Here is a fish of a different colour… experimenting with form and content a bit. Shape Shifting, Transformations, Spell Work… This edition covers some interesting territories from the century before last, and the early part of the 20th century. The birth of the modern Pagan Emergence can be readily traced to the works of Margaret Murray, and Charles Leland. Their works certainly informed my education, and this is a bit of a stroll down those lanes with a couple of diversions thrown in.
I hope you enjoy, and find something new to beguile you….
Bright Blessings,
Gwyllm
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On the Menu:
Pagan Quotes
Blast From The Past! Kristi Stassinopoulou “The Secrets Of The Rocks
I Sall Goe Until A Hare – Maddy Prior
Margaret Murray- The Witch-Cult in Western Europe
Nice Song… and a lovely Island in the Aegean: Astypalea
Charles Leland: From Aradia, Gospel Of The Witches: The Children of Diana, or How the Fairies Were Born
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Pagan Quotes:
The Christian fear of the pagan outlook has damaged the whole consciousness of man.
–David Herbert Lawrence
There is something pagan in me that I cannot shake off. In short, I deny nothing, but doubt everything.
-Lord Byron
Christianity has made of death a terror which was unknown to the gay calmness of the Pagan.
-Ouida
It makes no difference who or what you are, old or young, black or white, pagan, Jew, or Christian, I want to love you all and be loved by you all, and I mean to have your love.
-Victoria Woodhull
Great God! I’d rather be A Pagan suckled in a creed outworn; So might I, standing on this pleasant lea, Have glimpses that would make me less forlorn; Have sight of Proteus rising from the sea; Or hear old Triton blow his wreathed horn…
-William Wordsworth
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Blast From The Past! Kristi Stassinopoulou “The Secrets Of The Rocks”
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I Sall Goe Until A Hare – Maddy Prior
I sall goe until a hare
Wi sorrow and sick mickle care
I sall goe in the devil’s name
An while I come home again
Ruled By The Moon
I am ruled by the moon
I move under her mantle
I am the symbol of her moods
Of rebirths cycle
I am companion to the gods
I can conceive while I am pregnant
I call the dawn and spring in
I am the advent
I bring life from water
In a cup that must be broken
I whisper to the bursting egg
I’m Aestre’s token
Scent Of Dog
Scent of dog, scent of man
Closer closer smell them coming
Hot breath, hot death
Closer closer hard the running
Tongues pant, hearts thump
Closer closer through the fields
Teeth snap, bones crack
Closer closer at my heels
Nearer yet and nearer
I can feel the poacher’s knife
He is running for his dinner
I am running for my life
Winter Wakeneth
Wynter wakeneth al my care
nou this leues waxeth bare;
ofte y sike ant mourne sare
when hit cometh in my thoht
of this worldes joie hou hit geth al to noht.
The Hare Said
Man sprays no weeds
The scythe cuts the corn bleeds
Leverets trapped in a harvest blade
‘Tis the time of man, the hare said
Here’s the tractor here’s the plough
And where shall we go now
We’ll lie in forms as still as the dead
In the open fields, the hare said.
No cover but the camouflage
From the winter’s wild and bitter rage
All our defense is in our legs
We run like the wind, the hare said.
I Shall Run And Run
I’ve been cursed, I’ve been despised
As a witch with darkest powers
– I sall goe until a hare –
I’ve been hunted, trapped and punished
In these my darkest hours
– Wi sorrow and such mickle care –
I’ve been thrown into the fire
But I do not fear it
– I sall goe until a hare –
It purifies and resurrects
And I can bear it
– Wi sorrow and such mickle care –
I sall goe until a hare
wi sorrow and such mickle care
I have outrun dogs and foxes
And I’ve dodged the tractor wheels
– I sall goe until a hare –
I’ve survived your persecution
And your ever changing field
– Wi sorrow and such mickle care –
I will run and run forever
Where the wild fields are mine
– I sall goe until a hare –
I’m a symbol of endurance
Running through the mists of time
– Wi sorrow and such mickle care –
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Margaret Murray- The Witch-Cult in Western Europe
4. Transformations into Animals
The belief that human beings can change themselves, or be changed, into animals carries with it the corollary that wounds received by a person when in the semblance of an animal will remain on the body after the return to human shape. This belief seems to be connected with the worship of animal-gods or sacred animals, the worshipper being changed into an animal by being invested with the skin of the creature, by the utterance of magical words, by the making of magical gestures, the wearing of a magical object, or the performance of magical ceremonies. The witches of the sixteenth and seventeenth centuries appear to have carried on the tradition of the pre-Christian cults; and the stories of their transformations, when viewed in the light of the ancient examples, are capable of the same explanation. Much confusion, however, has been caused by the religious and so-called scientific
[1. Pitcairn notes: ‘Issobell, as usual, appears to have been stopped short here by her interrogators, when she touched on such matters’. i.e., the fairies.
