INTRODUCTION TO THE OLD RELIGION

LESSON 7A
I. MAGIC IN THE CRAFT
A. Working Definition
1. Magic is the craft of shaping and has een defined as !the art
of changing conscio"sness at #i$$!.
a. The art of changing conscio"sness at #i$$ is a de%anding one&
needing $ong and discip$ined apprenticeship.
'1( The o"t#ard acts of #a)ing a #and& $ighting a cand$e& or
crooning a rh*%ed incantation& are %eaning$ess #itho"t the proper
%enta$ preparation.
'a( +"t #hen the force of a trained a#areness is ehind the
gest"res& the* are far %ore than e%pt* %otions.
+. The Witch as Cos%ic Artist
1. We e,ist on this p$ane as %"$ti-faceted .e#e$s& #hich concea$ a
spark of the essence of the Goddess in the heart of each .e#e$.
a. Each facet of the .e#e$ that is o"rse$f is $ikened to she$$s&
or !odies! in #hich #e #rap the heart of o"r .e#e$.
/. These !odies! are di)ided into t#o gro"ps.
a. The Indi)id"a$it*
'1( 0pper 1pirit"a$- Consists of p"re or astract 1pirit.
1o%eti%es ca$$ the 2Di)ine 1park2& it is s"stance and energ* fro% the
Great 0n%anifest #hich #e s*%o$i3e #ith the archet*pe of the Goddess.
'/( 4o#er 1pirit"a$- This is the indi)id"a$i3ed spirit #hich
has separated fro% the astract. This is #here the spirit e%arks "pon
it2s o#n .o"rne* of se$f-disco)er*. And #here it e)ent"a$$* ret"rns
efore it adds its e,periences to the Great Who$e and re.oins it as a
drop in the end$ess ocean of eing.
'5( 0pper Menta$- This is the rea$% of the astract %ind.
Indi)id"a$i3ed spirit egins to e se$f-a#are& and for% po$arities
#hich $ead to the de)e$op%ent of the persona$it*.
. The 6ersona$it*
'1( 4o#er Menta$- The person de)e$ops a concrete %ind he$d
together * for% and %e%or*.
'/( 0pper Astra$- 4e)e$ of astract e%otions. Attraction of
po$arities $eads to a desire for "nion.
'5( 4o#er Astra$- 4e)e$ of instincts and passions. A desire to
attract other po$arities and to possess things de)e$ops.
'7( Etheric +od*- Ten"o"s energ*-#e of near-%atter #hich
$inks the 6h*sica$ #ith the s"t$er p$anes. Witho"t the Etheric od*
to ho$d the ph*sica$ od* together& indi)id"a$ sparks of the spirit
cannot %anifest on the ph*sica$ p$ane.
'8( 6h*sica$ +od*- Made of dense %atter.
5. Taking a road $ook at the 6ersona$it*& #e find that it is an
instr"%ent& or %achine& consisting of three distinct 2odies2.
a. These 2odies2 are "i$t "p d"ring one incarnation and
discarded in the 1"%%er$and after the* ha)e ser)ed their p"rpose.
'1( A ph*sica$ for% that nat"ra$$* %o)es and acts on instinct
and orders fro% *o"r %ind.
'a( This ph*sica$ for% has its o#n set of $a#s that go)ern
it.
'( It e,ists in ti%e and space& and it has to e acted
"pon9 it is not capa$e of thinking.
'c( We kno# that o"r od* is not the ca"se of "s& eca"se
it has to e acted "pon to f"nction. And an*thing that has to e acted
"pon is an effect& ca"sed * so%ething e$se.
'/( An e%otiona$ 2od*2& operating fro% $a#s si%i$ar to
h*drod*na%ics.
'a( If o"r e%otions eco%e $ocked& #e are $ike a ri)er
#hose f$o# is da%%ed "p& "i$ding "p "nto$d press"re "nti$ so%e
re$ease occ"rs9 or #e go dead inside and stagnate& diseased and to,ic
to o"rse$)es and others.
'( Crafters kno# that pent-"p e%otions are to e re$eased
and "nderstood& so that this constricted energ* can e e,pressed for
the p"rpose of )a$idating o"r e,istence.
'5( A %enta$ $ife& o"r "ni:"e #or$d of persona$ tho"ghts& that
is creati)e * nat"re& and has no $i%its e,cept those it chooses to
constr"ct for itse$f.
'a( 1ince #e e,ist in a 0ni)ersa$ Mind that is a$$ kno#ing
and $i%it$ess& #e kno# that $i%itation is not a "ni)ersa$ $a#& "t
on$* e,ists in the indi)id"a$ "se #e %ake of these "ni)ersa$ $a#s.
7. ;"r 6ersona$it* is responsi$e for o"r eing a$e to f"nction
on this p$ane and it is thro"gh o"r persona$it* that #e create the
#or$d aro"nd "s.
a. Witho"t o"r inp"t the #or$d is ne"tra$& co$or$ess and
%eaning$ess.
'1( It is on$* #hen #e ass"%e the ro$e of creators or artists
and paint an i%age of the #or$d in o"r %inds& co$ored * o"r fee$ings&
does the #or$d affect "s.
'a( This is #a* t#o peop$e can ha)e the sa%e e,perience and
respond in t#o entire$* different #a*s.
'/( We constant$* choose %o%ent-*-%o%ent #hat o"r #or$d is
$ike.
