IN THE LAST lesson I dealt with the power of the spoken word; how, through chant and rhyme, a cone of power can be raised to work magick. Now I would like to look at the power of the written word.
At the time of the Middle Ages, when thousands were being murdered on the charge of Witchcraft, there were many (including high dignitaries of the Christian Church) who engaged in the practice of magick quite openly and unrestrained. The reason they were able to work so freely lies in the word practice. Witchcraft was a religion and hence a rival to Christianity. But magick, of the ceremonial or ritual variety, was only a practice and therefore no cause for concern by the Church. It was also, by virtue of its nature, a very expensive and learned practice and, consequently, only available to the select few. That select few consisted of a high percentage of ecclesiastics who not only had the time to devote to its pursuit but who also invariably had access to the necessary funds. Bishops, archbishops, even popes were known to practice the “art magick.” Gerbert the Bishop, who later became Pope Sylvester II, was regarded as a great Magician. Other practitioners included Pope Leo III, Pope Honorius III, Pope Urban V; Nicephorus, Patriarch of Constantinople; Rudolf II, the German emperor; Charles V of France; the Cardinals Cusa and Cajetan; Bernard de Mirandole, bishop of Caserta; Udairic de Fronsperg, bishop of Trent, and many others.
Each of the Magicians worked alone and jealously guarded his methods of operation. They guarded them not from the Church authorities, but from other Magicians. To protect their works from prying eyes, they utilized secret alphabets. Many of these alphabets are known today and are used not only by Magicians but also by Witches and other occult practitioners. Why would Witches be interested in using these forms of writing?
Germanic runes
Danish runes
Swedish-Norse runes
Scandinavian runes
Anglo-Saxon runes
Seax-Wica runes
Looking first at the Germanic, there are basically twenty-four different runes employed, though variations can be found in different areas. A common name for the Germanic runes is futhark, after the first six letters (‘th’ is one letter: u). In the Scandinavian (Danish and Swedish-Norwegian, or Norse) are found sixteen runes, again with (innumerable) variations.
The Anglo-Saxon runes vary in number, anywhere from twenty-eight to thirty-one. In fact, by the ninth Century, in Northumbria, we find thirty-three runes. A common name for the Anglo-Saxon runes is futhorc, again from the first six letters.
A “Celtic” form of runes is sometimes employed by Gardnerian and Celtic covens. The “Saxon” runes are the ones favored by the Seax-Wica.
The Tree: The Complete Book of Saxon Witchcraft
Raymond Buckland
Samuel Weiser, N.Y. 1974
Some, perhaps, for that same secrecy, but the majority for another very good reason . . . one way to put power into an object is to write appropriate words on it whilst directing your energies into the writing.
When you write in ordinary, everyday English script, you invariably do not concentrate. You are so accustomed to writing that you can almost let your mind wander. Your hand almost guides itself as it scribbles away. Compare this to writing in a strange alphabet that you do not know well. Then you have to concentrate; you have to keep your mind on what you are doing. So it is in this way—by utilizing an uncommon form of writing—that you can direct your energies, your power, into what you are working on.
Runes
Magicians would use the above method for charging (with power) everything they needed: their sword, censer, wand, athame, bell, trumpet, trident, etc. They would even write words of power on their robes and on a parchment hat. You have already done something similar when making your athame, by carving the handle, or etching the blade with your name or your magickal monogram. This helped put your own personal power into the instrument.
The word rune means “mystery” or “secret” in Old English and related languages. It is certainly heavily charged with overtones and for good reason. Runes were never a strictly utilitarian script. From their earliest adaption into Germanic usage, they served for divinatory and ritual uses.
There are more variations of runes to be found than any other alphabet, it seems. There are three main types: Germanic, Scandinavian, and Anglo-Saxon. They each, in turn, have any number of subdivisions and variations (see previous page).
Ogam Bethluisnion
The early Kelts and their priests, the Druids, had their own form of alphabet. It was known as Ogam Bethluisnion. It was an extremely simple form and was used more for carving into wood and stone than for general writing. With a center line, it lent itself especially to carving along the edge of a stone or a piece of wood.
Ogam Bethluisnion alphabet
Egyptian Hieroglyphics
Many magickal orders, past and present, have leaned heavily on an ancient Egyptian background. For them, of course, the Egyptian hieroglyphs are ideal as a magickal alphabet. Sir Wallis Budge’s book, Egyptian Language, is a useful reference work here. Below is a basic Egyptian alphabet.
Going back to where I started, with the Magicians of the Middle Ages, we find a variety of magickal alphabets. These have been culled from various ancient grimoires (from the Old French for “grammar”)—the Magician’s book of rituals— extant in the libraries and private collections of Europe and America.
