The Primordial Image: Archetypes
http://www.witchvox.com/va/dt_va.html?a=ukgb2&c=words&id=13592
Well, the dust has settled since the book launch of Craft of the Wise: A Practical Guide, which was a huge success thanks to Liz and Trevor of Witchcraft Ltd who allowed us to use one of their shops as the venue for the evening.
It was lovely to see so many friendly faces there, and it was a particular honour to have all three of my High Priestesses in the same room – Natalie, Maureen, and Morgaine. This was a rare occasion, which gave us a chance to recognise their own commitment to the practice, whilst also giving me the chance to thank them for what they took the time to teach me.
Janet and Gavin also made an appearance, by the medium of the World Wide Web. They had emailed a speech to my friend Maggi to read out on the night, which was a really lovely thought – and one which now has us referring to Gavin as ‘King of Witches’!!
Since the book has been released, I have been contacted by occult practitioners from all over the world – Greece, Australia, and America, to name just a few. This has been extremely insightful (and something which I hope will lead to some travel opportunities in the future!)
So what next? A few months ago, I said that I would wait at least a year before considering writing anything new. But it looks like the Gods have other ideas, as always … so I have begun writing again, this time focusing on a more specialised aspect of the Craft. I am being guided in a certain direction to cover what I consider as a very important, but often overlooked, element of modern (and ancient) practice. I will not be able to make the subject matter of the new book public yet, but I will as soon as I can.
So, being guided on a new path yet again! As with my writing, I usually find that it is near impossible to try and plan a ritual with a fine toothcomb – and we very rarely write a detailed script to follow. A list of ideas, and a suggested itinerary for the evening, perhaps – but intuition, creativity and fluidity seems to be what is most important to those Gods who are guiding my groups’ rituals at present.
They have started appearing to us in their fundamental, organic, primordial forms. They ask for words and actions which are spoken intuitively from the heart, from the depths of the soul – spoken with a passionate delivery which is – quite literally – fit for the Gods. We are all being pushed in the direction of more daily devotions, lustration, supplication, and meditation.
Of course, it won’t always be like this; the wind will change again, and we will be taken down another path, guided in another direction. The important part of course is to listen, to learn how to separate their messages from the white noise, and act on what the instinct of the moment demands.
Speech by Janet Farrar & Gavin Bone: Read out by Maggi at the Book Launch, 21st Nov 09
Dear Vikki, and everyone gathered here. First of all, our apologies, we would have liked to have been here for Vikki’s first book launch.
All we’d like to say is that it is a wonderful book – one of the best Wiccan primers we have seen in a long time. Of course, we would have to say that, as Gavin is mentioned at the beginning of the book as the head of a line, and Janet and Stewart’s books are mentioned throughout!
It’s gone to Gavin’s head and he is now seriously considering whether he should get everyone together and get them to crown him ‘King of the Witches!’ (pause) Yes, thats a joke! But he is proud to tell people that Vikki is decended from that small coven in a terraced house in Portsmouth, where he and his ex-wife initiated Maureen many years ago.
Just to finish by saying we hope Vikki and everyone have a good night, and this is the first of many book launches for Vikki.
Blessed Be
Janet Farrar And Gavin Bone
A philosophical / psychological perspective, 22 Nov 2009
By D. Wells
By D. Wells
I came upon ‘Craft of the Wise’ by accident. I am not a witch; however my field is philosophy / psychology, and as I flicked through the pages I immediately recognised a number of the symbols that Vikki Bramshaw had included in the text and was intrigued. So, I read on, and I am glad that I did.
‘Craft of the Wise’ is a beautifully written introduction to witchcraft in the European tradition and, more specifically, in Vikki Bramshaw’s own coven. Ms Bramshaw, comes across as a wise, down-to-earth woman, with a good sense of humour as she guides the reader through the history of witchcraft, the tools of the craft, our relationship to the gods and goddesses, ritual and magic, astrology, magic and spellwork and much more. The book is made up of her own notes and coven training material, and she wrote it with the ‘purpose of giving the reader an insight into the true Craft’. I cannot say to what degree Vikki Bramshaw succeeds in this aim – as I said, I am no witch and therefore in no position to comment. However, from a philosophical / psychological perspective I can say that I was astounded and delighted to discover: (a) the relationship the Craft has towards the powerful energies that shape us and our world (which I know as archetypes / old gods / laws of nature / etc); (b) the way witches work with these energies (and have worked with them for millennia); and (c) that so much of what is written correlates with my own field of work. Indeed, I am certain that I shall be using ‘Craft of the Wise’ as a reference book for some time to come. Moreover, as I read ‘Craft of the Wise’ I performed many (though not all) of the tasks and I can verify that Ms Bramshaw guides the reader through some powerful insightful / transformative techniques, the effects of which should resonate in a person’s life / world for a considerable time.
