Creating Initiation
and Elevation Rituals
Ideally, initiation and elevation rites are more than just markers on the individual Witch’s journey. They are meant to be transformative events, and the truths and information they impart should deepen the experience of Witchcraft. To that end, most of these ceremonies share a few common traits. If you are interested in creating your own initiation and elevation rites, I’m of the opinion that they should all include some of the following components.
Witchcraft is essentially a mystery tradition, so it would make sense that any sort of induction ceremony include the revelation of a mystery. These mysteries might be small or large, and range from an often heard instruction (such as “An it harm none, do what you will” from the Wiccan Rede) to something far less familiar. Mysteries can be spoken, and they can also be physical objects. The point of revealing a mystery is to share another facet of a tradition’s or coven’s practice.
The path of the Witch is not for the faint of the heart, which is why many initiation and elevation rituals include some sort of challenge. That challenge could be asking a Witch to identify all the tools on the altar or to recite a few words learned in a previous ritual. An elevation rite especially might serve as a testing ground for a maturing Witch, requiring them to share all they have learned up to that point.
Many covens also share gifts either after or during elevation and initiation rites. If the gift giving occurs during the ritual, it’s often something related to the coven or the degree being bestowed. Examples of this include being given a medallion unique to the coven or perhaps being awarded a Book of Shadows after initiation. (I’m speaking from experience here. Both of these gifts are included in my eclectic coven’s initiation rite.) Gifts after ritual are also welcome, because an initiation is much like a birthday. It often marks a Witch’s official induction into a chosen family.
Since most initiation rituals are oathbound and private, it’s common for an initiating Witch to recite some sort of oath (one of the many things borrowed from the Masons over the years). Most oaths include a promise not to reveal any of the secrets gained in the tradition or to “out” a member without permission. Oaths often include a penalty, which might include a curse or other threat. Being asked to share in a tradition’s secrets is a huge honor and one I think most Witches have taken seriously over the years. Oaths are generally used only during a first-degree initiation ritual.
Rituals designed for the giving of degrees are also meant to be something beyond the ordinary sabbat or esbat rite. Many covens use techniques borrowed from the Masons such as blindfolding to create a heightened sense of awareness or disorientation. In my coven we create a physical circle of oak leaves during initiations to make the rite a bit more unique.
In this section of the book I’ve included a whole host of mysteries, challenges, and gifts that can be used for initiation and elevation rituals. Because every coven and tradition has their own way of revealing the secrets of the Craft, I’ve not organized anything by degree (though you can see where I’d place at least some of them in the rituals located at the end of the chapter). Instead, individual groups and people can mix and match all the things listed here in whatever way works best for them. And I most certainly did forget several mysteries, most likely because I don’t know about them or can’t write about them. That’s what makes them mysteries after all!
Unveiling a Mystery
There are all sorts of mysteries that can be revealed during an initiation or elevation rite. Those mysteries can range from the revelation of magickal knowledge to things like handshakes or signs. The mystery revealed might also have something to do with the nature of the gods or perhaps the history of the coven and/or tradition. Because there are so many secrets that might be a part of a coven, there’s no limit to what might be revealed. If your coven does something they don’t want others to know about, it’s a secret and can be revealed at an initiation.
Handshakes and Other Secret Signs
The Masons have several secret handshakes, and these vary by degree. This practice has been adopted by some Witch covens over the last seventy years and serves as both a greeting between Witches and a way to say “Yes, I’m part of the family.” Similar in this respect are distinct hand signs used by some groups. An example of this is in the 1899 Ritual (see Chapter Three), where the signs include the horns of Pan and a kiss blown to the goddess Diana.
Specific ritual postures might also be included as a mystery revelation. Though they aren’t a secret in my coven, we have a set series of hand and arm movements that we use while calling the quarters. We hold our athames in our power hand (our dominant hand) and then cross our arms over our chest, with the athame on the outside. (This is called the Osiris position.) When we call to one of the four quarters, we then raise our athames up over our heads in salute, with our other arm to our side. After the quarter is called, we all say Blessed be and return our arms to the Osiris position. This is repeated three more times as the remaining quarters are called.
It’s visually striking to see a coven or circle call the quarters in this way, but there’s also a great deal of symbolism involved. If I were to add how we call the quarters to our coven’s initiation ritual, I’d explain that mystery this way:
High Priestess: In our circle we honor the elements of air, fire, water, and earth, the watchtowers of the east, south, west, and north. As Witches we know that without these four elements there is no life and there is no we.
In the circle we honor the elements by beginning in the Osiris position. Osiris was dead and then resurrected by his love, Isis. Before being exposed to the powers of the elements, we too are dead—dead magickally, stuck in the world of the mundane and unable to change our circumstances.
But when we are touched by each of the four great powers of the world, we slip back into the world of magick and a time that is not a time and a place that is not a place. That is why we salute the elements, thanking them for their presence in our lives, for stirring up the magick that exists inside us, just waiting for a way out. As a sign of our love, we end each call to them with a kiss from our blade, showing that it is our true will to love and share in the powers of the world. So mote it be!
When it comes to handshakes, ritual postures, and other signs, there’s really no end to what can be created and revealed. Often coven traditions start completely by accident, and only over time do people figure out that they are doing something that has evolved into a secret tradition. Building these types of mysteries into an initiation or elevation rite makes a coven even more special and secret.
As Above, So Below
“As above, so below” is a magickal formula adapted from the legendary Emerald Tablet. This text generally consists of fourteen lines (this can vary from translation to translation), the most famous of which is “That which is above is from that which is below, and that which is below is from that which is above, working the miracles of one.” 130 This line is generally simplified into the phrase “As above, so below.”
The Emerald Tablet’s origins are the subject of some debate. There are some who believe its philosophy represents Christian ideals, and others who think it might have originated in China or perhaps pagan antiquity. The earliest source we have for the tablet dates from 800 CE and was written in Arabic, and a Latin translation followed three hundred years later.131 The text is often attributed to the legendary figure Hermes Trismegistus, who originally was a merging of the gods Hermes (Greek) and Thoth (Egyptian), though some traditions see Trismegistus as an enlightened human being and not a deity.
