Blog Post 54 – The Devil’s Nine Questions

Today’s post is going to focus on one very specific set of riddles:  The Devil’s Nine Questions.  This is a series of riddles which has been set down in the form of a folk song, and which has come over from English traditional music by way of the Appalachians and mid-Atlantic colonies.  The theme of the piece involves the Devil asking a series of nine riddles, which the song’s protagonist (“the weaver’s bonny”) must solve or be taken off to Hell.  There are numerous variants on this motif, and on this specific song.  It is recorded as one of the famous Child Ballads (#1), and you can hear a version of it here.

The version I’m posting here is not necessarily the most “authentic” or “original” version (as this song may have grown out of Elizabethan folk music and is rather hard to pin down as far as origins go).  But it is a version that I think bears examination by the inquisitive witch.

THE DEVIL’S NINE QUESTIONS

If you don’t answer my questions nine
Sing ninety-nine and ninety,
I’ll take you off to hell alive,
And you are the weaver’s bonny.

What is whiter than milk?
Sing ninety-nine and ninety;
What is softer than silk?
Say you’re the weaver’s bonny.”

Snow is whiter than milk,
Sing ninety-nine and ninety;
Down is softer than silk,
And I’m the weaver’s bonny.”

What is louder than a horn?
Sing ninety-nine and ninety;
What is sharper than a thorn?
Sing I am the weaver’s bonny.

Thunder’s louder than a horn,
Sing ninety-nine and ninety ;
Death is sharper than a thorn,
Sing I’m the weaver’s bonny.

What is higher than a tree?
Sing ninety-nine and ninety;
What is deeper than the sea?
Sing I’m the weaver’s bonny.

Heaven’s higher than a tree,
Sing ninety-nine and ninety;
And hell is deeper than the sea,
Sing I’m the weaver’s bonny.

What is innocenter than a lamb?
Sing ninety-nine and ninety;
What is worse than womankind?
Say I’m the weaver’s bonny.

A babe is innocenter than a lamb,
Sing ninety-nine and ninety ;
The devil’s worse than womankind,
Sing I’m the weaver’s bonny.”

You have answered me questions nine,
Sing ninety-nine and ninety;
You are God’s, you’re not my own,
And you’re the weaver’s bonny.”

From Bronson, Singing Traditions of Child’s Popular Ballads
Collected Mrs. Rill Martin, Virginia, 1922

Looking at this from an occult perspective, I see several things which stand out.  For instance:

  • The repetition about being “the weaver’s bonny,” which in my opinion may relate to being one of those who can change (or at least manipulate) Fate, the great weaver.
  • The efforts of the Devil to claim the “bonny” for his own reminds me a bit of the practice of initiation, which I covered recently (though in this case the person responding remains unmoved by the Devil’s efforts)
  • There’s an interesting bit of business in the part about trees, seas, Heaven, and Hell.  It’s almost a “Land, Sea, and Sky” image, but it also seems to be referencing the celestial, earthly, and underworldly realms.  Those are the realms a witch must go between, so I like to think there’s something to that part.

Of course, there are lots of other images in here which come out of Christian folklore, such as innocent lambs, the wickedness of womankind, etc.  In some of the variants, these change a bit (though usually the reference to Eve’s “original sin” remains in some form).  Some of the other variations include naming Love as softer than silk, rather than Down, and making Death “colder than the clay” instead of “sharper than the thorn.”   What I love about all of this imagery is that it relates one thing to another, connecting the senses to specific images in a very evocative way.  Associating Death with Thorns makes me think of going into the Underworld via the Hedge; Milk and Snow make me think of Mother images, like Mother Holle, who shook her downy blankets to stir up snow on earth; and thinking of Thunder as a Horn, summoning me out into a wild storm…well, let’s just say it makes my pointy hat dance on my head.

With songs like this, it’s often hard to know just what changed and when, and what the original meaning of certain parts are.  What I like about it, though, is the folkloric elements of being able to outwit the Devil and get one’s way, bending Fate to one’s will.  I would think this kind of a tune might be an excellent song for singing when gathering together with other witches, as a sort of  call-and-response as each witch is welcomed among the company (solving a riddle could serve as a “password” in effect).  Or, it could just be a good fun song to sing one night while passing a bottle around and telling jokes, stories, and riddles.  But what do you think?  Do you see anything witchy I missed?  Or do you think that dwelling on a song like this is wasting valuable time that could be devoted to a new root work herb of the week?  Is it all just a big stretch for something purely designed for entertainment?  Leave a comment and let me know!

Thanks for reading!

-Cory

Blog Post 53 – Riddle Me This

Which is the Maid without a Tress?
Which is the Tower without a Crest?
Which is the Water without any Sand?
And which is the King without any Land?
Where is no Dust in all the Road?
Where is no Leaf in all the Wood?
Which is the Fire that never Burnt?
And which is the Sword without any Point?

-Riddles from Dawn Jackson’s (sadly defunct) Hedgewytchery site (a version still exists at Archive.org, however)

I love riddles.  I’ve always enjoyed letting them roll around in my brain until I can figure them out.  I’m that way with many brain-teasers, but there’s something very special about riddles, I think.  As a witch, I value riddling because riddles have had a place in mystical practice for a long time now (just think about Oedipus facing off with the Sphinx’s riddle).   I think they have the potential to help move one into an altered state of consciousness, and to force the brain to stop thinking in a simply linear, rational fashion.  The mindset which comes after a little riddling is an ideal one for magic, because connections that aren’t immediately obvious suddenly become apparent.  Or such is my opinion on the subject.

