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4/11/2020

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Aubry’s Dog: Power Animals in Tradition Witchcraft
Dog’s are never out of the limelight these days.  They lead the visually impaired, alert the hard of hearing and support those with mental problems.  The load and unload washing machines; help with medication; sniff-out substances such as explosives, illegal drugs, wildlife scat, currency, blood, and contraband electronics; they are members of the armed forces, police and the fire service. The use of dogs in search and rescue is a valuable component in wilderness tracking, natural disasters, mass casualty events, and in locating missing people.  They make wonderful companions and research has shown that caring for a canine might actually extend our lifespan. Previous studies have shown that dog owners have an innate sense of comfort and increased well-being and they provide a calming influence to help reduce both physical and psychological reactivity which is particularly relevant for veterans who are suffering from PTSD … and the list goes on.
Is it surprising then, that magical practitioners can drawn on the ‘power of the dog’ ? DNA research has led to the deciphering of the genetic code of the dog, which makes the choice of the dog ideal as a ‘power animal’.   An article in the Science Journal reveals that many of the 360 inherited dog diseases have human counterparts, and that the genetic code of the dog is spelt out by about 2,500 million ‘letters’, compared with the 3,000 million that describes their owners. “Dogs and humans share 650 million ‘letters’ and scientists have found an equivalent dog gene for three quarters of known human genes,” explained Dr Venture. “The fact that they are so similar, despite millions of years of evolution along separate tracks, suggests that they are important.”  A fact that should not be overlooked by magical practitioners when searching for a compatible power animal.
To put power dogs in their true magical perspective we need to recognise which breeds are the aristocrats in terms of our own ancestral associations – as well as theirs. We must also understand why certain dogs are better suited to individual spell casting, protections and curses.
In Aubry’s Dog we examine the various breed characteristics that can be looked upon as further canine ‘correspondences’ for use in magical working. When using ‘dog power’, we need to be able to create an amulet, charm or talisman that will reflect these characteristics. For seeking lost property over distance, for example, we would not enlist the help of the greyhound (sight
hound) – but we would use the image of a bloodhound (scent hound); for defeating our enemies we would be ill-advised to use a terrier, when we can call upon the energies of the mastiff.
 
When working with wild energies, however, we must refrain from attempting to give them the anthropomorphic characteristics of the domestic dog. Wild dogs are voracious and ruthless hunter-killers, sometimes turning their attentions on humans if and when circumstances warrant. As much as we may admire their fearless survival skills, it is inadvisable to underestimate them
both in the wild, and in magic. When invoking the energies of the wild dog, regardless of species, we are calling upon their primeval instincts over which humans have no control.
 
Like the Egyptians, the early Babylonians, Assyrians and Chaldeans, who were living between the two great rivers the Euphrates and the Tigris, also revered the dog. History relates that the governor of Babylon owned so many dogs that four towns were made exempt from taxes provided the inhabitants fed their dogs properly.  According to encyclopaedia Man, Myth & Magic, because the Egyptians worshipped the dog, the Hebrews hated them and scorned the belief that dogs could detect the presence of spirits and ghosts or were familiar with the world beyond the grave.
 
Nevertheless, in contemporary society, the animal’s value is due to its remarkable companionable abilities and because a dog’s senses are much keener than a human’s.
 
• A dog’s hearing is attuned to pick up extremely high-pitched tones from a considerable distance. The so-called ‘silent- whistles’ used by dog trainers demonstrate the great range of a dog’s hearing powers and make it invaluable as a guardian of family and livestock.
 
• A dog’s nose is so sensitive that we are unable to conceive the great range of odours that canines detect. A piece of wood touched only by the tip of its owner’s finger can be selected by a trained dog from 20 other identical pieces. Bloodhounds have been known to follow perfectly the trail of a stranger 48 hours after the path was traversed. There is no known method of measuring this sensitivity of the dogs’ olfactory powers, but it is among his strongest and most often utilised senses.
 
• A dog’s sight is considerably weaker than man’s although they have a greater sensitivity to movements, however slight. Some breeds, specifically the ‘gaze-hounds’ do make great use of their sight in following game across open country.
 