Egyptian hieroglyphics
Theban
The Theban Script (also known as “Honorian”) was a popular alphabet and is used extensively by Gardnerian Witches, among others. It has been referred to—quite incorrectly—as “the Witches’ Runes” (it is not runic at all, in fact) and as “the Witches’ Alphabet.”
Theban alphabet
Passing the River
The Passing the River alphabet was used almost exclusively by the Ceremonial Magicians, though occasionally you may find an individual Witch using it on a talisman.
Passing the River alphabet
Angelic
Also known as “Celestial,” this is another alphabet used almost exclusively by Ceremonial Magicians.
Angelic alphabet
Malachim
Sometimes called “Language of the Magi.” Again, used almost exclusively by Ceremonial Magicians.
Malachim alphabet
Pictish
The PectiWita (more on this Scottish tradition in lesson 15) have two interesting forms of magickal writing. One is a variation on runes and the other is based on the old and very decorative Pictish script. Both are presented here for the first time ever.
As with other runes, the Pictish ones are made -up entirely a of straight lines. The way they are put together, however, requires some study. Basically they are used with phonetic spelling, which means spelling a word the way that it sounds. The English language has a ridiculous number of words spelled nothing like the way they are pronounced. For example, bough (the limb of a tree), cough, through, though, thought . . . all have the ough spelling, yet all are pronounced differently! Spelling those words phonetically they would be: bow, coff, throo or thru, thoe and thot. This is the basis of PectiWita runes; things are spelled as they are pronounced. Now with the examples just given, through could be either throo or thru, so let us look at the pronunciation of vowel sounds. “A” can be 
as in hat, or as in hate. “E” can be ē as in let or ē as in sleep. “I” can be i as in lit or 
as in light. “O” can be o as in dot or ō as in vote. “U” can be u as in cup or ū as in lute. By putting the bar over the letter (ā, ē, , ō, ū) we can ū indicate the hard sound and so differentiate from the soft sound. This is how it is indicated in the Pictish runes:
Pictish alphabet
We can go a step further with these runes. Vowels are pronounced differently when put with an “R” (ar, er, ir, etc.) or with another vowel and “R” (air, ear, ere, our, etc.) To indicate these, then, the symbol is used over the vowel:
= ar, ae, air
= er, ere, ear, eir
= ir, ire
= or, ore, our, ow
= ur, ure
If this sounds complicated, bear with me. You will find that, with a little practice, it is really quite easy. (A point to remember if you just cannot get it no matter how hard you try, then just go ahead and spell out the words, substituting rune for letter without regard for phonetics. But do give it a good try first, please.)
A final note on the vowels. As in Hebrew, the vowel is written above the line, in Pictish runes, rather than with the consonants, like this: the vowel is written above the line. Phonetically this would be: thē vôel is riten abuv thē līn.
Here are the complete PectiWita Runes:
You will notice that there is no “C,” “Q,” or “X.” The reason is the use of the phonetic spelling. In the English language “C” is either pronounced the same as an “S” (as in cease) or the same as a “K” (as in escape), so there is really no need for the “C.” Similarly, “Q” is pronounced “kw” (e.g. quick = kwik) and “X” is pronounced “eks” (e.g., eksaktli), so they are unnecessary. Single runes are given for “ch,” “sh,” “th,” “gh,” and “ng.” Here are one or two examples of phonetic spellings using these:
Hopefully you can see that this is really not too difficult and can actually be a lot of fun. A few more examples might help:
Some PectiWitans go just one step further by running all the words together and using a “+” to indicate separations:
Warning: Do not try to slant your runes (these or any other ones); keep them upright.
The Picts were better known for their elaborate “swirl” style of writing. This is much more straight-forward than the above runes in that it is not done phonetically, and the vowels are kept on a level with the consonants. It is simply a matter of substituting the Pictish symbol for the letter. The symbols are rather elaborate, however, and you need to be careful in doing them to avoid confusion, Again, single symbols are included for “ch,” “sh,” “th,” “gh,” and “ng.”
Here are a few examples of using the Pictish script:
Talisman and Amulets
A talisman is a man-made object endowed with magickal powers, especially for averting evil from, or bringing good luck to, its owner. In this sense a rosary, crucifix, St. Christopher medal, etc., is a talisman. But, as you know, the most powerful magick is that done by the person affected. In the same way, the most powerful talisman is one actually made by the person who needs it. A talisman made by one person for another can never be as strong as a personally made one.
According to the magickal order, the Hermetic Order of the Golden Dawn, a talisman is “a magickal figure charged with the force that it is intended to represent.” It is so charged by (1) inscription, and (2) consecration. It can be of any shape, but let us first look at the material of the talisman.
