uil aangevlogen, prachtig! Samen zitten ze nu bovenin de boom… de nieuwe uil zit heel de tijd met zijn kopje te rollen en de ander piept er lustig op los. Na een kwartier besluit ik de piepuilen te laten voor wat ze zijn… prachtige dieren in een donkere nacht.
Uilen staan voor kennis… een uil op een stapel boeken. Een prachtige Ex libris zie ik voor me…  even googelend op internet zie ik dat er prachtige verzamelingen zijn 😉 Een prachtig plaatje van een uil op de schouder van een nar die op een ezel rijdt… kennis maakt niet altijd wijzer 😉 Grappig is dat mijn wickeroffer mand  dit jaar een uil is… toeval bestaat niet.
Al zwalkend loop ik terug over het schelpenpad, ik ben blij dat ik terug ben. Gelukkig heb ik geen spierpijn gehad de dag erna… wel weer een mooie ervaring rijker.

Liefs, Loes

Geplaatst in Artikelen, Volle Maan Wandelingen | Getagged | Reacties uitgeschakeld voor Maan van de speer 2010

Lady Margaret’s Journey of No Return

Logo bij artikelen over de Oudheid in Wiccan Rede Online Magazine
It has been said that the forest knows all and is able to teach all, and there is a French proverb to the effect that the forest, which always listens, has the secret of every mystery (Porteous, 2002, p.12). Perhaps that explains why it was to the forest the young Buddha turned for inspiration. “It is told that in his youth he was never so happy as when sitting alone in the depths of the forests lost in meditation; and it was in the midst of a beautiful forest that he was shown the four great truths” (ibid. p.13).

Life-changing journeys frequently involve passing through some kind of gateway:

The ‘clashing of rocks’, the ‘dancing reeds’, the gates in the shape of jaws, the ’two razor-edged restless mountains’, the ’two clashing icebergs’, the ‘active door’, the ‘revolving barrier’, the door made of the two halves of the eagle’s beak, and many more – all these are images used in myths and sagas to suggest the insurmountable difficulties of passage to the Other World (Eliade, 2003, pp.64-65).

It is highly likely that a number of what we know as fairy tales, as well as ballads, were in fact once accounts of shamanic journeys, and the following extract from Perrault’s tale of The Sleeping Beauty in the Wood, which is all about crossing the barrier between the two worlds that Eliade refers to, serves to illustrate the point:

“Scarcely had the Prince advanced towards the wood when all the great trees, the briars and the thorns, moved aside of themselves to let him pass. He went on towards the Castle at the end of a grand avenue into which he had entered, and what greatly surprised him was that no one could follow him, because the trees had closed in again as soon as he had passed”.

In this version of the ballad of Hind Etin, it is Lady Margret who is tempted to cross the barrier between the two worlds, and to enter the woods, but in her case there is no return. Jung once wrote that “The purpose of the descent as universally exemplified in the myth of the hero is to show that only in the region of danger … can one find the ’treasure hard to attain’.
But setting out on such a journey is always a gamble and sometimes
there can be a price to pay for not being prepared to choose the kind of quiet life most people settle for.”

41B.1     MAY MARGRET stood in her bouer door,
Kaiming doun her yellow hair;
She spied some nuts growin in the wud,
And wishd that she was there.

41B.2     She has plaited her yellow locks
A little abune her bree,
And she has kilted her petticoats
A little below her knee,
And she’s aff to Mulberry wud,
As fast as she could gae.

41B.3     She had na pu’d a nut, a nut,
A nut but barely ane,
Till up started the Hynde Etin,
Says, Lady, let thae alane!

41B.4     ‘Mulberry wuds are a’ my ain;
My father gied them me,
To sport and play when I thought lang;
And they sall na be tane by thee.’

41B.5     And ae she pu’d the tither berrie,
Na thinking o’ the skaith,
And said, To wrang ye, Hynde Etin,
I wad be unco laith.

41B.6     But he has tane her by the yellow locks,
And tied her till a tree,
And said, For slichting my commands,
An ill death sall ye dree.

41B.7     He pu’d a tree out o the wud,
The biggest that was there,
And he howkit a cave monie fathoms deep,
And put May Margret there.

41B.8     ‘Now rest ye there, ye saucie may;
My wuds are free for thee;
And gif I tak ye to mysell,
The better ye’ll like me.’

41B.9     Na rest, na rest May Margret took,
Sleep she got never nane;
Her back lay on the cauld, cauld floor,
Her head upon a stane.

41B.10   ‘O tak me out,’ May Margret cried,
‘O tak me hame to thee,
And I sall be your bounden page
Until the day I dee.’

41B.11   He took her out o the dungeon deep,
And awa wi him she’s gane;
But sad was the day an earl’s dochter
Gaed hame wi Hynde Etin.

41B.12   It fell out ance upon a day
Hynde Etin’s to the hunting gane,
And he has tane wi him his eldest son,
For to carry his game.

41B.13   ‘O I wad ask ye something, father,
An ye wadna angry be;’
‘Ask on, ask on, my eldest son,
Ask onie thing at me.’

41B.14   ‘My mother’s cheeks are aft times weet,
Alas! they are seldom dry;’
‘Na wonder, na wonder, my eldest son,
Tho she should brast and die.

41B.15   ‘For your mother was an earl’s dochter,
Of noble birth and fame,
And now she’s wife o Hynde Etin,
Wha neer got christendame.

41B.16   ‘But we’ll shoot the laverock in the lift,
The buntlin on the tree,
And ye’ll tak them hame to your mother,
And see if she’ll comforted be.’

41B.17   ‘I wad ask ye something, mother,
An ye wadna angry be;’
‘Ask on, ask on, my eldest son,
Ask onie thing at me.’

41B.18   ‘Your cheeks they are aft times weet,
Alas! they’re seldom dry;’
‘Na wonder, na wonder, my eldest son,
Tho I whould brast and die.

41B.19   ‘For I was ance an earl’s dochter,
Of noble birth and fame,
And now I am the wife of Hynde Etin,
Wha neer got christendame.’

