7 - The Coven And How To Form One
As regards environment, whenever you wish to perform an operation of witchcraft solo, all you basically need is a corner of your own home, the only prerequisite being privacy and a modicum of soundproofing. The latter is required not so much as a precaution against the neighbour's objecting to your noise, but rather as a further aid to the discarding of inhibitions, which is of such primary importance in all magic.
However, should you wish to gather a group of likeminded friends around you for regular witchcraft sessions, then of course you will need a larger space to operate in than the one required for solo work. Apart from the more obvious aspect of companionship and mutual enjoyment of the practices, the formation of a group, or coven as it is called, brings with it certain advantages not present in the solo approach.
It is well known among practitioners of the occult arts that a magical operation performed by a group will often succeed spectacularly, whereas a solo effort may achieve only moderate success. The old adage about strength in numbers is particularly true in the case of magic. This is the occult rationale behind the witches' coven. The proviso exists, however, that the group, first, be like-minded, that is sympathetic to one another in basic belief and emotional rapport, and, second, that there be present a certain amount of magical dedication and intensity of purpose. This does not necessarily imply a rigid fanaticism among the members but rather abilities first to bring the mind to bear upon a problem, and second to let the imagination loose within certain limits.
In fact, the members must all be fully, and practically, conversant with the four powers of the witches' pyramid. The more magically powerful are the individuals belonging to a coven, the more potent does the coven become as an entity. And it does become an entity. If enough pyramid power is brought to it and tied in place by sufficient emotional rapport among the members, witches believe that a pool or vortex of magical energy begins to form, which, if sustained by regular performance of a ritual, not only becomes an "energy bank" upon which the comprising members can draw to supplement their personal resources, but also an artificially constructed collective deep mind, independent in its own right. This is the magical rationale behind the formation of most occult groups that require secrecy from their members.
The rituals and symbols special to a group such as this are kept from the eyes of "cowans," or the uninitiated, not so much for fear of the powers supposedly conferred being abused, but because, by meddling with the "triggering devices" involved in the symbolism, such outsiders set to naught all the careful work involved in building the coven entity. This is particularly the case should the intruder be of a hostile or sceptical turn of mind.
The total number of members to a coven is traditionally limited to anywhere up to thirteen, inclusive of the leaders. Should the full complement of three leaders be present, that makes ten other members possible. Whenever the number of members grows to exceed that, a new coven is formed, which splits away from the original one. In goddess-oriented covens, with their concentration on the sexual aspects of witchcraft, the group is ideally made up of six male-female couples and a leader. Similarly, these covens also require that initiations only be conferred from sex to sex, by man upon woman or vice versa, the only exceptions made being those of parent and child. In other branches of the craft, however, this ruling does not apply in any way.
Traditionally, covens are supposed to have at least three miles between their physical meeting points. This seems to stem partly from an old custom dealing with "territorial rights," in some circles referred to as the covendom, and partly from the days of the persecutions, when smallness of number was considered a wise precaution. Similarly, the unusual number of thirteen members may also have this foundation, although there are many magical reasons behind the number, not least of them being the thirteen full moons to a lunar year. Some modem witches claim, however, that thirteen has a more pragmatic import, inasmuch as it is the largest number of folk that can comfortably be squeezed into a nine-foot circle.
The word "coven" itself is derived from the Latin noun conventus, meaning "a gathering or assembly." It is the same root which gives us our words "convent," "convention," "covenant," and "convene."
The occasions at which a witches' coven meets informally are known by the name "Esbats." The word itself, derived from the French word meaning "to frolic," hints at how unponderous and nonreligious in the generally accepted meaning of the word the medieval concept of a witches' meeting was!
Similarly, the eight annual Sabbats, in addition to their magical import, have always been considered as great occasions of festivity, celebrating the beginning, midpoint, and end of the seasons, the ebb and flow of the elemental tides. So if and when you form your own coven, always bear in mind that, first, Sabbats are a time of renewal of friendship and elemental power; and, second, Sabbats are a time of enjoyment.
The actual details of establishing your own coven can be considered under the following seven headings:
1. The Nature of Your Coven - the coven "logo," totems, and general symbolism.
2. Your Coven Hierarchy, if any.
3. Your Initiation Ritual (or rituals if you establish a coven hierarchy) making use of coven symbolism.
4. A Binding Oath of Secrecy imposed upon all members on admission to the coven, fortified with the additional threat of magical reprisals. This is usually facilitated by the candidate surrendering certain object links, such as a drop of blood or a lock of hair, et cetera.
5. The Taking of a Magical Coven Name. This may be the same or in addition to the witch name initially assumed for solo practice.
6. The Actual Witch Insignia to be worn, such as pendant, ring, bracelet, necklace, or garter.
7. A Ritual or Rituals to be performed on any of the eight Sabbats you care to celebrate, again involving considerable use of coven symbolism.
What you do with the coven after you have established the preceding seven points is entirely up to you and the other members. Some covens concentrate on attempting to heal the sick, others specialize in necromancy, but the general goal is one of knowledge and power. In further pursuit of the latter, a few groups try to bring their powers to bear on political matters, singling out individuals who stand high in public office on whom to cast their spells. Then there exists those groups who devote their energies solely to invoking the witch entities as deities, worshipping them not so much for practical and magical reasons, but rather as an expression of that simpler and maybe purer life of the spirit which takes its inspiration from pre-Christian European sources. It is these "witch cultists" who have largely held the public gaze over the past fifteen years, despite the fact that the word "witch" embraces a far wider circle of people than merely the followers of Gerald Brosseau Gardner.
The Nature of Your Coven
In the same manner that you sounded out suitable symbolism in your attempt to find an appropriate witch name for yourself, so you should evolve the basic idea on which to found your coven. However, most tradition-minded witches would insist here that, instead of throwing your limits wide enough to include all areas of magical and mythological legend, you should restrict yourself to those of a European basis seeing that it is with the Western magical tradition that you seek to put your group in contact. With this thought you may disagree, citing maybe with good reason the magical maxim popularized by the Cabalistic writer Dion Fortune that "All Gods are one God, all Goddesses are one Goddess, and there is one Initiator." Dion Fortune began her magical career as a theosophist, and throughout all her works, there is much of a theosophical nonsectarian approach. Such an approach to witchcraft would seem to be objectionable only to the most sectarian-minded of witches; but they do exist, and the paradox is apparent.
Quite obviously, the strong point about occult paths such as that of witchcraft is that, unlike organized religion, they leave the "way to salvation" solely up to the individual. There is no attempt at proselytizing. Indeed, the frantic need to convert the unbelievers whether by verbal persuasion or violence is totally lacking. It is solely a matter of chacun a son of gout. Further than this, in fact; it does not remain a matter of take it or leave it, but rather one of take it and do something with it! Witchcraft remains, in its broadest sense the shamanism of the West, the underlying, barely organized bedrock of magical practice, on which all later religions and metaphysical schools of thought rest; any substantial attempt to deal with it as a semi-"established" faith is doing it the utmost disservice and is entirely at odds with the idea behind the practices. The nearest a witch can get to the term "orthodox" is only "the most traditional." Witchcraft is basically performed by and for the individual. Covens are, or should be, made up of individuals, held together by a common interest, whether it be a desire for knowledge, power, or a love of the elder gods.