Today I’m going to look at a few riddles from American folklore (though some of them may be older in origin).  I’ll post a response in the comments section with the answers in case you don’t want to see those right away.  I’ll also try to point out anything that might have magical significance as I go along.  Without further ado, the riddles (from Richard Dorson’s Buying the Wind):

From the South:

The ole man shook it an’ shook it;
The ole woman pulled up her dress an’ took it.
(The solution to this one is simple, but I like the sexual connotations to the riddle itself.)

About six inches long, an’ a mighty pretty size;
Not a lady in the country but what will take it between her thighs.
(Again with the sexual innuendo…apparently we Southerners are a dirty-minded lot.  The solution to this one, though, is interesting because of the idea of “riding” to the witches’ Sabbat—in may folkloric versions, there is a sexual side to this riding).

From the Pennsylvania Dutch:

What goes and goes,
And yet stands and stands?
(Solve this one and you’ve got an interesting way to look at one version of a witch’s magical circle).

What poor fellow passes up and down the steps on his head?
(No witchy significance I can see; I just like this one)

What has its heart in its whole body?
(The answer to this one is worth remembering, for naturally-inclined folk)

What resembles half a chicken?
(A simple answer, but exactly the kind of riddling answer that I like, because it is both slightly funny and a little weird—it does a nice job of making the brain shut out its over-analytical side, for me at least)

From the Louisiana Cajuns:

If a man can lift two hundred and fifty barrels of rice when it is not raining, what can he lift during the rain?
(Again, this one isn’t really magical, but helps to get that child-like mindset which can be very useful in witchcraft)

What goes to the bayou laughing and returns crying?
(This one has more to do with sound than anything else, and getting the guesser to use his or her imagination a little)

What was it that was given to you that belongs to you only but that your friends use more than you?
(This one has particular significance for a witch, I think—if you think of “friends” in this context as covenmates, gods, spirits, etc., it makes sense, at least to me)

So what about you all out there?  Do you have any favorite riddles?  Do you ever use riddles as a way to get yourself into a magical mindset?  I’d love to hear what you have to say, so please feel free to leave a comment!

Thanks for reading,

-Cory

Blog Post 52 – Some Monday Reading

Good morning all!

Just a quick post this morning to share an article I found on Witchvox over the weekend.  It looks like the concept of New World Witchcraft is catching on as more and more people are taking an active interest in it!  I think that’s pretty fantastic, myself.

This article talks about several of the systems we’ve discussed here, as well as a few others we’ve not gotten into yet.  The author’s blog also has some interesting reposts of articles on various New World magical subjects.  I’ll be interested to know what everyone thinks about it, so feel free to leave a comment and discuss!

Happy Monday!  Be well, and thanks for reading!

-Cory

Blog Post 51 – Book Review

Happy Friday, all.  Today, to make up for a rather long post yesterday, I’m just doing a quick blurb on a book I’ve not referenced much here, but which will likely be cropping up as we get into discussions of things like curanderismo and brujeria.  The book I’m looking at is called Spiritual Cleansing by Draja Mickaharic.

Mickaharic was an immigrant from Central Europe who arrived in the U.S. just as World War II was dawning.  The occult seems to have interested him from a relatively young age, and he’s produced copious volumes on various magical themes.  What strikes me as unique is that despite his Old World roots, most of his magical writings focus on what I would call New World systems, such as Caribbean, Southern, and Mexican folk magic.

Spiritual Cleansing is, according to its subtitle, “a handbook of psychic self-protection.”  Much like Dion Fortune’s Psychic Self-Defense, this book is mostly aimed at beginning practitioners or those with little experience in occult topics.  It’s chief goal is to help a person who might be facing all sorts of spiritual afflictions to remove those problems and prevent future recurrences.  Mickaharic is very insistent in this text that his work is not to be taken as medical advice (which is a sound if common legal disclaimer in works like this), but also that it is only for basic spiritual cleansing and protection.  He advises those with serious afflictions to seek out the help of a professional spiritual practitioner, and therein lies some of his charm.  He takes his subject very seriously, and his tone comes across a bit like an admonition from a grandparent.  This is probably because he was nearly 70 when the book was first published in 1982.  A more recent edition came out in 2003 with additional material, including a chapter on “Quieting the Mind.”

Mickaharic’s work is incredibly practical.  He discusses a lot of different spiritual cleansing techniques without high-flown language.  Some of the topics he addresses are:

-Dealing with Malochio (the Evil Eye)
-Cleansing oneself with spiritual baths
-Using eggs to remove negative energy
-Burning incenses to fumigate oneself for protection
-The proper use of Holy Water

One thing that some readers may be turned off by is the matter-of-fact way he says to do things.  For example, of burning incense he says “If we burn incense with no real purpose, we may find the forces  [higher powers] decide we are calling a wrong number—and they will not act in harmony with our desires…To be able to use an incense properly we must first understand these rules” ( p. 78).  He then goes into the rules as he sees them.  In another passage, he advises against using rain water for spiritual cleansing because “Rain water is difficult to use as it has variable vibrations…[and] should not be used for any spiritual work except by those who have been specifically told to use it by a spiritual practitioner” (p. 67).  I know such “this is this and that is that” statements are a big turn-off for many magical folk (and I have a feeling Laine would strongly disagree with Mickaharic on his perspective concerning rain water).  But I’d like to offer up, as some small defense of this work, that it is written for an inexperienced magical practitioner.  Someone with a better understanding of magic very well may be able to bend his “rules,” but Mickaharic is more concerned with the well-being of the reader he’s never met and wants to make sure they don’t get into anything they can’t handle.