Taken from The English and Scottish Popular Ballads by Francis James Child. Boston, New York, Houghton, Mifflin and Company [1886-98]. Ballads originally transcribed by Cathy Lynn Preston. HTML Formatting at sacred-texts.com. This text is in the public domain. These files may be used for any non-commercial purpose, provided this notice of attribution is left intact.

References

Eliade, M. (2003) Rites and Symbols of Initiation, Putnam, Connecticut: Spring Publications (originally published by Harper Bros., New York, 1958).

Jung, C.G. (1968 2nd Edition) Psychology and Alchemy, London: Routledge & Keegan Paul.

Porteous, A. (2002) The Forest in Folklore and Mythology, Mineola, New York: Dover Publications, Inc. (Originally published by the Macmillan Company, New York, in 1928).

Geplaatst in English articles | Getagged | Reacties uitgeschakeld voor Lady Margaret’s Journey of No Return

The Laidly Worm and Kemp Owyne

The Laidly Worm and Kemp Owyne: Michael Berman

The Laidly Worm of Spindleston Heugh is a traditional tale about a princess who changes into a dragon (the “laidly worm” of the title). In the Kingdom of Northumbria, a kind king in Bamborough Castle (see the photo above) takes a beautiful but cruel witch as his queen after the death of his wife. The King’s son, Childe Wynd, has gone across the sea but his daughter, Princess Margaret, is turned into a dragon by the witch. Later in the story, the prince returns and, instead of fighting the dragon, kisses it, restoring the princess to her natural form. He then turns the witch-queen into a toad and becomes king himself.

Kemp Owyne is a Child Ballad version of the tale, in which Childe Wynd is replaced by Kemp Owyne.

Built on a basalt outcrop, Bamburgh Castle was previously home to a fort of the native Britons known as Din Guarie and may have been the capital of the British kingdom of the region from the realm’s foundation in c.420 until 547, the year of the first written reference to the castle. In that year the citadel was captured by the Anglo-Saxon ruler Ida of Bernicia (Beornice) and became Ida’s seat. It was briefly retaken by the Britons from his son Hussa during the war of 590 before being relieved later the same year. His grandson Æðelfriþ passed it on to his wife Bebba, from whom the early name Bebanburgh was derived. The Vikings destroyed the original fortification in 993. The Normans then built a new castle on the site, and that forms the core of the present one. These days the castle is privately owned but opened to the public.

The Laidly Worm of Spindleston Heugh
In Bamborough Castle once lived a king who had a fair wife and two children, a son named Childe Wynd and a daughter named Margaret. Childe Wynd went forth to seek his fortune, and soon after he had gone the queen his mother died. The king mourned her long and faithfully, but one day while he was hunting he came across a lady of great beauty, and fell so much in love with her that he determined to marry her. So he sent word home that he was going to bring a new queen to Bamborough Castle.

Princess Margaret was not very glad to hear of her mother’s place being taken, but she did not repine, but did her father’s bidding, and at the appointed day came down to the castle gate with the keys all ready to hand over to her stepmother. Soon the procession drew near, and the new queen came towards Princess Margaret, who bowed low and handed her the keys of the castle. She stood there with blushing cheeks and eyes on ground, and said: ‘O welcome, father dear, to your halls and bowers, and welcome to you, my new mother, for all that’s here is yours,’ and again she offered the keys. One of the king’s knights who had escorted the new queen cried out in admiration: ‘Surely this Northern princess is the loveliest of her kind.’ At that the new queen flushed up and cried out: ‘At least your courtesy might have excepted me,’ and then she muttered below her breath: ‘I’ll soon put an end to her beauty.’

That same night the queen, who was a noted witch, stole down to a lonely dungeon wherein she did her magic and with spells three times three, and with passes nine times nine she cast Princess Margaret under her spell. And this was her spell:

I weird ye to be a Laidly Worm,
And borrowed shall ye never be,
Until Childe Wynd, the King’s own son
Come to the Heugh and thrice kiss thee;
Until the world comes to an end,
Borrowed shall ye never be.

So Lady Margaret went to bed a beauteous maiden, and rose up a Laidly Worm. And when her maidens came in to dress her in the morning they found coiled up on the bed a dreadful dragon, which uncoiled itself and came towards them. But they ran away shrieking, and the Laidly Worm crawled and crept, and crept and crawled till it reached the Heugh or rock of the Spindleston round which it coiled itself, and lay there basking with its terrible snout in the air.

Soon the country round about had reason to know of the Laidly Worm of Spindleston Heugh. For hunger drove the monster out from its cave and it used to devour everything it could come across. So at last they went to a mighty warlock and asked him what they should do. Then he consulted his works and familiar, and told them: ‘The Laidly Worm is really the Princess Margaret and it is hunger that drives her forth to do such deeds. Put aside for her seven kine, and each day as the sun goes down, carry every drop of milk they yield to the stone trough at the foot of the Heugh, and the Laidly Worm will trouble the country no longer. But if ye would that she be borrowed to her natural shape, and that she who bespelled her be rightly punished, send over the seas for her brother, Childe Wynd.’

All was done as the warlock advised; the Laidly Worm lived on the milk of the seven kine, and the country was troubled no longer. But when Childe Wynd heard the news, he swore a mighty oath to rescue his sister and revenge her on her cruel stepmother. And three-and-thirty of his men took the oath with him. Then they set to work and built a long ship, and its keel they made of the rowan-tree. And when all was ready, they out with their oars and pulled sheer for Bamborough Keep.

But as they got near the keep the stepmother felt by her magic power that something was being wrought against her, so she summoned her familiar imps and said: ‘Childe Wynd is coming over the seas; he must never land. Raise storms, or bore the hull, but nohow must he touch the shore.’ Then the imps went forth to meet Childe Wynd’s ship, but when they got near they found they had no power over the ship, for its keel was made of the rowan-tree. So back they came to the queen witch, who knew not what to do. She ordered her men-at-arms to resist Childe Wynd if he should land near them, and by her spells she caused the Laidly Worm to wait by the entrance of the harbour.