A talisman can be of virtually any material— paper, silver, copper, lead, stone—but traditionally some substances are more appropriate than others, and their use will imbue the talisman with more power. For example, as you know, the days of the week are each ruled by a planet: Sunday—Sun, Monday—Moon, Tuesday—Mars, Wednesday— Mercury, Thursday—Jupiter, Friday—Venus, Saturday—Saturn. Now each of these planets is, in turn, associated with a metal: Sun—gold, Moon—silver, Mars—iron, Mercury—mercury, Jupiter—tin, Venus— copper, Saturn—lead.
From the table of correspondences given in the last lesson (for candleburning) you know what properties are governed by the days of the week and can therefore correlate those properties with the metals:
Sunday—Sun; GOLD; fortune, hope, money
Monday—Moon; SILVER; merchandise, dreams, theft
Tuesday—Mars; IRON; matrimony, war, enemies, prison
Wednesday—Mercury; MERCURY; debt, fear, loss
Thursday—Jupiter; TIN; honor, riches, clothing, desires
Friday—Venus; COPPER; love, friendship, strangers
Saturday—Saturn; LEAD; life, building, doctrine, protection
So, for example, knowing that Friday is associated with love (ruled by Venus) and that the metal is copper, you now know that a love talisman, for greatest effect, should be made of copper.
Mercury gives a bit of a problem in that it is a liquid metal. It could be used by containing it in a miniature bottle, or similar item, but it is more usual—and a lot easier—to substitute either gold, silver, or parchment (these days aluminum is also sometimes substituted for mercury). Gold, silver, and parchment can similarly be used in place of any of the other metals if they are unobtainable but, obviously, the specific metal would be the best to use. It is not always easy to find just the right piece of the correct metal, but do not give up too easily. Handicraft/hobby stores are great for many of them (copper especially). I have also seen some very creative talismans: for instance, engraved on a silver dollar or half dollar, when silver was called for; on a copper penny or even on a flattened copper kitchen measuring-spoon, when copper was called for.
Having chosen your metal, what should you inscribe on it? There are many talismanic designs shown in occult books, taken from such old grimoires as The Greater and Lesser Keys of Solomon, The Black Pullet, Le Dragon Rouge, and similar, but just copying these designs, without knowing their meanings or significance, and without personalizing them, is completely useless. You need to work specifically for yourself and specifically for your problem. The most common form a talisman takes is a metal disc worn on a chain as a pendant. On one side of the disc, you place the personalization, and on the other side, the objective. Let me give you an example.
Figure 12.1
Figure 12.2
Figure 12.3
Figure 12.4
Figure 12.5
Figure 12.6
Jane Doe wants to get married. She already has a boyfriend, so love is not what she is seeking. Looking at the table of correspondences, you see that Mars rules matrimony. That is what she needs; a talisman to bring matrimony. The metal for Mars is iron. Jane can either obtain an iron disc and engrave on that, or she can opt for the easier gold, silver, or parchment.
One side she is going to personalize. She will do this by putting her name and date of birth on it. To be more specific, she should use her Craft name (in either runes or one of the other magickal alphabets). She could also add her magickal monogram; also her astrological Sun sign, Rising sign (Ascendant), and Moon sign, plus ruling planets. These can all be arranged on the disc as shown in figure 12.1. There is no special pattern that has to be followed, however; anything that is aesthetically pleasing will do. An alternative is shown in figure 12.2.
As each of the symbols is engraved, or written, Jane should concentrate on herself; seeing herself as she best likes herself—charming, happy, self-confident.
On the reverse side of the talisman she should put symbols traditionally associated with marriage: wedding bells, flowers, rings, hearts, etc. Or, she could place a sigil, constructed from numerological squares as follows.
From numerology you know that the numerological value of the word matrimony is the following: 4 + 1 + 2 + 9 + 9 + 4 + 6 + 5 + 7 = 47 = 11 = 2 (see lesson 3). We now construct a magick square containing all the numbers 1 through 9 (figure 12.3). Now, starting at the first letter (M 4), draw a small circle, to indicate the start, and then draw a line to the second letter/number (A = 1). Follow on to 2 and then to 9. There are two 9s in the word, so stop and start there with small triangles. Continue through to the last letter and draw another small circle to indicate the end, at square 2, the numerological total (47 = 11 = 2), draw a large square. The finished figure will look like figure 12.4. Transferred off the squares it will look like figure 12.5. What you see in 12.5, then, is the sigil for matrimony. This is what Jane must inscribe on the reverse of her talisman. As she does so, she should concentrate her thoughts on the marriage itself: see herself as a bride; see herself and her husband exchanging rings; see the Handfasting ritual taking place, etc. Such a sigil would be far more potent than the traditional bells, hearts, and rings.