'a( A person #ho opts for a negati)e e,perience descends
into a "ni)erse that contains a$$ the potentia$$* negati)e forces that
are #aiting to %ake "p rea$it*.
'( And no %atter #hat so%eone o"tside does to %ake it $ess
negati)e& it #i$$ not change.
'c( Ha)ing set "p the po$arit* for a negati)e e,perience&
the negati)it* acts as a %agnet& attracting %ore and %ore negati)it*
"nti$ it is o)er#he$%ing.
'd( ;n the other hand& a person #ho opts for a positi)e
e,perience& ascends into another "ni)erse& that i%%ediate$*
cooperates& and instant$*& forces egin %o)ing to %anifest a positi)e
res"$t.
8. The %ain #ork of a person on the 6ath of Ret"rn is to integrate
the creati)e aspects of the 6ersona$it* "nder the g"idance of the
Indi)id"a$it*& or Essence& so that the* can de)e$op as a %e%er of the
"ni)erse in f"$$ har%on* #ith the rest of it.
a. When this happens the 1eeker disco)ers an inner state of
har%on* #here a$$ actions egin corresponding to a deeper tr"th
resident #ithin.
'1( It is as tho"gh e)er* thing f$o#s nat"ra$$* and easi$*.
'a( E)en #hat had see%ed 2i%possi$e2 efore fades into non-
e,istence and a ne# possii$it* takes its p$ace.
II. C04TI<ATI;N ;F THE MAGICA4 6ER1;NA4IT=
A. Magic is the Craft of Witchcraft
1. The po#er of %agic sho"$d not e "nder-esti%ated.
a. It #orks& often in #a*s that are "ne,pected and diffic"$t to
contro$.
'1( +"t neither sho"$d the po#er of %agic e o)er- esti%ated.
'a( It does not #ork si%p$*& or effort$ess$* and it does
not confer o%nipotence.
+. 4earning to #ork %agic is a process of ne"ro$ogica$ repatterning&
of changing the #a* #e "se o"r rains.
1. In order to %anifest an*thing on the ph*sica$ p$ane& it %"st e
for%"$ated and gi)en $ife on the %enta$ p$ane.
/. 0n$ess a person can concentrate his tho"ghts and desires do#n
into a tight$* contro$$ed set of s*%o$s& the %enta$ p$ane has
ins"fficient infor%ation to create #hat is desired.
a. The Archt*pe of the Magician in the Ma.or Arcan"% of the
Tarot deck teaches so%e )a$"a$e $essons in concentration.
'1( The traditiona$ pict"re of the Magician sho#s a %an
dressed in a #hite roe& encirc$ed * a e$t in the shape of a snake
ho$ding its tai$ in its %o"th& and he is #earing a c$oak of )er%i$ion.
'a( He stands in a garden #ith fo"r #hite $i$ies and fi)e
red roses& ehind a ta$e #here he has $aid o"t his %agica$ too$s.
'/( With his right hand& the Magician $ifts a #and "p#ard
to#ard the sk*. His $eft hand %akes the "ni)ersa$ gest"re of
attention& pointing #ith e,tended forefinger to#ard the ferti$e earth
at his feet.
'a( The %essage inherent in this gest"re is that the Force
of the higher $e)e$s f$o#s thro"gh the Magician to #hate)er he gi)es
his f"$$ %eas"re of attention.
'5( The garden in #hich the Magician #orks represents the
s"conscio"s fie$d.
'a( It is fro% this s"conscio"s fie$d that the hidden
po#ers co%e that the Magician directs in his :"est for increased
freedo%.
'( These po#ers are s*%o$i3ed * the $i$ies #hich stand
for )ario"s aspects of tr"th and the roses #hich are s*%o$s of h"%an
desire.
'7( The Magician is a transfor%er and trans%"ter of
e,perience.
'a( He c"$ti)ates the f$o#ers in his garden& i%pro)ing
the% and * force of his contro$ of their de)e$op%ent& takes the% far
e*ond the conditions spontaneo"s$* pro)ided * nat"re.
'( Taking things as he finds the%& he #atches "nti$ he
percei)es the "nder$*ing princip$e at #ork in #hat he oser)es. Then
he app$ies that princip$e in no)e$ #a*s so as to prod"ce a different
sit"ation.
C. The 4ang"age of the ;$d +e$ief& the 4ang"age of Magic& is
e,pressed in 1*%o$s and I%ages.
1. 6oetr*& #hich is itse$f a for% of %agic& is %agic speech.
a. 1pe$$s and char%s #orked * #itches in rh*%e are tr"$*
concrete poetr*.
. The A%erican Indians #o"$d ca$$ the% 1ongs of 6o#er.
/. I%ages ridge the gap et#een the )era$ and non-)era$ %odes
of a#areness.
a. The* a$$o# the t#o sides of the rain to co%%"nicate&
aro"sing the e%otions as #e$$ as the inte$$ect.
. The )ast storeho"se of s*%o$s& #hich e%od* a$$ the possi$e
rea$ities of this "ni)erse is the s"conscio"s %ind.
c. The Archt*pe representing the s"conscio"s %ind is the High
6riestess.
'1( The High 6riestess is depicted as a so$itar* #o%an& seated
on a c"e p$aced et#een t#o pi$$ars of opposite co$ors. There is a
)ei$ h"ng et#een the pi$$ars #ith po%egranites and hearts of pa$%s
#o)en into it.
