Some years ago I stumbled across a book at a Pagan
event that I considered at that time, to be truly remarkable in its freshness
and content. The book was called “The Witching Way of the Hollow Hill” and
subtitled, “the gramaryre of the folk who dwell below the mound and a
sourcebook of hidden wisdom, folklore, Traditional Paganism and Witchcraft.”
Which as titles go, is admittedly a little over-worded. The author was Robin
Artisson, who at that time outside of the USA and perhaps the occasional
Internet forum, was an unknown author.
That book was a personal examination of the theory and
practice of the British Traditional (that is non-Wiccan) Craft. As such it
combined elements of a book of shadows or grimoire, with explorations of the
Craft spirituality and magical practice. In an occult world suffering from the
sanitised publicly acceptable version of the Craft, numerous examples of which
are still found on sale in the high street, this volume offered a sensible,
serious and perhaps, more than usually in depth alternative. True enough parts
were rather long winded and repetitive, the book could have been half its
length.
What I found so surprising is that that this book, claiming
to explore aspects of Traditional Witchcraft found in the British Isles, was
written by an American citizen and published in the USA. It was clearly written
for people who wanted to study the Craft and not for the New Age dabbler. I
awaited his further publications with expectation
Years went by and I stumbled upon another work by the
increasing infamous Artisson, as although he remains relatively unknown outside
of his home country; his behaviour on the Internet has irrevocably damaged his
reputation. That book called the Flaming Circle, has sadly proved to be a
disappointment. Although Artisson’s style of writing remains wordy, if perhaps
a little less so than previous and he shows some developing maturity as a
writer. His style is now condescending and overly sentimental.
The Flaming Circle being the coven book of the Hollow
Hill is written for those yet to come, including the author’s children. The
style of writing far from being particularly direct, flowing or friendly, has
become supercilious and convoluted.
The content is an exploration and reconstruction of
pre-Christian beliefs and perhaps practice originating in the British Isles.
This is an exciting topic and as such, Artisson primarily draws upon well-known
Celtic influences.
Unfortunately his presentation and style detracts
enormously from the content. Nor is the book referenced, yet if one has read a
little on Celtic Traditions or Druidry, the influences stand clear. Flaming
Circle is one of the most badly written books that I have ever left unfinished
and I simply cannot recommend it. I can only hope that this work is an
aberration and that his other books are presented in a different style.
The Book of the Shield: a Style
of Ancient Saxon Religion and Wytchecrafte, as prepared by the Coven of the
White Hart and the Coven of Barnsdale Forest.
Published by Catweasel
Productions in 1982 and limited to 500 hand-bound and signed copies, bound by
Ars Obscura Bookbinding. Also available as a limited edition paperback from
Catweasle Publications as above, this work is now long out of print.
This work in paperback is a very
small book, not much more than a pamphlet and has very small print. It is
however something of a gem, containing a variety of ideas used by a working
group. Published out of concern regarding dwindling numbers and with a wish to
reach more people, the book has a very positive ethos. However, by being
published as a limited edition the action is contradictory as the book is rare,
near unknown and very difficult to find.
The historical claims of an
unbroken lineage to Saxon times (the Viking Age) made in the early chapters are
beyond belief. This book was published when such claims were common and long
before academics such as Hutton put Pagan history in its’ proper context. The
work also incorporates symbolism of Masonic origin in the initiation ceremony
which points to a very clear link with post 1950’s Gardnerian Witchcraft. As
does the celebration of the Eight Festivals of the Wheel of the Year as
historically the Saxons did not celebrate all eight. However, it is perfectly
possible that the people writing this book genuinely believed that the order
had an ancient origin.
What we have here is very much a
genuine attempt to revive Saxon Witchcraft that while based on limited sources
of the time (post 1950’s?) and incorporating well known published material,
introduces some very interesting ideas. The introduction of less common working
tools and the avoidance of iron illustrate an attempt to find something older
and more traditionally English than other methods and other paths.
The setup of the group is rather
formal, with Coven Masters answerable to a “Theghn” and although
there could have been a little more detail in the work. The quarter points not
only differ from the more well known system used by the Golden dawn and the
Gardnerian Tradition but also from some “Traditional” methods and on
this I would have liked more explanation. I am on the whole left with a very
positive impression of this work, as although its’ practical application may be
limited, the underlying philosophy is sound.
Liber
Nox is in some respects a return for Howard to his earlier works published by
Capall Bann, such as ‘The Sacred Ring’ and ‘Light from the Shadows.’ I have
something of a fondness for his earlier writing, as I first discovered Howard
via his runic works.