As the ship came near, the Worm unfolded its coils, and, dipping into the sea, caught hold of the ship of Childe Wynd, and banged it off the shore. Three times Childe Wynd urged his men on to row bravely and strong, but each time the Laidly Worm kept it off the shore. Then Childe Wynd ordered the ship to be put about, and the witch-queen thought he had given up the attempt. But instead of that, he only rounded the next point and landed safe and sound in Buddle Creek, and then, with sword drawn and bow bent, rushed up, followed by his men, to fight the terrible Worm that had kept him from landing.

But the moment Childe Wynd had landed, the witch-queen’s power over the Laidly Worm had gone, and she went back to her bower all alone, not an imp, nor a man-at-arms to help her, for she knew her hour was come. So when Childe Wynd came rushing up to the Laidly Worm it made no attempt to stop him or hurt him, but just as he was going to raise his sword to slay it, the voice of his own sister Margaret came from its jaws, saying:

‘O, quit your sword, unbend your bow,
And give me kisses three;
For though I am a poisonous worm,
No harm I’ll do to thee.’

Childe Wynd stayed his hand, but he did not know what to think if some witchery were not in it. Then said the Laidly Worm again:

‘O, quit your sword, unbend your bow,
And give me kisses three;
If I’m not won ere set of sun,
Won never shall I be.’

Then Childe Wynd went up to the Laidly Worm and kissed it once; but no change came over it. Then Childe Wynd kissed it once more; but yet no change came over it. For a third time he kissed the loathsome thing, and with a hiss and a roar the Laidly Worm reared back and before Childe Wynd stood his sister Margaret. He wrapped his cloak about her, and then went up to the castle with her. When he reached the keep, he went off to the witch-queen’s bower, and when he saw her, he touched her with a twig of a rowan-tree. No sooner had he touched her than she shrivelled up and shrivelled up, till she became a huge ugly toad, with bold staring eyes and a horrible hiss. She croaked and she hissed, and then hopped away down the castle steps, and Childe Wynd took his father’s place as king, and they all lived happy afterwards.

But to this day a loathsome toad is seen at times haunting the neighbourhood of Bamborough Keep, and the wicked witch-queen is that Laidly Toad.


Taken from English Fairy Tales by Joseph Jacobs Illustrated by John D. Batten. London: David Nutt [1890]. Scanned and redacted by Phillip Brown. Additional formatting and proofing by J. B. Hare at sacred-texts.com. This text is in the public domain. This file may be used for any non-commercial purpose, provided this statement of attibution is left intact.


Child Ballad 34: Kemp Owyne

34A.1     HER mother died when she was young,
Which gave her cause to make great moan;
Her father married the warst woman
That ever lived in Christendom.

34A.2     She served her with foot and hand,
In every thing that she could dee,
Till once, in an unlucky time,
She threw her in ower Craigy’s sea.

34A.3     Says, ‘Lie you there, dove Isabel,
And all my sorrows lie with thee;
Till Kemp Owyne come ower the sea,
And borrow you with kisses three,
Let all the warld do what they will,
Oh borrowed shall you never be!’

34A.4     Her breath grew strang, her hair grew lang,
And twisted thrice about the tree,
And all the people, far and near,
Thought that a savage beast was she.

34A.5     These news did come to Kemp Owyne,
Where he lived, far beyond the sea;
He hasted him to Craigy’s sea,
And on the savage beast lookd he.

34A.6     Her breath was strang, her hair was lang,
And twisted was about the tree,
And with a swing she came about:
‘Come to Craigy’s sea, and kiss with me.

34A.7     ‘Here is a royal belt,’ she cried,
‘That I have found in the green sea;
And while your body it is on,
Drawn shall your blood never be;
But if you touch me, tail or fin,
I vow my belt your death shall be.’

34A.8     He stepped in, gave her a kiss,
The royal belt he brought him wi;
Her breath was strang, her hair was lang,
And twisted twice about the tree,
And with a swing she came about:
‘Come to Craigy’s sea, and kiss with me.

34A.9     ‘Here is a royal ring,’ she said,
‘That I have found in the green sea;
And while your finger it is on,
Drawn shall your blood never be;
But if you touch me, tail or fin,
I swear my ring your death shall be.’

34A.10   He stepped in, gave her a kiss,
The royal ring he brought him wi;
Her breath was strang, her hair was lang,
And twisted ance about the tree,
And with a swing she came about:
‘Come to Craigy’s sea, and kiss with me.

34A.11   ‘Here is a royal brand,’ she said,
‘That I have found in the green sea;
And while your body it is on,
Drawn shall your blood never be;
But if you touch me, tail or fin,
I swear my brand your death shall be.’

34A.12   He stepped in, gave her a kiss,
The royal brand he brought him wi;
Her breath was sweet, her hair grew short,
And twisted nane about the tree,
And smilingly she came about,
As fair a woman as fair could be.

34B: Kemp Owyne

34B.1     COME here, come here, you freely feed,
An lay your head low on my knee;
The hardest weird I will you read
That eer war read to a lady.

34B.2     ‘O meikle dollour sall you dree,
An ay the sat seas oer ye[’s] swim;
An far mair dollour sall ye dree
On Eastmuir craigs, or ye them clim.

34B.3     ‘I wot ye’s be a weary wight,
An releived sall ye never be
Till Kempion, the kingis son,
Come to the craig and thrice kiss thee.’

34B.4     O meickle dollour did she dree,
An ay the sat seas oer she swam;
An far mair dollour did she dree
On Eastmuir craigs, or them she clam;
An ay she cried for Kempion,
Gin he would come till her han.

34B.5     Now word has gane to Kempion
That sich a beast was in his lan,
An ay be sure she would gae mad
Gin she gat nae help frae his han.

34B.6     ‘Now by my sooth,’ says Kempion,
‘This fiery beast I[’ll] gang to see;’
‘An by my sooth,’ says Segramour,
‘My ae brother, I’ll gang you wi.’

34B.7     O biggit ha they a bonny boat,
An they hae set her to the sea,
An Kempion an Segramour
The fiery beast he gane to see:
A mile afore they reachd the shore,
I wot she gard the red fire flee.

34B.8     ‘O Segramour, keep my boat afloat,
An lat her no the lan so near;
For the wicked beast she’ll sure gae mad,
An set fire to the land an mair.’