Incidentally, the magickal square used has the numbers arranged in such a way that, no matter whether you add them across or down, each line totals the same. Then the numerological total of the three columns’ total equals 9 again (figure 12.6).
The day associated with matrimony was Tuesday. Then that is the day on which Jane should make her talisman. She should also consecrate it on a Tuesday . . . consecration is the secondary requirement for charging the talisman. She does not have to do it on the same Tuesday, but both days should be during the waxing phase of the Moon. The consecration she would do would be as given in lesson 4.
Whatever the purpose of the talisman, follow the same procedure: (1) find the day and the metal associated with your desire, (2) personalize one side of the appropriate piece of metal, (3) take the key word and, from the magick square, find the appropriate sigil, (4) inscribe the sigil on the reverse, concentrating as necessary, and (5) consecrate the talisman.
Once the talisman has been made, wear it on your person for three days and nights. This can be done either by fastening it to a chain and hanging it around your neck, or by carrying it in a small bag made of silk hung around your neck. After the three days you do not need to wear it constantly, but can simply carry it in your pocket or purse. You should, however, sleep with it under your pillow each night.
At each New Moon, clean the talisman with a good metal cleaner (for a parchment talisman, just rub over it lightly with a gum eraser). For copper, I would recommend washing with salt and vinegar, and then rinsing in clear water. At each Full Moon, hold out the talisman in the palm of your hand and expose it to the unrestricted light of the Moon. By “unrestricted,” I mean not through the glass of a window. Either open the window or take it outside. Expose it for about five minutes on each side while concentrating your thoughts on the original purpose of the talisman (if it should happen to be cloudy, so that you do not actually see the Moon itself, that is all right).
A talisman can also be made in the form of a ring. Usually such a form has the objective as the main engraving, with the personalization around the edge. It should be made following the same procedure outlined above.
Amulets
The difference between a talisman and an amulet is that while a talisman is human-made, an amulet is natural. A bear’s claw, a rabbit’s foot, a four-leaf clover; these are all amulets. One that is considered very much a Witch’s amulet is a stone with a natural hole through it . . . obviously tying in with fertility; the hole being symbolic of the vagina. So you cannot make an amulet; you can only adopt one. If you take an amulet and then engrave and consecrate it, as above, then it becomes a talisman (or, if you prefer, a “talismanic amulet!”).
Songs, Dances, and Sabbat Games
Music is the source of many types of enjoyment. There is the deep satisfaction that comes from creating music by voice or instrument, as well as the pleasure that may be found in listening. Many people protest that they are not musical. It is true that those who understand music can be of most value, but persons without musical education can still learn to sing for their own pleasure and to enjoy beautiful songs and stirring rhythms. Simple melody and clearly defined rhythm is characteristic of folk music. Most of the songs and the music of the Craft have noncomplex melodies and obvious rhythms. Song and dance is traditionally associated with Witchcraft. In fact, the waltz was originally derived from an old Witch dance known as La Volta.
Most singing can be done in the Circle, however, the Clearing the Temple is usually performed before any general dancing or games take place, with the exception of course, of dancing for the raising of power when working magick. Let us look at power-raising dancing first, then.
Power Raising Dance
In lesson 11, I talked about rhythm and a steady beat and said that, “as a coven you can dance around, deosil, holding hands or you can dance individually . . .” The simplest dance consists of the group holding hands, facing inward, and moving clockwise around the Circle with a regular left-right-left step . . . but as each foot hits the ground, bend the knee a little. You will find that this gives more of a bounce, a rhythm, to your movement around the Circle. A more popular Craft step is the “double step,” which includes a slight rocking movement back onto the rear leg and forward again before advancing. The actual movements would be as follows.
Power Raising Dance
• Start with the left foot forward to 1 then follow with:
• the right foot forward to 2 (still behind the left).
• Then left foot forward to 3,
• and right foot forward to 4 (now ahead of the left).
• Now left foot forward to 5,
• and right foot forward to 6 and so on.
It may look a little complicated at first but really it is not. Try it. You will be surprised how easily you will pick it up.
Other easy steps are the left, hop, right, hop, left, hop, right, hop, etc. If you have difficulty with any step, then just do what comes naturally and fits in with the music, chant, or rhythm. The main thing is that your steps should come automatically so that you can concentrate your thoughts on the actual magick.
An alternate to holding hands, with arms outstretched, is to lock arms around waists or around shoulders, giving a very tight, close circle. Another way to join together is with arms bent at the elbow and linked—left arm under the arm of the person to your left.