'a( 1he is dressed in a #hite gar%ent adorned #ith an
e:"i$atera$ cross on her reast and s"rro"nded * a $"e roe that
f$o#s do#n and o"t of the pict"re.
'c( 1he #ears a si$)er cro#n& %ade of t#o crescents and an
or and ho$ds a scro$$ in her $ap.
'/( The %essage con)e*ed * the High 6riestess is t#o-fo$d.
'a( First she represents %e%or*. E)er*thing that co%es to
the attention of the %ind of her co"nterpart& the Magician& is
recorded on her scro$$.
'( 4ike a$$ $ang"ages& the records she keeps are s*%o$s
for the rea$it* the* represent and it is the second f"nction that she
represents that %akes the kno#$edge a)ai$a$e to the Magician.
'c( The i%ager* of #ater f$o#ing thro"gh this tarot card
is reinforced * the $"e co$or of her roe& and the #a* it poo$s do#n
at the otto% right side of the card and see%s to f$o# off the card.
Water is the "ni)ersa$ s*%o$ of the astra$ essence of the higher
p$anes and ."st as #ater#a*s on earth ser)ed as high#a*s of
co%%"nication and co%%erce in the o$d #a*s& it is the astra$ essence
that ser)es as a ridge et#een the different p$anes.
'd( In order to reca$$ things stored in %e%or* as #ritten
do#n on the High 6riestess2s scro$$ it is necessar* to sti$$ the
#aters so that the* eco%e a %irror and ref$ect the i%ages *o" are
seeking.
'5( The ai$it* to concentrate to the point #here a sti$$
ca$%ness in the %ind is achie)ed& co"p$ed #ith the i%ages that s"rface
fro% the s"conscio"sness $eads to the point #here ne# rea$ities can
e )is"a$i3ed.
D. A$$ %anifestations on the ph*sica$ #or$d are rooted in the %enta$
and astra$ p$anes.
1. In order to change *o"r ph*sica$ rea$it*& *o" need to e a$e
to "se creati)e )is"a$i3ation to p$ant the seeds of *o"r ne# rea$it*
in the higher p$anes.
a. The Archt*pe of the Creati)e I%agination is the E%press of
the Tarot deck.
'1( In direct contrast to the )irgina$ High 6riestess& the
E%press is a pregnant %atron. 1he is <en"s& goddess of 4o)e& +ea"t*&
Gro#th and Fr"itf"$ness.
'a( 1he is seated in a garden acked * trees& #ith a ri)er
cascading do#n a #aterfa$$ and for%ing a poo$ at her feet.
'( Wheat gro#s at her feet and her go#n is the co$or of
1pring. 1he ho$ds a copper shie$d #ith a do)e on it and a sceptre of
an or di)ided on t#o and topped * a cross.
'c( A crescent %oon is at her feet and a cro#n of 1/ stars
o)er her head. 1he #ears a neck$ace of > pear$s.
'/( When the Magician is .oined #ith the E%press& the co$d
)irginit* of the High 6riestess is transfor%ed into the rich ferti$it*
of <en"s.
'a( The E%press is i%agination& the %ind2s po#er to %ake
ne# co%inations fro% re%e%ered e,periences.
'( What *o" %ake the o.ect of *o"r attention is #hat *o"
eco%e& sooner or $ater. Fi, *o"r attention on i%ages of %iser*&
po)ert*& and #eakness& and their act"a$ ph*sica$ e%odi%ents #i$$
eco%e part of *o"r s"rro"ndings.
'c( Change the patterns * attending to their opposites&
and present$* creati)e i%agination& s*%o$i3ed * the E%press& #i$$
egin to "i$d *o" a ne# $ife and #i$$ i%press e)en the conditions of
*o"r en)iron%ent #ith ne# ideas.
'd( Re%e%er& e)en *o"r ph*sica$ od* is part of *o"r
en)iron%ent.
E. The generation of %enta$ i%ages at the $e)e$ of se$f-
conscio"sness is a necessar* forer"nner of changing *o"r
circ"%stances& "t it does not do an* good if *o" do not prepare the
gro"nd for the seed to gro#.
1. Creating prosperit* tho"ghtfor%s and then doing nothing to
a$$o# the% to co%e thro"gh on the ph*sica$ p$ane is as sense$ess as
"*ing a high perfor%ance car #itho"t an* tires.
a. Getting contro$ o)er *o"r o#n en)iron%ent is a necessar*
first step in preparing for the changes *o" are #orking for.
'1( Working #ith the reso"rces at hand& *o" need to gain
contro$ o)er *o"r en)iron%ent.
'a( 6h*sica$ and spirit"a$ c$eansing of *o"r en)iron%ent
c$ears a#a* the c$"tter of o$d #orn-o"t tho"ght- for%s.
'( Acti)e$* seeking o"t kno#$edge of ho# to effecti)e$*
%anage the conditions *o" are tr*ing to ring ao"t sends %essages to
*o"r s"conscio"s that *o" are serio"s in *o" #ork and ar not going to
#aste an* gifts that co%e *o"r #a*.
/. Reg"$ation and s"per)ision are i%p$ied * e)er*- thing in the
Archt*pe of the E%peror.
a. 1"per)ision is o)erseeing. Th"s the f"nction of sight is
chief a%ong o"r senses.