“As above, so below” is a phrase used by a wide variety of magicians and occult seekers. Depending on who is using the phrase, it’s meaning can change somewhat. In many traditions it’s used to express the idea that the small reflects the large. Many people see the whole of the universe reflected in each individual person on Earth, which is representative of the small (a person) reflecting the large (the universe). To take this a step further, we can learn to understand the universe if we learn to understand ourselves.
The phrase has other meanings in Witchcraft and magick too. When a Witch raises energy in the magick circle (that sacred space between the worlds), they are sending their magickal power out of one world (the space where gods and mortals both tread) and into the physical world we inhabit on a daily basis. In order to make changes in our daily lives, we have to first make changes in magickal space, or perhaps even simply just inside of ourselves, before that change can manifest in the mundane world.
The phrase is sometimes linked to astrology as well, with the movements of the stars and planets (as above) bringing about changes on our planet and within ourselves (so below). In my own practice I use the phrase to describe the nature of the Lord and Lady. My deities are most certainly gods of the living, but they are also gods of the dead. They are with me in this life and will be with me in between lives. This idea is explored in the first-degree initiation ritual in Chapter Ten.
“As above, so below” is a handy little phrase that can be used as a greeting in circle and as a call-and-response piece. It makes an effective password that an elevating Witch might need to say to their High Priestess, and is a phrase that an initiating Witch might need to elaborate on when being challenged in the circle.
The Wiccan Rede
The Wiccan Rede is probably the most famous maxim in Modern Witchcraft circles. Gardner used a version of it in his 1959 book The Meaning of Witchcraft, writing that Witches
are inclined to the morality of the legendary Good King Pausol, “Do what you like so long as you harm no one.” But they believe a certain law to be important, “You must not use magic for anything which will cause harm to anyone, and if, to prevent a greater wrong being done, you must discommode someone, you must do it only in a way which will abate the harm.” 132
The Wiccan Rede was first articulated in its present form of “An it harm none, do what you will” in 1964 by Doreen Valiente at a dinner hosted by the Witchcraft Research Association (though it likely predates that event).133
There are many Witches today who actively despise the Wiccan Rede, believing that it limits their magick. What they forget is that the Wiccan Rede is not a law but is simply a suggestion. (The word rede means “advice or counsel.” 134 ) Witches are free to heed the advice of the Rede or ignore it all together. Besides, I think the actual meaning of the Wiccan Rede is lost on many of its loudest critics.
Wicca is not a belief system with a series of cosmic challenges and tests of spiritual purity. Witches are free to do whatever they wish, and since Witches are a people responsible for their own actions, they generally live up to the idea of “harm none.” More importantly, every Witch has to figure out for themselves what actually constitutes “harm.” Is using magick to bring a thief to justice a violation of the Rede? I don’t think so; the harm would be in not utilizing our magick for such things.
The Wiccan Rede does not stop any Witch from using magick to take control of a situation. If someone is actively hurting others, they’ve forfeited their opportunity to be among the “none” in “An it harm none.” Witchcraft is about personal responsibility and figuring things out for oneself, and part of that includes deciding how to define “harm” and just who or what constitutes “none.”
In initiation and elevation rituals, the Wiccan Rede is most often used as a password. Since most Witches are very aware of the Rede, this is not an exceptionally difficult challenge, but it’s such a part of our history that to ignore it feels short-sighted. Besides, its absence would probably be more noticeable than its inclusion.
The Witches’ Pyramid
The Witches’ Pyramid is a magickal philosophy that predates Modern Witchcraft and was first articulated by the French occultist and magician Éliphas Lévi (1810–1875) in his two-volume Transcendental Magic: Its Doctrine and Ritual, released in 1854 and 1856. In Transcendental Magic Lévi writes:
To attain the SANCTUM REGNUM, in other words, the knowledge and power of the Magi, there are four indispensable conditions an intelligence illuminated by study, an intrepidity which nothing can check, a will which cannot be broken, and a prudence which nothing can corrupt and nothing intoxicate. TO KNOW, TO DARE, TO WILL, TO KEEP SILENCE such are the four words of the Magus, inscribed upon the four symbolical forms of the sphinx. 135
For Lévi, the magi were the carriers of magickal tradition. Just before introducing his readers to what would become the Witches’ Pyramid, he writes that “magic is the traditional science of the secrets of nature which has been transmitted to us from the magi.” 136 In Lévi’s world, in order to become a successful magician one must be like the magi, and to be like the magi one must adhere to the four principles of “to know, to dare, to will, to keep silence.”
Lévi is quite explicit in what these four principles mean. To be a magician, one must know one’s craft and study, and be fearless in that study, afraid of nothing that it might reveal. This requires an iron constitution and a deep inner strength, along with a sense of judgment unhindered by outside forces. Because Lévi equates his four words of the magus with the legendary sphinx, his indispensable conditions are sometimes referred to as the Four Powers of the Sphinx. In ceremonial magick circles they are often called the Four Powers of the Magus (or Magician). The term Witches’ Pyramid is used exclusively in Witchcraft and was most likely first used in the 1950s, seventy-five years after Lévi’s death.
The Witches’ Pyramid
Lévi was a tremendously influential magician and thinker, and his four powers were picked up by the Golden Dawn as well as Aleister Crowley (an initiate of the Golden Dawn), who incorporated them into his practice of Thelema. Crowley introduced a fifth idea into Lévi’s powers, the power “to go.” Crowley’s addition would eventually make it into some Witchcraft traditions where “to go” is equated with the element (or power) of spirit.