34B.9     ‘O out o my stye I winna rise-+-
An it is na for the fear o thee-+-
Till Kempion, the kingis son,
Come to the craig an thrice kiss me.’

34B.10   He’s louted him oer the Eastmuir craig,
An he has gien her kisses ane;
Awa she gid, an again she came,
The fieryest beast that ever was seen.

34B.11   ‘O out o my stye I winna rise-+-
An it is na for fear o thee-+-
Till Kempion, the kingis son,
Come to the craig an thrice kiss me.’

34B.12   He louted him oer the Eastmuir craig,
An he has gien her kisses twa;
Awa she gid, an again she came,
The fieryest beast that ever you saw.

34B.13   ‘O out o my stye I winna rise-+-
An it is na for fear o ye-+-
Till Kempion, the kingis son,
Come to the craig an thrice kiss me.’

34B.14   He’s louted him oer the Eastmuir craig,
An he has gien her kisses three;
Awa she gid, an again she came,
The fairest lady that ever coud be.

34B.15   ‘An by my sooth,’ say[s] Kempion,
‘My ain true love-+-for this is she-+-
O was it wolf into the wood,
Or was it fish intill the sea,
Or was it man, or wile woman,
My true love, that misshapit thee?’

34B.16   ‘It was na wolf into the wood,
Nor was it fish into the sea,
But it was my stepmother,
An wae an weary mot she be.

34B.17   ‘O a heavier weird light her upon
Than ever fell on wile woman;
Her hair’s grow rough, an her teeth’s grow lang,
An on her four feet sal she gang.

34B.18   ‘Nane sall tack pitty her upon,
But in Wormie’s Wood she sall ay won,
An relieved sall she never be,
Till St Mungo come oer the sea.’

Taken from The English and Scottish Popular Ballads by Francis James Child. Boston, New York, Houghton, Mifflin and Company [1886-98]. Ballads originally transcribed by Cathy Lynn Preston. HTML Formatting at sacred-texts.com. This text is in the public domain. These files may be used for any non-commercial purpose, provided this notice of attribution is left intact.


In Kemp Owyne, Child Ballad number 34, the heroine is turned into a worm(dragon), usually by her stepmother, who curses her to remain so until the king’s son comes to kiss her three times. When he arrives, she offers him a belt, a ring, and a sword to kiss her, promising the things would magically protect him; the third time, she turns back into a woman. In some variants, he asks who enchanted her, a werewolf or mermaid; she says it was her stepmother and curses her into a monstrous creature, permanently.

It is an example of the type of ballad in which a being with supernatural powers plays an integral and necessary part in the central ballad action. These “beings with supernatural powers fall into four classes: supernatural beings; supernatural ex-mortals; mortals with supernatural powers; and creatures with supernatural powers” (Buchan, 1991, p.64). The heroine’s stepmother, the queen-witch, can be regarded as an example of the third class.

The Rowan tree was held in the utmost dread by witches on account of the mystic properties which were believed to encompass it. A branch of it, especially if in the form of a cross, put in the churn or cheese-vat, protected the butter and cheese from their evil machinations. No one could be hag-ridden at night who had branch of it in bed, and old people used to place it on their pillows to keep evil spirits and witches away, while a small piece of it carried on the person was a protection against enchantment. If a branch was brought into the house on Good Friday, no witch could enter.

… When a branch of the tree was hung over a cow’s stall or wreathed about her horns, this was effective against the evil eye and other ills, but it was necessary to repeat the prayer –

“From witches and Wizards, and long-tailed Buzzards,
And creeping things that run in hedge-bottoms,
Good Lord, deliver us!” (Porteous, 2002, pp.86-87).

In The Laidly Worm of Spindleston Heugh, it is the keel of Childe Wynd’s ship, that is made of the rowan-tree, and that is why the queen witch can have no power over him.

Again and again in stories “…we see how things appear in threes: how things have to happen three times, how the hero is given three wishes; how Cinderella goes to the ball three times; how the hero or the heroine is the third of three children” (Booker, 2004, p.229). In this ballad, for example, it is three kisses that are required. But why does the triad, a group or series consisting of three items, feature over and over again in folktales and legends, wherever they may originate from? The answer is that it has long been of significance for a number of reasons. Three is linked with the phases of the moon (waxing, full and waning), and with time (past, present and future). Pythagoras even went as far as to call three the perfect number, in that it represents the beginning, the middle and the end, and he thus regarded it as a symbol of Deity. The triad is also the basis of The Threefold Law (a.k.a. the Law of Return) in the Wiccan Rede, an ethical code for witches, which adds a reward for those who follow the code, and a punishment for those who violate it. The law states that “All good that a person does to another returns three fold in this life; harm is also returned three fold.” And that is presumably what the main hero and the villain of this story have to look forward to.

References

Booker, C. (2004) The Seven Basic Plots: Why we tell Stories, London: Continuum.

David Buchan ‘Talerole Analysis and Child’s Supernatural Ballads.’ In Harris, J. (ed.) (1991) The Ballad and Oral Literature, Cambridge, Massachusetts: Harvard University Press.

Porteous, A. (2002) The Forest in Folklore and Mythology, Mineola, New York: Dover Publications, Inc. (Originally published by the Macmillan Company, New York, in 1928).

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The Occult Reliquary

The Occult Reliquary – Images and Artifacts of the Richel-Eldermans collection.
Three Hands Press.
http://www.threehandspress.com/reliquary.php

Cover of the book The Occult Reliquary

Three Hands Press
15501 San Pablo Avenue, No. G-313
Richmond Vista, CA
94806 USA

This book is a compilation of a small part of the Richel-Eldermans  collection.

Graham King wrote of the collection:

“The Bob Richel Collection …

On the 16th March 2000 Bob Richel died leaving The Museum of Witchcraft a fascinating legacy. Bob was a humble man with a big smile and a passion for the occult and ritual magic. Bob lived on his own in a modest flat in Amsterdam and had inherited a collection of occult artifacts and drawings from his father-in-law Mr Eldermans. Over the years Bob added to the collection and occasionally he gave items to occultists that he liked. Much of the Eldermans collection was destroyed before Richel could save it and unfortunately the index was burnt.