When you set about forming your coven, choose symbols to represent its general orientation. If it is one of knowledge, those symbols consonant with Herne and the Sky Power, in all its manifestations, would perhaps be appropriate. On the other hand, a power orientation should perhaps suggest the development of a set of symbols appropriate to the Horned One, Lord of Fire and Energy. A preoccupation with healing would suggest contact with Mother Hertha; a simple desire to worship the powers of love maybe indicates a bias towards the Lady Habondia.
All of these witch beings, whether they are seen as independent entities or aspects of two single deities, possess animals and symbols special to themselves, and it is from these appropriate images that you should draw your coven "totems" and "logo" or composite symbol.
Books of mythology can be very helpful here - for those of European inclination, the Norse myths; the Welsh-Celtic traditions as presented in the Mabinogion, the Irish-Celtic in The Book of the Dun Cow, The Yellow Book of Lecan, and The Book of Leinster; and, finally, the Matter of Britain as presented in such works of the Arthurian Cycle as the High History of the Holy Grail, and the like. (See the bibliography at the end of the book for more suggestions on this point.) For those that would follow a more Cabalistic path, works dealing with "magical correspondences," such as Aleister Crowley's 777 and Dion Fortune's Mystical Qabalah, are very handy. Classics-minded witches would do well to consult such books as Robert Graves's work on the classical myths, those of C. Kerenyi; and of course Godfrey Leland's Aradia and Etruscan Magic and Occult Remedies, among others.
Should you, on the other hand, wish to give your coven a more African flavour, then the myths of ancient Egypt and maybe the magical elements inherent within the West Indian voodoo cult should be incorporated. The entities involved are exactly the same. They differ only in their outer cultural manifestations. The powers are identical.
Only when we encounter Far Eastern thought do we find any radical change. The difficulty of mixing Oriental and occidental magical philosophies has been recognized by many, so I will not enlarge upon the subject. The basic magical practices of both East and West, however, appear to derive from a common prehistoric shamanic stock, and remain in many cases similar, if not identical.
Finally, whatever your coven's inclination, Frazer's Golden Bough and Robert Graves's White Goddess will be invaluable source books.
The "logo," or coven emblem itself, should be designed in the same manner as a heraldic crest, incorporating the symbolism you have elected to use into a single composite design; the design should be simple enough to engrave or embroider upon your witch jewels and to be visualized easily in meditations.
Your Coven Hierarchy
Similar to the priesthood, from very primitive times down to the present day, secret magical societies, including witch covens, have organized themselves into hierarchies, the policy of the group being dictated by the leader or leaders at the head. These people were usually held to be stronger, wiser, or merely older than the rest of the group, and maintained a position of authority until such a time as either they had it challenged from below or they themselves handed it on to a successor in due course. Some witches believe, mistakenly, I feel, that at one time the periodical death of the coven leader was demanded, thus forcibly ending his term of office. This was considered a magical sacrifice, a renewal of power for the rest of the coven; a recharging of the coven entity, in fact. Whether this form of sacrifice was, in fact, ever indulged in by witches is a moot point. It is certainly a practice common to many primitive societies.
The witch god and witch goddess
It seems, however, to be more connected with the beliefs fostered by established priesthoods, such as that of the Druids as recorded by Caesar, rather than of secret witch covens. The whole concept of guilt, scapegoats, and atonement is totally absent from witchcraft. The only rituals nowadays containing elements of sacrifice are those of cakes and wine and various libations thereof. The occasional use of minute amounts of blood in certain operations is by no means seen as a method of deity appeasement or atonement for a sin, but solely as a means for conveying a certain type of magical energy held to be resident in the blood. (Many present-day witches who are often of an extremely nonviolent nature even draw the line at using a few drops of blood, preferring to use that old magical substitute, the white of an egg!)
Traditionally, there may be as many as three leaders to a coven, again recalling Dion Fortune's dictum about one god, one goddess, and an initiator. The male leader representing the "masculine" power generally takes first place; the female, the "feminine," second; and the second male "executor," or "officer" third. Different covens have different titles for their leaders, all equally traditional. In covens which stress the love and fertility aspects of witchcraft and perform their rituals naked, the male leader is known as the high priest, the female as high priestess. On the other hand, in those which stress the knowledge and power aspect, the male is known as the magister, grand master, or "devil" (meaning "little god") and the female as the lady or queen of the Sabbat. The second male, known as the "officer," "executor," or "summoner," is he who relays the requests of the magister or lady to the rest of the coven membership. He is the go-between and lieutenant of the leader or leaders, and traditionally he wore black from head to foot to designate his rank. Hence his old title, "the Man in Black." Occasionally, in medieval France, he was dressed in green and named "Verdelet." His badge of office was a pilgrim's crutch or blackthorn staff, whence derived another of his titles, "Black Rod." It was the summoner's job to attend to the mundane functioning of the coven, the membership dues if any, and the passing out of information to the members about time and place of the next Sabbat, what to wear, what food to bring and so on. In the absence of the magister, the summoner could and would frequently lead the coven.
In those covens which concentrate on knowledge and power, the lady or high priestess holds little or no executive power. She sits at the magister's right hand during the feasts, leads some of the dances and ceremonies, and on occasion performs the task of a seer or spiritistic medium under the magister's control.
On the other hand, in the goddess-oriented covens, the high priestess is definitely leader, the high priest being merely her consort.
The magister may wear furs or pelts, a robe, or nothing at all, depending on the variety of coven he leads. Upon his head he may wear the traditional shamanic horned helmet, rather like that of a Viking warrior, or a mask covering his whole head and representing one of the coven's totem animals, be it goat, ram, horse, cat, or whatever. Or he may don a metal helmet which covers his entire head. (Hence the old comic epithet for the magister, "Old Brazen Nose !") He will naturally wear any witch jewels he possesses, also.
The lady or high priestess, on the other hand, may life-wise wear a robe or nothing at all, depending on the type coven she belongs to. The robes can vary in colour, the usual colour preferred being white, although black, green, red, or blue ones have been used. Upon her forehead she may bind a silver lunar crescent, horns upwards, or alternatively have her hair flowing and free. She will wear all her witch jewels as well, including of course the mandatory necklace.
During the Sabbats, the magister's headpiece will be adorned with a simple short candle rising from the centre, which is lit during the proceedings. This symbolizes his role as the Lord of the Sun, Lucifer, the light bearer. In some covens, the high priestess will likewise wear an illuminated headpiece to lead the Sabbat dance, this time, however, a whole coronet of candles.
Members may bring their own robes or work nude, as the case may be. As I mentioned before, a certain uniformity of dress is desirable, and the black, cowled robe, or tabard, is ideal for this purpose. Witch jewels should be worn, and members should bring their Athames and wands for participation in the group rituals. In the old days swords would be brought if the participants were gentry or nobility, or pitchforks if they were peasants. The wands or riding poles were, however, generally disguised as broomsticks. The Athames and wands are the modern substitutes.
During the coven meeting itself, whether it be formal Sabbat or informal Esbat, the magister and lady may be known by any of the following titles, apart from their own coven names. These are some of the traditional names for the various witch spirits you already know about, whether they be held to be independent entities or aspects of a single divine pair, a god and goddess. The coven leaders are seen as direct representatives of these witch spirits during the Sabbat.