In short, when I picked up ‘Craft of the Wise’ I knew next to nothing about witchcraft… and what I thought I did know was highly suspect! However, after reading the book I now hold the Craft in the highest regard: those old ‘mothers’ knew a thing or two, or so it seems. And as I have said, I am no witch – at least I don’t think I am, because with such a shared concern the boundaries between the magical and the academic have fudged a little bit more. Therefore, I can certainly recommend ‘Craft of the Wise’ to any ‘uninitiated’ reader, like myself, who wants to understand more about witchcraft, their own mind / soul and the world in which they live.
REVIEW – Wicca: Magickal Beginnings – Sorita D’Este & David Rankine
It was a breath of fresh air to read this book, which presents accurate and historical information in order to separate the ‘myth’ from the ‘reality’ in regard to the origins of Wicca. Perhaps for the first time, these authors look closely at the individual practices which make up Wicca as a whole, and source the exact origins of these practices.
There has been much hostility between different traditions of modern witchcraft in regard to whether Wicca is – or is not – a continuation of older practices. To compound this, many practitioners of Wicca also try to avoid association with the more controversial figures - such as Aleister Crowley: and this book proves – whether you like it or not! – that Aleister had an enormous influence on Wiccan practice, particularly in relation to some of its most highly regarded ritual and poetry.
This book presents very clearly that Wicca – whilst a new concept as a whole - is indeed based on older practices, perhaps including the mystery traditions of Greece and Rome, Ceremonial Magick, the Cunning Craft of Britain and the Grimoire tradition (the latter which provides Wicca with such key practices as the directions, or ‘quarters’, and the magic circle; used in both Traditional Wicca and some forms of modern British Cunning Craft). The authors also give their own opinion based on the evidence at the end of the book as to which they believe was the most prevalent influence; but the reader is reminded to come to their own conclusions.
I would thoroughly recommend this book, ‘Wicca: Magickal Beginnings’ to the serious student who is interested in the historical origins of this tradition, as well as the continuation of magical traditions as a whole – and I would not hesitate in placing this book next to other ground breaking titles such as Professor Ron Hutton’s ‘Triumph of the Moon’. However – that being said, there is something more than just historical evidence coming through this book when one reads between the lines; because, whilst the authors draw on historical information, they also interject this work with statements such as, ‘the outward radiation of the mysteries’, and ‘the continuation of a growing spiritual and magickal current’, when speaking about the more debated texts and/or practices which have influenced the growth of Wicca – such as work by Murray, Frazer, and Leland.
An absolute gem of a read - and a fantastic ‘myth-buster’, too! Any serious student of Wicca (and indeed student of any other magical tradition) should read this book, in order to gain further insight into the ‘Magickal Beginnings’ of this practice – a practice which has, very quickly, become one of the fastest growing belief systems in the world.
The Primordial Image: Archetypes
Copyright V.Bramshaw 2009.
There seems to be a certain amount of conflict in the Pagan community when it comes to the use of the concept of ‘Archetypes’ within Paganism, Wicca and Witchcraft. This is perhaps down to varying theological views; in particular the differences between Polytheism and Pantheism, but perhaps also due to a certain degree of ‘misinformation’ about what an ‘Archetype’ actually is. I briefly discussed Archetypes in relation to Deity in Chapter 5 of my book, ‘Craft of the Wise’; but as I have recently started a Psychotherapy course, I decided that it would be rewarding to explore these terms further, and expand the subject. I am by no means an expert on psychology, but I hope this article will offer a little towards the understanding of the subject in relation to the Craft.
A ’standard description’ of an archetype (as a concept) is: ‘Archetypes are deep enduring patterns of thought and behaviour laid down in the human psyche, which remain powerful over long periods of time and transcend cultures and generations. Archetypes form the basis of instinctive patters of behaviour that all of humankind shares in common.’