2. Pitcairn, iii, pp. 606, 614.
3. Taylor, p. 81.]
explanations of the contemporary commentators, as well as by the unfortunate belief of modern writers in the capacity of women for hysteria. At both periods pseudo-science has prevented the unbiassed examination of the material.
There are no records extant of the animals held sacred by the early inhabitants of Great Britain, but it is remarkable that the range of the witches’ transformations was very limited; cats and hares were the usual animals, occasionally but rarely dogs, mice, crows, rooks, and bees. In France, where the solemn sacrifice of a goat at the Sabbath points to that animal being sacred, it is not surprising to find both men and women witches appearing as goats and sheep. Unless there were some definite meaning underlying the change of shape, there would be no reason to prevent the witches from transforming themselves into animals of any species. It would seem then that the witches, like the adorers of animal gods in earlier times, attempted to become one with their god or sacred animal by taking on his form; the change being induced by the same means and being as real to the witch as to Sigmund the Volsung[1] or the worshipper of Lycaean Zeus.[2]
In the earlier cults the worshipper, on becoming an animal, changed his outward shape to the eye of faith alone, though his actions and probably his voice proclaimed the transformation. The nearest approach to an outward change was by covering the body with the skin of the animal, or by wearing a part of the skin or a mask. The witches themselves admitted that they were masked and veiled, and the evidence of other witnesses goes to prove the same. Boguet suggests that the disguise was used to hide their identity, which was possibly the case at times, but it seems more probable, judging by the evidence, that the masking and veiling were for ritual purposes.
[1. Volsung Saga, Bks. I, II; Wm. Morris, Collected Works, xii, pp. 32, 77.
2. Pausanias, viii, 2, 3, 6, ed. Frazer. Cp. also the animal names applied to priests and priestesses, e. g. the King-bees of Ephesus; the Bee-priestesses of Demeter, of Delphi, of Proserpine, and of the Great Mother; the Doves of Dodona; the Bears in the sacred dance of Artemis; the Bulls at the feast of Poseidon at Ephesus; the Wolves at the Lupercalia, &c.]
In Lorraine in 1589 a male witness stated that ‘indem wird er eine Höle, welche sie nennen die Morelianische Klippe, gewahr, darinnen sechs Weiber mit Larven umb ein Tisch, voll guldernen und silbernen Geschieren herumb tanzten.’–Bernhardt’s Nicolaea said that she had seen in an open field ‘mitten am hellen Tage, einen Tantz von Männern und Weibern, und weil dieselben auff eine besondere Weise und hinterücks tantzten, kam es ihr frembd für, stunde derhalben still, und sahe mit allein Fleiss zu da ward sic gewahr, das etliche in dem Reyhen waren so Geiss und Kuhfuss hatten’.[1] At North Berwick in 1590 seven score witches ‘danced endlong the Kirk yard. John Fian, missellit [muffled, masked] led the ring.’[2] The witches whom Boguet examined in 1598 confessed to using masks: ‘Les Sorciers dansent doz cõtre doz, pour ne pas estre recogneus; pour la mesme raison its se masquent encor’ auiourd’huy pour la plus part–Ils se masquent pour le iour d’huy, selon que Clauda Paget l’a confessé, & auec elle plusieurs autres–Estienne Poicheux rapportoit que partie des femmes, qu’elle auoit veuës au Sabbat, estaient voilées. Et pour cela aussi les Lombards par leurs loix les appellent Mascas.’[3] In 1609 de Lancre points out that in the Basses-Pyrénées there were two grades of witches: ‘Il y en a de deux sortes. Aucu{n}s sont voilez pour doñer opinion aux pauures que ce sont des Princes & grãds seigneurs. Les autres sont decouuerts & tout ouuerteme{n}t dãcent, & ceux cy ne sont si prés du maistre, si fauoris ne si employez.’[4] In 1613 Barbe, the wife of jean-Remy Colin de Moyemont, said that ‘elle a veu dancer les assistans en nombre de sept à huict personnes, partie desquelles elle ne cognoissoit ad cause des masques hideux qu’elles auoient de noire.’[5]
Josine Deblicq in Hainault (1616) was asked, ‘Que savez vous de la troisième danse? R. Elle eut lieu an Rond-Chêneau, sur le chemin de Nivelles, près d’unc fontaine. Il y avait bien 21 ou 22 femmes, toutes masquées, chacune avec son amoureux accoutré d’un déguisement bleu, jaune ou noir.’[6] In 1652 a French witch ‘dist qu’elles dansoient les dots l’une à
[1. Remigius, pt. i, pp. 65, 67.
