How many Wiccans now days have ever heard of a 'Cone of Power'?
How many Wiccans now days have ever heard of 'The Witches Pyramid'?
How many Wiccans now days have ever heard of The Witches Cradle or the Witches Ladder?
How many Wiccans now days have ever heard of a 'Fetch' or even know what a 'Fetch' is?
How many Wiccans now days truely know what a 'Familiar' is (and it's NOT your Household Cat or Dog!)
How many knew that the Old School Witches used an 'Inverted Pentacle' instead of the upright one for awhile of which just showed that the witch was yet to Master the Spiritual over the Material, not to mention that in the Gardnerian (which is a Bad Word to many Femi-Nazi Wiccans but if it wasn't for Gardner Wicca would not be here today) Craft the 'Inverted Pentacle' is the 2nd degree symbol?
How many Wiccans know that in the Old Brittish or European Craft the God was more often Invoked or Appealed to for Magickal Workings than the Goddess and that later in The Craft due to such knowledge (as well as the knowledge of utiliizing 'Polar Opposites') that the High Priestess could NOT do SpellCraft properly in workings that were intended for the entire Coven without the High Priest since she needed his Channeled Energies to be projected into Her Naturally Receptive Energies for to do so?
[This is a now an almost "lost" Old Craft Secret of Magick!]
Cone Of Power
The Cone of Power is one of the methods of working magic, and refers to a technique for focusing energy within a magickal circle. The circle acts as both lens and container for the energy of an individual or group, creating a "cone" shape before being released for particular purpose.
WHY A CONE?
The cone is the shape of energy perceived by those sensitive to the energic currents. Churches also make use of this shape to direct energy heavenwards, with steeples situated over the altar, the nexus of energy raised by the congregation, concentrated by the priest and released. The witches' hat and magician's hat are reminders of the shape of this energy.
Most often, the Path of Dance and Path of Chant, two of the Eight Paths of the Craft, are used to "raise the cone of power". However, Paths of Meditation, Trance, Cords and the Great Rite, or combinations of any of the paths can also be used.
The basic energy is that of the human body, increased and channeled in accordance with Will.
RAISING THE CONE OF POWER
In wiccan ritual, a whirling dance, starting slowly and building to a faster and faster movement, is accompanied by chant. The first "cone" in a circle is often at the commencement of the magickal work section of a circle
It brings together the energies of the participants, bringing them into resonance, before the "work". A single practitioner of the art can raise this cone alone, though dance techniques other than a ring dance are used, especially ones which include rhythmic breathing such as the 2 x 4 and 4 x 4 patterns. The whirling dervish technique with the head thrown back is sometimes used.
Mechanics of the procedure might look something like this:
@149; Center (at balance point of energy in body)
@149; Ground (to object or to the earth at the center of the physical space you are whirling around)
@149; Increase energy within your body
@149; Focus (on purpose of work)
@149; Direct (to place of sending, setting up resonance)
@149; Release (at peak of cone)
@149; Ground (residual energy)
@149; Center (re-establish personal balance)
Two practitioners can make use of polarity theory to more readily raise energy. This theory holds that energy moves from positive to negative (imagine filling a cauldron), so two people facing each other cycle energy within their own bodies, and then cycle energy between them.
Three practitioners form a pattern reminiscent of triskel designs in celtic art. As you add each person, the pattern will change and needs to be taken into account by the main person focusing the energy. If all are focusing the energy, clear agreement about how and when it is to be focused and released gets crucial.
This is the trickiest part of raising the cone, requiring a sense of timing and an awareness of the level of energies. The "drop" or release is called when the energy peaks, and before it falls back
Like raising sexual tension and releasing it, the cone may plateau and drop slightly in energy before climbing to a higher peak. An inexperienced person may not know this or the group may only be able to raise a limited cone at first. Your mileage may vary.
The Witches' Pyramid is a set of four principles that are very important to successful magic: To Know, To Will, To Dare, and To Keep Silent.
Do research on the kind of spell you're trying to do. For example, if you like to use candles in magic, read about what other people have done with candle magic. What steps do they go through? You don't have to make your spell exactly like someone else's, but if you notice everyone else dressing their candles with oil while concentrating on their purpose (for example), it may be something that you want to try as well.
Also learn about the magical correspondences for your tradition and use them in your spells. For example, if you were doing a love spell and you were a fan of the Norse pantheon, you might want to emphasize certain runes, invoke the goddess Freya, and do the spell on Friday (Freya's Day). There are also correspondences in most traditions for colors, plants, animals, times of day, seasons, and phases of the Moon, among other things. The more of these you can incorporate into your work, the more focused your energy will become.