Most people know the common Archetypes (the ‘fundamental personalities’): such as The Mother, The Hero, The Tyrant, The Lovers, The Child, and so on. But like many other terms which have been adopted by modern western spiritual paths (such as the concept of ‘Karma’) the Archetype is a much more expansive subject than it is usually given credit for.
On considering what the term Archetype can really offer when it is applied to Wicca and Initiatory Craft, we need to first look at what the pioneering psychologist Carl Jung really meant when he coined the term, ‘Archetype’. When Jung first came up with the concept, he named what we now call the ‘Archetype’ the Primordial Image, a phrase which he first used in his essay, ‘Instinct and the Unconscious’. When he started his ‘modern quest for the soul’, Jung turned to classical mythology to explain his insights - because he realised that the stories within the mythology explained his concept quite nicely as reflections of the human experience – together with other ‘gateways to the unconscious’ such as dreams, rituals, and the use of art and symbols. In this way he identified the power of mythology as (what could be described as) both a ‘key’ and a ‘mirror’ for the journey of the soul.
Jung also had a personal interest in Alchemy and Astrology, and believed that the ultimate aim of the individual was to fulfil our inner potential, and through personal transformation one might journey to meet the Self (the true and ‘whole’ identity) and the Divine. Paradoxically, this journey to meet the Self often meant growing out of one certain Archetypal role, and perhaps growing into another - and ultimately discovering the true identity.
It might also be important to define where Jung thought these Archetypes originated. Jung speculated that the ‘Archetype’ came from the collective unconscious, and that Archetypes represent behaviours and dispositions before they manifest as earthly existences. Some practitioners of the Craft equate the Collective Unconscious with the Astral Plane – described as the Conceptual and Formative level of the Magical Personality, or, the Bridge between the physical and the spiritual worlds; it can perhaps also be equated with the Transcendent Intuition of Briah in Qabalah.
Carl Jung was also one of the first modern psychologists to state that the human psyche ‘is, by nature, religious,’ and throughout his life Jung strived towards a spiritual purpose beyond material gain. The original ancient Greek meaning of the word Psyche is breathe of life, or soul spirit, so its already obvious that something much bigger is at work here; this concept seems conducive with cosmology, and manifestation: our minds and souls receiving messages and instructions from higher planes of existence.
The Archetypes are also associated with the Major Arcana in the Tarot deck (which are also reflected in the Qabalah) such as The Hermit, The Emperor, and The Lovers; ‘personality types’, which we can all relate to. In fact the Tarot is a good example of how the Archetypes can be both psychological and mystical; the Tarot is read both intuitively (opening the psychic senses to pick up messages from the Divine) but also from a psychological angle (how the chosen cards relate to phases and initiatory processes within our lives).
Jung also used the term Archetype to explain patterns of ‘key events’ (or perhaps what we in the Craft might call ‘initiations’ or ‘ordeal rites’) such as birth, childhood, marriage, and preparation for death (which are summed up very nicely by the ‘Fools Journey’ of the Tarot) as well as explaining patterns of ‘Motifs’, such as those used in mythology like the apocalypse (the end of the world) and the deluge (the great flood) and so on; these are key themes which we find in both ancient mythology and on our cinema screens today.
So what is the confusion here with Wicca? There have been many influential works over the last 15 or so years which have discussed Archetypes in relation to Wiccan practice. For instance, Vivianne Crowley’s book, ‘Wicca’ discusses Archetypes in detail, but this time as ‘aspects’ of the Gods. Vivianne was certainly in a position to discuss the subject of psychology, as she was a trained Jungian psychologist and a university lecturer in Psychology of Religion. However reading over her work again whilst researching for this essay, I realised that I didn’t quite see eye to eye with her when it came to the Gods; as her particular style of Wicca seems to explain the Gods away simply as ‘aspects of our own Psyches’. This may not be what she actually meant, but this is how it comes across; and it certainly seemed there was no place in this way of thinking for a Polytheist.
However that aside, she does explain a few things nicely in relation to the role of the Archetype manifesting in the magical personality (you, as Priest/ess) – (note: not a God/dess manifesting – an Archetype manifesting!) – and how perhaps ritual might aid this particular psychological journey. This, I think, is the true use of Archetypes in ritual and magic. She explains in this context that the Archetypes are ’symbolic forces’, which appear in a dream, or a vision; part of us, yet separate. That we are externalising our unconscious, and that Wicca enables us to connect with ’sub-personalities’, in order to enrich our own lives: all terms which were used by psychologist Carl Jung. Putting all notions of religion aside for one moment, this concept seems to work; but as soon as you start adding the ingredient of Gods and Goddesses back in as ‘expressions of Archetypes’, it suddenly excludes a large number of the Pagan community (including me!) who do not believe that the Gods are simply ‘unconscious archetypes’ !
