A Witch Alone. Marian Green

of different rites, yet the whole round Earth venerates me.’

      This fragment of a magical book, of adventure, folly, sacrifice and communion with the Goddess, in which Lucius is transformed into a donkey until the Goddess frees him and makes him her priest, contains the very essence of pagan worship and the invocation of Isis very powerfully demonstrates the kind of image words can conjure up. Similar esoteric verses, prayers and invocations will be found in the works of many poets, ancient writers, priests of the old religions which predate Christianity, including the Bible. The Song of Solomon contains beautiful love poems dedicated to Sophia, the Goddess of Wisdom, describing her face in terms of flowers, her breasts as white deer, feeding among lilies. Do not overlook this book because it seems to reject the power of the wise one. In fact both the Old and New Testaments contain much magical and pagan information, if you are willing to search it out.

      The God of the Witches is also many-faceted, being symbolised by the sun in the sky, and, because of the changes that the turning seasons bring, he is an evolving deity too. He is also depicted surprising frequently as having horns or, in Britain and France, the antlers of a great stag. Like the Goddess, he has many titles, which often refer to his being a Horned God; Herne, or Cernunnos, or Pan, that archetypal half-man, half-beast, ruler of wild creatures in the ancient forests.

      Like the Goddess, he has three aspects. His hairy legs and hoofs link him with the animal kingdom, as their guardian and shepherd; his human body from the waist up, containing his human heart, shows that he can feel for the humankind in his care, and is their Lord of Life. His noble brow, dark, thoughtful eyes sparkling with humour, and above those the lordly antlers, show he is Divine, in his own right. These antlers are the symbols of the sun’s rays, of the power of Light, of co-creation, and like the points on the earthly king’s golden crown, they signify royalty. The God of the pagans walks in three worlds: the lowly land of all beasts, wild and tame, with their simplicity; the man-made realms and agricultural/industrial complexes, for he has always been the Magical Smith, the Maker and Designer: and above these he is the Divine Sky Father.

      In the story of the Goddess and the God which may form the underlying pattern of the pagan cycles of celebrations, the God is born of the Lady in midwinter and, like all nameless gods, is known as ‘Mabon, son of Modron,’ literally ‘Son, son of the Mother,’ in Welsh. It is a familiar idea, found in many faiths world wide, of a magical son born in humble circumstances to a mother who does not appear to have a husband. How can she? For the God is also his own father, loving his mother, becoming her husband, and yet she outlives him. The God is a cyclic being, closely related to the greenery of the land, being born in winter dark, growing through the days of spring, coming to his full strength, with the sun above, at midsummer, and learning of his impending sacrifice at harvest. Here he is cut down, willing victim to the reaper’s blade, offering his seed as grain to sustain the people as autumn chills the land. Dead, he is mourned by the Goddess, his widow, who never dies or deserts her children. In the dark months of winter she renews her youth, casting off the face of the hag, and regains her beauty, ready to encounter the young lord in spring.

      It is these Mysteries, that of the dying, sacrificed God and the undying, changing Goddess, which form the foundation of pagan worship. The seasonal festivals act out the life cycles of these First Parents, their magical birth, growth, wooing, loving, fulfilment and departure to the Underworld, beyond our knowledge.

      Although each changes, both the God and Goddess of the witches are immanent; they can be approached for prayer or consolation, for guidance or for healing. It is through this very personal interrelationship that true paganism is expressed. You will come to see whichever aspects of these Old Ones you most need to help you. By regularly seeking them out in the silent places of your heart and in the natural places of the world, you will get to know them as if they were friends, parents, lovers, teachers, healers or wise old guides throughout your life. Because they are above all agents of change, how you see them, in dreams, meditations and rituals, will reflect what you expect to see. Their substance is not of this world, immutable and fixed, but a plastic, astral substance which can appear in many shapes or characteristics. If you ask to see them as they are, perhaps you will see only light, or feel power, or fire – only you can discover that. It is because they have many attributes, evolved through humanity’s long childhood, and many faces, names, associations and powers that it is important to consider the concept expressed by Dion Fortune, that All Gods are One God, and all Goddesses are One Goddess, and there is One Initiator.’ She is only echoing earlier words put into the mouth of Isis by Apuleius, writing 1800 years before.

      This multiplicity of deities can seem confusing to some people, unless the foregoing is taken into consideration. You are dealing with a variety of aspects, personified by people as many gods and goddesses, but just as the Roman Catholics have many saints, all being credited with their own life stories, martyrdoms and specialities, so did the earlier pagans see their own deities. Underlying both traditions is the concept of a Creator or, to the magical folk, an Initiator, by whose power those lesser, more tangible and approachable saints, gods or angelic beings come into existence.

      Most pagans do not reject the concept of a creative or generative force, shining as light through the beings of the gods and goddesses, but comprehend it as something beyond, something too ephemeral to define. You will find references to ‘Illumination’ or ‘Enlightenment’, ‘Seeing the Light’, and the ecstasy of ‘At-Onement’ or ‘Unity with All Creation’ which occurs during mystical experiences. This is an altogether higher experience than those commonly undergone during rituals, although such work can lead very ordinary people to have some extraordinary visions and inner awakenings, even if such transcendental happenings are not sought or expected.

      Here is a fictional character’s response to encountering one of the aspects of the Lord of the Wild, taken from what some people might think is a strange source, a children’s story book, The Wind in the Willows by Kenneth Grahame. Some of the animal characters are looking for the otter’s child and are led to an island:

       In silence they landed, and pushed through the blossom and scented herbage…till they stood on a little lawn of marvellous green, set round with Nature’s own orchard trees – crab apple, wild cherry and sloe. ‘This is the place of my song-dream, the place the music played to me,’ whispered the Rat, as if in a trance, ‘Here in this holy place, here if anywhere, surely we shall find Him!’

       Then suddenly the Mole felt a great Awe fall upon him…it was no panic terror – indeed he felt wonderfully at peace and happy – but it was an awe that smote and held him…And still there was silence in the populous bird-haunted branches;…and still the light grew and grew…The summons seemed still dominant and imperious. He might not refuse were Death himself waiting to strike him instantly, once he had looked on things…rightly kept hidden. Trembling he obeyed…and then in that utter clearness of the imminent dawn, whist Nature flushed with incredible colour…he looked in the eyes of the Friend and Helper; he saw the backward sweep of the curved horns, gleaming in the growing daylight; saw the stern, hooked nose between the kindly eyes that were looking down on them humorously, while the bearded mouth broke into a half-smile at the corners; saw the rippling muscles on the arm that lay across the broad chest, the long supple hand still holding the pan-pipes only just fallen away from the still parted lips; saw the splendid curves of the shaggy limbs disposed in majestic ease on the sward; saw, last of all, nestling between his very hooves,…the little round form of the baby otter…

       Then the two animals, crouching to the earth, bowed their heads and did worship.

       Sudden and magnificent, the sun’s golden disc showed itself over the horizon, and the first rays, shooting across the level water meadows, dazzled them. When they were able to look once more, the Vision had vanished, and the air was full of the carol of birds that hailed the dawn.

      The whole passage, from the chapter ‘Piper at the Gates of Dawn’, is well worth reading thoroughly and its symbolism and powerful images used for meditation. Similarly beautiful invocations of Pan are to be found in the magical invocations of Aleister Crowley, the pagan poems of Doreen Valiente and in the novels of Dion Fortune, especially The Goatfoot