2. Pitcairn, i, pt. ii, pp. 245 6.
3. Boguet, pp. 120, 132-3.
4. De Lancre, Tableau, p, 129.
5. Fournier, p. 16.
6. Monoyer, p. 30.]
l’autre et qu’au milieux it y auoit vne feme masquée tenant vne chandelle’.[1]
It will be seen from the above that the witches were often disguised at the dance, a fact strongly suggesting that the masking was entirely ritual. As the witch trials in Great Britain seldom mention, much less describe, the dance, it follows that the greater number of the cases of masks are found in France, though a few occur in Scotland, still fewer in England.
The transformation by means of an animal’s skin or head is mentioned in the Liber Poenitentialis of Theodore in 668 (see p. 21). It continued among the witches, and in 1598 in the Lyons district ‘il y a encor des Demons, qui assistent à ces danses en forme de boucs, on de moutons. Antoine Tornier dit, que lors qu’elle dansoit, vn mouton noir la tenoit par la main auec ses pieds bien haireux, c’est à dire rudes & reuesches’.[2]
In many cases it is very certain that the transformation was ritual and not actual; that is to say the witches did not attempt to change their actual forms but called themselves cats, hares, or other animals. In the Aberdeen trials of 1596-7 the accused are stated to have ‘come to the Fish Cross of this burgh, under the conduct of Sathan, ye all danced about the Fish Cross and about the Meal market a long space’. Here there is no suggestion of any change of form, yet in the accusation against Bessie Thom, who was tried for the same offence, the dittay states that there, accompanied with thy devilish companions and faction, transformed in other likeness, some in hares, some in cats, and some in other similitudes, ye all danced about the Fish Cross’.[3] In 1617 in Guernsey Marie Becquet said that ‘every time that she went to the Sabbath, the Devil came to her, and it seemed as though he transformed her into a female dog’.[4] Again at Alloa in 1658, Margret Duchall, describing the murder of Cowdan’s bairns, said ‘after they war turned all in the
liknes of cattis, they went in ouer jean Lindsayis zaird Dyk and went to Coudans hous, whair scho declared, that the Dewitt being with
[1. Van Elven, v, p. 215.
2. Boguet, p. 132.
3. Spalding Club Misc., i, pp. 97, 114-15, 165; Bessie Thom, p. 167. Spelling modernized.
4. Goldsmid, p. 110.]
tham went up the stair first with margret tailzeor Besse Paton and elspit blak’. On the other hand, Jonet Blak and Kathren Renny, who were also present and described the same scene, said nothing about the cat-form, though they particularize the clothes of the other witches. Jonet Blak said, ‘the diwell, margret tailzeor with ane long rok, and kathren renny with the short rok and the bony las with the blak pok all went up the stair togidder’; while Kathren Renny said that ‘ther was ane bony las with ane blak pok, who went befor ower jean Lindsayis zaird dyk and Margret tailzeor with hir’.[1] The evidence of Marie Lamont (1662) suggests the same idea of a ritual, though not an actual, change; ‘shee confessed, that shee, Kettie Scot, and Margrat Holm, cam to Allan Orr’s house in the likenesse of kats, and followed his wif into the chalmer’; and on another occasion ‘the devil turned them in likeness of kats, by shaking his hands above their heads’.[2] In Northumberland (1673) the same fact appears to underlie the evidence. Ann Armstrong declared that at a witch meeting Ann Baites ‘hath been severall times in the shape of a catt and a hare, and in the shape of a greyhound and a bee, letting the divell see how many shapes she could turn herself into.–They [the witches] stood all upon a bare spott of ground, and bid this informer sing whilst they danced in severall shapes, first of a haire, then in their owne, and then in a catt, sometimes in a mouse, and in severall other shapes.–She see all the said persons beforemencioned danceing, some in the likenesse of haires, some in the likenesse of catts, others in the likenesse of bees, and some in their owne likenesse.’[3]
The method of making the ritual change by means of magical words is recorded in the Auldearne trials, where Isobel Gowdie, whose evidence was purely voluntary, gives the actual words both for the change into an animal and for the reversion into human form. To become a hare:
‘I sall goe intill ane haire,
With sorrow, and sych, and meikle caire,
And I sall goe in the Divellis nam,
Ay whill I coin hom againe.’