Many of the spells and workings in this book are wonderful.  Some bear striking similarities to hoodoo work (his home sweetening spells involve burning brown sugar, which is very common in hoodoo), and many are very close to curanderismo practices (the egg cleansings in particular strike this note with me).  Some things in this book seem a little pedantic to me, of course, but then again I’ve been reading magical books for a long time.  In the end, I still think the good of this book outweighs anything bad I can say of it, and so I’m recommending it to you.  If you have an interest in spiritual cleansing and protection, or in Mexican folk magic, hoodoo, and other natural magical systems, this is a book well worth tracking down.

Have a great weekend!  Thanks for reading!

-Cory

Blog Post 50 – A Witch’s Initiation

For my 50th blog post, I thought I’d do something special, something that really tickles my fancy.  I’ll be talking about the various types of witch initiations found in New World folklore.   I’ve already touched on this in Blog Post 45 – Witches, but today let’s expand a little bit on the concept.

In general, witch initiations in North American folklore share a few commonalities:

  • The renunciation of Christianity, often through a ritual like repeating the Lord’s Prayer backwards
  • The giving of oneself to an otherworldly entity, such as the Devil or a “Man in Black” in exchange for magical powers
  • An act of exposure, such as being naked or sexual union of some kind, though in some cases this is not necessary
  • A sign or omen of the candidate’s acceptance as a witch
  • The transmission of magical knowledge in a ceremonial way, and/or the presentation of a familiar or fetch animal

Not all of these components are found in every case, of course, and the nature of the witch may be such that he or she is not an “initiated” practitioner, but merely someone who has picked up magic throughout his or her life.  This last circumstance is often found in places where magic is prevalently mixed with Christian practice, such as in the Appalachians (Granny magic) or among the Pennsylvania-Dutch (Pow-wow).  Of course, in these cases, the magical worker is seldom called a “witch,” though sometimes the term “witch doctor” is used.  It’s funny, to me anyway, to think about how a witch is “made” through initiation, much like someone can be “made” in the Mafia.  But I digress…

Now let’s take a look at how witches were/are initiated according to specific folklore examples.  From German Appalachian lore, there are stories of witches being initiated by obtaining a “Black Bible.”  Scholar Gerald C. Milnes links this tome to the Key of Solomon, a grimoire with many reputed magical properties and a host of instructions  on how to accomplish various magical tasks.  One of his informants outlines the basic ritual thusly:

“Now say you’re going to be a witch.  Okay, now I don’t know where you get ‘em, but they call e’m the little Black Bible.  Take that little Bible and you go to a spring where it’s a-running from the sun…not towards the sun, away from the sun…Take that little Black Bible and go to that stream, strip off, and wash in there—take a bath in that water—and tell God you’re as free from him as the water on your body” (Signs, Cures, & Witchery, p. 162).

Milnes also describes a similar Appalachian rite of this nature involves taking dirt and shaking it off of a plate or dish while stating aloud that you are as clear of Jesus Christ as the dish is of dirt.  Something more is added to this folklore:

“If, through a pact, the devil is granted your soul in exchange for some talent, gift, or magical power, it is thought that he then receives some gift of the body in return.  This could be a fingernail or even a withered finger” (SC&W, p.164).

Such a “sacrifice” is not uncommon in witch-lore, with the physical offering being anything from a bit of blood to sign a pact to a body part like a finger or toe to—at the extreme end—the death of a loved one.  This is a story commonly applied to many chthonic cult deities or spirits.  Santa Muerte in the Latin-American magical traditions has also been accused of this sort of thing.

I outlined one type of witch-initiation culled from Hubert Davis’s The Silver Bullet in Blog Post 45, an initiation which involved a type of blood offering in exchange for the presentation of a magical imp.  That version of initiation is only one of many methods presented by Davis.  Here’s another one, from Wise County, Virginia:

“She [Granny, the narrator of the tale] began: ‘I’ve been told thet annuder way to git to be a witch is to fust go to the top of a high mountain, throw rocks at the moon and cuss God Almighty.  Then, go find a spring where the water runs due east.  Take a brand new knife and wash hit in the spring just as the sun rises.  Say, “I want my soul to be as free from the savin’ blud of Jesus Christ as this knife is of sin.”  Do this fer twelve days in a row.  Effen on the thirteenth day the sun rises a drippin’ blud, hit’s a shore sign thet you’re becomin’ a witch’” (TSB, p. 11).

This variant is interesting, to me, because of a few elements.  First, in this initiation, the spring must flow east (or towards the rising sun, though against the natural path of the sun), which seems to be different than in the Milnes version.  In this initiation, too, the witch isn’t naked, but a new knife is washed in the stream while a renunciation is made.  Finally, the bloody sunrise is a sign to the witch indicating acceptance or denial of the initiation—this feature is common in several variations of the rite.  Davis also mentions another witch-making method which bears some of the trademarks of the process:

“He [the potential witch] then waited until Friday the thirteenth and returned to the spring as the morning turned gray over the ridge.  He dipped some water from the spring with his ram’s horn and poured it over the pewter plate.  He did this seven times and repeated the verses Liz [a witch] had taught him:

‘As I dip the water with a ram’s horn,
Cast me cruel with a heart of thorn,
As I now to the Devil do my soul lease…
May my black and evil soul be
Of Christian love and grace free
As this plate is of grease’ (TSB, p. 24).

