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Herbal and Oil Correspondances
Colour Correspondances
Fruits Nuts and Vegetables
Daily Correspondances
Fae Lore
Essential Oil Correspondances
Elements
Moon Lore
Glossary
Tools Of The Craft
Samhain
Yule
Imbolc
Ostara
Beltane
Litha
Lughnassadh
Mabon
The God
The Goddess
Divination
Oils
Incense
Incense 2
Brews
Bath Recipes
Incense Making
Miscellaneous Recipes
Ointment Recipes
Powders
Satches
Substitutions
Tinctures and More Brews
Deities
Chakras
Seven Bodies
Charms
Astrology
Astrology 2
Runes
Runes 2
Runes 3
Candle Magick
Celtic Tree Astrology
Celtic Tree Astrology 2
Celtic Animal Astrology
Auras
Palmistry
Palmistry 2
Palmistry 3
Palmistry 4
Astral Projection
Grounding and Centering
Casting and Banishing A Circle
Invocations
Herb Oil And Crystal Combos
Sabbat Correspondances
Sabbat Correspondances 2
Herbs By Use
Herbs By Use2
Herbs By Use3
Charms 2
Spells and Charms
Tree Correspondances
Rituals
Rituals 2
Numerology
Timing Correspondances
Spell Record Sheet
Animals and Familiars
Animals And Familiars 2
Tarot
Tarot 2
Tarot 3
Fae Garden
Kitchen Witchery
Kitchen Witchery 2
Recipes of Samhain
Recipes of Yule
Recipes of Imbolc
Recipes of Ostara
Recipes of Beltane
Recipes of Litha
Recipes of Lughnassadh
Recipes of Mabon
Recipes of Esbats
Crystals 2
Crystals 3
Types Of Wicca
Fae Dictionary
Fae Dictionary 2
Fae Dictionary 3
Divination 2
Divination 3
Herbal Remedies
Witch Supplies
Spells
Deities 2
Deities 3
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| The Esbat Rite forms the basis of first degree ritual training in Spawn Far Coven. It contains the basic elements common to most of our rituals in a canonical form. As one aspect of the training cycle, we perform the Esbat Rite on a monthly basis, each time discussing a different portion of the ritual structure in depth. Most of the rituals we do share certain more or less standard parts: the circle casting, invoking the Elements, the cone dance, Cakes and Wine, and the circle closing all tend to be done in about the same way from one ritual to the next. These elements provide a framework to support a mystery play, a magical working, or whatever form of ritual we are doing. The arrangement of the ritual elements serves to contain and raise the power toward some end, then get everyone grounded again before leaving the circle. Theoretically, one of the advantages of doing these pieces of ritual in a standard way is that we can memorize them. Oh, joy! Not everyone gets excited by this prospect; but even so, the regular repetition of parts of the ritual material we have inherited can provide a certain comforting familiarity, and can help ground the ritual in a sense of tradition. Also, it makes it easier to write new rituals as the need arises, and to concoct impromptu rituals for occasions when a certain amount of spontaneity is more appropriate than reading from a script. The words we use in our rites are not necessarily traditional, though they are patterned after traditional forms. It is the form of the rite that is important; the language is expected to change over time. Traditional, or at least commonly used, words (most of which were written by the legendary Doreen Valiente in the 1950's) have also been published elsewhere (see the Bibliography for sources). When I say that something is "traditional", I really mean that it's fairly common or well-known among groups that are derived from or heavily influenced by the writings and practice of Gerald Gardner and his associates (Spawn Far has inherited bits of Gardnerian tradition through the Alexandrian line; plagiarism pure and simple, but so long ago that nobody much cares anymore). Some of these bits of tradition predate Gardner, in some cases by quite a lot, but it's hard to prove whether they were or were not part of Wiccan tradition before about the 1940's. The function of the circle is twofold: first, to provide a measure of protection from hostile or distracting external psychic influences; second, and more important in the context of Witchcraft, to contain and focus the energies raised in ritual. The circle defines the boundaries of the ritual space, the perimeter of the circle marking the extent of the area within which our attention is focused, and the casting and grounding of the circle marking the time set aside as special. The protective function of the circle creates a safe space where the participants can be psychically open with relatively little disturbance from outside energies. This aids the focusing role of the circle, and allows the power to be raised more readily. Gross details of the physical environment may still intrude - if the neighbors call the police, for instance, or if a loud conversation takes place just outside. Also keep in mind that the circle does not screen you from others within the circle; for this reason, the Law says that none who disagree may be in circle together. It is customary to maintain a sort of pax templi in the circle, where any quarrels are set aside if at all possible. Also be aware that there may be conflicting elements within yourself which could manifest in odd ways within the reflective space of the circle. Good grounding technique is especially important; it's always a good idea to take a few moments before entering circle to release the mundane tensions you've been holding, set aside any preoccupations, and center your thoughts and energies on the work at hand. The circle also represents the cyclical nature of magical reality; the rituals that take place within the circle are not seen as isolated historical events, but as recurring mythical themes, representing general types of experience and interaction that are common to the human condition. The circle is said to be set "between the worlds", forming a bridge between the world of concrete reality and the world of the symbolic logic of dreams and myths. The four Elements, Earth, Air, Fire, and Water, represent the basic building blocks of nature, or more accurately, of our perception of nature. We place them in the quarters of the circle to represent successive stages in the cycle of creation: AIR represents the conception or perception of a new idea, the seed of knowledge, and the freedom to choose which direction to move. FIRE is the