Modern Witchcraft has a long history of being influenced by ceremonial magick, so it’s not surprising that many Witches picked up on the ideas of Lévi. The first book containing Modern Witch rituals, Paul Huson’s Mastering Witchcraft (1970), mentions the Witches’ Pyramid as an essential magickal first step. Instead of using the familiar “to know, to will, etc.,” Huson writes about the four powers as “a virulent imagination, a will of fire, rock-hard faith and a flair for secrecy.” 137 These ideas sync up nicely with Lévi’s original vision and remove any ambiguity in the meaning of the Four Powers.
The first book to feature complete Witch rituals published by a major press was Lady Sheba’s Book of Shadows, published in 1971. In that work Sheba begins with the Witches’ Pyramid, which she calls the “foundation” of Witch power. Like Huson, she doesn’t use Lévi’s short-and-sweet phrasing but instead describes the four sides of the pyramid like this:
The first side of the four so-called sides of the pyramid is your dynamic, controlled will; the second, your imagination or the ability to see your desire accomplished; third, unshakable and absolute faith in your ability to accomplish anything you desire; and fourth, secrecy—“power shared is power lost.” …
These four things, will power, imagination, faith, and secrecy are the basic rules and the absolute basic requirements for the working of Witchcraft.138
Huson’s and Sheba’s books have been wildly influential over the last forty-plus years and are worth mentioning here because they are the foundation of “do-it-yourself” Wicca outside of an established tradition. By writing about the Witches’ Pyramid, they guaranteed that it would be a part of numerous Witch traditions and practices, and that its ideas would be shared, debated, practiced, and elaborated on long into the future.
As Witchcraft has grown over the last seventy years, the Witches’ Pyramid has grown alongside it, with each of its four tenets being given additional meaning. As with most things pertaining to the Craft, there are several different interpretations of the Witches’ Pyramid, and it’s possible that other authors and Witches will disagree with my understanding of them. Traditionally the four sides of the pyramid are thought to build upon one another, which means that without knowing, there can be no daring, etc. With that being said, here are my thoughts on each of the four sides of the pyramid.
To Know: There are many different types of knowing, which makes the first lesson of the pyramid open to several different interpretations. As Witches we should obviously possess a degree of book knowledge and an understanding of how our practices work, but “knowing” is a continual process. We don’t have all the answers once we are initiated or make our first contact with the Goddess. We must be dedicated to seeking wisdom and truth in our lives.
Knowing is also about what is inside of us. Answers exist both within ourselves and out in the greater world. A wise Witch knows not to give up on their dreams and desires. After all, it’s often our dreams and wishes that fuel our magick and give us hope when things look bleak. Creative visualization—the ability to see what we want in our mind’s eye—is one of magick’s foundations. “To know” is often associated with the element of air.
To Dare: Magick is often uncomfortable. We might create the cone of power to the point of exhaustion, and for many of us, simply finding Witchcraft required a gigantic leap of faith. Even though Witches in the West don’t face the level of discrimination they did just thirty years ago, this is still a path that sometimes comes with negative consequences. To be a Witch is to dare to be different, to live a life that’s different from one spent in the throngs of mundania.
Though standing in sacred space is not often equated with bravery, I believe that it’s a very brave act. To walk in the footsteps of goddesses and expose yourself to things greater than us humans takes courage, but Witches dare to do such things. As Witches we also explore the feelings and emotions that exist inside of us, and often these are things that we might find disturbing. But we do this as Witches because we want to explore our worlds both within and without.
The mantra “to dare” is often associated with the element of water, the element of death and initiation. Death and initiation are both journeys into the unknown, and such rites of passage require bravery and daring.
To Will: When I call upon my will during a magickal operation, I’m using all the collective energy and experience I have inside myself to create a new reality. Our will is what manifests change, and if we don’t utilize our will we won’t get the results we are looking for in our magickal work. Our will also applies to the tools we have at our disposal outside of ourselves; our will fuels the internal fire that gives us the desire to study and learn.
Our will is also about overcoming roadblocks and getting around obstacles and obstructions that stand in the way of our goals. In its purest form, the inner will is reflective of who we are as people, and most every Witch I’ve ever met is steadfast and determined. When circumstances are difficult, the Witch overcomes those challenges out of a sheer desire to succeed. “To will” doesn’t mean that we will always be able to solve every problem thrown at us, but it does mean that we are capable of getting past them. The will has always been associated with the element of fire, and that’s no different in the Witches’ Pyramid.
To Keep Silent: Lévi originally called the last leg of the pyramid “To Keep Silence,” but most Witches today use the better-sounding “to keep silent.” Silence can refer to many things. It’s about the power of listening and saying nothing when the time calls for it. It’s about the still, small voice inside ourselves that often offers wisdom and guidance. Instead of offering excuses for our failures, it’s often better just to be quiet and accept the truth of our failings so we can learn from them.
Silence also extends to other Witches. A Witch should not “out” another Witch unless they have permission to do so. (It’s easy to understand why this was an extremely important principle fifty years ago.) There’s also power that comes with being silent about our magickal operations. If we broadcast what we are doing magickally, we risk the possibility that our magick might be countered or interfered with in some way. Most magickal operations are better off not being spoken about. “To keep silent” is often associated with the element of earth.
To Go: This is not traditionally a part of the Witches’ Pyramid, but some groups use it for a variety of purposes. “To go” can be seen as the end result of using the four sides of the Witches’ Pyramid, meaning once we figure out those pillars, we know how to go forward with our magick. Since “to go” is often associated with the element of spirit, the pyramid’s four columns are seen as supporting that power.
The Witches’ Pyramid is often pictured as a pentagram, with spirit as the top or defining power. (The right-side-up pentagram is often thought to represent the triumph of the spiritual over the material.)
I use the Witches’ Pyramid as one of the essential pieces of knowledge shared in the second-degree elevation rite later in this book, though there are other uses for it when designing your own rituals. It can be used as a password, with every Witch being asked to go through the pyramid upon entering ritual space. It can also be used as a challenge during such rites, with prospective initiates asked to recite the Witches’ Pyramid or explain its meaning.