This, to me, bears a strong similarity to the dirt-and-plate version of the ritual outlined in Signs, Cures, & Witchery.

I mentioned a ritual involving the reversed Lord’s Prayer from Vance Randolph’s Ozark Magic & Folklore in my post the other day.  Randolph discusses several other ways of becoming a witch in that work, some simple, and some more complicated:

  • A woman could fire a silver bullet at the moon and “mutter two or three obscene old sayin’s” (p. 265)
  • Repeating the Lord’s Prayer backwards and firing seven silver bullets at the moon will do the trick
  • Magical information can only passed across gender lines (man-to-woman or vice versa), or between partners united by sexual intercourse
  • Widows were the best candidates for becoming witches, as they only had to learn “the Devil’s language,” whatever that might be.

Randolph goes on to say that the transformation of a person into a witch was a moving one, and often one with a morbid downside:

“I am told, by women who claim to have experienced both, that the witch’s initiation is a much more moving spiritual crisis than that which the Christians call conversion. The primary reaction is profoundly depressing, however, because it inevitably results in the death of some person near and dear to the Witch” (OM&F, p. 268).

In this case, the lost loved one is called a “Witch’s sixpence,” and is the “price” paid for the witch’s powers.  This is not a universal belief, however, as many witches do not lose anyone close to them, and instead gain a new friend:  the familiar, fetch, or imp.  I’ll be doing something more extensive on this aspect of witchcraft in the future, so for now, I will just say that the familiar of the witch is a big subject with as much (often conflicting) information floating around about it as, well, the subject of initiation.

Finally, here are some examples of witch-induction from Kentucky.  I’ve gleaned these from the book Kentucky Superstitions, by Daniel and Lucy Thomas.

  • To become a witch, go to a mountain top at dawn, shoot through a handkerchief at the rising sun, curse Jehovah three times, and own the Devil as master. When you shoot through the handkerchief, blood will fall from it (Mountains, #3773)
  • To become a witch: the candidate goes with the Devil to the top of the highest hill at sunrise nine successive days and curses God; the Devil then places one hand on the candidate’s head and one on his feet, and receives the promise that all between his hands shall be devoted to his service.  (Mountains, #3774)
  • To become a witch, you shoot at the moon nine times with a silver bullet, cursing God each time (Mountains, #3775)
  • You can become a witch by taking a spinning-wheel to the top of a hill, giving yourself up to the Devil, and waiting until the wheel begins to turn. The witches will then come to instruct you (Mountains, #3776)

These are similar to other folkloric initiation ceremonies already discussed, with the exception of the last one.  The inclusion of the spinning wheel here is interesting to me, because it seems to be connected to an idea I find very witchy: the threads of Fate.  It also reminds me of the Irish folktale “The Horned Women,” which is a story I glean much in the way of witchery from.  In this case, the wheel’s turning is much like the rising of a bloody sun—it provides an omen that the witch has been accepted into the fold of witches before her.

So what do I make of all of this?  Well, my own opinion (and I stress that it is only my take on the phenomenon of witch initiations, and no one else’s) is that each of these stories contains little pieces of initiatory lore, but always with a layer of sensationalism on top.  These folk tales were intended to amuse and spark curiosity, after all, so it doesn’t surprise me that a small offering of blood, say on an new witch’s cingulum or a few drops in a cup of wine poured out to the god, gods, or spirits to which the witch is binding herself, has become exaggerated into the death of a family member or the withering of a limb.  I think that initiations have a profound impact on those that undergo them, and that many of the common elements (the renunciation, the vow to serve a witch-god/goddess/devil/etc., and the granting of magical gifts like certain charms or familiars) are profound acts that may well belong in an initiation ceremony. Many of these features are also found in other initiation ceremonies and Traditional Witchcraft works, such as Paul Huson’s Mastering Witchcraft or Nigel Jackson’s Call of the Horned Piper. I also think that some elements are overlooked in these sorts of folkloric imaginings of “witch-making”.  For instance, one thing Sarah at Forest Grove mentioned in her post on initiations is that once one becomes a witch (or takes initiation), one finds “Growth and strength of abilities and experiences the more one practices and keeps their promises.”  Most stories about witches seem to either end at the oaths taken upon becoming a witch, or to start in medias res of a witch’s career, showing a witch operating in one way, unchanging, until she is (inevitably) defeated.  That makes for good storytelling, but perhaps not for so much good practical witchery.  Witchcraft is wonderful in that the more you do it, the better it gets!

In the end, I like this topic, but I should say one more thing.  I don’t think that a person-to-person initiation is necessary to practice witchcraft.  If you’ve not taken an initiation, or don’t ever plan to, but find you are good at witchcraft anyway, keep doing it.  You certainly don’t need anyone to validate your magic if it’s working, and if whatever forces you draw your magic from one day choose to initiate you, I have a feeling that much like Don Corleone, they’ll make you an offer you can’t refuse.

My apologies if this post has been overlong, but I hope it’s useful to somebody out there.   If nothing else, you’ve worked out your scrolling finger for today.

All the best, be well, and thanks for reading!