The magister's titles are, among others:
Cernunnos. The title is derived from the ancient European Celtic horned deity of the same name.
Dumus. Derived from "Dumuzi" or "Tammuz," the young consort of the Mesopotamian Mother Goddess.
Puck. Also known as "Pookah" or "Bok," the horned, satyr-like mischievous spirit said to be a Reformation folklore version of the Horned God. He was also known as Robin Artisson and Robin Goodfellow.
Hu. Channel Island version of the Horned One, possibly derived from the Welsh-Celtic deity, Hu Gadarn.
Barabbas. Hebrew Bar Abba meaning Son of the Father or Divine Son - reference to the incarnate god.
Mamilion. Derivation unknown.
Dianus or Janus. A twin-faced god of the Romans, who guarded the threshold of the house and supervised all beginnings and endings. He is referred to by some witches as Alpha and Omega, the first and the last. Another version of the Horned One.
Janicot. A Southern French diminutive of Janus or Dianus.
The Devil. Literally, "little god." Derived from early Aryan stem div or dev, meaning "holy" or "shining."
Lucifer. "The light bearer." The god seen as the spirit of light and, hence, the sun.
Simon. Possibly a reference to the Gnostic magician, Simon Magus.
Herne. Witch name derived from early English version of the Anglo-Saxon god, Odin or Woden. A god of wisdom and storm, and also a guide of the dead, he leads his wild rout across the winter skies accompanied by the baying of his death hounds!
Gogmagog. Prehistoric version of the god and goddess in giant form.
Andros. The god as worshipped in the Weald.
Adonai or Adonis. Hebrew for "the lord." Dying god, consort of Astarte.
Sabaoth. Another Hebrew name for God.
Baphomet. Horned deity allegedly worshipped by the Templars, a Christian order of fighting monks of the twelfth century. The name has been variously construed to mean "The Father of the Temple of Universal Peace among Men," the initials of which phrase in Latin spell the name backwards: Templi Omnium Hominum Pacis Abbas; or by others as a corruption of Bathos Metis, "purification by wisdom." However, many witches take it to refer to "the Stone of Buffo," Buffo being an ancient name for the island of Cyprus where legend has it the Greek Love goddess Aphrodite was born; from whence also certain of the feminine witch mysteries were said to have emanated. Which brings me to my second consideration, namely, the titles bestowed upon female witch leader whether she be designated high priestess or queen of the Sabbat.
Among the Lady's titles are:
Andred. Witch goddess name coming from the Forest of Weald in England.
Bensozia. Twelfth-century French name for the goddess, meaning doubtful.
Nocticula. Similar twelfth-century appellation meaning "little night."
Rhiannon. Welsh-Celtic mother goddess.
Arrianrhod. Similar Welsh Goddess, mother of Llew.
Herodias or Aradia. Italian name for the witch goddess, being the daughter of the Great Mother, "Diana," "Dione," "Dana," or "Jana." Referred to in Leland's Aradia, the Gospel of the Witches.
Habondia or Dame Habonde. Goddess seen as Lady of Love and Plenty.
Holda or Hulda. German version of the same.
Morgan or Morrigan. Celtic names for goddess seen a Lady of Death, variant of classical Hecate. Also King Arthur's half-elven sister.
Brigid or Bride. A Celtic mother goddess.
Astarte or Ishtar. Mesopotamian goddess of love. Bride of Adonis-Tammuz.
The Virgin or Maiden. Referring to Perephone, the Greek underworld goddess. Should the lady or high priestess have a daughter present within the coven, the latter title of "maiden" is sometimes conferred on her.
Let me reiterate: the titles bestowed upon the leaders vary considerably from coven to coven, depending on the approach adopted, Dianic or Druidic, Celtic or Cabalistic, Robed or Sky Clad. In one you may find it is the magister or Lord of Misrule who holds sway, in another the high priestess or Queen of Elfhame. And likewise, when you wish to consider forming your own coven, the choice of leadership, who, how, and in what manner, remains, as it always has done in the past, entirely your own.
Your Initiation Ritual
Your initiation ritual will mark the ceremonial request for admission and consequent acceptance of a prospective member into the coven. As such, it is a type of ritual common to all secret societies, and indeed most of them generally have many elements in common. The magical reasons behind such a ritual are those of acceptance of the individual into the coven group mind. Inasmuch as the candidate's individual interests fit into harmonious rapport with the aims and ideals inherent in the coven, so in the same measure will he be able to draw from the coven "energy pool."
Most coven initiations are performed at one of the eight Sabbats if possible, preferably one of the grand Sabbats of Beltane or Hallows, when the whole coven, such as it exists, is present.
Those ceremonies performed at Esbats are just as valid however, though usually of a less spectacular nature.
In accord with the magical orientation of the coven, so will the initiation ritual, and indeed all the other rites, differ. Because of this factor, coven initiation ceremonies such as they exist today contain many divergencies from one another. In fact, it would be almost true to say that there are as many different witch cults as there are covens!
Some covens follow formal Cabalistic and Hermetic patterns of ceremonial, while others advocate the more exuberant "cult-of-freedom-and-love" approach of G. B. Gardner and his followers, concentrating on naked worship of the goddess seen as the Great Mother. Still others return to the medieval preoccupation with the Horned One and all his attributes, while yet another group will return to Celtic fundamentals, concerning themselves with ancient Druidic lore. (Druidic in the sense that W. B. Yeats understood the word, as a shaman or wizard rather than priest of a solar cult.)
Here are the rudiments of two types of initiation ceremony. The first is of the sort used by those covens who work "robed" and concentrate more on matters of knowledge and power directing their energies toward the more "male" aspect of the godhead. The second represents the type used by those covens who work naked, directing their energies to the healing and love aspects of the cult, concentrating more upon the goddess. You may use which you wish and incorporate those elements you feel to be most in accord with the basic attitude of your coven entity.
The first initiation process is one which holds more in common with the witch cult as it existed in medieval Europe. It should take place at one of the eight Sabbats, ideally one of the grand Sabbats, Beltane or Hallows. The idea behind both this and the following process is one of purification and release of the candidate from mundane ties, in much the same way as you would exorcise an object before making magic with it.
This first process, which is performed robed, uses the device of ceremonial purifications of fire, air, earth, and water. However, the second, performed naked, makes use of that of scourging, or flagellation, likewise as a symbol of purification. I am bound to add, however, many tradition-minded witches feel that this second method, though peculiar to certain aspects of later Roman versions of the Greek mysteries, seems to be more bound up with English "public school" and "spankers' club" traditions than any inherent in the craft itself. To be beaten, whether symbolically or in actuality, does not by any means arouse in everyone the same feelings of glowing inner cleanliness or spiritual tone-up that it apparently did for a Nordic warrior, cloistered medieval monk, English public school boy, or sky-clad witch.