'1( The E%peror is seated on a c"e on the edge of a c$iff
o)er$ooking a ri)er #hich has #orn a channe$ thro"gh the %o"ntains
t"rning the% into the soi$ that ser)es as the ase for the garden of
the E%peror.
'a( He is dressed in ar%o"r& s*%o$i3ing his #i$$ingness to
i%press his #i$$ on his s"rro"ndings "t he sits in a passi)e stance
content to oser)e the conditions that e,ist efore he acts.
'/( The :"a$it* of o"r )ision or oser)ations of ho# things
are deter%ines the co"rse of o"r progress to#ards $ieration.
'a( 0n$ess #e i%agine& #e do not rea$$* see.
'( The %ind is the tr"e seer. 0n$ess #e $earn to
s"pp$e%ent #hat o"r e*es report #ith i%agination ased on other senses
no tr"e )ision of the #or$d can e %ade.
. Reg"$ation is dependent on the ai$it* to reason #hich is the
second aspect represented * the E%peror.
'1( The asic f"nction of reason is to o)ersee and contro$.
'a( Thro"gh the de)e$op%ent of o"r ai$it* to reason #e
$earn to s"per)ise and contro$ o"r dai$* acti)ities.
F. After #e ha)e $earned to concentrate and )is"a$i3e #hat #e #ant
to do "sing s*%o$s fro% the "nconscio"s and prepared for the #ork to
%anifest on the ph*sica$ p$ane thro"gh oser)ation and reg"$ation of
o"r dai$* $i)es #e are read* to %anifest o"r ne# rea$it* thro"gh o"r
6ersona$it*.
1. ;"r 6ersona$it* is not #hat #e tr"$* are& "t ho# #e e,press
o"r Inner 1e$f. It is i%portant that #e #ork in accordance #ith the
g"idance of o"r tr"e 2Essence2.
a. The Archt*pe of the Hierophant represents the 1e$f.
'1( The Hierophant sits et#een t#o pi$$ars in a te%p$e $ike
the High 6riestess.
'a( He is the Inner 1e$f #ho is a$so the E%peror. ;n$* the
spheres of operation are different.
'( The %inisters knee$ing efore the Tr"e Teacher #ear
gar%ents #hich are e%roidered #ith the sa%e f$o#ers that appear in
the garden of the Magician.
'/( The genera$ %eaning of the Hierophant is s"%%ed "p in the
#ord Int"ition.
'a( Int"ition is the <oice of the Tr"e 1e$f.
'( Gen"ine int"ition is not a s"stit"te for reason. It is
a $ogica$ conse:"ence of good reasoning.
'c( The inner Teacher #astes no ti%e in fr"it$ess endea)ors
to instr"ct the inco%petent #ho #i$$ not take the tro"$e to oser)e&
to re%e%er& to i%agine& or to reason.
'5( The <oice ne)er speaks $o"d$* and %an* fai$ to hear it
o)er the c$a%or of their o#n tho"ghts.
'a( 6racticing the $istening attit"de of %ind $eads to
e)ent"a$$* hearing it.
'( The f"nda%enta$ practice is to e sti$$ #hen *o" #ish
the co"nse$ of the <oice.
'c( 1top racking *o"r rains #hen a see%ing$* inso$"$e
pro$e% confronts *o". The harder *o" tr* the $ess $ike$* *o" are to
hear the ans#er.
G. 6atterns appear #hen #e ha)e contrasting e$e%ents in #hat #e are
e,a%ining.
1. The Ta$es of Correspondence '1pira$ Dance( are ased on the
recognition that e)er*thing e,ists in re$ation to other things& and #e
"se the process of discri%ination to find the correspondences.
a. The Archt*pe of the 4o)ers represents the process of
discri%ination.
'1( The tarot card of the 4o)ers sho#s an ange$ esto#ing
$essings "pon a naked %an and #o%an.
'a( The %essage here is that the se$f- conscio"sness and
s"conscio"sness are e:"a$ and recei)e the $essings of the Tr"e 1e$f.
'( When there are no secrets et#een the t#o 'n"dit*( the*
#ork in har%on* "nder the g"idance of the 1e$f and can see the
connections et#een see%ing$* "nre$ated facts.
H. The fina$ ingredient needed in the de)e$op%ent of the %agica$
persona$it* is the de)e$op%ent of the %agica$ #i$$.
1. De)e$op%ent of the Magica$ Wi$$ co%es ao"t as the res"$t of
s*nthesi3ing a$$ the aspects #e ha)e een ta$king ao"t so far.
a. The Chariot is the Archt*pe of the Wi$$
'1( The Chariot depicts a person standing in a chariot p"$$ed
* t#o sphin,es of opposite po$arit*& efore a cit* s"rro"nded * a
#a$$. At the foot of the #a$$ r"ns a ri)er.
'a( The Charioteer is the Inner 1e$f.
'( The sphin,es represent the senses and the reins '#hich
are in)isi$e( * #hich he g"ides the% represent the %ind.
'c( The chariot itse$f is the ph*sica$ od* and it is dra#n
* the sphin,es.
'/( The starr* canop* represents the ce$estia$ forces #hose
descent into %atter is the ca"se of a$$ %anifestation.
'a( ;n the shie$d is the Hind" 4inga%-=oni s*%o$i3ing
the "nion of opposites.
'5( The charioteer is a )ictor.