The Eight Paths of Power
Many Witches believe that there are eight distinct paths that allow us to use magick effectively. These are known as the Eight Paths of Power and were first published in Lady Sheba’s Book of Shadows in 1971.139 Each path offers a different way to change the individual consciousness of the Witch and to gain power and/or knowledge that will help with magickal endeavors. In this book I have included a modified version of the eight paths that I find to be more practical. Those who are interested in the more historical version can find it in a variety of places. (Check the bibliography for more sources.)
The Eight Paths of Power are a great addition to an initiation or elevation ritual, and since some of the techniques are rather advanced if fully explored, they’re probably most appropriate for a second-degree elevation instead of an initiation. In addition, they might also make a powerful test if a High Priestess were to ask a potential second degree to recite them. Since every coven and tradition is different, it’s possible for every group to have their own eight primary ways of working magick. Witchcraft is always adaptable, so use what works for you.
Much like the Witches’ Pyramid, the Eight Paths of Power are meant to build on each other, with the more advanced (and sometimes dangerous) techniques reserved for the end. Entire books have been written about each of these eight paths. What I offer here is only a sketch of their potential use.
Creative Visualization: This is the building block of all magick. If we are able to picture the things we love, want, and desire, we will be able to manifest them.
The Astral: There are worlds outside of the physical one on which we reside that we can visit and explore. Exploring the astral plane allows us to make contact with beings and entities who might help us in our journey as Witches, and gives us access to powers and energies we might not otherwise be able to acquire.
The Natural World: Our physical world is full of magick, and we can utilize that magick if we know where to look. Stones, herbs, springs, and so many other things have natural properties that can add to our magick and manifest things all on their own.
The Written Word: Books are full of knowledge, but the power of the written word extends far beyond that. We can use alphabets such as the runes or Theban script not only for their magickal properties but also to divine the future and to safeguard our secrets.
Movement and Dance: The cone of power can be filled with the energy of our movements and then sent out into the universe to create change.
Sound: Toning can raise energy, but even just the words we say can have a magickal effect. Telling someone they are beautiful or that you are thankful for them is a wonderful way to transfer energy. Music can induce emotion and create an altered state of consciousness that can be used for magickal purposes.
Intoxication and Indulging the Senses: Wine, marijuana, or even something as simple as caffeine can create an altered state of consciousness that allows certain Witches to more easily find their way to the gods and indulge the spirit. Intoxication is not a path that should be abused or used all that often, but people have been using intoxicants for millennia in order to have mystical experiences. In addition, things like incense can create a change in consciousness. Try using only one type of incense (or a proprietary coven-only blend) during ritual for an extended period. Eventually just the scent of it will result in a subtle change of consciousness.
The Great Rite: Sex can be used for magickal purposes, and it can also be used to feel and experience the divine. Part Five of this book is dedicated to it.
The Eight Paths of Power can be introduced during an elevation rite with a small explanation of each path, or something symbolic of each path could be given as a gift. Since that would end up being a lot of stuff, I think it makes more sense to present the paths as a revealed mystery. In a second-degree ritual, this might come after a challenge and include the promise that the coven will endeavor to teach these techniques now that the Witch being elevated is a second degree. Here is an example.
High Priestess: Tonight you have proven that you are one of us and are worthy of elevation. As we raise you up, we now offer to you additional knowledge that will help to guide your path as a Witch.
High Priest: Harken to the Witches’ Eight Paths of Power. Magick is a multifaceted manifestation, and there are many ways it can be wielded. When you step upon the eight paths, you will grow closer to our gods and this coven and develop a stronger understanding of yourself.
High Priestess: The first path is one that you have already walked, or you would not be here with us tonight. Magick begins inside of ourselves, and what we see there we can accomplish and make a part of our lives.
High Priestess: There are worlds beyond this one that can be traversed when the soul is separated from the body. The power to step out and away from this world resides within you. As Witches we travel between worlds.
High Priest: The Witch also knows what exists outside of themselves and what gifts the earth offers. There is the magickal both within and without, and the wise Witch takes advantage of those things while remembering to thank the Great Mother who provides us with all.
High Priestess: To you I present the Theban script, which hides and guards our deepest secrets. (The High Priestess provides a parchment with the Theban script upon it, or allows the elevating Witch to copy it into their Book of Shadows.) This is the language of the magician. Guard our secrets but ever search for your own. To be a Witch is to thirst for knowing, for knowledge is power.
High Priest: That the gods love us can be seen in the joy of the dance. There is magick in happiness, fellowship, movement, and rhythm. Your place is now secure in our circle and know that we shall ever hold your hand as we walk together with the gods.
High Priestess: From within our will we can project sound and energy to work our magicks, but know also that the words you utter both in and out of circle have the power to change worlds. A Witch is ever responsible for their actions, thoughts, and deeds. Heed the power of your own voice and use it for the betterment of the world and others.
High Priest: Drink deeply from the cup of life, taste the wine, and share the vine that you might grow closer to the Lord and Lady. Soften your analytical mind so that you might more easily walk between the worlds, but be ever mindful of your responsibilities and do not indulge too deeply. Extend your senses and partake of all that this coven offers. Breathe deep and smell the incense, and when you have need of us, light this that our power and presence might come to you. (The Witch is given a small vial of coven incense.)
High Priestess: And finally, the Great Rite. Sex is not a test or a challenge; it is a pleasurable act and also a way to raise power and be one with the gods. The Lord and Lady offer union for all who would walk in their ways.
High Priest: Heed the Eight Paths of Power, and use them to your advantage and never your detriment. Respect the gifts that been given to you and never abuse them, for the wrath of the gods will be your punishment if you do. Hail the Craft and hail (Craft name), newly made second-degree Witch!