The Robed Initiation
Since the ceremony takes place during the Sabbat, the circle itself will already have been erected and consecrated by watchtower, with a small ceramic chafing dish glowing on top of the altar should it be indoors, or a balefire blazing in the centre should it be outdoors. All the magical witch implements should be present. Both masculine and feminine aspects of power will have been invoked, perhaps by the Eko Azarak formula and the Hertha chant. The grand master will be wearing his horned helmet or animal mask, with the torch or candle blazing at its crown. He and the rest of the coven should be standing within the circle. The candidate should be led by the officer, or summoner, to the northern perimeter, already robed and fully blindfolded or "hoodwinked" and divested of all metal artifacts. At this point, one of the coven, previously selected, should with the point of his or her Athame or coven sword touch the candidate upon the breast and challenge him with appropriate words. The challenge is issued from the point of view of the guardian of the watchtower of the north, the realm of the element earth.
The words may take the following form:
Challenger. Whence come you?
Candidate. From the north, the place of greatest darkness.
Challenger. Whither goest thou?
Candidate. I travel east in search of light.
Challenger. What passwords dost thou bring?
Candidate. Perfect love and perfect trust.
Challenger. I, the guardian of the watchtower of the north forbid thee entrance. Thou canst not enter this holy place from the north, save thou first be purified and consecrated. Who vouches for you?
Summoner. I, Guide of Souls, so do.
Challenger. Child of Darkness, approach thou the watchtower of the north and receive of me the bonds of death and blessing of earth!
The candidate now has his hands tied behind his back with a witches' cingulum, which is drawn up and tied around his neck, with the free end hanging down in front of him as a lead or "cable-tow." Similarly, a short piece of red cord is also bound around his right and left ankles, loose enough to allow him to walk and leaving his feet "neither bond nor free." Finally, a few grains of consecrated salt are sprinkled on his forehead, and a coin symbolic of the earth pentacle placed between his lips. He is then led by the summoner deosil an entire circuit around the outside perimeter of the circle and brought to a halt at the west, where, after the coin is removed from his lips, a similar challenge is issued by the watchtower representative of that quarter. In answer to the first query, however, the candidate should now respond. "From the north, the gate of death." Likewise, in the challenger's reply, in place of the word, "north," "west" is now used, and the guardian of the west subsequently administers the "cup of memory," a draught of pure water from the chalice, and the "purification of water," a few drops upon the forehead.
The candidate is then led on another clockwise circuit of the periphery, and ends up in the south, where he is again challenged, this time by the representative of fire, who, by laying the flat of his sword, or Athame, on the candidate's right shoulder and censing him thrice with Cernunnos Incense, bestows upon him the sword of power and the consecration of fire.
Finally, on being led circuitously to the east of the circle, the candidate is challenged by the representative of air, who, by breathing on his head thrice, bestows on him the breath of life, and the gift of light by subsequent removal of the blindfold. The first sight which should greet the candidate's eyes must be the grand master in his blazing mask: Lucifer, the Sun at Midnight.
Having been purified and consecrated by the four elements of the wise, the candidate is now actually conducted into the circle at the north. His hands are then unbound; the grand master extends the blade of his sword, or Athame, to the candidate, who, kneeling before him and placing his right hand upon the blade, repeats the words of the ceremonial oath:
I [Witch name] in the presence of all there assembled, man or god, living or dead, do of my own free will most solemnly swear that I shall ever keep secret those things entrusted to my ears alone by this coven, except it be to a proper person, properly prepared, within such a circle as I am now in; And that I shall never deny the secrets to such a person should he be properly vouched for by a fellow member of this coven. All this I swear upon my life, now and hereafter, and may those powers I possess, now or hereafter, turn against me should I break this most solemn oath! So mote it be!
At this point, the coven workbook, Book of Ceremonies (or Book of Shadows, as it is called in some covens) is produced, and the candidate signs his witch name in the register section and dates it. Some covens also measure the height of the candidate and record it by the name, the traditional process of "taking the measure." Likewise a drop of the candidate's blood taken with a sterilized needle or, alternatively, a few hairs of the candidate's head, are requested, and either placed in the register by the name or filed away separately. These are both tokens of the bond now existing between coven entity and candidate, but also underlying it is the threat of magical reprisals in the event of his breaking his oath.
The grand master should now lay his hands upon the kneeling candidate's head, and call down the blessing and acceptance of the coven on the new initiate. He then invites him with his "charged" coven witch jewel - pendant, garter, bracelet, necklace, or ring - and salutes him as a new member. Some covens also include a consecration by Sabbat oil and wine at this point.
The new initiate now rises and is presented to all the other members in turn by witch name. Finally, the coven's working tools, sword, chalice, lamps, et al., are presented in turn to the candidate.
The Sabbat festivities and ceremonies such as the feast of cakes and wine then continue as usual.
The Sky-clad, or Naked, Initiation
In this type of ritual common to covens which practise the goddess-oriented variety of witchcraft, the ceremony is performed by the high priest if the candidate is a woman, the high priestess if it is a man. As in the previous ritual, the circle should be cast by watchtower, and the candidate blindfolded at the perimeter, challenged by the initiator at sword or Athame point, and the passwords of "perfect love and perfect trust" given. The candidate is then pulled into the circle backwards by his initiator, who has her left arm around his waist, her right arm around the neck, and given the third password, a kiss. The breach created in the circle is then repaired with the Athame, and the candidate bound with a cingulum and ankle cord as previously. He is then led round the circle and proclaimed to the east, south, west, and north Watchtowers as a prospective candidate for admission. At this point the charge of the goddess is made to the candidate by the high priestess. It is claimed to be traditional, and because of that, I shall quote it in full:
Listen to the words of the Great Mother, who was of old called among men Artemis, Astarte, Dione, Melusine, Aphrodite, and many other names. At mine altars the youth of Lacedaemon made due sacrifice. Once a month and better it be when the moon is full, meet in some secret place and adore me, who am the queen of all magics.
There assemble, and to those who would learn sorcery, I will teach things yet unknown. And you shall be free, and as a sign that you be really so, be naked in your rites, dance, sing, feast, make music and love. All in my praise, for I am a gracious goddess, who gives joy upon earth, certainty, not faith, while in life; and upon death peace unutterable, rest and the ecstacy of the goddess. Nor do I demand aught in sacrifice, for behold, I am the mother of all living, and my love is poured out upon the earth!
The candidate, still clasped by the waist, is then led around the circle with a skipping step and, south of the altar after eleven knells on a small bell have been rung, has the fivefold kiss bestowed upon him or her by the initiator.
Kissing the feet: "Blessed be thy feet that have brought thee in these ways."
Kissing the knees: "Blessed be thy knees that shall kneel at the holy altar."
Kissing the phallus or vagina: "Blessed by thy organ of generation without which we would not be."
Kissing the breasts: "Blessed be thy breasts, formed in beauty and in strength."
Kissing the lips: "Blessed be thy lips that shall utter the sacred names."
The candidate then kneels at the altar, and the cable tow is tied closely to a ring set therein, thus forcing him or her over into a crouching position. The feet are also bound together at this point, and he is asked whether he will always be "true to the art." If he answers affirmatively, a knell of three, seven, nine, and twenty-one strokes is rung, and the candidate is then "purified," or flagellated with forty strokes of a whip made of cords, the scourge of art. After he makes an earnest promise to always help and defend his brothers and sisters of the art, the oath is then administered; this oath does not differ substantially from the one outlined in the first ritual.
The candidate's feet and eyes are then unbound and the triangle consecration is performed, anointing the phallus or vagina, right breast, left breast, and genital organ again, first with Sabbat oil, then with consecrated wine, and finally with a kiss, naming the candidate priest or priestess and witch in the process.