'a( This card represents the con:"est of i$$"sion #hich
co%es ao"t #hen the 1e$f g"ides the persona$it*.
/. The Magica$ Wi$$ is )er* %"ch akin to #hat <ictorian
schoo$%asters ca$$ed character? honest*& se$f-discip$ine& co%%it%ent
and con)iction.
a. An*one #ho #ishes to practice %agic %"st e scr"p"$o"s$*
honest in their persona$ $i)es.
'1( A ag of hers ac:"ires the po#er to hea$ eca"se I sa* it
does. For %* #ord to take on s"ch force& I %"st e deep$* and
co%p$ete$* con)inced that it is identified #ith tr"th as I kno# it.
'a( In this sense& %agic #orks on the princip$e that !It is
so eca"se I sa* it is so.!
. 0n$ess I ha)e eno"gh persona$ po#er to keep %* co%%it%ents in
dai$* $ife& I #i$$ e "na$e to #ie$d %agica$ po#er.
'1( To a person #ho practices honest* and keeps co%%it%ents&
!As I #i$$& so %ote it e.! is not ."st a prett* phrase9 it is a
state%ent of fact.
III. THE ART ;F CA1TING 16E441
A. Definition
1. !A spe$$ is a s*%o$ic act done in an a$tered state of
conscio"sness in order to ca"se a desired change.!
a. To cast a spe$$ is to pro.ect energ* thro"gh a s*%o$.
'1( Too often& the s*%o$s are %istaken for the agent that
casts the spe$$.
'a( 6rops are "sef"$ at ti%es& "t it is the %ind that
#orks the %agic.
. Correspondences et#een co$ors& p$anets& %eta$s& n"%ers&
p$ants and %inera$s& and %"sica$ notes %ake "p a great dea$ of %agica$
$ore.
'1( 6artic"$ar o.ects& shapes& co$ors& scents& and i%ages do
#ork etter than others to e%od* certain ideas.
'a( +"t the %ost po#erf"$ spe$$s are often i%pro)ised fro%
%ateria$s that fee$ right or that si%p$* happen to co%e to hand.
+. Theor* of 1pe$$casting
1. 1pe$$s are an i%portant aspect of %agica$ training.
a. The* re:"ire the "se of the co%ined fac"$ties of re$a,ation&
)is"a$i3ation& concentration and pro.ection.
'1( The casting of spe$$s pro)ides practice in coordinating
these ski$$s and de)e$oping the% f"rther.
/. 1pe$$s are e,tre%e$* sophisticated ps*cho$ogica$ too$s that
ha)e s"t$e& "t i%portant& effects on a person2s inner gro#th.
a. 1pe$$s %a* high$ight other#ise hidden co%p$e,es of the person
casting the spe$$.
'1( A person #ho has conf$icts ao"t s"ccess #i$$ find great
diffic"$t* in concentrating on a %one* spe$$.
'a( Man* ti%es the practica$ res"$ts of a spe$$ are far
$ess i%portant than the ps*cho$ogica$ insights that arise d"ring the
%agica$ #ork.
'( Disco)ering o"r inner $ocks and fears is the first
step in o)erco%ing the%.
. 1pe$$s a$so go one step f"rther than %ost for%s of
ps*chotherap*.
'1( The* a$$o# "s not on$* to $isten to and interpret the
"nconscio"s& "t a$so to speak to it in the $ang"age it "nderstands.
'a( 1*%o$s& i%ages& and o.ects "sed in spe$$s co%%"nicate
direct$* #ith =o"nger 1e$f& #ho is the g"ardian of o"r e%otions and
#ho is are$* affected * the inte$$ect.
'( We often "nderstand o"r fee$ings and eha)ior "t find
o"rse$)es "na$e to change the%.
'c( Thro"gh spe$$s& #e can attain the %ost i%portant po#er
- the po#er to change o"r $i)es.
5. 1pe$$casting a$so forces "s to co%e to ter%s #ith the %ateria$
#or$d.
a. Man* peop$e attracted to the spirit"a$ path of the Craft find
the%se$)es "neas* #ith "sing %agic for practica$ or %ateria$ goa$s.
'1( 1o%eho# it see%s #rong to #ork %agic for onese$f& to #ant
things and to get things.
'a( This is an attit"de #hich is a ho$do)er of the @"daeo-
Christian #or$d )ie# that sees spirit and %atter as separate and that
identifies %atter #ith e)i$ and corr"ption.
'/( In the Craft& f$esh& the %ateria$ #or$d& none of #hat is
co%%on$* tho"ght of as %atter is separate fro% spirit.
'a( The "ni)erse is %ade "p of the Goddess #ho is %anifest
in a$$ things.
'( 0nion #ith the Goddess co%es thro"gh e%racing the
%ateria$ #or$d and a$$ the gifts that 1he has p$aced in it for "s.
'5( ;"r %a.or task on this p$ane of e,istence is to eco%e
%asters of this rea$% of %anifestation.
'a( We do not fight se$f-interest9 #e fo$$o# it& "t #ith
an a#areness that trans%"tes it into so%ething sacred.
C. Mechanics of 1pe$$casting
1. 1pe$$casting is the $esser& not the greater %agic9 "t the
greater %agic "i$ds on the $esser.
a. The parado, is that in spe$$casting #e %a* start o"t #orking
#ith the persona$ se$f& "t in order to #ork the %agic #e are forced
to e,pand and recogni3e the 1e$f that %o)es thro"gh a$$ eings.