• A dog’s ‘fleetness of foot’ means that it can pursue and overtake its quarry, or outrun its rivals. In the wild, a wolf’s speed makes all the difference to whether the pack goes hungry or not.
 
• A dog’s strength and tenacity is not necessarily determined by its size. Smaller dogs, especially the terrier breeds, can often be the champions in terms of sheer grit and determination.
 
In Aubry’s Dog, we look at creating a protective charm for the home and a healing amulet, as well as taking the physical attributes of the various different breeds and creating a very personal, protective amulet. One of the simplest ways is to acquire a piece of jewellery, or even a metal key ring, bearing the image of one of the more popular dog breeds (or wolf, fox, etc.,) and charge it magically. For those who prefer to create an amulet from scratch in the traditional way, however, first catch your dog! Or rather acquire something from a canine that suggests strength, i.e. claws, bone, teeth, rather than the softness of fur. This does not, of course, mean that any living canine should be deprived of these accoutrements. Seeking them out over a period of time should be viewed as part of the magical quest … but your vet might be able to help out with claws or the odd tooth. A dead fox could provide everything, but as a mark of respect do bury the remains within the parameters of magical ethics.
 
Once we have acquired our canine ingredient (natural or manufactured) focus on the breed of our astral canine protector.  It could have been selected for its:
 
• Eyesight (to see danger or detect opportunity).
• Hearing (warning sounds or hearing something advantageous).
• Smell (detecting a threat or danger).
• Speed (fast action in dealing with a problem).
• Strength (the power to help overcome adversity).
• Tenacity (the will to persevere or fight against the odds).
 
This is a personal amulet, so only we can decide what the focus will be. Do we want a general charm that will go everywhere with us like a trusty dog; or are we looking for specific protection (in the workplace, while out hunting, or from rivals/the opposition, etc.,); or do we need backup in areas where our own faculties are not fully functioning? Do bear in mind that a focused magical spell will be much stronger than a more general purpose one.

 
Aubry’s Dog: Power Animals in Traditional Witchcraft by Melusine Draco is published by Moon Books in paperback and e-book format ISBN 978 1 78099 724 7  Shaman Pathways series : pp84 : UK£4.99/US$9.95  www.moon-books.net

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WRITER@WORK

4/10/2020

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​Have now been under ‘house arrest’ for the past two weeks and apart from missing Lidl’s iced fruit buns I can’t say I’ve missed going out into the community!  Most of my favourite shops are closed and the garden centre has introduced a no-contact collect/deliver service.  And with the lovely weather the garden has benefited.   Following the ‘fraughtness’ with John Hunt Publishing concerning my future books, I’m concentrating on producing stuff for Ignotus Press – just like in the good old days.

The third in The Vampyre’s Tale series – Danse Macabre – is now out and I’m up to chapter five in book 5 of The Hugo Braithwaite Mysteries – Screenplay – which take us into the classic world of Hollywood and film star memorabilia.  The rough draft for book 5 in The Temple House Archive – PACT! – is under way and as the title suggests, we talking about devils and demons.

Round About the Cauldron Go
is almost ready for proofing and this will be followed up by Inner Court Witchcraft early next year – both CoS publications.  There’s The Witch’s Book of Simples: The simple arte of domestic folk medicine which is half complete and Appeasing the Gods - with Sacrifice, Offerings and Libation in the planning stage but who knows where either will land up!

I think I’m up-to-date with all my articles and Moon Books anthology contributions and I’m going to be doing a Winter Solstice piece for next year’s The Witches Almanac.  I’m pleased that two books in the Traditional Witchcraft series have finally reached best-selling status and I shall be concentrating on the marketing of my Moon Books back-list titles this year because once The (Inner-City) Path comes out in September 2020 and Sexual Dynamics in the Circle sometime in 2021, there’s nothing left in the MB pipeline.

With the restrictions on the non-fiction it means that I can get down to business with my first love – writing novels.  I have really grown attached to my characters and each series has its own Facebook page so readers can follow what’s happening with the current story-lines, supplemented with related articles and other posts.