-Cory

Blog Post 49 – Snakes

I hope you’ve got your good boots on today, because we’re getting into the tall grass and looking for snakes!  Snakes have had a place in magical lore for a very long time.  In Ancient Greece, Artemis and Apollo were sometimes associated with snakes.  Apollo was famous for slaying the great serpent Python (see Ovid’s Metamorphoses, Book I), and his priestesses were ever afterwards known as the Pythia.  Artemis, offended by King Admetus’s oversight of an offering due her, filled his bed with serpents.  In Vodoun tradition, the Creator figure is a great serpent, Damballah.  Stories of creation and snakes seem to go hand in hand across many cultures.

In the New World, snakes have a mixed significance.  On the one hand, the biblical story of Eden in Genesis lays a lot of the blame for humanity’s disobedience on the serpent in the garden.  At the same time, humanity would be without knowledge without the snake, so there’s more than one way to look at the story.  However, if you ask many Christians today who the snake was, they will answer “the Devil” or “Satan,” so for all intents and purposes, mainstream culture takes a fairly negative view of these slithering creatures.  That does not mean, however, that all snakes are viewed as little devils, and many folks actually like them.  Farmers like snakes because they keep rodent populations down in barns and fields, for example.

In magic, snakes are one of the most potent animals you can use.  There are several different magical traditions surrounding snakes or their various parts and pieces.  Catherine Yronwode notes that “the blood, eggs, heads, flesh, sheds, and skins of all species of snakes are used in jinxing and crossing” and the manufacture of various hoodoo mixtures, like Goofer Dust or Live Things In You poisons (HHRM p. 186).  She also mentions that the sheds can be used to calm one’s mind.  Other hoodoo-related uses of snake sheds and bones include situations where cunning might be needed, or for luck and power.  In this last case, rattlesnake bones and rattles are often used.  Musicians who wish to play well and win contests often keep a rattle with their instruments, according to Yronwode.

In the case of the Live Things In You curse, powdered snake parts—usually eggs or sheds—are mixed into a victim’s food.  The target then feels as though the creature is wriggling around in his body, causing him pain and distress, as well as the feeling that he might be going crazy.  You can read more about this kind of baleful working in Superstitions & Folklore of the South, by Charles W. Chestnutt, at the University of Virginia website.

Vance Randolph recorded several bits of magical lore concerning snakes in his Ozark Magic & Folklore:

  • To cause a rain, a snake could be hung belly-up on a fence (p. 30)
  • Burning shoes in the fireplace will drive away snakes (p. 68)
  • Snake-skin soaked in vinegar is applied to boils to reduce them (p. 101)
  • Snake-bites treated by doctors will always ache on the anniversary of the bite (p. 159)

Randolph also mentions the snake-handling “Holy Roller” churches sometimes found in rural areas of the South.  These churches base their practice on an admonition in Mark 16: 17-18:   “And these signs shall follow them that believe; In my name shall they cast out devils; they shall speak with new tongues; They shall take up serpents; and if they drink any deadly thing, it shall not hurt them; they shall lay hands on the sick, and they shall recover” (KJV).

A final tale from the Ozarks concerns a family that had a secret method of dealing with snakes:

“Miss Jewell Perriman, of Jenkins, Missouri, tells me that her Uncle Bill had a secret method of curing snake bite, and people came from miles around for treatment. Uncle Bill belonged to a family of which it was said ‘them folks don’t kill snakes.’ This is very unusual in the Ozarks, where most people do kill every snake they see. When a large copperhead was found in the Perriman house, Uncle Bill caught it with the tongs, carried it out into the orchard, and released it unharmed. His cure for snake bite was known in the family for at least a hundred years…The secret is lost now, for Uncle Bill is long dead, and his son died suddenly without issue. All that Miss Perriman knows of the snake-bite cure is that the snake must not be injured, and that Uncle Bill had a strip of ancient buckskin in which he tied certain knots as part of the treatment. She showed me the buckskin. It was about half an inch wide, perhaps twelve inches long, carefully rounded at the ends. Three knots had been tied in it, one in the middle and one at either end” (Randolph, Ozark Magic & Folklore, p. 159).

Wouldn’t you love to know what that secret was?  I sure would!

I suspect that snakes will always have a place in magical lore.  They have the ability to slide between upper and lower worlds easily.  Some can kill with a bite, but also provide useful services to us in many ways.  They seem to show up everywhere in the world (except Ireland…but that’s a completely different subject) and they always connect to something primal in us: fear, knowledge and gnosis, or even sexuality.  I’ll be keeping my good boots on when dealing with them, but I definitely have a particular love for these critters.

Thanks for reading!

-Cory

Blog Post 48 – Comparing Tales

Greetings everyone!  On Podcast 8, I mentioned two stories which share remarkable similarities.  I was speaking of a story in the W. B. Yeats collection Fairy & Folk Tales of the Irish Peasantry, specifically a story called “The Witches’ Excursion” (I incorrectly called it something like “James and the Red Cap” on the podcast…my apologies to Yeats and anyone who went poring over that tome looking for that non-existent title).  For comparison, I cited the tale “Greasy Witches,” in The Granny Curse, by Randy Russell.  You can read most of that story here, on Google Books (though I can’t guarantee how long that much of the book will remain free to read).  Briefly, I thought it might be fun to go over a few of the similarities and commonalities found in these tales, for the sake of seeing how Old World witch lore migrates and transforms in the New World.