'1( Magic in)o$)es the de$ierate se$f- identification #ith
other o.ects and peop$e.
'a( To do a hea$ing& #e %"st eco%e the hea$er& the one #ho
is hea$ed& and the energ* that is to do the hea$ing.
'( To attract $o)e& #e %"st e a$e to $o)e o"rse$)es and
to eco%e $o)e its se$f.
/. 1pe$$s #ork in t#o asic #a*s.
a. The first is thro"gh s"ggestion
'1( 1*%o$s and i%ages i%p$ant certain ideas in =o"nger 1e$f&
or the s"conscio"s %ind.
'a( We are then inf$"enced to act"a$i3e those ideas.
. 1pe$$s can a$so inf$"ence the e,terna$ #or$d.
'1( The theoretica$ %ode$ that #itches "se to e,p$ain the
#orkings of %agic is a c$ear one and coincides in %an* #a*s #ith the
!ne#! ph*sics.
'a( It is si%p$* an e$aorate "t e,tre%e$* "sef"$
%etaphor.
'( The %etaphor is ased on a #or$d )ie# that sees things
not as fi,ed o.ects& "t as )orte,es of energ*.
'c( The ph*sica$ #or$d is for%ed * the )orte,es of energ*&
and if #e ca"se a change in the energ* patterns the*& in t"rn& ca"se a
change in the ph*sica$ #or$d.
'/( When o"r o#n energ* is concentrated and channe$ed& it can
%o)e the roader energ* c"rrents.
'a( The i%ages and o.ects "sed in spe$$s are the channe$s.
The* are the )esse$s thro"gh #hich o"r po#er is po"red& and * #hich
it is shaped.
5. As energ* is directed into the i%ages #e )is"a$i3e& it
grad"a$$* %anifests ph*sica$ for% and takes shape in the %ateria$
#or$d.
a. Directing energ* is not a %atter of si%p$* e%oting.
'1( E%otion can e $ikened to a stroe $ight #hich pro)ides a
)er* inconstant $ight.
'/( Directed energ* is %ore $ike a $aser ea%.
'a( E)en concentrated po#er is a s%a$$ strea% co%pared #ith
the )ast s"rges of energ* that s"rro"nd "s.
'( The %ost adept #itch cannot e s"ccessf"$ in a$$ her
spe$$s. The opposing c"rrents are often too strong.
7. The craft teaches to first identif* the f$o# of energ* and then
to decide #hether or not it is going #here #e #ant it to go.
a. If not& then #e can tr* to def$ect it.
. ;r& #e %a* ha)e to change o"r o#n co"rse.
'1( 1ensing the energ* c$i%ate is a %atter of int"ition and
e,perience.
'a( 1o%e #itches %ake a st"d* of Astro$og* in an effort to
p$an their %agica$ #orkings at the opti%a$ ti%es.
'( ;thers prefer to #ork #hen the* fee$ the ti%e is right.
'/( ;f a$$ the p$anets& the Moon2s inf$"ence on s"t$e energies
is the strongest.
'a( 1"t$e po#er increases as the Moon #a,es& so the ti%e of
the #a,ing Moon is est for spe$$s in)o$)ing gro#th or increase& s"ch
as %one* spe$$s.
'( The po#er peaks #hen the Moon is f"$$ and that is the
est ti%e for #orkings of c"$%ination and $o)e.
'c( D"ring the #aning Moon& po#er s"sides and t"rns in#ard.
The #aning Moon2s period is "sed for anishings& indings& and
disco)ering hidden secrets.
'5( The practica$ #itch soon $earns to ad."st her spe$$s to fit
the ti%e of the Moon. If& for e,a%p$e& she needs to do a %one* spe$$
d"ring the #aning Moon& she #o"$d p"t a $itt$e 2eng$ish2 on it and
%ake it a po)ert* anishing spe$$.
8. Energ* p"rs"es the path of $east resistance.
a. Materia$ res"$ts are %ore easi$* achie)ed on this p$ane of
e,istence thro"gh ph*sica$ actions that thro"gh %agica$ #orkings.
'1( E,a%p$e - it is si%p$er to $ock *o"r door than s"ffer the
constant drain fro% %aintaining ps*chic sea$s on *o"r doors and
#indo#s #hi$e *o" are a#a* fro% ho%e.
'a( ;f co"rse once *o" ha)e $ocked *o"r door& *o" %ight
fee$ %ore reass"red * p$acing sea$s on it.
A. No %agic spe$$ is going to ring res"$ts "n$ess channe$s are
opened into the %ateria$ #or$d.
a. A .o spe$$ is "se$ess if *o" are not #i$$ing to go o"t and
inter)ie# for .os or at $east $et potentia$ e%p$o*ers kno# that *o"
are in the %arket for one.
. In the sa%e )ein& a hea$ing spe$$ is no s"stit"te for
%edica$ care.
'1( Most %edicine toda* can e roken do#n into t#o road
categories& e%ergenc* %edicine and that #hich is not needed for
i%%ediate $ife-threatening sit"ations.
'a( E%ergenc* %edicine has e,ce$$ed at stai$i3ing the
od*2s condition so that it can repair itse$f at it2s o#n pace.
'( Most other for%s of %edicine consist of treat%ent
thro"gh s"rger* or che%otherap* or a co%ination of oth.