The Vampyre’s Tale  https://www.facebook.com/VampyresTale/
The Hugo Braithwaite Mysteries  https://www.facebook.com/BraithwaiteMysteryRuthven/
The Temple House Archive  https://www.facebook.com/TempleHouseArchive/

 

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A Book-Worm’s Eye View of the Goddess

4/3/2020

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As I’ve said before, and no doubt I’ll say it again, writing about witchcraft is easy.  Finding the right theme isn’t.  Any fool can pass themselves off as a witch but finding an informative and entertaining approach for a new book is a whole different cauldron of knowledge.  Personally, I feel there should be a magical purpose behind any book on Craft – otherwise it’s all been said before – and usually better …
 
Because humankind has always had a tendency to see images of its gods in his own likeness, we have come to see pagan deities very much cast in 20th century form.  Ironically in giving ‘god-energy’ the outward form of the Celtic horned-god Cernunnos and ‘goddess-energy’ the cartoon image of a warrior-princess or a member of the pre-Raphaelite sisterhood, the true mystery of ancient witchcraft has been lost in favor of fantasy creations.  Just as Christianity promoted the Madonna as a popular image, so modern paganism often adopts a similar approach to the Mother-Goddess in order to give this new religion ‘people appeal’.
 
For the purposes of Old Craft technique, however, it is important to accept the energies associated with these archaic male-female aspects of magic and not transpose the concept of the loving, caring Great Mother Goddess of Wicca-Christianity into Old Craft working.  The female-goddess energy within Nature is just as ‘red in tooth and claw’ as male-god energy; both are equally as merciless as the other.  It is also important to understand that this energy (whether male or female) is neither malevolent nor benevolent, it is merely natural energy waiting to be harnessed for use in magic rites.
 
Old Craft, although not a religion, is a belief – a belief in one’s own abilities and in the ‘Power’ that fuels the universe; and a faith – faith in one’s self and in that ‘Power’. This is not generally seen as gender specific but in truth, Old Craft does lean towards the male aspect since the female remains veiled and a mystery.  In other words, the ‘God’ is the public face of traditional British Old Craft while the ‘Goddess’ remains in the shadows, revered and shielded by her protector.  Not because she is some shy and defenseless creature, but because face to face she would be too terrible to look upon!  Or as the scientist who discovered the deadly Marburg filovirus observed when he saw the virus particles: ‘They were white cobras tangled among themselves, like the hair of Medusa.  They were the face of Nature herself, the obscene goddess revealed naked … breathtakingly beautiful.’  The secrets of Old Craft comes from the understanding of these things …
 
We also accept that the physical worldly embodiment of the goddess - Mother Nature - is neither caring nor motherly and when she wants to cut up rough – she will, without a thought for anything, or anyone.   In the guise of ‘The Goddess’ she is usually seen as spending her days caring for her many children who inhabit and shape the landscape – often portrayed in trailing garments composed of lush plants, colorful flowers, and sinuous woody shapes. In most depictions she is meditative, embodying the spirit of the mythological ‘mother’ in Nature firmly entering the zeitgeist as a figure akin to a synergetic composite of Burne-Jones in the later stages of the Pre-Raphaelite movement, Guinevere of Arthurian romance, and Daenerys Stormborn from Game of Thrones – reflecting the general intellectual, moral, and cultural climate of the era.
 
 
Over previous decades, however, the archaeo-mythological work of Professor Marija Gimbutas was revealing a far more primal approach to discovering the persona of this ‘hidden’ goddess of Old Europe.  Not unexpectedly, her theories have been dismissed by many of her fellow archaeologists but like Carl Jung and Margaret Murray, whose work suffered similar professional scorn, there are elements that ‘speak’ to us on a more subliminal level. As writer Allen Bennett once observed it’s that moment in reading when you come across something … ‘a thought, a feeling, a way of looking at things – which you thought special and particular
to you. Now here it is, set down by someone else, a person you have never met, someone even who is long dead. And it is as if a hand has come out and taken yours.’ It was as if, in discovering the writings of Marija Gimbutas, the tectonic platese of archaeo-mythologica (Old Europe) and esoteria (Old Craft) collided – and made complete sense of the way we viewed this ‘hidden’ Primal Goddess within our own Tradition.
 