In the Appalachian version, the cabin is located on Roan Mountain.  In this case, I think that the “roan” referred to could be tied into the “red” of the red cap being used to induce magical flight in the Yeats tale.  Or, “roan” could be a variant on “rowan,” which is a mountain ash tree (which derives its name from its red berries, and thus could still have the “red” connection).  The rowan tree is loaded with magical significance—some of the most potent anti-witchcraft charms are crosses made from rowan twigs bound with red thread.  However, it could also be used to make magical tools as well, such as wands or staves.  Oh, I should also point out that Roan Mountain is actually a real mountain on the Tennessee/North Carolina border.  (Side note:  would there be any interest in me doing a sort of “Witch’s Travel Guide” to various parts of the US?  Places with strong witch lore or with a history of magical activity, perhaps?  Comment/email and let us know!)

There’s a strong indication that the Dobbs sisters use a powerful sleeping draught on Riley the same way that Madge and her cohorts attempted to drug James in the Irish version of the story.  I’m not sure if I’d prefer my witch-administered pharmaceuticals via nightcap or squirrel soup, though.

The unguent used in both stories seems to be, basically, a flying ointment.  In the version from Yeats, I would lean towards a mixture that uses amanita muscaria, but I base that almost entirely on the fact that the “red cap” is a key feature of the tale.  It’s not unthinkable that such entheogens  would grow on Roan Mountain, but it is a bit less likely.  In both stories, the mixture is activated by the recitation of a short, rhyming phrase, which seems to be a common enough way to trigger witch-flight in many stories.  In some tales, the non-witch makes a mistake, it causes some sort of comic misfortune, like being lifted up and dropped to the floor unexpectedly.

An interesting difference between the two tales comes during the heavy drinking portion of the tale (don’t all interesting things come during the heavy drinking portion of the tale?).  In the Irish story, Red James never tries to go home once he starts drinking—he just passes out.  Riley, in the American version, does try to leave (which is when he notices his body “felt like feathers or fur,” a sure sign of shape-shifting.  Another difference worth noting is that in the Old World version, James knows his witch-lore and remains silent while in flight, but in the “Greasy Witches” variant, Riley has to say additional magical words while in flight to follow the Dobbs sisters.  I’ve had a gifted witch tell me that when making a profound crossing like this, silence is better, and I trust that idea.   But there’s clearly some flexibility, too.

The stories end quite differently, with Riley finally having to do what the witches have been manipulating him into doing the whole time:  marrying one of them.  Red James faces no such fate, but merely gets his red cap back and flies off at the last possible moment, avoiding his hanging in dramatic fashion.  But they do both get away, and both with a little magical aid from witchcraft.  It’s nice to know we witches are good for something other than breaking-and-entering, right?

I’m interested in your opinions on these tales.  Is it all just metaphorical hedgewitchery?  Do you think these sorts of events might have happened?  And most importantly, do you think that as these stories evolve, anything is being lost or gained in the process?  I personally love how much alike they are, but I also find myself pausing over the differences, too.  What about you?

Thanks for reading!

-Cory

Podcast 8 – Magical Media Mania!

-SHOWNOTES FOR EPISODE 8-

Summary
Laine & Cory discuss their favorite witchy books, music, movies, and television.

Play:

Download:  New World Witchery – Episode 8

-Sources-
Books
Hoodoo Herb and Root Magic, by Catherine Yronwode
Encyclopedia of 5000 Spells, by Judika Illes
The Red Church, by Chris Bilardi
Witches, by Erica Jong
Call of the Horned Piper, by Nigel Jackson
Earth Power; Earth, Air, Fire, & Water; Wicca: A Guide for the Solitary Practitioner, by Scott Cunningham
Bridge to Terabithia, by Katherine Paterson
IT, by Stephen King
The Harry Potter Series, by J. K. Rowling
Watership Down, by Richard Adams
The Secret Garden, by Frances Hodgson Burnett
Ozark Magic & Folklore, by Vance Randolph
Grimm’s Fairy Tales, by Jacob and Wilhelm Grimm
Fairy & Folk Tales of the Irish Peasantry, by W.B. Yeats
Silver Bullet, by Hubert J. Davis
American Gods,, by Neil Gaiman

Music
Mer de Noms, by A Perfect Circle
The Alchemy Index, by Thrice
“The Christians and the Pagans” by Dar Williams
“San Francisco” by Scott McKenzie
“All You Need is Love” by the Beatles
Mythcreants, by Tricky Pixie (special thanks to the band for letting us feature their music!)
One Cello X 16, by Zoe Keating
The Dance, by Fleetwood Mac
“Night on Bald Mountain,” by Modest Mussorgsky
The Hazards of Love, by the Decemberists

Television
The X-Files
Supernatural
True Blood
Eastwick
Pushing Daisies
Jim Henson’s Storyteller
Shelly Duvall’s Faerie Tale Theatre
Bewitched
Buffy the Vampire Slayer

Movies
Practical Magic
Snow White
The Craft
Skeleton Key
Pan’s Labyrinth
Willow
Labyrinth/Dark Crystal
Sleepy Hollow
Fantasia
Kiki’s Delivery Service/My Neighbor Totoro/Princess Mononoke/Spirited Away/Howl’s Moving Castle, by Hayao Miyazaki

Promos & Music
Title music:  “Homebound,” by Jag, from Cypress Grove Blues.  From Magnatune.
Special thanks to Tricky Pixie for letting us feature “Tam Lin” and “The Mushroom Song”!