'c( The proced"res noted ao)e #ork on the ph*sica$ od*
and do not take the other $e)e$s into consideration.
'd( 6s*chic hea$ing #orks at hea$ing the higher $e)e$s of
the person so that the ph*sica$ hea$s itse$f or a$$o#s the person to
$et go of their ph*sica$ od* if it cannot e repaired. In either case
the choice rests #ith the person #ho is eing hea$ed and not the
hea$er.
>. <is"a$i3ation "sed in creating a spe$$ sho"$d foc"s on the
desired res"$t not the indi)id"a$ steps $eading "p to the res"$t.
a. We gi)e the spe$$ free rein in ho# it goes ao"t achie)ing
the res"$ts #ith the "nderstanding that it is not to ring har% to
an*one or an* eing.
'1( For this reason& spe$$s ha)e a hait of #orking in )er*
"ne,pected #a*s.
B. To ass"re that the po#er #e ha)e "n$eashed does not
inad)ertant$* ca"se har%& #e ind the spe$$.
a. This ser)es to 2set2 the for% #e ha)e created so that the
energ* eco%es fi,ed in the pattern #e desire.
'1( The energ* #e pro.ect to others affects "s e)en %ore
strong$* than the other person. This is eca"se #e ha)e generated the
energ*& and th"s #e ha)e eco%e the o.ect at #hich the energ* is
directed.
'/( If hea$ing energ* is sent o"t& then the hea$th of the
person casting the spe$$ is enhanced.
'a( +* the sa%e token& an* he, or c"rse that is sent o"t
A4WA=1 effects the person #ho sends it no %atter #hether it affected
the person it #as sent at or not.
C. MAGIC I1 N;T T; +E 01ED T; GAIN 6;WER ;<ER ;THER1.
a. Magic is a techni:"e "sed in de)e$oping *o"r o#n 2po#er fro%
#ithin2. 1pe$$s that are directed at gaining po#er o)er others #eakens
the 2po#er fro% #ithin2.
'1( Aside for% the da%age done to onese$f& it is i%portant for
another reason.
'a( Man* peop$e #ho do not "nderstand the $a#s of %agic are
afraid of eing attacked %agica$$* and are gi)en to paranoia.
'( The #itch2s %ain stock-in-trade "sed to e re%o)ing a
co%petitor2s he,es and preparing char%s to protect their c$ients.
'c( Whi$e tr"e ps*chic attacks are EDTREME4= RARE a persons
g"i$t %akes "p for an* $ack and after "sing 2foridden2 he$p& their
paranoia $eads the% to seek protection fro% the sa%e person the* ."st
t"rned to in desperation. Do *o"r se$f a fa)or& and resist the
te%ptation to 2he$p2 these t*pes.
'/( Most %agica$ for%"$aries consist of for%"$ae gathered and
tested * #itches as #e$$ as %an* char%s to protect the co%%on %an
fro% those sa%e #itches #ho so$d the% their char%s.
D. Ti%es and Correspondences
1. I %entioned ear$ier that ti%ing and the right props are
considered i%portant in spe$$casting.
a. For *o"r con)enience there is a Ta$e of Ho"rs inc$"ded at
the end of this $esson.
'1( Eeep in %ind that a$$ ti%es are 6acific 1tandard Ti%e.
'a( =o" #i$$ need to ad."st for different ti%e 3ones and
those periods of Da*$ight 1a)ings Ti%e as %a* e in effect in *o"r
area.
. ;)er the *ears& s*ste%s of Correspondences #ere de)e$oped
#hich assigned certain attri"tes and aspects to the se)en ancient
p$anets of Astro$og*.
'1( Each p$anet #as assigned a God or Goddess& #ho e%odies
the attri"tes the ancients #ished to in)oke.
'a( Each of the Gods and Goddesses #ere assigned an ho"r of
the da*& co$or& incense& %eta$& n"%er& signat"re& p$ant& %inera$&
%"sica$ note& and ani%a$ or ird.
'( There is a Ta$e of Correspondences in the ack of The
1pira$ Dance.
E. Genera$ G"ide$ines for Casting 1pe$$s
1. 1et aside a roo% for *o"r %agica$ #ork.
a. Decorate it #ith things that p"t *o" in a %agica$ %ood.
'1( Re%e%er to "se things that sti%"$ate a$$ fi)e of *o"r
ph*sica$ senses.
'a( 1o%e o)io"s things #o"$d e the "se of appropriate
co$ors for sight& incense for scent %"sic for hearing& #ines for
taste& and te,t"res for fee$.
/. If *o" do not ha)e a roo% *o" can set aside e,c$"si)e$* for
*o"r %agica$ #ork then choose a roo% that can e $ocked #hi$e *o" do
*o"r #ork.
a. This #i$$ a$$o# *o" to #ork "ndist"red.
'1( In an* case *o" sho"$d c$ean *o"r #ork area periodica$$*
#ith a p"rif*ing po#derFf$oor#ash to keep a#a* negati)e )irations.
5. 1et "p an a$tar to e "sed as *o"r #orkta$e.
a. It2s si3e and shape sho"$d e those that appea$ to *o".
'1( 6$acing cand$es and other ite%s that assist *o" to
concentrate on the #ork at hand is a good practice.
'a( 1o%e peop$e $ike to co)er their a$tar #ith a #hite
c$oth and p$ace fresh c"t f$o#ers on it e)er* da*.