As yet the museum knows little about the occult activities of Richel but we do know that Eldermans was a Magister of the AA(a secret magical society) in The Hague and Leiden. We suspect the both Richel and Eldermans were members of the MM of which we know little.

The Museum continues to research this rare and important collection and hopes to update this display as more information is discovered.”

The Occult Reliquary is a hardback book of about 220 pages. There are 675 copies in this edition, all numbered. A further 150 are published in special slipcases (special boxes into which the book is slipped.)

The images of the drawings and artefacts are printed on heavy duty paper and are virtually facsimiles of the examples I saw on a private visit to the museum in March 2011. There are also some coloured photographs on glossy paper making this a wonderful catalogue.

There has been no attempt to explain or analyse the images. Many of the drawings have been catalogued by Eldermans and a knowledge of Dutch is certainly handy in understanding the texts.

For the witches among us, there are interesting references to works by G.B. Gardner and Alex Sanders. In fact there are many references to Natural Magic (volksmagie) and the Craft as well as Alchemical texts.

Many of the objects are highly sexual and erotic in nature with obvious links to love spells, curses, binding spells etc.

As Graham points out the collection is no longer complete but there is still enough to keep someone busy for a while to come. This book has made a part of the collection available for further investigation.

Graham King from The Museum of Witchcraft talks about The Occult Reliquary:

Photos of the Richel Collection at The Museum of Witchcraft, Boscastle, England. (Private collection, Morgana)

Some of the artifacts on display are included in the book The Occult Reliquary.

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The Scent of Summer

Most witches are nature lovers, and even though we may not always appreciate the common ‘dime-a-dozen’ garden, but would rather see a patch of wild land, full of herbs, weeds, and untouched by man, we can still feel admiration for the person who has obviously spent a lot of time and effort to make his garden into something uniquely his own. But there is more to plants than the fact that they cover the soil, have flowers and fruits and look nice. Many plants have medicinal qualities, for example. And we all know the experience of walking along a street on a late summer evening, and drinking in the scents of flowering stocks and other fragrant blooms. A slightly melancholic feeling may creep upon us when we realise that in a few short weeks all this richness will have vanished, literally into thin air. Because although one can dry flowers, and use them for decoration, the scent is a bit more difficult to preserve. Or is it?

In this article I would like to share some very inexpensive ideas about how to preserve scents of many plants, flowers and herbs. These preparations can then be used as a perfume; in cooking; in salads; they can be used to create your own special anointing oil or a bath oil; and for any other use you may find for it. The process is quite simple, and is called ‘maceration’ which means ‘steeping in oil’.

Maceration is only one of the several processes to get hold of the extremely volatile oils which are the ‘scents’ of flowers and plants. These oils are very strong smelling in their pure form, as one may imagine when it is known that it takes some 100 kilo’s of rose petals to get 5 grams of pure rose oil. This is why many of these scents today are created artificially, although with the growing interest in aromatherapy many natural ones are again available. The volatile oils transfer quite easily to another oil, such as sunflower oil or sweet almond oil.
Other possibilities are maceration in alcohol, which can become a bit expensive unless you want to flavour your vodka or gin; and distillation. True distillation uses water, and after condensation we find a thin film of volatile oil on top of the water. This can be separated from it. The water incidentally can be used too and is sold in shops. Since equipment is involved it is not really suitable for the DIY-witch. Distillation with alcohol is possible too. But maceration in oil is by far the most simple method: easy, cheap, satisfying; and if a few simple rules are followed it is possible to create many different scented oils which can be used on all sorts of occasions. There is only one restriction: although some of the oils can be used in cooking, none of them are any use for incense due to the often heavy scent of the oil itself.
So here is what to do.

First, select your scent. Choose a herb or a flower, and if you’ve never done this before, choose one with a strong scent, such as sage, thyme, rue, stocks, freesia, etc. to try out the process.
Pick your flowers when they are just mature, just opening. Don’t use the buds, and don’t use the wilted flowers. Pick them when they are dry, so no rain or dew is left on them. They should be picked before they give off the scent, so in the morning rather than after a day in hot sunshine when much of the scent has gone.
Next, select your oil. Any vegetable or even animal oil will do, but some tips may be helpful. For cooking, use safflower oil, sunflower oil or olive oil if you like the taste. For salad dressing a light oil is often preferred. For health reasons sesame oil or borage oil may be chosen. For perfume sweet almond oil is used most, but sunflower again is a good alternative.  Suet and lard can be used to make creams, but they are solid at room temperature so they need a good deal or work.

Thirdly, take a bottle, preferably with a wide neck and a stopper. Fill half of the bottle with your oil, and then put as many of your flowers or herbs in as it will comfortably take. Check again that the flowers are clean, dry, and healthy.
Put the stopper on and let this sit in a warmish place for 12 to 48 hours, occasionally shaking the contents. For speed, the herbs or flowers can be cut to small pieces beforehand, again using clean and dry tools.
When you are done, take out all the plant material by straining the oil through a cheese cloth or a coffee filter. Press the filter to get all the oils out (careful not to tear the paper filter!). Then start again with a fresh batch of flowers or herbs in the same oil, until the scent is as strong as you like it. After the final filtering, put your oil into a clean, dark (sterilised) bottle; cap it; label it; and store it away from heat or sunlight.

The reason for all the cleanliness is obvious: oils can be kept for a long time, but impurities, such as dirt, bacteria, wilted flowers or even water, shorten the lifespan of the oil considerably.

Now what can these oils be used for? Flower oils can be used as a light perfume, or as an anointing oil for your ritual work. The oil can be improved by adding one or two drops of your favourite perfume or of a shop bought essential oil, but be careful not to spoil your work!
It is also possible to create your own special recipe by blending two or three oils together. Experimentation is always important, and you’ll be surprised at the result of combining flowers and herbs!
These oils can also be used to scent your bath, or as a massage oil. Although for massage medicinal effects should be taken into account too.

Oils made from herbs such as oregano, chives, parsley, rosemary, can be used to create a nice summery salad dressing in winter time. Other oils can be used for cooking, but experimentation may be necessary for not all oils are suitable for cooking. A guideline is that if the herb and the oil are both used for cooking, the macerated product will probably work too.