Go over the spell in your mind a few times before you actually do it. Know what step comes next. If possible, memorize your lines.
Now that the spell is focused, YOU must be focused as well. If you throw a spell together at the last minute and do it half-heartedly while watching The X-Files, no matter how skilled you are, you will get less "bang" from your magic than you would have if you prepared well and really concentrated on what you were doing. A regular practice of meditation (see Guardian's Grimoire I) will teach you to focus your mind, which will in turn fuel your magic much more effectively.
You must have confidence in your spell for it to work. You must believe that you have done real magic and that real magic works. Your spell feeds off of your thoughts and energy, and if you don't feed it well, it will die.
It's not only your conscious mind that has to believe in the spell, either. Any ambiguous thoughts you have lurking about will compromise your magic.
On the top of a sheet of paper, write what the spell is basically for: "A Job." for example. Write down every thought that comes into your head about "A Job." When you run out of ideas, read over your list. How many negatives are in it? These are thoughts that will interfere with your spell unless they are dealt with. For example, if I do a spell for "A Job." and I discover that deep down I hate most jobs and would rather not have one, for my spell to work I either have to change my goal or deal with my attitude problem.
The other part of daring is infusing your spell with some emotion. Emotion is energy. "Gosh, I wish he would leave me alone" will not give much punch to a hex. (I don't recommend hexes anyway, but this is an example of using emotion for energy.) "LEAVE ME THE HELL ALONE!!!" will do better. Feel something as you're doing the spell. Give a flying fig how it turns out. If you don't care, why should the Gods? (And for that matter, if you don't care, why are you doing the spell in the first place??)
To Keep Silent
Now that you've done your spell, shut up about it. There are two reasons for this. One is that the energy you spend dwelling on it is energy that isn't going to the spell itself. It's more efficient to just think about something else and let your spell do its work. The other reason is that if you talk about your spell to someone who doesn't believe in magic or who doesn't want your spell to work for some reason, that person can undermine your confidence, which will weaken the spell.
A string of 40 beads or a cord of 40 knots which some witches use for magic. The beads or knots enable a Witch to concentrate on repeated chants or incantations without having to keep count. Thus enabling the Witch to focus all his or her attention on the desired goal.
According to old tradition, a witch's ladder, a rope of 40 knots, could be used to cast a death spell over a person. The witch tied the knots tightly in hatred and hid the rope so the victim could not find it because the only cure was to find the rope and untie the knots.
The spiritual entity that usually takes on some sort of animalistic element and role and that is recognized in the Three Fold Alliance (human, faery and animal). A specific ally and helper that is born from a place outside our own consciousness and awareness but still comes from within our own mind though it appears to take on physical attributes.
Fetch - A male witch who acts as a messenger and general assistant to a coven's High Priestess and High Priest. Also called the Summoner.
Fetch -- A young boy, usually 12-15 years of age, who acts for the High Priest and Priestess in locating things either within or without the covenstead.
Familiars are commonly associated with witchcraft and witches. A familiar is a spirit that aids a witch. Familiars are also called imps. Literature is littered with stories of familiars. There are several mentions of familiars in the Bible. Who can forget the three animal familiars from Macbeth? Even the modern Harry Potter series of books contains animal familiars.
Familiars were thought to be gifts from Satan or were inherited from other witches. Familiars would carry messages, go on errands, and assist in black magic rituals. Sometimes the witches would take on the form of their familiar so that they could travel about freely.
Belief in witchcraft and familiars was very common in Europe during the Middle Ages, especially in Scotland and England. There were several witchcraft trials in Europe way before the famous Salem witch trials in the American colonies.
England passed the Witchcraft Act of 1604. This act made it a felony for anyone to associate with, hire, be friends with, feed, or reward any evil spirit for any reason. A person accused of witchcraft could be doomed if a spider, bee, or something similar made an appearance during a trial. It was common practice to identify it as a familiar, which "proved" the person's guilt.
During the Salem witch trials in 1692 in Massachusetts, two dogs were tried, convicted and hanged for being a witch or a witch's familiar.
Familiars usually took the form of animals, but not always. The most common types of familiars were cats, dogs, owls, and toads. But familiars also came in the forms of spiders, mice, chickens, owls, bats, wolves, even flies. Basically, familiars could take on the form of any animal, insect or bug.
Although familiars could take shape in many forms, the cat was by far the animal most often suspected to be a familiar. In particular, the black cat was considered to be a familiar. To this day, black cats are associated with witches, Halloween, and bad luck.