No Promos today, but special Podkin Love Shout-outs to Fire-Lyte at Inciting a Riot and Velma Nightshade at Witches’ Brewhaha.

Blog Post 47 – Fairy Tale Resources

For this week’s final post, I’m giving you a list of books, stories, websites, and other resources which you can use to dig into folklore and fairy tale magic a bit further.  It’s not comprehensive, but just a few things to scout for at libraries and book stores, and which have something to say about magic without being tucked into the “New Age” section.

Books

Haints, Witches, & Boogers, by Charles E. Price – This book is chock-full of neat ghost stories, plus a few witch tales and some bits about magic in the Appalachian region.  It definitely focuses more on the paranormal than the purely “fairy” aspects of things, but it also gives you locations for each of the stories, so you’d be able to visit them and connect the tale to a particular place, which I like.

Fairy & Folk Tales of the Irish Peasantry, by W.B. Yeats – So why am I including this book on a blog about American fairy tales?  Well, if you look at these stories, and then look at fairy tales from the Appalachians (or anyplace where Irish immigrants settled), you’re going to see uncanny similarities.  This book provides a lot of good stories about “fairy doctoring,” too, a practice which resembles the root work, shamanism, and witch doctoring found in North America.

The Granny Curse and Other Ghosts and Legends of East Tennessee, by Randy Russell – This is another one that is focused mostly on ghosts, but also has some really wonderful stories about magical beings, too.  “Greasy Witches” is especially worth noting, because it is one of those stories that parallels an Irish tale found in the Yeats collection I previously mentioned.

Silver Bullet, by Hubert J. Davis – I discussed this book in Tuesday’s post, but I will reiterate that this is a book worth getting if you can.  The stories are all sourced to their original tellers (mostly American sources east of the Mississippi) and provide a good overview of witchcraft in America (non-religious witchcraft, that is).  Definitely worth scouting for at used bookstores.

Favorite Folktales from Around the World, by Jane Yolen – Again, not one specifically devoted to America, though there are several Native American stories here.  What I like is that this book is a lot like North America in that it takes many disparate cultures and mixes them all together by common thread.  If you’re looking for stories about magic, check out the sections “Not Quite Human,” “Shape Shifters,” and “Fooling the Devil.”  They all have lots to say about witchcraft, without ever actually having to tell you that’s what they’re about.

Grimm’s Fairy Tales, by Jacob and Wilhelm Grimm – If you like fairy tales, you probably already have this.  If you don’t, you should, in my opinion.  Just try to find an unabridged copy, as there have been numerous versions which “clean up” some of the scarier bits of the stories (where the witchy stuff lies, usually).

Spooky America Series,  by S.E. Schlosser – This may be one of my favorite book series ever.  S. E. Schlosser also runs a great website devoted to American folklore which will give you a good idea what her books are like.  There are individual books for multiple American regions, including Spooky South, Spooky New England, and Spooky Southwest, as well as titles on individual states like Spooky New York or Spooky California.  I love this work, and while it is somewhat more focused on ghost stories, there are plenty of tales about magic, witches, and mystical beings to be found.  I cannot recommend this series highly enough.

I’m not mentioning Vance Randolph’s Ozark Magic & Folklore in detail here because I think I’ve said a lot about it already.  But it is also worth reading for witchy folklore (albeit in less of a “story” format).

Websites

Sur la Lune – This is one of my favorite sites for fairy tales.  It contains annotated versions of classics like Snow White and Red Riding Hood, with references to variant versions and symbolism interpretation.  It doesn’t have just tons of stories, but there are at least a couple dozen of the best, and they’re wonderful.  Plus, the art on the site is gorgeous.

Nursery Rhymes:  Lyrics, Origins, and History – I referenced this site a few times in the post on Mother Goose, and it’s certainly a site worth checking out.  It has little historical or folkloric notes on each of the rhymes it presents, as well as the words to the rhyme and some accompanying illustration.

Faerie Magick – This site, hosted by Fiona Broome, a paranormal researcher and enthusiast of the unseen, has a lot of interesting information on different kinds of fairies.  Most of what she writes, she relates back to folklore, which is a big plus for me.

That’s it for this week!  I hope you’ve enjoyed this little foray in to folklore.  I’ll probably come back to this topic eventually, so if you have any questions or topics you’d like to know more about, please leave a comment or email us and I’ll be happy to try and work them in next time around.

Thanks for reading!

-Cory

Blog Post 46 – Magic and Mother Goose

I received a comment from reader Chet the other day which inspired this particular blog post.  So, many thanks, Chet!  He mentioned that he’s been listening to his daughter’s music, which includes many nursery rhymes, and hearing not-so-subtle references to fairly adult topics (such as the sexual undercurrents in a song like “There’s a Hole in My Bucket”).  This idea may be old hat to some, but I thought it might be worth taking a few nursery rhymes and dropping them into the cauldron to see what bubbled up.  Please note that my witchy exegesis here may be entirely wrong, but it may also provide some new perspectives on old songs and rhymes.  I welcome all comments on these interpretations (well, all civil comments, that is).

You can find a great list of Mother Goose rhymes here, along with some brief explanations of each one.

Now, onto the rhymes!

Jack-be-Nimble
Jack be nimble
Jack be quick
Jack jump over
The candlestick.