For those of you who are really into cooking, here are two different recipes; one for vinegar and one aromatic oil which can also be used for frying.

ELDER FLOWER VINEGAR: Fill a bottle with elder flowers, then pour white wine vinegar over it. Let it stand in the dark for 2-3 weeks. Use with salads or fruity dishes. (Other vinegars can be tried, such as tarragon vinegar, dill vinegar, oregano vinegar for Greek & Italian salads, etc. The process is the same).

AROMATIC OIL: Take one bottle of oil (sunflower, olive or safflower) into which goes 2 branches of rosemary, 6 sprigs of thyme, 1 large clove garlic, 1 green chili pepper, 5-6 small red chili’s, 6 black peppercorns and 6 juniper berries. Let it stand for two weeks before using. Use with salads or for cooking.

It is quite exciting to try and create one’s own perfume and oils in this way, and with a bit of experimentation no doubt you’ll come up with many interesting and useful ideas. Have a go over the summer months and make the scents of summer last through the dark half of the year!

Drawing by Merlin of bottles for perfume

(This article appeared originally in Wiccan Rede Volume 8, Nr. 2, Summer 1987. Voor een Nederlandse samenvatting, zie elders in dit nummer van Wiccan Rede Online).

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De geur van de zomer

Dit artikeltje gaat over het bewaren van geuren, zowel van kruiden als van bloemen, om te gebruiken als parfum, als olie voor ritueel werk of voor massage; in het koken of bij de sla, enzovoorts. Het proces heet ‘maceratie’. Door de bloemen of kruiden enige tijd in olie te leggen wordt de geur op de olie overgedragen.
Het enige waar deze oliën niet geschikt voor zijn is wierook.
Gebruik altijd schone, droge, jonge en gezonde bloemen of bladeren, die geplukt zijn voordat de geur zich gaat verspreiden, en dus niet na een lange hete zomerdag, maar vroeg op de ochtend.

Kies dan je olie: zonnebloem, saffloer of olijfolie voor keukengebruik, sesam of borago voor gezondheid, olijf voor massage, zoete amandel voor parfum en bad. Vul een fles voor de helft met olie, en doe er dan zoveel bloemen of kruiden bij als er ruim inkunnen. Laat de fles afgesloten op een warme plaats 12 tot 48 uur staan, en schud de inhoud zo nu en dan om. Je kunt de bloemen of bladeren van te voren ook nog fijnknippen voor een sneller resultaat. Zeef dan de olie door een kaasdoek, of een koffiefilter, en druk alle olie uit het filter. Begin dan opnieuw met een verse lading bloemen of kruiden, net zo lang tot de olie de juiste geur heeft. Met salie kan dit in één of twee keer; andere kruiden en bloemen hebben meer keren nodig. Als de olie voor de laatste keer goed gefilterd is, doe hem dan in een donker (gesteriliseerd) flesje, schrijf de datum en inhoud op het label en zet het koel en donker weg.

Deze oliën kunnen gebruikt worden als parfum, waartoe je eventueel een of twee druppels van je favoriete parfum erdoor kunt doen. Maar wees voorzichtig en verknoei je werk niet!
De olie kan ook gebruikt worden in de keuken, bij het maken van dressings voor salade of bij het koken. De olie kan bij ritueel werk worden gebruikt of voor massage. Alles afhankelijk van de gekozen basisolie en de bloemen of kruiden.

Voor diegenen die toch al graag wat experimenteren in de keuken zijn hier nog twee recepten.

VLIERBLOESEMAZIJN: Neem een doorzichtige fles en vul die met vlierbloesem. Giet daar witte wijnazijn over. Laat dit koel en donker 2-3 weken staan. Gebruik het dan pas in salades of bij gerechten waar fruit bij geserveerd wordt.

AROMATISCHE OLIE: Neem een doorzichtige fles gevuld met olijfolie of zonnebloemolie. Doe daarin: 2 takjes rozemarijn, 6 takjes tijm, 1 grote knoflookteen, 1 groene spaanse peper, 5-6 kleine rode spaanse pepertjes, 6 zwarte peperkorrels en 6 jeneverbessen. Laat dit twee weken staan voor je het gebruikt. Het kan in salades worden gebruikt maar ook om in te bakken en braden.

Andere oliën en azijn kun je zelf op dezelfde manier maken: dille-azijn of oregano-azijn, of zelfs complete mixen voor Griekse salade of Italiaanse gerechten.
Probeer het eens uit, deze zomer, en creëer je eigen parfum of kruidenolie, en laat zo de geur van de zomer ook ’s winters bij je zijn!

Drawing by Merlin of bottles for perfume

Dit artikel verscheen oorspronkelijk in Wiccan Rede, jaargang 8, nummer 2, Zomer 1987, als de Nederlandse samenvatting van het artikel The Scent of Summer, dat ook elders te vinden is in dit nummer van Wiccan Rede Online.

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Compassie

Logo rubriek 'Gedachten' in Wiccan Rede Online Magazine

Iemand afsnauwen – of negeren – is makkelijk. Maarhet kan ook anders.
Voor sommigen is het een sport of een ‘life style’  anderen af te bekken, te overtroeven, in de hoek te zetten om te laten zien (aan een publiek) dat jij de betere bent. Waarin eigenlijk?
Een scherpe tong is een wapen, schelden kán zeer doen. Vaak weet je wat het ergste is dat je kunt zeggen, tegen je partner, je ouders of je kind, als je ruzie hebt, om diegene te treffen. Als je weet wat iemands zwakke punt is, kun je hem ook met woorden gemeen raken. Ook als je iemand niet goed kent, kun je harde woorden vinden. Iemand kleineren is niet zo moeilijk. En negeren is misschien nog wel makkelijker, en kan nog harder aankomen.
Als je iemand negeert, zeg je eigenlijk dat hij het niet waard is om opgemerkt te worden. Als niemand je waarneemt, is de kans groot dat je de conclusie trekt dat men jou het opmerken niet waard acht. Natuurlijk zijn we allemaal wel eens in gedachten verzonken, en merken we zelfs een goede bekende niet op die ons passeert. Maar voor een zwerver, en misschien voor een schoolgenoot of collega van je, kan dit de basishouding zijn van de meeste mensen die hij op een dag ziet. Voor sommigen is juist dit de aanleiding voor zelfdoding. Een kind kan negeren als erger opvatten dat slaan of andere vormen van mishandeling of verwaarlozing.