We also found ourselves asking, but where exactly was this ‘Old European’ culture located?  Between c7000 and c3500BC the inhabitants of this region developed a much more complex social organisation than their western and northern neighbours. In the Goddesses & Gods of Old Europe, this area is designated as extending from the Aegean and Adriatic, including the islands of Sicily and Crete, as far north as Czechoslovakia, southern Poland, the western Ukraine and parts of Anatolia.  Suggesting that the earliest possible representations are those prehistoric ‘Venus’ figurines found from Western Europe to Siberia – all sharing the same characteristics of pendulous breasts, sagging stomachs and buttocks; but more importantly the heads are small and featureless, i.e., without identity.
 
In reality, almost all Neolithic goddesses are composite images with an accumulation of traits from the pre-agricultural and agricultural eras. Those ‘buxom wenches’ with their massive thighs, breasts and buttocks that suggest a prehistoric society weaned on junk food, or suffering from a thyroid dysfunction were only one aspect of the goddess. In other sculptures of the time we see lithe, elegant figures of the Cycladic and Stargazer imagery, and the sinuous grace of the engraved rock ‘dancers’ from the cave of Addaura in Sicily. 
 
Nevertheless, they all share a distinctive feature of a strong but featureless face: her image remains hidden because we are deliberately prevented from seeing the true face of this Primal Goddess.  A concept that was rejuvenated with the replacing of the sculpted face of Cybele with … ‘a certain [black meteorite] stone of no great size, which could be carried in a man’s hand without exerting any pressure on him, dusky black in colour, uneven with some edges projecting, and which we all see today placed in that very image in lieu of a face, rough and uncut, giving to the image a countenance by no means life-like …’ [Arnobius, c255-330AD]
 
In the Power of Images, Professor David Freedberg offers up the explanation that this sacred stone, like many others, was deliberately left unworked because it was in that state that its sacredness resided. ‘Shaping it would presumably have deprived it of its sacred content, or, at least diminished it; the only course left was to have it set in such a way as to emphasise or make plain its divine status.’   Even as late as Imperial Roman, when copies of Classic Greek beauty were demanded by the interior designers of the day, these enigmatic faceless matrons were still thought of as sacred.  ‘For 5th-century beholders that ‘face’ [of Demeter in the Museum at Cyrene] can hardly but have generated as association with the kinds of mysterious powers so often associated with unworked stones,’ Freedberg concluded.
 
And that feeling of ‘faceless’ wonder trickles down to the present day, causing the Curator at the Cleveland Museum of Art to comment: “All we can do is speculate on the creative and spiritual forces that created this beautiful and mystical figure that symbolises our search for the divine.” But because of the way we’ve been schooled in the art of witchcraft, Old Craft witches are more likely to ‘see’ their goddess figure in terms of the Stargazer; while contemporary paganism appears to favour the predominantly medievalist forms of Burne-Jones and Rossetti.
 
It is an inescapable fact that this ‘hidden’ Primal Goddess of Old Europe remains a tangible power that can be tapped into and channelled for magical, mystical and spiritual reasons. It is the elusive power that is released into us at the moment of Initiation when we come face to face with deity and we may look upon the face of the Primal Goddess for the first and last time.
 
Nevertheless, for Old Crafters the Primal Goddess remains a sigil and symbol, allegory and metaphor, and we learn how to follow her by respecting the world she has created. She is
Creatrix, Death-Wielder and Regeneratrix – the eternal triple deity. And the reason we say she is too terrible to look upon is due to the realisation that in her eyes, our lives are worth no more than that of an ant or hover-fly. And, as and when we meet her face to face, it is with the understanding that she is not the benevolent Mother-figure of popular paganism; she is a
disinterested but not dysfunctional being whom we approach with awe and reverence
 
 
Author biography:
Mélusine Draco is an Initiate of traditional British Old Craft and the Khemetic Mysteries.  Originally trained in Old Craft with Bob and Mériém Clay-Egerton’s Coven of the Scales, she has been a magical and spiritual instructor for over 20 years with both Coven of the Scales and the Temple of Khem, and writer of numerous popular books on the Egyptian Mysteries, traditional witchcraft and magical practice.
 

 
Pagan Portals: Seeking the Primal Goddessby Melusine Draco is published by Moon Books ISBN 978 1 78904 256 6 UK£6.99/US$10.95 and available in paperback and e-book format.  www.moon-books.net

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