Covens can also dance individually, as the Solitary Witch must. This can be a straightforward movement around the Circle, deosil, using one of the above steps, or it can be a gradual progression spinning as you go (again spin deosil). The spin can be at a constant rate, or it can start slowly and gradually build up speed.
Caution: Mind you do not get dizzy and either fall on the candles or break the Circle.
To sum up I would say: the simpler the dance step, the better when working magick.
If you are chanting as you dance, do not be afraid to stamp the floor, hard, on the beat. It will both help you keep the rhythm and help build the power. As for singing, as with all Craft singing, do not worry if you are not too musical. If you do not always hit the right notes it does not matter . . . it is the feeling that counts.
General Dancing
Fun dancing—in or out of the Circle; not being done for magick—includes all of the above and also elaborations on them. “Paired spinning” can be fun. This is where two Witches stand back-to-back and link arms at the elbows. They then go spinning ’round and ’round the Circle, sometimes one bending forward to lift the other off the ground.
The “Lufu,” or Meeting Dance
A popular dance is the Lufu (an old Anglo-Saxon word meaning “love”). It is often done at the start of a meeting, especially if there are several covens celebrating a Sabbat together. Sometimes referred to as the “Meeting Dance,” it consists of a leader (not necessarily the priest or priestess; anyone can start it) leading a chain of Witches, joined up alternately male-female. The leader takes the chain in a twisting dance around in a large circle and then gradually moves in toward the center, in a spiral. When the center is reached, the leader doubles back around and starts to work out again. As each person now passes those going the other way, they kiss. The line continues on until it has unwound again and everyone has kissed everyone else.
Music and Song
If the coven includes instrumentalists, that is fine. But if it does not, do not worry. Get a drum or tambourine; a bongo drum is good, or something like an Amerindian or Haitian drum or a bodhran (Scottish/ Irish handdrum). The old name for a Witch’s drum, incidentally, was tabor (pronounced “tay-ber”). A drum can actually be made fairly simply.
Just beating out a rhythm is sufficient, especially for power raising. Guitars, dulcimers, recorders, flutes, harmonicas, panpipes, even rattles such as maracas, are all good coven instruments. There are several good books of Craft and Pagan music available these days. In appendix C I include some for you to try.
Sabbat Games
After the religious part of the Sabbat comes the fun and merriment. Along with singing and dancing there are, traditionally, games. Some can be played before the Circle is opened up, and others need more room. A few are detailed here. You probably know many more yourself.
The Candle Game
All Witches but one sit in a circle, facing inward. The chosen one stands outside this circle. A candle is lit. If the one outside the circle is a woman, then the candle is now passed back and forth about the Circle by the men. It does not have to be passed in any special direction; it can move around or back and forth across the Circle of Witches. The woman
Figure 12.7
runs around trying to blow out the flame, over the heads and shoulders of those forming the circle. When she is successful, she and the male who was holding it at the time will kiss and then change places. Then the women will pass the candle around, with the man running around trying to blow it out.
Witches’ Whispers
Everyone sits in a circle. One person starts by asking a question. Any occult-type question will do, though it should be one that calls for an answer of several words, rather than just a “Yes” or “No” (e.g., “When is the best time to consecrate a talisman?”). The person to the left of the questioner thinks of an answer, and whispers it in the ear of the person to their left. That person, in turn, must whisper those same words (exactly as he or she thinks he or she heard them) to the next person and so on around the circle, each person passing on exactly what he or she think was said whether or not it seems to make sense. When it gets back to the questioner, he or she repeats the question out loud and follows up with the answer that arrived. Invariably the answer gets so garbled in the process of being whispered from one to another, that it is extremely distorted and very humorous. You should not consciously try to alter what you receive; you will find that it becomes slightly garbled all by itself! An alternate is not to bother with a question but have someone start passing around one simple statement. When it gets back to the originator, they can repeat the original followed by what was finally received.
Psychic Games
Games to test psychic abilities are very popular. For example, form two lines with the coven sitting in couples, back-to-back. Each person has a piece of paper and a pencil. One line are senders and the other line receivers. Each of the senders thinks of an object and draws a simple picture of it on his or her paper (simple is best: e.g., car, house, Moon). He or she then concentrates on it. The receivers each try to pick up what their respective partners are sending and draw it on their piece of paper. Do this three times, then switch so that the original senders are now receivers and vice versa. You will be amazed at how similar many of the pictures are (see figure 12.7).
Outdoor Games
There are many outdoor games that can be adopted for coven use. One is to suspend a barrel hoop (or make a large hoop of cardboard) on a rope, from a tree, and to set it swinging. The Witches then take turns trying to throw a spear through the hoop, from various distances. Another popular pastime is target archery.