The Goddess and God
The first public Modern Witchcraft traditions kept the names of their deities a secret. Only initiates were allowed to know the specific names of the deities a coven honored in their rites. Of course a Witch can worship whatever gods they want or decide not to worship any gods at all, but many covens have primary deities that are called upon more often than others. Initiations often culminate with the names of the coven’s primary goddess and god being revealed.
Originally the terms Lord and Lady were not meant to identify a specific, all-encompassing God and Goddess, but instead were meant to be used as titles for the deities whose names could not be shared in public. As Pagan-Witchcraft became less and less of a hidden tradition, people began doing ritual in public and in outer courts, and in order to not break their oaths they used “Lord” and “Lady” in place of more specific deities. Eventually people began using Lord and Lady as terms for the deities within certain Witchcraft traditions and not as placeholders.
Having a goddess and a god specific to a coven or tradition allows each covener to develop a powerful relationship with those deities. It also serves as a bonding mechanism for a coven or tradition. I honor several deities in my home and in my Witchcraft traditions, but two deities are generally reserved for my initiatory coven, which gives those rituals an extra degree of power. Those deities have also become whom I call upon when I have a particularly vexing or troubling issue to take care of. For lack of a better word, the exclusivity of their worship has made for a more intimate connection between them and myself.
In addition to naming a specific deity, initiation and elevation rituals are also excellent places to simply reveal information about a particular deity or perhaps a different understanding of a well-established goddess or god. For instance, we tend to think of the gods Apollo and Dionysus as existing in opposition to each other, but in Delphi (the home of Greece’s famous oracle) the two not only shared a temple but also appear to have been worshipped as alter egos of each other.140 That’s the kind of information that makes for a dramatic reveal as to the nature of a particular deity.
In the first-degree ritual included in this book (chapter 10), the natures of the Horned God and the Great Mother are revealed, hopefully providing a different understanding of the gods and how we interact with them. A particular understanding of a deity shared by a coven doesn’t mean that’s the only way a covener might understand the mysteries of Dionysus and Apollo. The Greeks, for instance, worshipped several different versions of the same deity, understanding that different places and people all interpret the divine differently.
The Charge of the Goddess (see Appendix One) was partially written to explain the nature of the Goddess to newly initiated Witches. The word charge is a Masonic one and originally indicated a set of instructions. In the case of the Charge of the Goddess, it’s thought of as a first-person (or first-Goddessperson) set of instructions for practicing Witchcraft. It’s another way of revealing the nature of deity at the end of an initiation rite.
The Challenge
Witchcraft is not easy, and I don’t think it’s meant to be. Finding magick, finding the gods, finding a community, and finding a coven are all things that can take years to do. Many of us have endured a whole lot of slings and arrows just to arrive at the point we are at today. Initiation and elevation should be no different, and shouldn’t simply be conferred upon a person without some sort of challenge.
Those challenges can take several different forms. As in Masonic ritual, with its threats of swords and daggers, dangers are often a part of Witch rituals. There are also the challenges that come with proving a certain amount of knowledge and/or proficiency. If someone can’t name all the tools upon the altar, they are probably not ready to be a High Priestess or High Priest. A degree is not just a reward for sticking with a coven or tradition for a number of years; it’s an indication that a Witch knows something and that their knowledge is acknowledged by other people in their coven and tradition.
The Physical Challenge
No Witch has ever sliced off the ear of an initiate after threatening them with an athame or sword. There’s no point in that, and that’s not what such confrontations are about anyway. Confrontations are about conveying the gravity of the situation to the initiate. An initiation or elevation is meant to be a life-changing experience. Someone standing in front of you with a sword suggests such a truth.
A physical challenge with a sword during a degree rite is meant to be an obstacle that can be overcome. The swordsperson might ask for a password, and when that password is given they would then step aside. An example of this might be asking an initiate to recite the Wiccan Rede:
Swordsperson: Before I allow you entry into this circle, you must recite the counsel that governs the magick of all the Wise.
Initiate: An it harm none, do what you will.
Swordsperson: If that is the code you live by, then I shall allow you to pass and experience the mysteries. Blessed be!
Obstacles can be placed anywhere in an initiation or elevation ritual. The easiest place to station someone with a large sword is at the entrance to a ritual space, either immediately outside the circle or perhaps guarding a doorway into it. Many years ago a friend of ours asked us to write a dedication ritual for him outlining the things he had learned so far while in the Craft. We put several obstacles in his way as he moved through our backyard and then eventually into our house and our ritual space. He ended up facing three individuals before being allowed entry into ritual space and was forced to recite the Wiccan Rede, “Perfect love and perfect trust,” and “As above, so below.”
During the dedication ritual of our friend, not all of us were armed with pointy pieces of metal. Simply stepping in front of someone provides an obstacle, and having a teacher or mentor ask a question can be just as intimidating as someone waving a sword in front of you. Obstacles don’t have to be stationary either. An initiate could find themselves “trapped” by several other Witches dancing around them. “Freedom” might come only by answering a question or perhaps joining in the dance itself.
As a ritual technique, a covener trapped by a group of dancers nearly writes itself:
“And how do we know now that you are one of us?” asked the dancer coyly. “Because you have joined us in the dance of the Witches and done so with perfect love and perfect trust in your heart! Go forward now on your quest!”
Physical challenges don’t have to involve only obstacles either. In my eclectic coven’s initiation ritual, we bind the initiate’s wrists together and then their feet and ankles (though loosely enough that they can still walk). Eventually the High Priestess cuts the cords around the initiate’s wrists with her athame before presenting the initiate with their own athame and instructing them to free their feet so that they might “walk the path of the Witch with this coven.” 141
I know many covens that require initiates to taste a “bitter drink” symbolizing the difficulties of Witchcraft. Such drinks might contain a few crushed-up aspirins in order to make them bitter and unpleasant. Another alternative is pure lemon juice, which often leaves the mouth with an odd feeling. I’ve never heard of any coven that uses a test requiring an initiate to drink something truly awful or that force someone to go against their dietary preferences.