desire or Will to manifest the idea, the driving life force, the principle of change and transformation. WATER is the perseverance and courage needed to endure the long gestation, the nurturing and supporting role. EARTH is the element of birth, where the original Idea crystallizes and manifests in a material form, building a solid foundation for the next idea. Air and Fire are often, though not always, thought of as masculine, while Water and Earth are generally feminine. This may relate to the observation that the male influence is only necessary in the earliest stages of the creation of life, whereas the female influence must continue for a much longer period. Air is associated with knowledge and the intellect, and related matters: perception, analytic thought, communication, memory. The emotions that go along with Air include the feeling you get from daydreaming; a sense of intense concentration on a difficult problem; an abstract appreciation of mathematical elegance, artistic skill, or superior craftsmanship; and also a sense of distance and detachment. Fire is the most active of elements, representing motivation of all sorts - the Will to create or to destroy, or just to get up and dance. Fiery emotions are intense and urgent, but usually pass quickly: desire, anger, joy, panic. Without Fire to prod the other elements along, the world would likely settle into a rather uninteresting fixed state. Water is the element of deep, long-term emotions, and of the action of the subconscious mind. Love (of an enduring nature); sorrow; the courage to continue on a difficult path with no end in sight; an enduring rage born of long, silent suffering; and the hope that springs eternal from forgotten wisdom, held deep in the heart where the old knowledge still waits - these are the feelings of Water. When you know what to do, but you don't know how you know, that, too, is Water. Earth is the most stable of elements, the emblem of successful completion and the foundation on which the future is built. It is also inertia, resistance to change, unreasoning stubbornness. The emotions of Earth include a sense of security, confidence in your own strength, an ability to completely ignore minor sources of irritation, and a desire to just sit down and do nothing. Thus, various qualities and ideas are associated with each of the Elements. In addition to the physical qualities we think of, there are also colors suggestive of images, there are animals, there are abstract ideas and qualities and virtues, all woven together in a complex web of symbols that sometimes seems perfectly logical and other times looks hopelessly arbitrary and contradictory. Don't worry if it doesn't seem to make sense, because in some modes of understanding, it doesn't. The Circle Dance or Cone Dance is done for the purpose of raising power, and to bring the collective energy of the group into focus. We use an expanded version of the Witches' Rune, including a short guided visualization to help get the energy flowing, and a postlude emphasizing the basic unity of the group. The dance draws the elemental energies we have invoked into the center of the circle and blends them together so that, combined, they may form the basis of our work. As we chant together, and move in the dance together, we begin to harmonize and balance and blend our voices, our movements, and our magical energies. As the power builds through the Witches' Rune proper, we picture the energy flowing, first with a circular motion through the clasped hands of the dancers, then gradually beginning to move inward and upward to form a cone (the "Cone of Power"), which at the final IO PAN! is released to effect the purpose we have set for it. We often don't explicitly specify a purpose for the Cone. The energy in the default case, by group tradition, goes to build the astral Temple, or to strengthen the group identity (as an entity somewhat independent of the actual members of the group). Some traditions fall to the ground to release the Cone; we throw our hands upward to outline the shape of the Cone and focus on the apex. After we have released the energy of the Cone, we acknowledge the unity we have temporarily achieved, and our readiness to proceed to the work of the ritual. In the Book of the Law (one of the traditional Wiccan documents, probably written by Gerald Gardner, sometimes referred to as 'The Ordains'; no relation to Aleister Crowley's book by the same name) it is written, "With love and worship in their hearts, they shall raise power from their bodies to give power to the Gods". This is rather curious, considering that for most magical operations it is a distinctly bad idea to try to use the energy of your body in this way. However, in the case of the Cone Dance, the power raised does seem to come from the bodies of the dancers, at least up to a point. It is important to keep in mind that you should be taking in energy with one hand while sending it out through the other; this creates a balanced and sustainable energy flow without draining your personal resources. As with all magical work, don't try to push the energy, simply allow it to flow in the direction you want. The reason the cone dance works without draining the participants has to do with the circular shape of the energy flow: we use the energy of our bodies to create a loop, which calls forth an answering surge of energy rising upward from the Earth through the center of our cone; thus, our own power is amplified with the power of the Earth. As the circle draws tighter, the induced energy flow becomes more focused. When the Cone is released, let go of the energy; try to make a clean break and release your attachment to the power. Think of loosing an arrow from a bow; from the moment of release, the arrow moves of its own accord along the course you have set for it, and any further attachment can only hinder its flight. Try to send off the power with the same kind of snap. A related form of ritual dance is the Spiral Dance or Meeting Dance. This dance begins as a circle dance, then the designated leader of the dance releases the hand of the person in front of her and begins to wind the circle inward, forming a spiral. When she reaches the center of the circle, she turns sharply and begins to unwind the