An interesting “game” is dowsing. Let someone hide a quarter somewhere in/on the ground (or in the house, if inside). Tape another quarter to a forked stick, as a “witness,” and try to find the hidden one. Several people can search at the same time. Pendulums can also be used (see lesson 8). The quarter goes to the one who finds it, of course.
I am sure you can come up with many more exciting and fun games yourself. The point is that Sabbats should be fun. They are a time for celebration. The religious side is very important, of course, but follow it with fun, games, good food, and drink; wine and ale . . . which brings me to:
Homemade Wine and Ale;
Home-cooked Bread
It is simpler to just go to the store and buy the necessary edibles for the next coven meeting, but it can be a lot of fun making them. Below are some simple recipes for wine, beer, bread, and even cakes for the Cakes and Ale rite.
Cowslip Wine
Boil 2 pounds of white sugar with 5 quarts of water and, while boiling, pour over a quart of the yellow part of fresh cowslip flowers. Leave for 24 hours then strain and add 2 tablespoonfuls of yeast spread on a piece of toast. Leave, covered, for 10 days, stirring two or three times each day for the first 4 days. Then strain and bottle.
Bee Wine
Into a syrup solution of 2 tablespoonfuls of sugar to a pint of water, put a very small pinch of tartaric acid and a piece of yeast the size of a dime. Start it off at blood heat and stand the glass jar in a warm room near the window and leave it to work. In a day or so the yeast will begin to grow and collect bubbles so that the lump floats up and down (like a bee; hence the name). Fermentation will proceed until the liquid is converted into a sweet wine, which you may flavor by adding fruit juice. Do not let it work too long or it will become sour and eventually turn to vinegar.
Tomato Wine
Take the stalks off some sound, ripe tomatoes, and cut them in pieces with a stainless-steel knife. Then mash them well and let them drain through a hair-sieve. Season the juice with a little salt and sugar to taste, then nearly fill a jar with it. Cover fairly closely, leaving a small hole for the fermentation to work through, and leave until the process has ended. Pour off the clear liquid into bottles, cork them tightly, and keep for sometime before using.
Dandelion Wine
The flowers must be freshly picked and the petals stripped from them. Put a gallon of these petals into a tub and pour a gallon of freshly boiled water over them. Leave, covered, for 10 to 12 days, stirring now and then. Then strain the liquid into a preserving pan and add 3 to 4 pounds of sugar, according to taste. Also add the thinly pared rind of 1 orange and 1 lemon, plus the rest of these two fruits cut in pieces but without any trace of the white pith or the pits. Boil gently together for 20 minutes then remove from heat. After it has cooled to lukewarm, put in a tablespoonful of brewer’s yeast and a quarter of an ounce of compressed yeast spread on a piece of toast. Cover again and leave for a couple of days. Then put into a cask, bung it down, and bottle after two months or more.
Apple Beer
Pour 4 gallons of boiling water over 4 pounds of grated apples in a pan and stir each day for 2 weeks. Then strain and add 2 pounds of sugar, 2 ounces of root ginger, and a level teaspoonful each of cinnamon stick and whole cloves. Pour into a cask and bung tightly at once. In six weeks it will be ready to bottle.
Honey Beer
Boil an ounce of ground ginger with half a gallon of water for half an hour, then put it into a pan with a pound of white sugar, 2 ounces of lime juice, 4ounces of clear-run honey, the juice of 3 lemons, and another half-gallon of cold water. When the mixture is just lukewarm, add a large teaspoonful of yeast spread on a piece of toast. Leave for 12 hours and then strain through muslin. After giving it an hour or two to settle, carefully bottle it.
Mead
Dissolve 4 pounds of honey in a gallon of water and add an ounce of hops, half an ounce of root ginger, and the pared rinds of 2 lemons. Boil this for three-quarters of an hour, pour it into a cask to the brim and, when it is still lukewarm, add an ounce of yeast. Leave the mead to ferment and when this has ended, put in a quarter of an ounce of isinglass (obtainable from wine-making supply stores) and bung the cask tightly. In six months it should be bottled.
The above mead recipe is a simple beekeeper’s one. The fact that mead was originally a very important and complicated drink is shown in The Closet Of Sir Kenelm Digby, first published in 1669, where no less than twenty-six recipes are given for it. Here, now, is a recipe for sack mead. If made properly (and this is somewhat more ambitious than the above recipes) it is the equal of any mead found in Tudor times.