Challenges might also involve the deprivation of the senses, such as making an initiate wear a blindfold (which we’ll come back to later), as in the case of the Masons, or making an initiate walk a crooked path, in the tradition of the Horseman’s Word (and doesn’t that just sound witchy?). No challenge should ever seriously threaten a Witch, but there’s nothing wrong with creating or utilizing something that gives a potential initiate pause. Besides, if it were all easy, wouldn’t everyone be an initiate?
The Challenge of Knowing
Some challenges are easy and self-explanatory. Asking an initiate to recite the Witches’ Pyramid while someone stands in front of them with a sword or an axe is rather obvious, but there are other tests of a Witch’s skill and knowledge that require actual doing instead of just memorizing a couple lines. What follows are some tests of competency that work well in initiation and elevation rituals.
The Test of the Tools
Asking a Witch to name every tool on the altar is perhaps the most common test in these types of rites, coming either at the first or second degree. If a coven uses a pretty basic altar without a lot of extras, it works well at the first degree, but if a coven has specific names for certain candles and uses a lot of tools, it’s probably best to use this at a second-degree elevation.
In our coven we keep thirteen tools on the altar, and initiates are expected to know each one and what they are generally used for. We use the chalice, wand, athame, sword, goddess statue, god statue, spirit candle, water, salt, incense, fire candle, white-handled knife, and libation bowl. Bonus points are awarded if someone calls the white-handled knife a kerfan, a traditional but mostly forgotten word for this knife that my wife says is never coming back. A greater challenge is to have the elevating Witch either describe or demonstrate how each tool is used in the circle.
Call the Quarters, Draw the Pentagrams, Know the Ritual
Many covens use invoking and banishing pentagrams when calling the quarters, casting the circle, and invoking the gods. In some covens just one pentagram is used for each operation, and in other covens there’s a different banishing and invoking pentagram for every element! That makes for eight pentagrams in all, which can be a lot to know—which is why it makes for such an effective test.
Witches might be asked to simply draw the appropriate pentagrams in front of the altar or to draw them at the proper cardinal points in the circle. If a coven uses particular ritual forms (such as the Osiris position for calling the quarters), those can be incorporated into the drawing of the pentagrams. The point of such an exercise is never to set someone up to fail, but to allow them to demonstrate their competency. In the heat of the moment we all forget things, and I’ll admit that I’ve whispered a hint to an initiate or three.
The Pentagrams
If a coven requires its members to memorize certain portions of the ritual, that can be used as a challenge. While I’m not of the opinion that everything has to be memorized, knowing the words used for circle casting, calling the quarters, and celebrating cakes and ale seems reasonable. In the case of casting the circle, this is a skill that can also be tested during an elevation rite.
Drawing Down the Moon
The rite of drawing down the moon (see part 4) is a fine challenge for a third-degree Witch. However, the act of drawing down hinges not just on the Witch being elevated but also on the deity being called to. If a coven is going to proceed with invoking deity as a test, there need to be some caveats. If deity chooses not to show up, is that the fault of the Witch doing the drawing down? Most often not.
More important than the rite being successful is that it is done properly. Are the words the coven uses for this ceremony being said correctly? Are the individual components of the ritual being followed? Because Witchcraft is a plea and a call to higher powers, there are some things that can’t be judged as unsuccessful simply because they didn’t proceed as we had hoped.
For many covens, drawing down the moon is one of Witchcraft’s most important rites. Being able to draw down is a skill that I think every second- and third-degree Witch should possess, but it’s also not a parlor trick or an ability that can be turned on or off depending on the circumstance. If this is a test you choose for your initiates, proceed with caution and with the knowledge that it doesn’t always work as hoped for.
Test Before the Initiation or Elevation
Our rites of passage and accomplishment are earned, and in a sense much of what goes into them happens before the elevation and initiation ritual. Expecting certain conditions to be met before an initiation or elevation is not unrealistic. If a coven requires their initiates to hand-copy their Book of Shadows, then providing proof of that accomplishment before a second-degree elevation is certainly acceptable.
I have yet to meet a High Priestess who gives her initiates written exams, but I know many who require their students to pass certain tests before initiation or elevation. One of the most common tests is successfully running a ritual according to their coven or tradition’s parameters. If a potential second-degree Witch forgets to cast a circle while setting up the working space, then they probably aren’t ready to be elevated. Being able to lead a ritual requires more than rote memorization or reading from a book; it also requires specific skills such as reaching out to the gods and casting powerful circles.
Other assessments might involve testing the humility of a potential third degree. A third-degree Witch serves their coven and their community; they don’t look for people to serve them. In many ways the months and years leading up to an elevation are their own sort of test. They test a Witch’s mettle, their dedication to the Craft, and how they interact with those around them.
The Giving of Gifts
An initiation or elevation rite is cause for celebration, and many covens commemorate such milestones with the giving of gifts. Often the gift giving is done after the rite has ended, but gifts can also be presented during the ritual itself. Usually the gifts given during an initiation or elevation contain secrets of mysteries of the Craft and fit well alongside the other components of such ceremonies. As long as whatever is given away resonates with the spirit of the coven, it can be worked into the initiation or elevation, but some things work better than others.
Degree Symbols
The most common gift given during an initiation ritual is the degree symbol. Many traditions have specific symbols for the three degrees and require members of the coven to wear those symbols to the coven’s rites. The traditional set of degree symbols has been in use since the 1950s and is still used by many covens today.
Degree Symbols: Inverted Triangle,
Upside-Down Pentacle, Triangle and Star
In that particular system the first degree is symbolized by an inverted (single-point-down) triangle. The triangle in this position is seen by many traditions as representing the yoni, which in the original Sanskrit translates as “source” or “womb.” 142 As such, it represents the Goddess, which is appropriate since she was the gateway to Witchcraft for so many of us.