Perhaps the common misconception is that, “to acknowledge the Archetypes is to not recognise the Gods as individual deities”. This is in fact a fallacy, which appears to me as a direct contrast to Jung’s beliefs. It is also often assumed that the word ‘Archetype’ is used interchangeably to describe ‘an avatar of the Godhead’, or ’stereotype’ – which is also incorrect.
Looking at this mode of thought, it is easy to see how one can come to the conclusion that anyone who works with Archetypes cannot possibly believe that individual deities even exist – perhaps viewing them as ‘Aspects of the All’, at the very most. But in truth, this a bit like saying “because I acknowledge a mother archetype within myself, I don’t believe that my real birth mother exists”!
The subject of psychology and its relationship with Wicca has been hotly debated for many years, and is probably very much down to an individuals’ interpretation of the Godhead. Indeed, there are many books available on the Craft which suggest that the Gods are nothing but avatars of an ‘all-power’ – or even, just ‘aspects of our own psyches’. This seems very much like the opinion that spellcraft and ritual is nothing more than some sort of ‘psychological self help aid’ (which in my opinion, misses the point a bit).
Whilst ritual and spiritual experiences are intrinsically connected with psychology and the workings of our mind, I would suggest that we should consider that there may be more to magic, ritual, and the Gods, than just this. There seems to be an assumption in modern thought that Divinity should fit into one particular form; it is, after all, human nature to try to ‘pigeon-hole’ things and name them all. We are obsessed with ‘isms’: polytheism, pantheism, animism … as if we can break up the whole universe into tiny pieces, and label each part with a name. Perhaps, this just is not possible; perhaps the divine is multi faceted, and unfathomable.
My own beliefs are complicated, and not everyone will agree with them! I suppose I most closely identify with Pantheism, but I also believe that the Gods are indeed very complete and individual beings. (A few hard Polytheists might hit the ceiling after reading that – so I am sorry if you now have a bump on your head!) My coven uses a hypothesis called the ‘Triangle of Manifestation’, which is similar to the ‘Tree of Life’ of the Qabalah, and communicates that many deities manifested from one divine source whilst also existing independently. This should not be misinterpreted as meaning that ‘the Gods are simply avatars of the Godhead’.
Personally, I do believe it is possible to work with individual deities as a Pantheist and perhaps even a (Soft!) Polytheist, whilst also acknowledging the presence of Archetypes as messengers, signals, patterns, and aspects of the collective unconscious which manifest within your own personality; a personality which can be enriched by basking in the divine radiance of a (very real) God or Goddess. For those of us who have worked within the Wiccan tradition, we need only look at one of our most prominent pieces of ritual material for this mystery:
‘And thou who think to seek for me, know thy seeking and yearning shall avail thee not unless thou know the mystery; that if that which thou seek thee find not within thee, thou wilt never find it without.’ – Charge of the Goddess
I believe the the Gods should be acknowledged as individuals, but we should also be aware of their overwhelming effect within our own lives and within our own psychology by their very presence. Janet Farrar and Gavin Bone say in their recent book, Progressive Witchcraft:
‘From our experiences, we can say without a doubt that the Gods and Goddesses of the ancient world are real. Like human personalities, they can have strange nuances and flaws … the Divine should always be accepted as individuals. You must believe in them as persons in their own right if you are going to connect and work with them. It is not recommended that you work with them as Jungian concepts alone. It simply wont work. Its necessary to believe in them.’
So assuming now that the Gods are real, individual entities, how do Archetypes relate to ritual practices, such as Invocation?
In my experience, an Invocation brings both the individual God/dess into your being, whilst also enhancing certain aspects of your personality (hidden or unhidden) by bringing them to the surface, and embracing aspects of the collective unconscious, via what Jungian psychologists would term the Archetypes. This is not the say that the manifestation of the actual individual deity did not occur – but that their presence caused a reaction within you. ((This is rather like spending lots of time with a close friend or work colleague – particularly your peers - and unconsciously starting to take on their mannerisms!))