Waarom deze opmerkingen in een tijdschrift over wicca? Omdat in The Charge een aantal eigenschappen wordt opgesomd die je als heks wordt geacht te bezitten. ‘Let there be beauty and strength, power and compassion, honour and humility, mirth and reverence within you’.  Voor de tegenhanger in het paar ‘power and compassion’ is genoeg aandacht, of je ‘power’ nu uitlegt als kracht of macht, of – in de woorden van Starhawk – als ‘power over’ of ‘power from within’. Over ‘compassie’, medelijden, hoor je veel minder. Terwijl ik denk dat het een zachte kracht is die van grote betekenis kan zijn in de relaties tussen mensen.

Ieder geeft een eigen uitleg aan het woord compassie, dat letterlijk mede-lijden betekent. Dat woord wordt echter vaak negatief uitgelegd. Je wilt zelf niet dat iemand uit medelijden iets voor je doet, je een aalmoes geeft, omdat je je dan een bedelaar voelt of een patiënt, of in ieder geval het idee hebt dat je in een afhankelijke rol zit ten opzichte van degene die het medelijden betoont. Maar compassie betekent in mijn woordenboek juist medelijden, medeleven, mededogen, medegevoel zonder oordeel. Je verplaatst je in de ander en voelt diens pijn. Je stelt je juist niet boven de ander. Je ziet de ander als een medemens, als iemand als jij. Niet als lid van een (andere) groep, maar als iemand van vlees en bloed, van lichaam en ziel, net als jijzelf. Het noodlot – ziekte, armoede, domheid, wat dan ook –  had ook jou kunnen treffen. Als je compassie hebt voor iemand, accepteer je die in zijn bestaan. Dan erken je die ander zoals je jezelf erkent. Met je ego heeft dit allemaal niet zoveel te maken. Het gaat om je hogere of diepere zelf, dat wat je gemeen hebt met alle mensen (en misschien wel met alle levende wezens, als je het zo breed wilt trekken).

Oordelen doe je met je ego, je dagelijkse ik-bewustzijn. Je ego kan je ook vertellen dat die ander het helemaal fout heeft aangepakt, dat jij het allemaal heel anders zou doen. Je wilt natuurlijk ook graag veilig zijn, je wilt niet weten hoe makkelijk je dakloos kunt worden, of ziek. Op die manier zet je de ander tegenover jezelf en creëer je afstand en verschil.
‘Heb de ander lief als jezelf’ is een opdracht uit het christendom, die ook nog eens veronderstelt dat je jezelf liefhebt. Maar geen enkele godsdienst of levensovertuiging heeft het patent op universele waarden.
Er zijn groepen die transcendente meditatie (TM) beoefenen. Uit onderzoek blijkt, zeggen ze, dat in de steden waar zij veel aanhangers hebben die dagelijks of wekelijks mediteren de samenleving beter af is. De misdaadcijfers zijn er bijvoorbeeld lager dan in vergelijkbare steden zonder TM.
Ik denk dat de wereld beter af is als wij allen compassie als basishouding hebben tegenover de mensen die we ontmoeten en tegen de mensen elders op de wereld die in afschuwelijke omstandigheden verkeren, en tegenover iedereen die in welk opzicht dan ook anders is dan ‘wij’.

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Hoe te beginnen met wicca?

Hé, dat wicca is echt wat ik zoek. Zo’n vrije religie waarin de natuur centraal staat, en dan ook nog iets met magie, dat sluit helemaal aan bij wat ik wil. Waar kan ik me aansluiten? Hoe kan ik er zelf mee van start gaan?

Op de vraag hoe je je erbij kunt aansluiten, kom ik later terug. Als je nu aanklopt bij een coven, zul je waarschijnlijk te horen krijgen: ‘kom later maar terug. Als je er wat meer vanaf weet en zelf al eens wat gedaan hebt. Als je een aantal boeken hebt gelezen en beter weet wat je zelf wilt.’ Je bent dus terug bij je tweede vraag: hoe kan ik er zelf mee beginnen?
Dan heb ik een paar vragen voor jou. Wat weet je eigenlijk van wicca, of wat denk je dat het is? Wat zijn je verwachtingen en bedoelingen ermee? Is het de religie die je aanspreekt of de magie? Zoek je een groep of bewandel je liever een solopad? En hoe kom je geïnteresseerd in wicca? Heb je de boeken van Cate Tiernan gelezen of een film of tv-serie gezien? Iets gelezen van Phyllis Curott of Susan Smit? Ik zie grote verschillen in het beeld dat nieuwkomers hebben van wicca. Het meest extreme voorbeeld is misschien wel de jongere die de vraag stelde hoe je vuurballen kunt maken. En er zijn ook verzoeken om ex-partners of docenten te betoveren. Dat doen we niet in wicca!

Wat heb ik nodig?
Stel dat je op termijn wel interesse hebt in aansluiting bij een coven, een inwijding, maar nu al zelf actief wilt worden. Dan kan je eerste vraag zijn: Wat heb ik nodig. Nou, eigenlijk helemaal niets. Je kunt het (voorlopig) prima af zonder een altaar, zonder een staf of athame, zonder een gewaad of wat voor attributen dan ook. Maar maak vooral gebruik van je verbeeldingskracht, van wat je misschien al in huis hebt en van wat de natuur je biedt. Gebruik je vinger om een cirkel om je heen te trekken. Een mooi glas uit je kast kan dienen als kelk op je altaar, en een tafeltje of boekenplank als altaar of seizoenstafel. Leg er symbolen op die voor jou betekenis hebben. Dingen die met het jaargetijde te maken hebben, of met de elementen, of voorwerpen die je met de Goden associeert. Je kunt deze voorwerpen ook gebruiken om over te mediteren. Bedenk wat – bijvoorbeeld – een steen of een veer betekent. In het algemeen en voor jou persoonlijk. Besteed er gerust een paar meditaties aan, en kijk hoever je komt met associëren. Bedenk bij welk element een bepaald symbool zou kunnen horen en waarom daarbij. Komt het voor in mythen of sprookjes en wat betekent het daar? Hoe zou je er in een ander jaargetijde over denken, of zou het in een ander landschap een andere betekenis hebben? (Als je geen wensen hebt om je ooit bij een coven aan te sluiten, ben je natuurlijk geheel vrij om je eigen pad te volgen, maar dit artikel is gericht op mensen die interesse hebben in wicca).