The second-degree symbol is an upside-down pentagram, which means a single point is facing downward. The upside-down pentagram is often interpreted as the triumph of the physical over the spiritual, and for this reason it has been adopted by many Satanist groups. This has made some Witches wary of wearing this symbol, and I’ll admit I’m not sure I’ve ever met a Wiccan-Witch who wears one.143 In Witchcraft the upside-down pentagram can symbolize putting physical needs over spiritual ones, but it’s most often seen as a symbol of the Horned God. The two points facing up are his horns and the point facing downward his goatee.
The third-degree symbol is a combination of the triangle and pentacle, but with both now facing up. The upward-pointing triangle is often used to symbolize fire, and in the case of Witchcraft it symbolizes our inner fire, our will. The pentacle with its point upward represents the triumph of the spiritual over the material, a symbolism that has always appealed to me as a Witch. Some also see it as representing the gods: the Goddess as Maiden, Mother, and Crone and the Horned God as Lord of Life and Death. Like most symbols, what matters most is how it’s interpreted by the individual Witch.
Traditional symbols are not the only ones that can be used to represent degrees. There are literally thousands of options, as long as what’s being used has meaning to the coven using them. Some options include using an acorn for the first degree, an oak leaf for the second, and the Tree of Life for the third. Another option is an empty circle for the first degree, a single star pointing upward for the second, and the full pentagram enclosed in a circle for the third.
Coven Symbols
Some groups who have only one degree or don’t bother with degree symbols instead choose to hand out some sort of token representing the coven. My eclectic coven has only an initiation rite, and upon completing it, all of our coveners are given a medallion with the Tree of Life on it. The only way to receive that token is by becoming an initiate in the coven. (We chose a tree because our coven is named the Oak Court.)
A coven symbol can be a common Witch symbol or something less obvious. There’s nothing wrong with simply handing out a pentacle or something representing the goddess honored by the coven. Less obvious symbols often make great tokens because they encourage knowing winks from everyone in the coven and will often confuse others who don’t know how to interpret them. (When members of our Oak Court visit Pagan events with their coven symbol around their necks, they often get questioning looks from other Witches wondering just what it means and what group it belongs to.)
Simple tokens can contain a lot of meaning. The first-degree ritual in this book includes a key, which symbolizes admittance into the coven and a chosen family. It’s the kind of symbol one can wear anywhere without attracting any sort of attention while taking pride in knowing what it means and symbolizes. Even covens that are a part of a well-established tradition will sometimes adopt their own symbol to highlight the individuality of their coven.
Book of Shadows and Magickal Names
Nothing implies trust in a coven member or new initiate more than giving them a Book of Shadows. It’s one of the greatest honors one can give another Witch. With the exception of actual practice, a Book of Shadows is the clearest window into the beliefs and rituals of a coven or tradition. In our coven’s initiation rituals we always conclude with the presentation of the Book of Shadows.
Covens with a well-defined degree system often withhold certain pieces of information for the second and third degrees, meaning that additional parts of the book can be built into second- and third-degree rites. In addition to presenting a Witch with a Book of Shadows, there are other uses for a Book of Shadows in an initiation or elevation rite. If a coven uses a shared book for their rites, they might invite a new initiate to sign their magickal name in the book, marking their entrance into the coven (see the Margaret Murray–inspired ritual back in Chapter Three).
Many Witches use a magickal name both in daily life and in the circle. Some traditions require the use of a magickal name when doing ritual, and the announcement of an individual Witch’s magickal name is often a part of initiation rituals. There’s something magickal about announcing to your chosen family the name you most desire to be called, and to do so on one of the most important nights of your life as a Witch.
For many Witches the name they were given at birth is just not who they are. A magickal name allows a Witch to embrace and announce who they truly are to those they trust most. Knowing someone’s true name is thought of as a source of power by many. Having a magickal name that we share only with other Witches takes that power away from our enemies. Magickal names are often reserved only for use in the circle, and it’s considered a breach of trust to share someone’s magickal name without their permission. ( There are also many Witches who will happily share their magickal names. For instance, my magickal name is … On second thought … )
A Tool Used in the Ritual
Tools make great gifts for initiating or elevating Witches, especially if that tool is used in the ritual. An example of this might involve requiring an initiate to drink a bitter beverage and then giving them the cup or chalice. This is not a particularly common practice, but I think it has a nice symbolic quality to it, and doing something that most other covens don’t will make your own individual rites more unique.
One of the most common tools to give away during an initiation or elevation rite are the candles used during that rite. The idea behind this is that the power generated during the initiation will be absorbed by the candles and can then be accessed anytime the Witch has need of it simply by lighting the candle. I think this is a beautiful tradition and is one of my favorites. I know there have been nights when I’m separated from my favorite Witches and it’s nice to know that their energy is nearby if I need it. Similar to this is giving initiates any material that was used to create a physical boundary during the rite. After an initiation, our initiates always leave with a few oak leaves.
Some Other Symbol of Rank
Degree sigils or medallions aren’t the only symbols of rank in a coven, and there are other gifts that can be given that symbolize where a Witch is in their journey. The third-degree rite in this book (Chapter Ten) includes giving a set of horns or a crown to a newly made third-degree High Priestess or High Priest. Covens that use different-colored cords with their robes might hand these out during an initiation or elevation. As with everything related to the Craft, ultimately it’s about what matters to the individual Witch and their particular coven.
The Oath
Most initiation rites end with an oath, which details what’s expected of the newly made initiate. In the Masonic tradition, many of these oaths contain thinly veiled (and not so thinly veiled) threats. I don’t know of any Witches who have ever been physically harmed for violating an oath (and there are several well-known oath breakers in Witch history), and most Witches believe that the reckoning that comes from violating an oath ends up between the violator and their gods.