[1. Scottish Antiquity, ix, pp. 50-2.
2. Sharpe, pp. 132, 134.
3. Surtees Soc., xl, pp. 191, 193, 194.]
To become a cat or a crow the same verse was used with an alteration of the second line so as to force a rhyme; instead of ‘meikle caire’, the words were ‘a blak shot’ for a cat, and ‘a blak thraw’ for a crow or craw. To revert again to the human form the words were:
Hare, hare, God send thee care.
I am in an hare’s likeness just now,
But I shall be in a woman’s likeness even now’,
with the same variation of ‘a black shot’ or ‘a black thraw’ for a cat or a crow. The Auldearne witches were also able to turn one another into animals:
‘If we, in the shape of an cat, an crow, an hare, or any other likeness, &c., go to any of our neighbours houses, being Witches, we will say, I (or we) conjure thee Go with us (or me). And presently they become as we are, either cats, hares, crows, &c., and go with us whither we would. When one of us or more are in the shape of cats, and meet with any others our neighbours, we will say, Devil speed thee, Go thou with me. And immediately they will turn in the shape of a cat, and go with us.’[1]
The very simplicity of the method shows that the transformation was ritual; the witch announced to her fellow that she herself was an animal, a fact which the second witch would not have known otherwise; the second witch at once became a similar animal and went with the first to perform the ritual acts which were to follow. The witches were in their own estimation and in the belief of all their comrades, to whom they communicated the fact, actually animals, though to the uninitiated eye their natural forms remained unchanged. This is probably the explanation of Marie d’Aspilcouette’s evidence, which de Lancre records in 1609:
‘Elle a veu aussi les sorcieres insignes se changer en plusieurs sortes de bestes, pour faire peur à ceux qu’elles rencontroient: Mais celles qui se transformoyent ainsi, disoyent qu’elles n’estoyent veritablement transformees, mais seulement qu’elles sembloyent l’estre & neantmoins pendant qu’elles sont ainsi en apparences bestes, elles ne parlent du tout point’.[2]
[1. Pitcairn, iii, pp. 607, 608, 611. Spelling modernized.
2. De Lancre, Tableau, p. 128.]
The best example of transformation by means of a magical object placed on the person is from Northumberland (1673), where Ann Armstrong stated that ‘Anne Forster come with a bridle, and bridled her and ridd upon her crosse-leggd, till they come to [the] rest of her companions. And when she light of her back, pulld the bridle of this informer’s head, now in the likenesse of a horse; but, when the bridle was taken of, she stood up in her owne shape. . . . This informant was ridden upon by an inchanted bridle by Michael Aynsly and Margaret his wife, Which inchanted bridle, when they tooke it of from her head, she stood upp in her owne proper person. . . . Jane Baites of Corbridge come in the forme of a gray catt with a bridle hanging on her foote, and bridled her, and rid upon her in the name of the devill.’[1] This is again a clear account of the witch herself and her companions believing in the change of form caused by the magical object in exactly the same way that the shamans believe in their own transformation by similar means.
The Devil had naturally the same power as the witches, but in a greater degree. The evidence of Marie Lamont quoted above shows that he transformed them into animals by a gesture only. It seems possible that this was also the case with Isobel Shyrie at Forfar (1661), who was called ‘Horse’ and ‘the Devil’s horse’. The name seems to have given rise to the idea that ‘she was shod like a mare or a horse’; she was in fact the officer or messenger who brought her companions to the meetings. She was never seen in the form of a horse, her transformation being probably effected by the Devil, in order that she might ‘carry’ the witches to and from the meetings; Agnes Spark said that Isobel ‘carried her away to Littlemiln, [and] carried her back again to her own house’.’