Finally, the new initiate's hands are unbound, the working tools are presented in turn, with a kiss for each, and he is presented to the four quarters, saluted at each in the name of the gods as newly made priest or priestess and witch.
A second degree or grade is sometimes bestowed to elevate the witch in the coven hierarchy and enable him or her to form his own coven, which differs only from the first in that the candidate, though bound, remains unhoodwinked, gives no passwords, and joins in the initial ceremonies and chants. After an oath on "his mother's womb," he or she is consecrated by the pentacle as opposed to triangle; this involves anointing with oil, wine, and lips the genital organ, right breast, left hip, right hip, left breast, and genital organ again, in that order; an inverted pentacle, in fact. The new initiate, after being empowered by the laying on of the initiator's hands, is then instructed in the use of the magical implements and also in the mysteries of the return-in-threefold witch law, whether it be used for good or evil, blessing or cursing. By dint of this, the ceremony concludes with the new initiate scourging his initiator with thrice as many blows as he himself received, namely, one hundred and twenty in all. He is then presented to the powers at the four quarters as a duly consecrated high priest and wizard, or high priestess and queen of the Sabbat, whichever the case may be.
In the second ritual, instead of the progress of the aspirant through the four elements, the myth of the goddess is implied, where the witch goddess Andred, Aradia, Habondia, or whatever other name you may care to know her by, descends into the world of the dead somewhat like Persephone in Hades or Ishtar in the realm of Ereshkigal, and receives the scourge and fivefold kiss of the Horned God of Death and subsequent conferment of power. Sometimes this myth itself is enacted during the initiation rite, in the manner of a mystery, but this is a supernumerary addition, the myth itself being implicit in the entire initiation ceremony.
As you can see, both rituals have many things in common, as well as their considerable differences, all or any of which can be incorporated into an initiation ceremony by the resourceful practitioner; he should also include any additional coven symbolism required. As always, it remains a matter of personal choice and intuition as to what is included and what left out, what bias the ritual should have - knowledge and power with its Hermetic overtones or love and joy with its Dionysian ones.
Evolve your coven emblems first, and the rest will follow naturally. The central idea to adhere to is one of the purification and regeneration of the candidate, symbolized by the impositions and removal of the blindfold and ligature, leading to his enlightenment and acceptance by the leaders by and for the entire coven.
The Sabbat Rituals
Items 4, 5 and 6 have already been dealt with; all that remains to be discussed are your regular coven rituals, which will form the main bulk of your Book of Shadows.
The witches' year, like the regular variety, is divided into four seasons - winter, spring, summer, and autumn. Each season was characterized originally by a Sabbat, nowadays two Sabbats. They are more of an either/or nature, however, the first representing the beginning of the season, and the second, the height. In the past, their observance differed with location. For instance, in some parts of Europe, Beltane was celebrated as the summer festival, while in others, midsummer was accorded the same honour instead, with identical symbolism. Of the two varieties, however, the so-called great Sabbats of Candlemas, Beltane, Lammas, and Hallows appear to be the older, antedating the solstices and equinoxes which sprang directly from the advent of a more sophisticated astronomical science, characteristic of the Druids.
But nowadays all eight appear on the witches' calendar,and you can take your choice which you will celebrate. Of course, most witches celebrate the grand Sabbats of Hallows and Beltane, if not all four. Some ardent practitioners even fit all eight in, but they are generally performed more on the scale of Esbats than Sabbats.
Ideally, a Sabbat should be held in a place hallowed by tradition; a spot sacred to the old gods, many of which exist still in Britain, the name usually being well-disguised under that of a Christian saint or the like. Often you will find a church has been deliberately built on the spot. This is one of the reasons for the traditional practice of witches' Sabbats being conducted in a churchyard, possibly even in the church itself as in the instance of the North Berwick witches in sixteenth-century Scotland.
A "Druidic" dolmen, barrow, or stone circle, which have always been thought of as gates to the other world, places still frequented by elven folk and the old gods, are also held to be ideal.
However, as a modem witch, maybe living in a land like the United States where traditional holy places, Amerindian in this case, are few and far between, you will probably have to content yourself, as most others do, with following the more general advice outlined in Scots 1665 edition of The Discouverie of Witchcraft, namely, that the place chosen be "dark and lonely; either in Woods or Deserts, or in a place where three wayes meets, or amongst mines of Castles, Abbies, Monasteries, etc. or upon the Seashore when the Moon shines clear, or else in some large Parlour ..."
Any unfrequented crossroad, hilltop, or woody grove can, in fact, be used, the first locale being traditionally sacred to both Hermes and Hecate, the second and third to all ancient rural deities; the farther away from man and all his works, the better. However, as a last resort, your living room or den will suffice.
The general outline for your Sabbat will be presented in the following pages, with any innovation germane to your chosen coven orientation being woven into the traditional framework.
Sabbat Oil
Prior to attending Sabbat, preferably even before leaving home, anoint yourself with Sabbat oil. A traditional recipe for this is as follows:
Wild parsley root
Celery root
Poplar leaves (balm of Gilead)
Cinquefoil
Saffron
Or a more complicated, post-Columbian variety:
Smallage
Wolfbane
Cinquefoil
Henbane
Hemlock
Mandrake
Moonwort (Botrychium lunaria)
Tobacco
Poppy
Poplar leaves
Saffron
Ideally, the herbs should be freshly cut with the Athame while the moon is waxing, but this is not always possible. At least they should be crushed and steeped in purified vegetable oil during the waxing moon. The oil should subsequently be strained through a thin muslin cloth to remove all the impurities and solid matter.
Or, alternatively, the crushed leaves can be steeped in pure alcohol, which is then mixed in later with the oil.
Most modern witches tend to bypass these two recipes, however, in view of the baneful herbs involved, and employ a more popular variety which is composed by the same maceration procedure but uses the following herbs instead:
Balm of Gilead (poplar leaves)
Cinquefoil
Saffron
Lemon verbena or vervain
Many witches will also use vervain by itself, or even garden mint as a standby, although as far as I have been able to find out, this latter is quite untraditional.
To all of these may be added the following essences for increased effect:
Musk
Civet
a suspicion of ambergris
patchouli or cassia
A few drops of your Cernunnos perfume, in fact. It is quite a heady mixture as you will find out, and you only need the smallest drop. Should you wish to increase the texture of the oil and compose a cream or ointment, mix it with a little finely ground oatmeal or orris powder. An oil should be kept in a small, well-stoppered phial, while the traditional receptacle for an ointment is one made out of an animal's horn. When you anoint, place a dab of the oil on the soles of your feet, the perineum, wrists, and temples, chanting these quaint witch words as you do:
Emen Hetan! Emen Hetan!
I am of thee and thou art mine,
I have nothing which is not thine.
In thy name [god's name if you are male; goddess, if female]
Behold thy servant [Witch name]anointing herself/ himself;
I should some day be great like thee!
Thout a thout, thouht, throughout and about!
This is, in fact, a simple form of identification with a witch deity, and an affirmation of your aspiration to power, wisdom, or love, whatever your chosen path.