In
Liber Nox Howard presents us while using a down to earth, friendly and open
style of presentation, a review of nine common festivals observed by some
practitioners of Traditional Witchcraft in Britain today. The work is divided
into two sections; the first is an explanation and review of the customs,
belief and folklore of each named festival. The chapters are well written,
informative and reminiscent of the classic already mentioned, ‘The Sacred
Ring.’ Liber Nox is illustrated with charming line drawings provided by the
Cornish writer, Gemma Gary.
The
second section is a presentation of a surprisingly complete ritual, for each of
the festivals previous described in part one. They are practical, clear, well
composed and incorporate some excellent prose. I was at first surprised that in
a work on Traditional Craft practice, Howard chose to incorporate the casting
of a circle as opposed to compass work. I was eventually able to guess the
reason and indeed it should have been obvious. Liber Nox is a gentle
introduction to the Traditional Craft, not a heavy theological thesis.
The
work is well referenced, although who is and who is not referenced is something
of a surprise. Since Gary is responsible for the artwork, it is no surprise to
see her referenced. It is a surprise however, to see Robin Artisson referenced
by such an experienced writer as Howard. It is no surprise to see Cochrane and
Evans referenced but I was at first surprised not to see Oates mentioned. The
reason however, is obvious once one considers the intended audience. In the
same way as Howard makes no use or mention of the compass, he avoids Oates; as Liber
Nox is not aimed at a more advanced readership.
It is
likely that the relevance of this work is being misunderstood in many quarters and
its importance simply overlooked. This book will serve for many years as a
starting step, an introduction to Traditional Witchcraft of a devotional
nature, serving to guide the seeker away from the new-age Paganism and
pop-wiccan material that is prevalent today. If on walking into a bookshop
someone buys this book and not a book by Cunningham or Ravenwolf, then Howard
has done his job and done it well.
Liber Nox serves as an ideal introduction on the subject of Traditional Witchcraft, preparing the way for the seeker to move eventually onto more in depth writings; such as those by Gemma Gary and such luminaries as Shani Oates. Howard should be congratulated for taking this brave step, for daring to engage with those lost on the path but seeking something with bite.
‘The Northern Witan a Symposium
of Traditional Witchcraft and Folk Magic’ is a series of five lectures
presented by practitioners and scholars exploring themes relating to to
Witchcraft and Folk Magic. The accompanying market is open to the public. The
event is graciously sponsored by the Museum of Witchcraft and Magic.
The Northern Witan 2019 Speakers
Shani Oates: Maid of the Clan of
Tubal Cain and prolific author on many esoteric subjects.
Stuart Inman: Magistrar of the
Clan of the Entangled Thicket and virtue holder of the 1734.
Gemma Gary: representing the
Cornish Craft, author and one half of the publishing house Troy Books.
Victoria Musson: a natural fibre
artist, traditional crafter and rural folklorist. Well known as Mrs Midian and
for her connections with the Museum of Witchcraft and Magic.
Simon Costin: Director and owner
of the Museum of Witchcraft and Magic and the National Folklore Museum.
What is a Witan?
The Witenagemot, Witanmoot or
Witan is a historically attested if controversial Anglo-Saxon term, used prior
to the Norman settlement to describe an assembly of advisors. These advisors
would gather at a ‘thing’ or other significant place, to advise their Overlord
or in the case of the Lords, to advise the King.
The word moot is sometimes used
today in Pagan circles to describe an informal and often social meeting. Witan
is used in a more formal context deriving as it does from the gathering of the
advisors. Whether the etymology of Witan is linked to the word wit and
therefore wise, is at times questioned but the generally accepted roots are
linked to wisdom.
Witan may mean Wiseman or wise
counsellor and this leads to a rather interesting usage, in which the person
attending a Witan (shortened) is a Witan themselves. We can therefore suggest
by implication that Witanmot is a gathering of wise persons.
It is in this latter context that
we choose to use the Anglo-Saxon word Witan to describe our symposium, which is
itself derived from the Greek. The Witan is a gathering of the Wise to discuss
the Craft of the Wise.
It can be said that Traditional Witchcraft is folk-magic, yet there are some forms that are also of a religious or strongly spiritual nature. Here I emphasise the word “some” as there is no uniformity, each individual practitioner can only say what they do and cannot speak for other paths.
Indeed, in Gardnerian and Alexandrian practice I Believe there is an element of standardisation. A coven in for example Glastonbury, will have a recognisably similar practice to a group in Edinburgh, bar the latter being in a foreign language (English joke). Traditional Witchcraft appears to display a far greater regional variation, between groups, counties and individuals.