spiral. When the spiral is unwound, the dancers are facing outward and moving widdershins. If desired, the spiral may then be wound again, returning the circle to its original state. The spiral wound in this way is symbolic of death and rebirth. This form of dance has a more personally transformative effect than the cone dance; as you pass through the center of the spiral, you can usually feel a distinct energy shift within yourself. Traditionally, the scourge was sometimes used to "whip up" the dancers, especially with a large outdoor festival or a major working. This may be related to the use of goatskin thongs to induce ecstatic frenzy in the celebrants of Dionysiac rites in classical antiquity. Drawing Down the Moon, the invocation of the Goddess into the Priestess, and the corresponding invocation of the God into the Priest, is potentially one of the most powerful magical acts we perform. The Priestess should be aware of this before accepting the role, and the invoking Priest should be sensitive to the magnitude of the occasion. Remarks that follow concerning the Priestess manifesting the Goddess apply equally well to the Priest manifesting the God. Some people have problems with the implied "possession" of the Priestess by the Goddess. Keep in mind that no loss of control should occur, since the Goddess is, in this instance, acting as a part of the Priestess. The point of the Drawing Down, from the perspective of the Priestess, is to help integrate the divine part of her nature into her outward personality. Toward this end, it may be useful to think of the Goddess as a separate entity; however, the distinction should not be overemphasized, as the Priestess and the Goddess should act as one. Each Priestess will develop her own understanding of this mystery in her own time. The basic technique used by the Priestess or Priest being invoked into is to allow the manifestation to take place. This may seem relatively passive, and mainly involves relaxing and performing whatever mental shift is necessary to experience the proper feeling of "opening". There should be a sense of power or immanence flowing through you, with no sense of effort on your part. Think of yourself as a sacred vessel being filled by the essence of the Goddess or the God. Be aware that control of this state requires a very light touch; imposition of a "normal" degree of control generally tends to stop the flow of energy entirely. When we perform the Drawing Down, the Priestess may read the Charge of the Goddess from a script, and the presence of the Goddess may manifest in the particular inflection or emphasis of certain words, or the expressions that cross the Priestess's face, evoking various responses in the listeners. This is sometimes called a "partial invocation", as opposed to a "full invocation" in which the Goddess, through the Priestess, speaks or acts extemporaneously, perhaps going around the circle and giving some message to each of the coveners. Sometimes the communication is entirely non-verbal. The role of the invoking Priest in the Drawing Down should not be underestimated. It is, of course, possible for a Priestess to manifest the Goddess without any help, but it tends to be much easier, and often more powerful, when there is an equal and opposite Force drawing the Goddess forth by a process of induction. Therefore, at least in a limited way, the invoking Priest may also manifest the God while calling on the Goddess. During the invocation, the Priest uses the wand to draw the Invoking Triangle on the Priestess, touching just above the pubic bone, on the right breast, the left breast, then back to the pubic bone. The triangle should be drawn twice (or in some traditions, thee times). Pay attention to drawing the lines of the triangle as well as touching the points; the triangle itself is a sort of portal for the manifestation of the Goddess, much as the Pentagrams are for the Elements. This is the same Triangle, incidentally, as the Triangle of Manifestation used by medieval Magicians to conjure various spirits, angels, and demons. After the triangle has been drawn twice, touch the wand to the center of the triangle (just above the belly button, not quite touching the skin) and visualize a barrier dissolving within the bounds of the triangle, rather like a soap bubble bursting. If the Full Invocation is to be used, some care must be taken not to misrepresent the Goddess. The Priestess who pursues her own personal agenda while impersonating the Goddess is doing a great disservice to the Craft. Once the Goddess has been invoked, there may be a long initial silence, which might begin to feel embarrassing as it stretches on, and there is a certain internalized social pressure to fill the silence with words: a feeling that everyone is listening expectantly, waiting for the words of the Goddess, so you'd better come up with some. In an actual Full Invocation, it is important to wait as long as it takes, and scrupulously evaluate the words that rise within your mind, presenting themselves to be spoken; if you recognize them as your own words, set them aside, as this is neither the time nor the place for them, and continue to listen for the divine voice. Usually, the divine words will not immediately strike you as wise or profound or uncannily accurate; but they will be unexpected, something you wouldn't have thought to say. Another closely related form of invocation is called "aspecting"; when aspecting, the Priestess attempts to contact a specific facet or personality of the Goddess (if you're a henotheist; or a specific Goddess if you're a polytheist - in practical terms, it amounts to much the same thing). This form of invocation may focus more inward on the relationship between the Priestess and the Goddess invoked, and is often used to establish a personal contact. The full invocation described above is really more for the benefit of the other participants in the circle, the Priestess emanating the divine energies of the Goddess outward, serving more as a channel than as a participant. Aspecting also tends to be more precisely focused on a particular divine personality, whereas the full invocation is often less precise about who exactly is being invoked. |
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