You must organize your Sabbat so that the lighting of the balefire occurs at the hour of midnight. This you should determine precisely beforehand, halving the hours between the '• time the sun actually sets on the eve and when it rises the following day. Midnight, in fact, will not always occur at 12 P.M., depending on the time of the year.
Having exchanged the customary witch greetings of "Merry meet," the Sabbat begins with the casting of the circle. This should be the nine-foot inner diameter variety, using the largest measurements on your cingulum as a compass cord. Or, if you have the space, a special eighteen-foot one can be constructed, as is done when several covens meet. If you are working indoors, it will take the form of your regular taped circle with the four lamps of art, unlit, placed outside at the four quarters. On the other hand, the traditional form of circle for an outside meeting is a narrow, shallow furrow, or trench, dug deosil with the sword, or Athame; however, to do this, you must stand outside the perimeter as you dig. The reason for this will be apparent shortly.
The triple tracings and fire and water exorcisms remain the same in form, but again they must be performed from outside the circle. The thurible fumigation should be Sabbat Incense (see the end of chapter for this). The northern segment of the circle is now regarded as the entrance and exit for the Sabbat participants, and is referred to simply as the "gateway" or more explicitly as the "way between the worlds."
All the coven members should pass into the circle through this gateway, but not, however, before divesting themselves of all metal implements, witch jewels, or insignia. Even the magister's or high priestess' metal headpieces must remain outside; the cup, the sword, Athame, everything and anything of a metal nature must do likewise. This is most important. Only after the balefire is well and truly alight, when the circle can be crossed and recrossed time and again without impairing its magical efficacy, can the metallic implements be brought in again, and your witch jewels reassumed.
The reasons for this step are threefold. The magical one is that which you are already acquainted with namely, the jamming effect of metals on certain delicate vibrations which are going to be initiated during the ritual. The second, more traditional one, having to do with ideas of ritual purity and poverty, is that on coming into the presence of the gods, you divest yourself of all worldly valuables, and any metals, of course, were recognized as the earliest form of currency. Third, it refers back to ancient Prytanic "elvish" custom.
Thus, having cast the circle, purified it by fire and water, and removed all metals, the time will have come to prepare the balefire itself. This is the ritual Sabbat fire which is lit in the centre of the circle. It is the unmoving pivot of the eight-spoked witches' wheel, the Wheel of Fortune, or Solar Wheel of Life. It represents, among other things, the constant rotation of the elemental tides, the ebb and flow of life itself.
The balefire itself must be composed of nine different varieties of wood. The choice of which species you select is up to you. But they must be nine distinct genera. It is best to choose from those which burn well. Good indications of these are given in the old Dartmoor verse:
Oak logs will warm you well,
That are old and dry.
Logs of pine will sweetly smell
But the sparks will fly.
Birch logs will burn too fast,
Chestnut scarce at all;
Hawthorn logs are good to last -
Cut them in the fall.
Holly logs will burn like wax,
You may burn them green;
Elm logs like smouldering flax,
No flame to be seen.
Beech logs for winter time,
Yew logs as well;
Green elder logs it is a crime
For any man to sell.
Pear logs and apple logs,
They will scent your room;
Cherry logs across the dogs
Smell like flower of broom.
Ash logs, smooth and grey,
Burn them green or old,
Buy up all that come your way -
Worth their weight in gold.
Poplar, cornel (dogwood), sandalwood, cedar, and juniper are also worth considering, the first two being highly traditional.
The sticks themselves should be set crossways on top of one another: "cross them, cross them, cross them," the old rune says. In order to facilitate lighting, a spirit such as alcohol may be sprinkled on them, or a bed of quick-lighting charcoal laid underneath. In order to light the balefire, you are going to employ what is variously known as need fire, wildfire, elf fire or living fire. This is a flame produced either by friction of wood on wood or from the flame of a taper lit by the rays of the sun, concentrated by a burning glass or concave mirror. However, many witches nowadays simply use matches, going on the assumption that the main thing to avoid is the use of metal, as would have been the case in the old days of tinder-boxes and flints. The fire seen to be resident in nonmetallic substances or the sun is what is required
So now you have your coven assembled, the circle drawn the balefire laid out but not lit, and finally all metals including your witch jewels removed from the area. Now, exactly at midnight, the hour of greatest darkness, extinguish all lamps or lights in the vicinity. If the Sabbat is performed indoors, turn out all the lights in the rest of the house.
You stand at the end of the old season; the elemental tides are about to change, the old quarter gives place to the new and the Wheel of Life is turning another quadrant. You are about to invoke the descent of a new influx of power to renew and regenerate the fire of your body corporate, the coven entity.
The coven members should remain silently standing, kneeling, or sitting in a circle facing inwards, clasping hands. The magister must pass to the east of the circle and bow down nine times eastward. An unlit taper should now be placed in his right hand by the summoner, and he must slowly and powerfully chant a solar invocation such as the following:
Eastward stand I!
For favours I pray!
I pray thee, Mighty Prince of Light!
I pray thee, Holy Keeper of the Sky!
Up to Heaven I pray
and down to Earth I call thee!
The assembled coven should now reiterate the chant in unison:
Eastward he stands,
For favours we pray.
We pray thee, Great One!
We pray thee, Mighty Prince of Light!
We pray thee, Holy Keeper of the Sky!
Up to heaven we pray
and down to Earth we call thee!
The assembled coven must now exert all its witch power in visualizing elemental power descending upon the taper as the summoner lights it, a great flake of fire or triple tongue of light floating down from the dark sky! The leader should apply the flame to the balefire. As it blazes up, the coven should chant the following words, visualizing the coven symbol as a coruscating, living form burning in its centre!
IO EVOHE! [pronounced "EEE-OOO, AAH VOH AIEE"] Blessed be!
The leader must then circle the balefire three times south-ways, halting again in the east. At this point, the high priestess should prostrate herself to the west upon the ground. She must pound with her flat hand thrice three times upon the earth (thrice for each utterance of the goddess' name) as she chants the invocation of the earth:
Hertha! (three blows)
Hertha! (three blows)
Hertha! (three blows)
Mother of Mankind,
hail to thee, Great Mother!
Be fruitful in god's embrace!
Be filled with food for the use of men!
The coven should likewise repeat this chant, feeling the answering earth tremble beneath them as they beat upon it. While they do this, the high priestess should crumble a Sabbat cake in her hand, and cast it in the circle furrow at the west, or upon the circle boundary line if it be an indoor Sabbat.
Now, having consecrated the Sabbat ground and balefire, all the ritual metal implements, including personal witch insignia, may be brought into the circle from the north. The leaders assume their headdresses, and the taper upon the master's headdress is lit from the balefire. He is the direct representative of the solar force within the coven. The coven members should also now assume their individual witch jewels. The magister, who should be standing in the east facing west with his arms crossed upon his breast, is then saluted as the "Sun at Midnight" by the assembled coven. The traditional gesture for this is the horned hand, right hand raised, fingers clenched, thumbs and little finger extended.
Likewise, on the other side of the circle in the west the high priestess stands, with her feet apart and her arms raised in a wide crescent, representing the goddess, Our Lady of the Moon.