There is also another method of transformation, which is the simplest. The witches themselves, like their contemporaries, often believed that the actual animals, which they saw, were human beings in animal form. Jeannette de Belloc, aged twenty-four, in the Basses-Pyrénées (1609), described the
[1. Surtees Soc., x1, pp. 192, 194, 197
2. Kinloch, p. 129. Spelling modernized.]
Sabbath as ‘vne foire celebre de toutes sortes de choses, en laquelle aucuns se promene{n}t en leur propre forme, & d’autres sont transformez ne scayt pourquoy, en animaux. Elle n’a iamais veu aucune d’elles se trãsformer en beste en sa presence, mais seulement certaines bestes courir par le sabbat.’[1] Helen Guthrie of Forfar (1661) states the case with even greater simplicity: ‘The last summer except one, shee did sie John Tailzeour somtymes in the shape of a todde, and somtymes in the shape of a swyn, and that the said Johne Tailzeour in these shapes went wp and doune among William Millne, miller at Hetherstakes, his cornes for the destructioune of the same, because the said William hade taken the mylne ouer his head; and that the diuell cam to her and pointed out Johne Tailzeour in the forsaid shapes unto her, and told her that that wes Johne Tailzeour.’[1]
[1. De Lancre, Tableau, pp. 129, 130.
2. Kinloch, p. 123.]
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Nice Song… and a lovely Island in the Aegean: Astypalea
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From Aradia, Gospel Of The Witches…
Charles Godfrey Leland
The Children of Diana, or How the Fairies Were Born
All things were made by Diana, the great spirits of the stars, men in their time and place, the giants which were of old, and the dwarfs who dwell in the rocks, and once a month worship her with cakes.
There was once a young man who was poor, with out parents, yet was he good.
One night he sat in a lonely place, yet it was very beautiful, and there he saw a thousand little fairies, shining white, dancing in the light of the full moon. “Gladly would I be like you, O fairies!” said the youth, “free from care, needing no food. But what are ye?”
“We are moon-rays, the children of Diana,” replied one:–
“We are children of the Moon;
We are born of shining light;
When the Moon shoots forth a ray,
Then it takes a fairy’s form.
“And thou art one of us because thou wert born when the Moon, our mother Diana, was full; yes, our brother, kin to us, belonging to our band.
“And if thou art hungry and poor… and wilt have
money in thy pocket, then think upon the Moon, on Diana, unto who thou wert born; then repeat these words:–
“‘Luna mia, bella Luna!
Più di una altra stella;
Tu sei sempre bella!
Portatemi la buona fortuna!’
“‘Moon, Moon, beautiful Moon!
Fairer far than any star;
Moon, O Moon, if it may be,
Bring good fortune unto me!’
“And then, if thou has money in thy pocket, thou wilt have it doubled.
“For the children who are born in a full moon are sons or daughters of the Moon, especially when they are born of a Sunday when there is a high tide.
“‘Alta marea, luna piena, sai,
Grande uomo sicuro tu sarei.’
“‘Full moon, high sea,
Great man shalt thou be!’
Then the young man, who had only a paolo 1 in his purse, touched it, saying:–
“Luna mia, bella Luna,
Mia sempre bella Luna!”
“Moon, Moon, beautiful Moon,
Ever be my lovely Moon!”
And so the young man, wishing to make money, bought and sold and made money, which he doubled every month.
But it came to pass that after a time, during one month he could sell nothing, so made nothing. So by night he said to the Moon–
“Luna mia, Luna bella!
Che io amo più di altra stella!
Dimmi perche e fatato
Che io gnente (niente) ho guadagnato?”
“Moon, O Moon, whom I by far
Love beyond another star,
Tell me why it was ordained
That I this month have nothing gained?”
Then there appeared to him a little shining elf, who said:–
“Tu non devi aspettare
Altro che l’aiutare,
Quando fai ben lavorare.”
“Money will not come to thee,
Nor any help or aid can’st see,
Unless you work industriously.”
Then added:–
Io non daro mai denaro
Ma l’aiuto, mio caro!”
“Money I ne’er give, ’tis clear,
Only help to thee, my dear!”
Then the youth understood that the Moon, like God and Fortune, does the most for those who do the most for themselves.
“Come l’appetito viene mangiando,
E viene il guadagno lavorando e risparmiando.”
“As appetite comes by eating and craving,
Profit results from labour and saving.”
To be born in a full moon means to have an enlightened mind, and a high tide signifies an exalted intellect and full of thought. It is not enough to have a fine boat of Fortune.
“Bisogna anche lavorare
Per farla bene andare.”
“You must also bravely row,
If you wish the bark to go.”
“Ben faremmo e ben diremmo,
Mal va la barca senza remo.”
“Do your best, or talk, but more
To row the boat you’ll need an oar.”
And, as it is said–
“La fortuna a chi dà
A chi toglie cosi sta,
Qualche volta agli oziosi
Ma il più ai laboriosi.”
“Fortune gives and Fortune takes,
And to man a fortune makes,
Sometimes to those who labour shirk,
But oftener to those who work.”
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