A Witch Alone: Thirteen moons to master natural magic. Marian Green
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Divide one page of your Book of Illumination into two columns and write ‘The Goddess’ at the top of one column, and ‘The God’ at the top of the other. Begin by writing in each pairs of names, attributes, symbols or titles, matching the Goddess as Moon with the God as Sun, for example. Sometimes you have three Goddess attributes and only one God name, but you will gradually find balances. You should be able to continue this list through several pages, especially if you take some of the classical deities as well as the local ones.
Sit silently with your eyes closed, relax and then ask the Goddess to show herself to you. See what happens after a few minutes, and write it in your Book. On another occasion ask for the God to appear, and again record what you see or experience. Then ask to see them both.
Draw a large circle (round a plate) and enter the Festivals, taking the top to be north. In segments, add symbols, colours, flowers and all the other things you personally associate with each feast. If you don’t know very much yet, rather than copying from this book, add more after each festival passes.
Look at poetry, more or less at random, in bookshops or the library. Try to devise your own brief invocations for the elements that surround your circle. Work with the basic powers rather than elaborate god-names which you may not fully understand. Try to open up your emotions rather than treating this as an intellectual exercise.
Walk about out of doors and visit somewhere that you would consider sacred, be it religious site, highest local hilltop, ancient monument, old tree or spring of fresh water. Try to discover how and why it feels different to any similar ‘non-sacred’ place. Relax with your eyes closed and stretch your senses.
Here are a selection of books to look out for:
Robert Graves, The White Goddess (Faber)
Marian Green, A Harvest of Festivals (Longman, out of print)
Marian Green, Natural Witchcraft (Thorsons)
Miranda Green, The Gods of the Celts (Alan Sutton)
William James, Varieties of Religious Experience (Penguin)
Caitlín Matthews, The Elements of the Goddess (Element Books)
Don’t expect any of these books to be a very easy read, nor do any of them explain exactly about the work of Old Village Witch or Cunning Man because there is very little written about them, except as parts of learned studies by folklorists, but they are a treasure house of useful ideas.
To every thing there is a season, and a time to every purpose under heaven: a time to be born, a time to die; a time to plant, and a time to reap; a time to kill, and a time to heal;…a time to weep, and a time to laugh; a time to mourn, and a time to dance;…a time to keep, and a time to cast away;…a time to keep silence, and a time to speak; a time to love, and a time to hate; a time of war, and a time of peace.
OLD TESTAMENT; Ecclesiastes 3
The land on which we live is subject to the cycles of the seasons. To our ancestors every part of the year had its tasks, its unrewarded efforts and its harvests, its times of dearth and glut, success and failure, plenty or famine. What happened to the crops or the fertility of the livestock was seen to be partly in the hands of the farmers with their inherited wisdom, and partly in the gift of the Earth Mother. It is for this reason that, from the earliest known religious activities of humankind upon Earth, offerings, rituals, celebrations and acts of propitiation seem to have been made in her name.
Most of the oldest identifiable religious objects appear to be in the form of fat women, usually described by archaeologists and others as primitive Earth Mother figures, or Mother Goddess statues. As the understanding of the varied nature of the Goddess evolved these became more elaborate, showing not just the fat belly and ample breasts, but beautiful headdresses, armlets which are sometimes snakes, flounced skirts or elegant necklaces and breast ornaments. All over the world such ancient representations are to be found, echoing the most advanced art forms of their age. Some are painted on cave walls or roofs, some are carved from soft stone, moulded in clay, woven from reeds, cast from precious metals and decorated with jewels. Each individually expresses the artist’s prayer, of thanksgiving or supplication, or worship of a specific aspect of the Great Goddess, as seen in his or her age.
Recent ideas about ancient structures, mounds, earthworks, ‘burial mounds’ and reshapings of the landscape seem to indicate that even on this vast scale, effigies of a Mother Goddess, Birth-Giver, Life-Taker, have been set out among the hills. Many of these artificial constructions seem to echo the shape of the womb, or the pregnant and fecund belly of she who brings forth young. Many of the shapes associated with the Goddess from earliest times include circles, holes, the ‘vesica piscis’, or the crescent of the moon’s shifting outline. Serpents and many flowers appear as symbols of the life force of the First Mother, and many springs, wells and fountains are sacred to her power.
Similarly, there are many upright pillar stones, phallic totem poles, carvings of the sun, or windows in structures where the rising light of the sun can send its fertilising ray deep into the dark heart of the Goddess-shaped long barrow, symbolically uniting the sky with the Earth. Here the God as the sunlight and the Goddess as the earthwork, at a very precise moment in the turning year, come together, magically ensuring fertility and the return of the spring. Many of the circles of standing stones have been found to align with specific sunrises or sunsets, or the appearance of the moon on the horizon. We have had to wait until computer graphics systems were developed before these ancient, mathematically accurate layouts of markers could be understood for what they teach us about the wisdom of our ancestors. Stones, ditches, mounds, cuts in the horizon, straight and curved trackways, canals and pools, all have been deliberately engineered by ancient priests or scientists, to act as accurate calendars or time markers.
Time’s passage was always of importance to early people. Stone Age bone carvings track the pattern of the moon’s face through the sky in its twenty-nine-day passage from new to new again. It is likely that first tall poles and then heavy stones were carefully set to show the relationship between the sun and the seasons. Even before the time when the sowing of seeds introduced the very beginnings of agriculture, the passing seasons provoked interest and perhaps wonder in the early peoples of Britain and Europe. Much scientific research has been centred on the calendar-like circles of stones, ignoring the fact that farmers then, as now, sowed seed when their own fields were dry and warm enough to allow them to flourish. Crops are harvested when they are ripe, or in order to save them from rough weather, not because some great stone sundial has marked out a particular day. Even the breeding of livestock has to be left to their own inclinations, when the ewes, cows or mares are receptive. A sunbeam falling on a particular spot in a sacred courtyard will not make the rams, stallions and bulls more willing. It might work in reverse, however; the farmers saw when their livestock mated and noted the time against these calendar-clocks, or recorded in some simple way where the sun rose when the soil was ready for sowing, or how the moon shone at harvest time.
This need for the organisation and activities of the people to follow the phases of Nature is largely overlooked now. Just as the monks of the early Church invented clocks and set fixed dates for their saints’ days, regulating the lives of all the people, so the modern witches often meet by the clock or the calendar instead of by the tides of the Earth Goddess and her Sky Lord. It is important to become aware of the actual phases of the moon, not by looking at a watch dial or printed poster on the wall, but by making the effort to go outside in the evening and look for the moon herself. It is worth rising early and seeing where and when the sun rises, for he too traces a different path along the horizon, from the north in summer to the south in winter.
If you are working alone, or with a friend or two, in the old manner, it will be easier for you to hold your celebration or meditation on the night of the new or full moon, at an equinox or solstice, or the first day after