As both sun and moon are now "standing in their signs of power," both magister and high priestess should be seeking at this moment to place their personalities in abeyance, and "bring through" the god-personae. This act of dissociation will have taken considerable previous practice on their parts, by way of meditation and visualization exercises, the constant building up of the traditional god-forms within an imagined "temple" or appropriate landscape, and the subsequent fantasy identification with them. The sun and moon have to be effectively magically "drawn down."
The high priestess is likewise saluted by the coven with the horned hand, but as Our Lady of the Moon.
The gesture of the magister, arms crossed upon the breast, is of course none other than the sign of death and rebirth used in your necromancy ritual. It signifies many things. Primarily it is the sign of Osiris, seen as synonymous with Hades, Dis, and the Horned One as God of Death. It also represents the skull and crossbones itself, and finally the erect phallus flanked by twin testes below.
The gesture of the high priestess is the mirror image of the magister's. It represents both the lunar crescent, the womb of space, and the horns of Hathor, all of which are symbols pertaining to Isis, the great Egyptian Mother Goddess and consort of Osiris. As such, the magister and high priestess are the human representatives of the two great archetypal poles of life, whether you conceive of them as Isis and Osiris, summer and winter, life and death, or yin and yang.
Having called down the two powers, such magical operations as required by the coven, if any, are now performed. The initiation of new members follows this, in order that the new initiates may be able to join in the ceremonial dances afterwards.
The Witch Dances
These dances are many and varied, differing from coven to coven and allowing for considerable invention and renovation.
The two main witch dances are the Spiral Dance, known otherwise as the Maze, Meeting Dance, Wheel, or Round Dance; and the Chain Dance.
The first, or Meeting Dance, is related to the concept of death as symbolized by a northways movement, widdershins, leading to the still centre, and then returning on its tracks southways. The magister stands at the centre of the circle, beside the balefire, facing north. His arms are crossed and he represents death. The coven, beginning at the northern periphery of the circle, makes a widdershins spiral chain to the centre, consisting of three circuits, each member similarly turning widdershins on his individual axis, and on reaching the still figure of the magister at the centre, one by one light the tapers they carry in their hands. They then double back on their tracks and, spiraling clockwise, return the way they came, again on a triple circuit. The Spiral, as well as signifying the interaction of the dark and bright tides, is also said to represent the labyrinth, dolman, or House of Death and Initiation. Witch symbolism refers it to the Glass Castle of the North, Caer Arrianrhod, and the Corona Borealis.
Accompanying the music of the Meeting Dance, which may be recorded or played on a variety of instruments to be discussed later, wild cries of "EEE-OOO AAH VOH AIEE"
are often given by the members of the coven as they whirl ecstatically, usually after the words of a chant such as one adapted from the Invocation of Hertha from Chapter 5, or if the coven be a solely goddess-oriented variety, the following traditional one:
Queen of the Moon, Queen of the Sun,
Queen of the Heavens, Queen of the Stars,
Queen of the Waters, Queen of the Earth,
bring to us the Child of Promise!
It is the Great Mother who giveth birth to him;
It is the Lord of Life who is born again.
Darkness and tears are set aside
when the sun shall come up early!
Golden Sun of the mountains,
illumine the land, light up the world.
Illumine the seas and the rivers,
Sorrows be laid, joy to the world!
Blessed by the Great Goddess,
without beginning, without end,
everlasting in eternity!
IO EVOKE, blessed be!
However, the latter chant is used only at Halloween or Yule, as it refers specifically to the coming of winter and the rebirth of the sun at Shamain (Hallaws) or midwinter.
The Meeting Dance often leads directly into the Chain Dance. This is traditionally led by a female member or the high priestess herself, the magister bringing up the rear. Hence the old saying, "May the Devil take the hindmost!" The dance is performed with the rod used as a riding-stick or hobby-horse placed between the legs, and the lighted taper borne aloft. On stormy Sabbats the tapers were and are still sometimes replaced by oil lamps or lanterns.
The Chain Dance itself probably celebrates the transformation of the seasons, and its device is that of the pursuit of an animal by a predator. The season, represented by either the god or goddess, changes shape repeatedly in an attempt to avoid capture. This magical shape-shifting theme is a very ancient one, and it turns up in innumerable traditions - Celtic, Norse, Greek, and even creeps into the Arabian Nights. Sometimes the male is the pursuer, other times the female.
The coven god or goddess orientation generally indicates whether the magister or the high priestess leads the dance. The traditional style seems to be the high priestess in the lead, with the summoner next followed by the coven and the magister bringing up the rear. The dance itself begins with a southways circuit of the circle before leaving it through the gateway at the north. In the old days the dance would wind all over the surrounding territory, through churchyard and barnyard, over hill and dale.
The leader must imitate the movements of the animal he or she represents. The rest of the coven must in turn imitate those of the predator that they are identifying with in their verse. All the powers of the witchly imagination must be brought to bear here. You must feel yourself actually becoming the animal!
The animals themselves differ from coven to coven, largely depending on which totems the group possesses. The rhyme also changes accordingly, but the sense always remains the same. Here is the Chain Dance verse designed for one set of totem animals, each pair representing one of the four seasons:
Leader. I shall go as a wren in spring with sorrow and sighing on silent wing, and I shall go in Our Lady's name, Aye, till I come home again!
Coven. We shall follow as falcons grey, and hunt thee cruelly as our prey, but we shall go in Our Master's name, Aye, to fetch thee home again!
Leader. Then I shall go as a mouse in May, in fields by night, in cellars by day, and I shall go in Our Lady's name, Aye, till I come home again!
Coven. And we shall follow as black tom cats, and chase thee through the corn and vats, but we shall go in Our Master's name, Aye, to fetch thee home again!
Leader. Then I shall go as an autumn hare, with sorrow and sighing and mickle care, and I shall go in Our Lady's name, Aye, till I come home again!
Coven. But we shall follow as swift grey hounds, and dog thy tracks by leaps and bounds, and we shall go in Our Master's name, Aye, to fetch thee home again!
Leader. Then I shall go as a winter trout with sorrow and sighing and mickle doubt, and I shall go in Our Lady's name, Aye, till I come home again!
Coven. But we shall follow as otters swift, and snare thee fast ere thou canst shift, and we shall go in Our Master's name, Aye, to fetch thee home again!
The chant is repeated as long as necessary, and by the end of the final repetition of the last verse, the entire coven should have reentered the circle at the north and be back at their places, with the magister in the east, the high priestess in the west.
In medieval days, the finale of the Chain Dance usually culminated in the "marriage of heaven and Earth," as symbolized by the ceremonial coupling of the magister and the high priestess. The entire female membership of the coven was sometimes also mounted, sometimes being penetrated by means of an artificial phallus wielded by the magister, or simply by the other male participants. However, in most modern covens, the actual marriage rite seems to have been replaced generally by the cakes and wine ceremony which , then leads into the feast. The chalice held by the high priestess is raised high over the balefire, and Sabbat wine poured in. The magister then lowers his ceremonial rod, wand, or Athame into the cup briefly, and then removes it. Both he and the priestess then hand it on to the coven, who drink from it. Similarly, the Sabbat cake is presented on the paten pentacle by the priestess, divided up by the magister with his Athame, and then distributed like wise. On handing the chalice or pentacle to one's neighbour, the words "Blessed be" are often uttered.