Let me put it this way, from the social-psychological approach. The way the human mind works predisposes us to think and identify ourselves, not by what we are but by what we are not. It is the “us and them” mindset. There is nothing particularly wrong with this way of thinking, as it is simply how our minds generally work.
Attempting to define ourselves by what we are, by what makes us unique is often quite challenging. We will often read statements that say Wicca is different from Traditional Craft because of perceived differences. Actually trying to define what Wicca is and what Traditional is, by focusing on the actual praxis of each example; is not the obvious path and can as suggested, be quite difficult.
The matter here is complicated further by the enormous variety of practice and belief found within Traditional methodologies, so rather than looking at Traditional Craft as one whole or unified concept one has to look at each individualised approach to praxis. The danger of perceived generalisation is misrepresentation.
Just as there are subtle differences between Gardnerian and Alexandrian Witchcraft or Wicca, there are differences between the many different forms of Traditional Craft. There is no one singular example that can be presented as the quintessential model, so as a detached observer let me offer these observances on perceived or actual differences between Traditional and Wiccanesque Praxis.
My observances here; are made upon wide reading and a wide range of contacts, my approach here is that of Phenomenological Sociology. I do not pass judgement on the rights and wrongs of any belief system or practice, I observe and describe them.
Although some Wiccans do not identify themselves as either Pagan or as members of a religion,the majority appear to do so. Wicca focuses on the worship or veneration if you prefer, of a divine couple, a Lord and a Lady, a Great Goddess and a Great God as representations of all other known divinities. Sociologists and theologians therefore categorise Wicca as a Duo-theistic Pagan Religion.
Traditional Witchcraft is less clear cut, the approach can be that of sorcery or a magicalarte that does not necessarily include divinity or one that does include spiritual and religious aspects of veneration if not necessarily worship. The latter would include at least some involvement of Gods, Goddesses, Spirits, the Ancestors and often there is an overlapping approach. Therefore, Traditional practices rather than being perceived as Duo-theistic are much more likely to display traits of Polytheism, Henotheism, Pantheism or good old-fashioned Animism.
There is less likely to be a standardisation of practise in Traditional Craft than in Wicca. The latter form of Witchcraft, with an origin traceable to one or more founders, has an identifiable set of core rituals and methods. Traditional practice is more often regional and idiosyncratic, often influenced by localised phenomenon and folklore.
Again, whereas Wicca is Duo-theistic and focuses on a divine couple, some Traditional covens or sometimes Cuveens, will focus on one totemic or tutelary Deity, this is an aspect of Henotheism, although some groups such as the Clan of Tubal Cain use the word Monolatry, which should not be confused with Monotheism. Some Traditionals or Traditionalists consider themselves to be Pagan, while some do not and it is therefore advisable to ask the individual for clarification.
In Wicca, outside of some references to the Aradia Mythos, Luciferian traits are not generally observable. However, there are some Traditional groups who are Luciferian in their approach, the actual manifestation of this influence will vary from group to group; it is far from standard and should not be confused with Satanism.
It is common knowledge that Wicca has a degree system, reflecting an early Masonic influence. Many Traditional groups do not have a degree system of such formality, one is either a member or one is not a member. Those that do have a degree system of sorts may use the term “admission” whereas the first admission is to an “outer court” or circle and the second admission to an “inner court” or core working group.
In Wiccan covens, the leading couple are known as a High Priestess and a High Priest. Traditional covens or cuveens display a varied number of titles dependent on the individual group or dispense with titles altogether. One may for example, hear references to Covenmaster, Mistress, Maid, Magister (Male) or Magistra (female) or any number of other titles.
The origins of the Wheel of the Year in its modern form, like the Wiccan Rede, can be traced to the late 1940’s. Although these festivals are indeed ancient, no one culture celebrated or observed all eight festivals at any one time. Therefore, although some Traditionals have adopted the modern eight, illustrating the active cross pollination of ideas, there are other groups that recognise a calendar of five, six or ten festivals. The Wiccan Rede is however, rejected by the majority of Traditional groups and solitaries.
As clear as mud really.
This paper was first published in the Hedge Wytch as: Chattering Magpie (D.B. Griffith) (2012) Perceived differences between Wiccan-Witchcraft and Traditional-Witchcraft. The Hedge Wytch. February/Imbolc 2012 pp14-16.
Daniel Bran Griffith - The Chattering Magpie 
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