If this assumption is correct, then now we can tackle one of the most controversial aspects of the use of Archetypes in Wicca – the grouping of Gods as ‘representations of Archetypes’.
Assuming that the Gods are indeed real – like you or me – it is then conceivable that several Gods can be be grouped as one Archetype, without compromising their individuality – for instance, The Warrior. Several Army Officers can also be grouped as Archetypal Warriors – it doesn’t mean the Army officers are not real !! We could also say that Officer Doe represents the The Warrior Archetype, because he recieved a medal for bravery. This doesnt make Officer Doe a figment of our imagination.
In addition to the evocation of Archetypes within the person through Invocation of the Gods, it is also the case that working with a deity a certain amount of positive transference can occur– (a psychological term for transferring a relationship from one person to another). For example, a person who could not communicate well with their own mother, might transfer that mother role onto another person – perhaps an older female friend, or superior female work colleague – who they see as fulfilling that role. In the case of Wicca and Initiatory Craft, they may transfer that role onto a particular God or Goddess – who fulfils that particular need.
At its simplest, an Archetype is just another a pattern within the universe. Those patterns are seen within ourselves, and within the Gods. We may share those patterns, by working with Invocation and recognising that God or Goddess within our lives; much like we share mannerisms with close friends, and unconsciously copy our peers. The effects of working with a deity can cause positive changes in a similar way within our own psychology, activating the primordial unconscious potential, which can be actualised through ritual and working with the Gods.
Copyright V.Bramshaw 2009.
In today’s society, the scourge (whip, or flail) has acquired an unfortunate reputation as a symbol of sex, domination and corruption. Its partnership with modern Craft can sometimes appear confusing, and many critics have claimed that it is an unnecessary tool introduced by Gerald Gardner, along with the rule of working scyclad, to ‘spice up’ his rituals. Consequently, opinions are divided within the Craft community regarding the use of the scourge; however, when used correctly, scourging does allow the consciousness to be altered and energy to be risen, by causing changes within the body.
Some of the oldest evidence of the scourge is depicted in the artwork of the ancient Egyptians. In Egypt and other mystery religions, the scourge was a sign of fertility rather than as a flagellation tool, because it was used in agriculture for thrashing wheat in order to separate the corn from the chaff. Consequently, the scourge was often depicted in the hands of fertility Gods such as Osiris as well as the hands of Kings, to demonstrate their power and wealth during their reign. The scourge or flail was also associated with the power of the Gods. During the ‘Mysteries of Dionysus’ (God of Wine) in ancient Greece, the scourge was used together with the partaking of alcohol to change the consciousness and encourage trance-like chants and dance. The use of the scourge was used to represent the dedication of the temple initiate, and this continues symbolically in modern Craft initiations today to test the commitment of the person and confirm their willingness to ‘suffer to learn’.
As time passed, the meaning behind the scourge as a symbol of power and fertility began to change, and it started to become more associated with sexual virility, depicted with such deities as the Egyptian Phallic God, Min. It is important to remember that the fertility of the fields and the fertility of the people was seen as synonymous; an important balance between nature and mankind.
The agricultural flail did not look the same as the scourge we know today. Rather than a handle with rope or leather thongs, the farming flail was made of a wooden club chained to a handle which swung freely to thrash the corn. Later in history, people began to recognise that this was also a very effective and very deadly weapon.
The combination of fertility, power, abundance and eventually punishment was probably what led to the scourge becoming associated with dominance, but it was only with the coming of monotheistic religion that it became well known for its role in actual chastisement as part of religious discipline.
In Initiatory Craft and Wicca, the scourge represents the authority of the Priestess and the Goddess, together with the willingness of the trainees and initiates to learn. It is used symbolically only, and is never used to inflict actual harm.
You can read more about The Scourge and associated practices in my new book, Craft of the Wise.
REVIEW – The High Heeled Guide to Enlightenment – Alice Grist
As a late 20’s-something bottle-blonde, who is almost as equally concerned about my waist measurement as I am my spiritual path, ‘The High Heeled Guide to Enlightenment’ by Alice Grist came across as rather refreshing!
There is a strange perception within the new age and religious scenes that in order to be truly spiritual, one should cast off the trappings of mundane life to become some sort of sandal-clad, ‘a-sexual’ being, in order to reach enlightenment. But this is certainly not the case in my own tradition; in which it is important to embrace the sacred feminine in all her aspects.