The initial ceremony of the cakes and wine leads on to the actual feast, which is usually contributed to by all the coven members, each bringing some particular delicacy. The food, far from being the eye of newt and toe of frog variety, is the type you would expect to find at any buffet supper.
The meal itself does not have to be eaten within the circle, the only ritual proviso being that if the company actually sit down at table, the magister be seated at the head. After the meal is concluded, the Sabbat may continue as a regular party with dancing and singing usually of the folk rock variety being performed by more exuberant members within the circle, often jumping hand in hand over the flames of the balefire.
At last, when all is said and done and the party draws to a close, often approaching dawn, traditional farewells of "Merry part" and "Blessed be" are exchanged between departing members, who after exchanging their ritual garments for everyday clothes, hurry off into the chill morning air. The Sabbat is over, the old gods have been reinvoked, and a new season begun.
The basic Sabbat rites should remain the same throughout the year, differing only in small details appropriate to the season. For instance, many covens will divide the year in two and give the magister presidency of the circle during the winter months, the Lady in those of summer.
The Midwinter Festival of Yule, Christmastide, celebrates the sun's rebirth with all the customary decorations and festivity later borrowed by the Church Fathers, the indoor balefire or yule log, evergreen decorations, holly and ivy tied with scarlet ribbon, and of course the Christmas Tree. Father Christmas and Mother Holly are but two Christianized images of the Lord and Lady; the Christ child legend is built upon that of the rebirth of the sun, the light of the world.
Candlemas (February 2) is the Feast of St. Bride or Brigid, a Celtic name for the goddess, and corresponds to the Roman yearly inauguration of the vestal fire. It is a celebration of the waxing light, and the high priestess, or indeed, all the coven, may each don a candle-crown for the ritual dances.
The vernal equinox, or Lady Day, again a reference to the goddess, has all the trappings of traditional Easter. (The word "Easter" in fact is but a modernization of Bostra, the name of an Anglo-Saxon dawn goddess cognate with the classical Eos.)
Beltane, Cetshamain, or Roodmas, as it was Christianized has as its theme the May day ceremonies still practised throughout rural England and Europe with stave dancing and flower garlands tied with white ribbons.
Midsummer, or St. John's Eve, marks the nearest point of the sun's approach to Earth. The Catherine Wheel, or blazing cartwheel rolled from the summit of a hill to plunge into the cold waters of a lake or river below, is yet another expression of the wedding of heaven and Earth.
Lugnassad, or Lammas, celebrates the coming of the harvest-tide, the decorations of corn sheaves, berries, and fruits, while the autumnal equinox, or Michaelmas, marks its zenith with the eating of the customary goose. Samhain, or Hallows, ends the tide of reaping and the witches' year. The winter presided over by the Lord of Misrule begins. The festival is celebrated with the customary sword dances, the sword here being associated with the chthonic spade and ploughshare, symbols of the God of Death.
The Dumb Supper may be performed in honour of the beloved dead, and wine and bread be ceremonially offered to them, the latter in the shape of a cake made in nine segments similar to the square of Earth. Candlelit turnip or pumpkin-heads and the last remnants of harvest-fare often provide decoration.
As always, it is a matter of personal preference as to exactly how a Sabbat is to be celebrated, always bearing in mind your few basic fundamentals, namely, the "drawing down" of the sun and moon, the ceremonial dances, the symbolic marriage of heaven and Earth, and the communal feast.
So there you are.
Finally, a few notes on practical Sabbat details.
Sabbat Music
Often this is of the recorded variety, usually utilizing old folksongs or traditional airs. However, the "folk" content, magically speaking, is not essential. What matters, of course, is the rhythm, which must be conducive to dancing, and the evocative content of the music. Religious music can work very well. But, here again, you will have to use your own judgement carefully. For instance, medieval plainsong and organ music in most instances are singularly inappropriate, but some of the recorded medieval pipe and tabor tunes of a semireligious nature work very well. Again - experiment.
The traditional Sabbat musical instruments are the harp and lute, worthily replaced by the guitar nowadays; the flute, often replaced by the recorder; and the drum or tabor, nowadays usually the tambourine. The traditional witches' drum, however, is of interest here. Usually composed of a box or broad hoop of wood, over which is stretched tightly laced animal hide or vellum. On this should be painted an eight-pointed star composed of two interlaced squares again representing the solar year and the four elements. It should be divided in the centre by a line linking the opposite corners of one square; on one side of it, half the star is stained red and the other blue, signifying summer and winter, death and rebirth, male and female.
Some witches perform a divination with the drum, throwing devil's-apple seeds upon its surface, and reading an augury from where and how they land in relation to the diagram.
Finally, there is the witch's bell, sometimes used in certain rites for striking knells, as well as in some exorcisms. This may be made out of magical electrum or simply be an antique handbell, the older the better.
Sabbat Incense
Summer Variety: (Beltane, Midsummer, Lammas, Michaelmas)
Fennel
Thyme
Rue
Chervil seed
Chamomile
Geranium
Pennyroyal
High-grade church incense
Winter Variety: (Hallows, Yule, Candlemas, Lady Day)
Bay laurel
Vervain
Wormwood
Ivy leaves
Fir branches
Solomon's-seal (Polygonatum multiflorum)
High-grade church incense
Sabbat Cakes
Basically any recipe containing honey, salt, wine, and oatmeal may be used. Here is a typical one.
Mix:
1 tablespoon honey
1/3 cup shortening
1/2 cup brown sugar
1 tablespoon white wine
Add:
1 1/2 cups flour
1/4 teaspoon baking soda
1/2 teaspoon salt
1 1/4 cups oatmeal
Optional: cinnamon, allspice, cloves, or ground cardamon
Combine well, adding water if necessary to make into rollable dough. Cut into small crescent-shaped cakes and bake until light brown in a preheated oven at 350 degrees about 15 minutes.
Sabbat Wine
Any red wine will do for this. During the winter Sabbats many covens drink this mulled with addition of aromatic herbs and spices. A mixture of sweet and hard ciders and brandy, simmered with cinnamon sticks and clove-stuck oranges may also be used.
However, some ambitious witches make use of the follow ing cordial as an additive or accompanying drink. It is very complicated to make and requires distilling, but it is highly appropriate as a summer Sabbat beverage.
Take:
6 oz. hyacinth blooms
1/4 lb. violet petals
1/4 lb. wallflower petals
1/4 lb. jonquil petals
1 oz. orris powder
1/2 oz. powdered mace
2 oz. orange or lemon essence
1/4 lb. lily of the valley flowers
The process is this:
Bruise the hyacinth petals, orris root, and mace together with one gallon of alcohol in a glass container toward the end of March, in fact when the hyacinths are in season. Toward the end of April, add the jonquils, and then the wallflowers and lilies of the valley. The liquid must then be well stirred every day for a week, at the end of which time, the liquor should be distilled off very slowly and carefully, preferably using a bain-marie.
The flowery essence is very potent and, in fact, is more in the nature of a perfume than a real liqueur. However, I am informed it makes an excellent additive for the wine, if not consumed by itself.
Thus concludes this witchcraft primer. Many things, of course, remain to be said and will have to wait for a later date.
The rudiments, however, are here presented. The old gods are not dead. They still live, ever ready to harken to man and his requests.
You need but ask; the way is open to you.
Let us celebrate the return of the old ones!
So mote it be!