Sack Mead
Requirements: Firstly, a wooden vessel in which to mix the honey and water and carry out the fermentation for one month in a constant temperature of about 60°F. Secondly, a vessel such as a small barrel in which to place the fermented liquor to mature for a matter of two to three years before being drunk. Thirdly, a smaller container (such as a glass jar) with adequate seal, into which to put a certain amount of the original fermented liquor. This will be used from time to time to top up the liquor in the barrel. In the course of two to three years in the barrel, the liquor shrinks and it is necessary to have a sufficient amount of surplus liquor to keep the barrel full and so exclude air. This surplus liquor should be put aside at the beginning, after the first month’s fermentation, and should be about 10 percent of the whole. As the sealed glass container is emptied progressively, by topping up the barrel, what is left in the container must be put into a smaller vessel so that this reserve is always able to fill the container in which it is kept. If it is left half-filled it will probably vinegrate and would then spoil the liquor in the barrel.
Having provided the vessels, it is now necessary to have ready 5½ pounds of good quality honey to every gallon of warm water with which it is to be mixed. Mix the two together until the honey is dissolved. Obtain a good quality wine yeast (e.g., a sauterne, sherry, or malaga) and prepare your yeast before mixing the honey and water. This preparation is done by putting the yeast in a small glass vessel and adding small quantities progressively (over several days) of a weak solution of honey and water, and keeping the yeast in a warm temperature of about 60°F until the yeast has started to ferment. When it has started to ferment, add this to the dissolved honey and water when the latter is at about 70°F. Cover the fermenting vessel with a loose cover and cloth so that air can reach the fermenting honey and water mixture without allowing insects and dust to penetrate.
After about a week, the liquor should be fermenting, and at the end of a month the fermentation should have ceased. The liquor should be strained off carefully, leaving all lees aside, and placed in the barrel that should then be firmly sealed and only opened occasionally to top up, as explained.
There is, usually, a considerable danger of vinegration if the honey is not sterilized in the first instance. Therefore, at the risk of a certain amount of loss of quality, it is the usual practice to boil the honey and water in the first instance for about fifteen minutes. This kills any wild ferments and ensures a relatively sterile “must,” to which to add the yeast. The barrel and the original fermenting vessel should also have been sterilized.
The whole point about using wine yeasts is that they give a much higher alcohol content than the ordinary brewer’s or baker’s yeasts.
Locust Beer
Gather the long black locust pods and break them into pieces. Place a layer in a keg or crock. Add ripened persimmons or sliced apples. Cover with boiling water. Add 2 cups of molasses. Let set for three or four days before using, for best flavor.
Nettle Beer
Only young nettles should be used for this. Two gallons of them must be washed well and put into a pan with 2 gallons of water, half an ounce of bruised ginger root, 4 pounds of malt, 2 ounces of hops, and 4 ounces of sarsaparilla. Boil for a quarter of an hour and then strain over a pound and a half of castor sugar. Stir until the sugar dissolves, then add an ounce of creamed yeast. When the beer starts to ferment, put it into bottles and cork these and tie down with string. This beer needs no keeping.
Bread and Cakes
Acorn Bread
Need: 2 cups milk, 2 tablespoons oil or butter, 2 teaspoons salt, 2 tablespoons dry yeast, 4⅔ cups acorn flour (see below), ⅓ cup honey, and ⅓ cup lukewarm water.
Best acorns to use: white, burr, and chestnut oaks. Collect in the fall when ripe.
To make acorn flour: remove shells. Boil the acorns whole for at least two hours, changing the water each time it becomes light brown in color. After this boiling the acorns should be dark brown in color. Roast in 350° oven for 1 hour. Chop them finely, then grind in a flour or food grinder. Dry again in the oven for another half hour. Put through the grinder again at least twice.
Scald the milk. Stir in the oil or butter, honey, and salt. Pour into a large bowl and let cool to lukewarm. Meanwhile, dissolve yeast in the lukewarm water. When milk mixture is lukewarm, add yeast. Gradually stir in the acorn flour. Cover the bowl with a towel and let rise for 2 hours in a warm place. Knead for 10 minutes. Roll out like thick pastry. Roll up in the manner of a jellyroll. Shape into 2 loaves and place in greased bread pans. Let rise, covered, for another 2 hours. Bake for 40 minutes in an oven preheated to 375.° Remove from the oven and brush the tops of the loaves with oil or melted butter.
Indian Hominy Bread
Need: 2 cups cooked grits, 2 beaten eggs, 2 tablespoons melted butter, 2 teaspoons salt, ½ cup milk.
Add milk, butter, and eggs to warm grits. Pour in greased pan. Bake at 375° for 30 minutes. Serve hot. (Note: Thin cakes of this mixture may also be fried on a hot griddle.)