7. A$#a*s "se the est cand$es& oi$s& and incenses that *o" can
afford& or %ake *o"r o#n.
a. 1cri%ping on %ateria$s has a negati)e effect on the
s"conscio"s.
'1( Don2t forget that the s"conscio"s is )er* good at %aking
do #ith ra# %ateria$s that it can shape to it2s o#n "se.
8. Ne)er cast a spe$$ "nti$ *o" ha)e a c$ear and concise pict"re
of #hat it is *o" #ish to acco%p$ish.
a. This ties in #ith the sa*ing !+e caref"$ #hat *o" #ish for&
*o" ."st %ight get it.!
A. A$#a*s gro"nd o"t an* e,tra energ* *o" raise for the spe$$& and
ind the spe$$ so that it e,pires #ithin the pre- deter%ined a%o"nt of
ti%e.
>. ;nce *o" ha)e cast the spe$$ do not disc"ss it #ith an* one
"nti$ after it has #orked.
a. Most spe$$s peter o"t eca"se the person #ho casts it oasts
ao"t it to so %an* peop$e& that the spe$$ is roed of po#er efore
it has a chance to #ork.
'1( The ancient ond p$aced on the %agician #as to dare& to
kno# and to keep si$ent.
I<. A +A1IC F;RM04AR=
A. 6reparation of cand$es
1. T*pes of cand$es
a. <oti)es
'1( 1hort and st"*. 0s"a$$* "rned in a s%a$$ c"p or
container.
'a( 0sed to pro)ide a $ight for se)era$ ho"rs.
'( 4ess space cons"%ing so %ore cand$es can e p$aced on
the a$tar at the sa%e ti%e.
. Taper
'1( 4ong and s$ender. Ma* e "rned in a cand$e ho$der.
'a( <er* e$egant and can e a$$o#ed to drip into a pie pan
so that the drippings can e read in a %anner si%i$ar to tea $eaf
reading.
'/( Co%e in %an* different $engths and thicknesses.
c. Cand$e-in-a-.ar
'1( 4arge& $ong-$asting cand$e& #hich is for%ed * po"ring
either co$ored #a, into a c$ear g$ass container& or c$ear #a, into a
co$ored g$ass container.
'a( When annointing the cand$e& on$* the top of the cand$e
is annointed.
'/( This is proa$* the safest cand$e to $ea)e "rning
"nattended& pro)ided the %aker of the cand$e took care to ens"re that
the #ick r"ns in the center of the cand$e.
'a( A$tho"gh $ea)ing an* cand$e or open f$a%e "rning #ith
on one aro"nd is considered dangero"s and foo$ish.
d. 1pecia$t* Cand$es
'1( Cand$e-in-a-.ar
'a( Cand$es dedicated to a christian 1aint or to a <oodoo
4oa. The designs& signat"res and instr"ctions on ho# to "se the cand$e
are printed on the g$ass container.
'/( Cross Cand$es
'a( Cand$es for%ed into the shape of a cross. Co%es in
$ack& #hite& green and red. 0sed as a$tar pieces for christian
oriented #ork ta$es.
'5( Ma$e and Fe%a$e Fig"rine Cand$es
'a( Co%es in $ack& #hite& green and red. 0sed to ind t#o
peop$e together or to separate the%.
'( +"rned face to face G the* %e$t into each other to
ind.
'c( +"rned ack to ack so that no #a, %i,es to ring ao"t
a anish%ent.
'7( 1e)en Da* Eno Cand$es
'a( A cand$e #hich is cast so that its $ength is %ade of
se)en knos. ;ne kno is "rned each da* for the d"ration of the
spe$$.
/. Co$ors
a. The co$or of the cand$e sho"$d ref$ect the p$anetar* aspect
that is assigned to the incense *o" are going to "se.
5. Annointing the Cand$e
a. There are t#o genera$ %ethods #hich are "sed to anoint the
cand$e.
'1( The first consists of starting at the %idd$e of the cand$e
and annointing it to the top& and then going ack to the %idd$e *o"
#o"$d anoint do#n to#ard the otto%.
'a( The princip$e ehind this is that *o" are the center of
the cand$e& sending *o"r energ* oth "p#ard into the spirit"a$ p$anes
and do#n#ard into the ph*sica$.
'/( The second %ethod is to start at the top of the cand$e and
dra# an "nroken $ine do#n the side& "nder its ase& and ack "p the
other side.
'a( When *o" reach the top of the cand$e& *o" t"rn it 1F7
t"rn and trace another "nroken $ine in the pre)io"s %anner so that
the cand$e is 2tied2 to *o"r p"rpose
. When *o" are "sing a cand$e-in-a-.ar *o" #o"$d anoint it *
p$acing *o"r %oistened finger inside and r"ing c$ock#ise& or
co"nterc$ock#ise as needed& three ti%es in a circ$e in three sets to
%ake "p nine.
'1( Here is one of the %ore pop"$ar rh*%es "sed to foc"s *o"r
attention on #hat *o" are doing. 6erhaps *o" ha)e heard it efore.
!The #*rd sisters& hand in hand
6osters of the 1ea and 4and
Do go ao"t and ao"t
Thrice to thine& and thrice to %ine
And thrice again to %ake "p nine.
6eaceH The char%2s #o"nd "pH!
END ;F 4E11;N 1E<EN 6ART A
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