Rituelen
Waar kan ik de juiste tekst vinden voor een sabbat of esbat, is ook zo’n vraag die wel eens wordt gesteld op fora. Maar er is niet zoiets als een vaste tekst voor een bepaald maanfeest of jaarfeest. In het Book of Shadows van een traditie staan rituelen die bij die traditie horen. Als buitenstaander ga je je die natuurlijk niet toe-eigenen*. Je kunt je wel laten inspireren door wat je leest over bestaande wicca-rituelen, maar in de praktijk heb je niet zoveel aan een ritueel voor vijf hoofdpersonen om in je eentje uit te voeren. Schrijf je rituelen zelf, zodat ze precies bij jou passen, op het moment dat je ze uitvoert. Veel heksen passen hun rituelen aan bij de omstandigheden. Ze variëren op een bestaand ritueel of schrijven een nieuw ritueel. De vraag is wat jíj wilt vieren. Neem de tijd om stil te staan bij het seizoen, en wat dat voor jou betekent. Nu is de tijd van de oogstfeesten. Je hebt misschien niets ‘gezaaid’ tijdens een ritueel, maar je bent afgelopen jaar vast nieuwe dingen begonnen. Sta in je ritueel stil bij wat het je (tot nu toe) heeft opgeleverd. Of bedank voor de oogst van het land door brood of fruit mee te nemen in de cirkel, de Goden te bedanken voor hun gaven, en ervan te eten of te drinken. Je ritueel voor Midwinter kan bestaan uit een wandeling naar een plaats waar je de zon kunt zien opkomen, en die dan begroeten, als je wilt met een gracieuze buiging of een ander groetend gebaar. Je kunt er een cirkel bij trekken, je kunt er een gedicht of andere tekst bij uitspreken, maar net zo waardevol is om het gewoon te ondergaan, waar te nemen wat er gebeurt, stil te staan bij wat het voor je voorouders betekende. Wicca gaat om de beleving, meer nog dan om het doen. Kijk met verwondering om je heen. Leer de natuur in je omgeving kennen.

Magie?
Wicca is een religie en een inwijdingstraditie. Naast de religieuze kant is er ook de magie. Het is verstandig om hier voorlopig niet aan te beginnen. Zorg ervoor dat je eerst weet wat je doet, leer de basiswetten kennen, en laat je (later) begeleiden door iemand die er al ervaring mee heeft. Je kunt wel zelf van alles leren over magie, maar dat is vaak door de methode ‘door schade en schande wijzer worden’ en ‘zelf het wiel uitvinden’. Brand er je vingers niet aan! Leer eerst waar de ‘remmen’ zitten voordat je van start gaat. Vergelijk magie maar met autorijden of koken: dat gaat veiliger als je de belangrijkste basiskennis hebt, en als je voldoende weet, kun je zelf verder experimenteren. Religieuze rituelen kun je zonder problemen doen, zeker als je het precies zo eenvoudig of moeilijk maakt als je zelf aan kunt. Mijn tip is: bouw het langzaam op.

Kennismaking
Zoek je hulp bij je kennismaking met wicca, dan zijn er verschillende boeken die je als leidraad kunt gebruiken. Inleidende boeken over wicca om te lezen, of boeken die niet alleen kennis verstrekken, maar je ook vragen stellen. Marian Green en Raymond Buckland hebben dat soort boeken geschreven. Er zijn ook wel (online) ‘cursussen’ te vinden als je goed zoekt, maar vraag na wat anderen daarvan vinden, bijvoorbeeld op een heksenforum of in een heksencafé. Dat een (Engelstalige) cursus niet bekend is, wil niet per definitie zeggen dat die slecht is. En omdat niet iedereen hetzelfde zoekt, past niet iedere cursus – of groep – bij iedereen. Gebruik je gezonde verstand, en je intuïtie, bij het afwegen of een cursus, opleiding of groep bij je past. Zie ook de tips van Merlin onder ‘Second opinion‘ op de Silver Circle-site.
Heksenfora op internet zijn een mogelijkheid om kennis te maken met mensen die al langer bezig zijn op hetzelfde pad, of een vergelijkbaar pad. Sommige fora organiseren ook bijeenkomsten voor de leden. Wil je persoonlijk contact, dan kun je ook naar een heksencafé. Meld je aan bij de contactpersoon, die kan je vertellen waar en wanneer het gehouden wordt. En neem gerust een vriend(in) of familielid mee als je er voor het eerst heen gaat. Weet je al zeker dat je verder wilt met wicca, dan kunnen de bezoekers en zeker de organisatoren je verwijzen naar mensen waar je terecht zou kunnen. Of kijk elders op Wiccan Rede Online naar Arachne’s Web voor adressen.

Een laatste tip
Wees kritisch op wat je leest over wicca: er staat een hoop onzin op internet die beginners van elkaar overschrijven. Kijk achterin boeken die je tegenkomt naar de literatuurlijst. Lees de boeken die iedere schrijver aanbeveelt: die zijn blijkbaar belangrijk en bevatten waarschijnlijk betrouwbaarder informatie dan veel websites. Die boeken kun je vinden in de openbare bibliotheek (je kunt ze ook opvragen uit andere bibliotheken) of in tweedehands-boekwinkels, ook op internet.
Veel plezier met je eerste stappen op het wicca-pad, en misschien tot ziens!

* Doreen Valiente in het Liber Umbrarum in Witchcraft for Tomorrow en Raymond Buckland in Seax Wicca hebben teksten geschreven voor mensen die met wicca aan de slag willen, maar geen (integere) coven kunnen vinden. Die zou je wel kunnen gebruiken.

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