Indian Pumpkin Bread
Need: 1 cup cornmeal, ½ cup pumpkin (cooked), water enough to moisten mixture.
Mix the ingredients and work until the dough is easy to handle. Form into flat cakes. Cakes may be baked in a greased pan (as biscuits), or fried quickly over an open fire.
Irish Oatcakes
Need: 3 cups oatmeal, 1 stick butter, ½ teaspoon salt, ⅓ cup water, ½ teaspoon baking soda.
Preheat oven to 350°. Mix together 2 cups of oat meal with the salt and baking soda. Melt the butter and add the water. Stir the butter and water mixture into the oat mixture and blend until you have a dough. Sprinkle your work surface with the remaining oatmeal and turn the dough onto it. Flatten the dough with your hands and roll with rolling pin until about ¼ inch thick. Use a very small cookie cutter or cut into small squares and place on an ungreased baking sheet. Bake in the oven for about twenty minutes, then lower the heat to 300° and toast until light brown.
Scotch Oatcakes
(My personal favorite) Need: 1 cup butter or margarine, 1 cup oat flour, ¼ cup bran, 1 egg, 1 cup milk, ¼ teaspoon salt, ½ teaspoon baking powder, and ½ teaspoon cream of tartar. (A sweeter version can be made by also adding ¼ teaspoon vanilla, ½ teaspoon cinnamon, and 6 teaspoons sugar.)
Cut the butter into the oat flour and bran. Add the remaining ingredients and mix thoroughly. Preheat oven to 425.° Drop the batter, by well-rounded tablespoonfuls, onto a greased cookie sheet (or, for neater cakes, drop into greased muffin pans). Bake 12 to 15 minutes or until lightly browned. Serve with butter (and jelly, if desired).
Corn Bread
Need: 2 cups white meal (coarse ground), 1 cup flour, 1 cup milk, 1 tablespoon sugar, 4 teaspoons baking powder, 1 egg, and 1 teaspoon salt.
Combine all dry ingredients, then add egg and enough sweet milk to make thin batter. Pour in hot, well-greased bread pans. Bake in a hot oven until brown.
Acorn Cookies
Need: ½ cup oil, ½ cup honey, 2 beaten eggs, 2 cups acorn flour (see “Acorn Bread” above), ½ teaspoon almond extract, and 1 cup dried, chopped acorns.
Blend the oil and honey; beat in the eggs. Add the almond extract, acorn flour, and the chopped acorns. Drop this batter by teaspoonfuls onto a lightly oiled cookie sheet or shallow baking pan. Bake in a 375° oven for 15 minutes.
Important Reminder
In both this and the previous lesson, I used examples of “love” magick and talismans. Please always remember that love magick directed at a specific individual should never be done, for to do so would be to interfere with that person’s free will. You would be forcing them to do something they would not normally do and may not wish to do. The only sort of love magick permissable is that aimed nonspecifically . . . to bring “someone” to you, without knowing exactly who it will be. But far better to just work on yourself, to make yourself generally more attractive, than to try to change someone else.
Lesson Twelve Questions
1. Write your name in the different styles of runes. Practice writing a special sentence in a favorite magickal writing style.
2. Decide what you want to make a talisman for. Determine what metal, what planetary influence, and what inscription you will use. Illustrate your talisman below.
3. Describe your special amulet. Where and how did you find it? What do you think that it will be best used for?
4. List any favorite recipes for foods and beverages that have been a success.
5. List the coven games you have tried and their results.
Examination Questions
for Lesson Twelve
1. What is a talisman? How does a talisman differ from an amulet?
2. What two main actions are required to charge a talisman with power?
3. How do you personalize a talisman? What would you put on a talisman to personalize it for a man named Frank Higgins (Craft name: Eldoriac), born June 27, 1942?
4. Mary Pagani (Craft name: Empira) wants a better paying position where she works. There is a position opening up soon and she would like to get it. Explain how you would determine what to put on a talisman for her to wear to ensure getting this promotion. When and how would you make it? Mary’s birthdate is February 14, 1954.
5. Henry Wilson is in love with Amy Kirshaw. She is not in love with him. Explain how you would determine what to put on a talisman for Henry, and when and how you would make it. Henry’s birthdate is October 12, 1947, and Amy’s is July 3, 1958.
6. Practice writing in all of the magickal alphabets illustrated. Why should you not try to learn any of them by heart?
Please Read
The Runes and Other Magical Alphabets by Michael Howard
How To Make and Use Talismans by Israel Regardie
Recommended Supplementary Reading
The Book of Charms and Talismans by Sepharial
Egyptian Language by Sir Wallis Budge