I think oaths are important because they convey the solemnity of initiation. We should not take the trust given to us lightly, and oaths drive home just how much faith has been put in us by our initiators. Most oaths are variations on the “obligation” used by the Masons:
I, [Initiate name], of my own free will and accord … do hereby and hereon most solemnly and sincerely promise and swear that I will always hail, ever conceal, and never reveal any of the arts, parts, or points of the hidden mysteries of Ancient Free Masonry, which may have been, or hereafter shall be, at this time, or any future period, communicated to me, as such, to any person or persons whomsoever, except it be to a true and lawful brother Mason … All this I most solemnly, sincerely promise and swear, with a firm and steadfast resolution to perform the same, without any mental reservation or secret evasion of mind whatever, binding myself under no less penalty than that of having my throat cut across, my tongue torn out by its roots, and my body buried in the rough sands of the sea, at low-water mark, where the tide ebbs and flows twice in twenty-four hours, should I ever knowingly violate this, my Entered Apprentice obligation. So help me God, and keep me steadfast in the due performance of the same. 144
The oaths used in Witchcraft are much like the one used in Masonry in that they simply ask the initiate not to reveal the mysteries given to them in the Craft. This doesn’t mean an initiate can’t acknowledge that they are a part of a tradition or coven, but only that the rites of that tradition or coven are not for outside consumption. Our covens and traditions give our lives as Witches meaning, and they can’t simply be hidden away in a box except for sabbats and esbats, but the exact details of what we do during those sabbats and esbats is easily kept oathbound. No one has to know exactly how I call the quarters as a Gardnerian or what the names of my coven’s deities are. Those are the types of secrets that are oathbound, not the fact that I cast a circle or celebrate cakes and ale.
If and when we leave a coven or tradition, we continue to respect our oaths. Oaths are often made to the gods, and who wants to disrespect them? They were here long before us and will be here long after. It’s always best to stay on their good side.
Disorientation
An initiation or elevation is designed to be memorable and transformative. Presenting challenges and obstacles creates a heightened sense of anticipation and emotion for the person going through the rite. Another way to do this is by disorienting a potential initiate. The Masons did this by using a blindfold and binding a cable tow to their initiates. (The symbolism of the cord was expressed by where it was tied to the initiating or elevating Mason.) Ritual works best when it transports us away from the mundane world, and one of the best ways to do this is to create experiences that just don’t happen in our everyday, ordinary existence.
Changing how we interact with the world has another unique effect: it makes everyone’s initiation or elevation different. Because we aren’t relying on our usual senses, we will experience things in a manner unique to ourselves. I can’t tell you what happened at my own initiation, but I can tell you that my recollection of it is not accurate. I remember it not how it happened but only how I experienced it. Months after it happened I was talking to my wife about it and she told me, “That part didn’t happen,” and she’s most likely right, but it happened in my world, so it also did.
Blindfolds and cords are ways to create a disorienting experience, but there are others. Leaving an initiate in complete darkness for thirty minutes to an hour before initiation forces them to look inward before looking outward to the gods and their chosen family. It’s a powerful way to get someone to face their fears and connect with their true will.
If you want to create a heightened sense of confusion and cause a Witch to wonder just where they are, spinning them around while wearing a blindfold will have that effect. Not only will they possibly be dizzy, but they won’t know if they are coming or going. Initiation and elevation rituals should remove us from the usual, and not knowing where a ritual is taking place or how we arrived at that space is certainly unusual.
Sound can be extremely disorienting. Tones and bells sounded in odd places can be bewildering and help to create an otherworldly experience. Music has a great deal of power over our emotions. Playing something witchy or even ominous can heighten a person’s emotional response and make them more receptive to the mysteries being shared. Scents are powerful too, and even just the right essential oil placed above the lip can be transformative.
In Masonic tradition the initiate is marched around the lodge room in what seems to be a random sequence, though that pattern is later revealed to have symbolic meaning. 145 In a similar fashion, an initiator might make their charge walk an invoking pentagram to mark their entrance into the Craft.
Everything we do during an initiation or elevation ritual should have some sort of greater purpose. Simply throwing a blindfold over someone’s eyes is pointless if it doesn’t play a role in the ritual. The Masons would remove the blindfold before showing a new initiate the light of the Masonic craft, and similar symbolism works in Witchcraft. For most of our lives we are separated from both the Goddess and magick, so revealing those truths should be as powerful an experience as possible.
130. Christopher Drysdale, “Every Trick in the Book: The Emerald Tablet,” in Jason Mankey’s The Witch’s Book of Shadows, 85–88.
131. Ibid., 86.
132. Gardner, The Meaning of Witchcraft, 93. For those who are curious, King Pausole (Gerald forgot the e) was not a legendary king at all but a twentieth-century French literary creation.
133. d’Este and Rankine, Wicca: Magickal Beginnings, 64.
134. Oxford English Dictionary, https://en.oxforddictionaries.com/definition/rede.
135. Lévi, Transcendental Magic, 30.
136. Lévi, Transcendental Magic, 29.
137. Huson, Mastering Witchcraft, 22. Originally published in 1970. My copy is the 1980 Perigree edition. Huson’s book is the first to contain Witch ritual that resembles Modern Witch rituals.
138. Jessie Wicker Bell (Lady Sheba), The Grimoire of Lady Sheba, 1. I’m quoting from the Centennial Edition published on Llewellyn’s 100th birthday.
139. Jessie Wicker Bell (Lady Sheba), The Grimoire of Lady Sheba, 5.
140. Broad, The Oracle: The Lost Secrets and Hidden Message of Ancient Delphi, 41.
141. I love this ritual, but it’s not in this book because I put it in The Witch’s Athame, my 2016 book also published by Llewellyn. That quote is on page 219. Yes, I’m quoting myself again.
142. Oxford English Dictionary, https://en.oxforddictionaries.com/definition/yoni.
143. Zimmerman and Gleason, The Complete Idiot’s Guide to Wicca and Witchcraft, 249–250.
144. From Duncan’s Masonic Ritual and Monitor. Emphasis in the original, along with some editing for clarity by the writer of this book (me).
145. Lomas, Turning the Hiram Key, 63.