In contrast, ‘The High Heeled Guide to Enlightenment’ offers the modern woman an insight into the different alternative spiritual paths which are available to us all, and brings the idea of religion, philosophy and spirituality into the 21st century – where, as we enter an age of environmental, financial and political uncertainly, perhaps it is needed more than ever.
Due to my own field of research, the only spiritual path within the book that I could really review with any accuracy was that of the entry about Wicca. Now, Wicca being described as ‘White Witchcraft’ is something that has always got my heckles up, as it’s not entirely accurate to the tradition; however, this term has historically been used as a standard way of introducing Wicca to beginners, and therefore its use in this book is entirely valid. There is a great introduction to the Sabbats, together with a discussion of some of the more controversial elements of the Craft today, which Alice approaches in her humourous, yet insightful and balanced way.
It is clear from her detailed descriptions of many of the practices that she is speaking from her own experiences – an element which is so often lacking from similar books on the subject, which warms the reader to the author and ultimately allows the book to come alive.
The High Heeled Guide to Enlightenment’ had me laughing from the very beginning, and nodding in agreement towards so many of Alice Grist’s insightful views of the modern woman’s life and her struggle to achieve an understanding of the world.
‘Vikki Bramshaw’s new book is out through O-Books, (and is) grounded in the realities of Witchcraft. Although it is aimed at the novice, there is an insight there and a depth that is lacking from the usual 101 type books. It’s her first book, but she brings something out in the writing, and the teaching component, to show she’s actually listened to her teachers, and also developed their thoughts in a logical, progressive way. She will be quite a force to reckon with in the near future, and for a first book, its definitely one of the best initial offerings I’ve seen for a long time. Let’s hope this isn’t a case of beginner’s luck, although I very much doubt it is. Contrast it with (some other new books) and you can see the vast disparity between (them) in depth, originality and honesty. It’s definately a good, educational book, and having Aunty Bunty (Maureen Wheeler) as her teacher and guide, is definitely well grounded in the facts of traditional practice. I only wish that something like this was around when I was initiated – I will however be recommending it as background reading for those with an interest in Witchcraft.’
5 Pentacles (Stars) Jon Randall, Autumn 09 issue of Pentacle Magazine
Thanks Pentacle Magazine!
REVIEW – Hekate Liminal Rites – Sorita D’Este & David Rankine
‘Hekate Liminal Rites’ is a truly fascinating read. The authors’ writing is extremely well researched, and draws upon both accurate and historical material throughout this work. However, unlike so many other historical studies, this little book also manages to evoke such a presence of Hekate that it is almost experiential; and I found it impossible to continue reading without first lighting a candle (or three!!) for this deity.
The book is a total of 30 chapters, and each chapter focuses on a specific aspect of Hekate and her place in history, religion, ritual and magic. The work draws upon various sources, including the Greek Magical Papyri and many playwrights, poets and scholars. An early chapter of the book focuses on Hekate’s role in the ancient Eleusian Mysteries – and this was of particular interest to me. It was good to see this association being studied, as Hekate’s role in relation to this particular mystery tradition is often over-simplified in modern interpretations of the rites.
The book moves on to discuss the role of Hekate as mistress of herbs and herb lore (in particular, the use of the baneful herbs) and lists herbs which were particularly associated with the Goddess, together with their uses in ritual and magic. There is also a section on historically recorded food offerings and libation. The authors also present an interesting account of vegetarianism in ancient Greece; however, they do not hide the fact that ritual sacrifice was also a big part of Hekate’s rites – with domestic dogs and lizards both appearing on the Goddesses ‘wish list’ !!
‘Hekate: Liminal Rites’ defines the historical reasons behind Hekate’s association with the crossroads, and death; a subject which, in my opinion, has been long-overdue. The authors also discuss the offerings which would traditionally be made at the crossroads, and also go on to discuss misconceptions which surround this deity.
This work also suggests some interesting links between the Hekate rites (recorded in such documents as the Greek Magical Papyri and the Greek Hygromanteia) and the Grimoires. This is where I start to glaze over, as I am not AT ALL well-versed in the Grimoires! However this book has certainly given me a few clues as to their origins – which I for one will certainly be exploring. All in all, a fantastic read – illuminating, well researched, and leaves the reader wanting to explore the mysteries of Hekate for themselves.