This little rhyme was first published in the 18th century, according to one source.  It may have referred to a clever and quick pirate called “Black Jack,” but  it also likely has something to do with the practice of jumping over fires, as is sometimes done at May Day (or Beltane) celebrations.  In these instances, the leaper jumps over a bonfire in order to gain blessings—like fertility and an easy birth for women—or protection, or to purify one ritually.  Afterwards, the ashes would be scattered over the fields to ensure a fertile crop.  In its diminished form with a candle-stick, a person could leap the candle forwards and backwards three times (or nine times in some cases) while asking for such blessings, and if the candle remained lit, the wish would be granted.  This might make for an interesting spell, though I cannot recommend it for safety reasons—if you choose to do it, you do so at your own risk and would be well advised not to wear loose-fitting or flowing clothes.

Peter Pumpkin Eater
Peter Peter pumpkin eater,
Had a wife and couldn’t keep her!
He put her in a pumpkin shell,
And there he kept her very well!

This rhyme fits in very well at New World Witchery, because it originates in North America.  While many nursery rhymes came from the UK, the mention of the pumpkin in this one tells of its roots (pumpkins are a New World fruit unknown in Europe prior to the colonial era).  But what is it all about?  Well, if a man has a wife he can’t “keep,” it means that she is being generally unfaithful to him, and turning him into a cuckold.  My take on this particular rhyme is that our good fellow Peter knows of his wife’s infidelity and decides to put a stop to it.  He does this by putting something of hers—likely something very intimate like used underclothes—into a pumpkin shell, which as it rots, prevents her from being able to dally with other men.  This sort of spell is common enough in hoodoo, and is generally referred to as binding someone’s “nature” so they cannot sexually perform with another partner.   This is my take only, of course, and your mileage may vary.

For Want of a Nail
For want of a nail the shoe was lost.
For want of a shoe the horse was lost.
For want of a horse the rider was lost.
For want of a rider the battle was lost.
For want of a battle the kingdom was lost.
And all for the want of a horseshoe nail.

This rhyme is used, according to some, as a way of chastising children who do not see the consequences of their actions.  I certainly agree that in that light, this rhyme is a wonderful didactic tool.  However, I also like to think there’s something a little more magical that can be gleaned from this little bit of lore.  For example, there is a great deal of sympathetic magic which focuses on using something small, like a poppet, to affect something bigger, like a person.  Examined thusly, this chant might be a great way to amplify magical activity.  For example, if you were trying to banish something—like a disease—you could take something from the ill party (hair, fingernails, or clothing worn while sick) and bind it into a charm which might be buried, burned, or otherwise permanently disposed of while chanting this rhyme.  In this way, you’d be telling the disease that it no longer has the power to ravage the entire body, because you’ve taken away a part of the “body” from it.  The disease would then give up, having lost its “kingdom.”  The healing example may be a bit of a stretch, though, as the primary way I can see this little spell being used is to banish unwanted persons from your life.

Pat-a-Cake
Pat a cake, Pat a cake, baker’s man
Bake me a cake as fast as you can;
Pat it and prick it and mark it with a ‘B’,
And put it in the oven for Baby and me.

I see two ways that this lovely little rhyme might be given a magical connotation:  1) By baking food and marking it with someone’s initial, you’re essentially creating a poppet of that person, which can be used in many kinds of spells, or 2) This could be a lovely way to help someone with fertility or family blessings, as having a “bun in the oven” is a common euphemism for pregnancy.  In this latter case, when the mother-to-be devours the cake marked with an initial (perhaps the future baby’s, or her own if she hasn’t picked a name yet), she would be putting the “baby” in her belly.  A newly pregnant mother might also do a spell based on this to ensure a healthy baby, and a new mother might then play this game with her child as a way of continuing the blessing for her child (as well as endlessly amusing the little one, which is really what I think this rhyme is all about in the end).

Crooked Man
There was a crooked man and he walked a crooked mile,
He found a crooked sixpence upon a crooked stile.
He bought a crooked cat, which caught a crooked mouse.
And they all lived together in a little crooked house

Finally, we come to one of my personal favorites.  I know that some interpretations put a meaning on this rhyme referring to the unification of Scotland and English under a single ruler, but I tend to think of the rhyme in more esoteric terms.  The repetition of the word “crooked” seems to be almost a mantra, or a chant for moving into another state of mind.  And I think that the “crooked mile” could well be the “crooked path” of witchcraft.  The “crooked stile” is likely the gateway between worlds, too.  So my best use of this charm is to act as a “road opener” between the mundane world and the world of spirits.  There are also plenty of stories about paying a “tithe to hell” before crossing over (see Tam Lin or Thomas the Rhymer), and it’s usually something nominal (or at least, something that seems nominal at the time), so a sixpence would fit the bill. I also wonder if the crooked house is the proverbial witch’s cottage, or something a little more significant. Perhaps the “house” is the line down which a tradition is passed? And because that line sometimes veers out of strict blood ties and into adoptive relationships, it could be seen as a “crooked house.”  Of course, these are all just my speculations, but I like them.

I could go on and on with these rhymes, looking at them through the lens of witchcraft, and probably find something of value in most any nursery rhyme I read.  However, it’s probably best to say here that just because I interpret something with a witchy twist doesn’t mean that historically it has any such meaning.  In many cases, these rhymes are just entertainments for the very young, and a bit of whimsy for the slightly less young.  I like to think that magic and childhood go together, though, so I will happily continue scouring these rhymes for a bit of hidden wonder.  If you do the same, I’d love to hear what you come up with!

Thanks for reading!

-Cory