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the-witchs-library · 3 months ago

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TAROT ASSOCIATED WITH DEITIES AND ENTITIES

MAJOR ARCANA:

THE FOOL: Pan, Zeus, Dionysus, Loki, and Hermes.

THE MAGICIAN: Hermes, Thoth, and Odin.

THE HIGH PRIESTESS: Persephone, Demeter, Hecate, The Morrigan, Lilith, Selene, Isis, Freyja, Artemis, Ganesha, and Tsukiyomi.

THE EMPRESS: Hel, Aphrodite, Hera, Freyja, Isis, Hathor, Frigg, Demeter, Durga, Astarte, and Ishtar.

THE EMPEROR: Zeus, Lugh, Odin, Horus, Ares, Osiris, and Ra.

THE HIEROPHANT: Dionysus, Osiris, Athena, Thoth, Sestet, Ogma, Horus, Apollo, Hermes, Odin, Brigid, Saraswati, and Ganesha.

THE LOVERS: Aphrodite, Frigg, Aengus, Rhea, Gaia, Demeter, Inanna, Parvati, Hathor, Isis, Brigid, Freyja, Osiris, Cernunnos, Freyr, Dionysus, and Pan.

THE CHARIOT: Thor, The Morrigan, Nike, Athena, Inanna, Astarte, Ishtar, Anat, Freyja, Bastet, Durga, Odin, Horus, Sobek, Ares, Set, Apollo, and Bellona.

STRENGTH: Thor, Hestia, Athena, Sekhmet, Bastet, Macha, Brigid, Danu, Isis, Lilith, The Dagada, and Lugh.

THE HERMIT: Odin, Isis, Hestia, Persephone, Hades, Hecate, Cerridwen, Brigid, The Muses, Sarawati, Hermes, and Ogma.

WHEEL OF FORTUNE: Zeus, Hathor, Isis, The Dagda, Ma'at, The Moirai, and Arianhrod.

JUSTICE: Lugh, Aengus, The Morrigan, Nemesis, Inanna, Hades, Themis, Ma’at, Nike, Athena, Zeus, and Forseti.

THE HANGED MAN: Odin, Artemis, Oriris, Persephone, Inanna, Dionysus, Buddha, and Ishtar.

DEATH: Persephone, Hades, Inanna, Ereshkigal, Isis, Nephtys, Izanami, Hel, Freyja, Morana, Seth, Anubis, Osiris, Santa Muerte, Manannan, Odin, Manannán, Thanatos, and The Morrigan.

TEMPERANCE: Artemis, Isis, Nepthys, Iris, Ma'at, Hebe, Apollo, and Vishnu.

THE DEVIL: Lilith, Dionysus, Lucifer, Pan, Set, The Morrigan, Baphomet, Satan, Baba Yaga, Veles, Banshees, and The Horned God.

THE TOWER: Hel, The Morrigan, Kali, Ares, Pele, Sekhmet, Anat, Sedna, Ceres, Shiva, and Chernobog.

THE STAR: Nyx, Aphrodite, Thoth, Hermes, Ishtar, Astrea, Isis, Arianhrod, Inanna, Nuit, Zorya, and Nodens.

THE MOON: Hecate, Santa Muerte, Artemis, Rhiannon, Selene, Hati, Cerridween, Isis, Phobe, Mani, Thoth, Arianhrod, Tsukiyomi, and Chang-e.

THE SUN: Lugh, Apollo, Kupaula, Helios, Brigid, Sol, Artemis, Bast, Sköll, Athena, Sekhmet, Aine, Freyr, Horus, Aten, Ra, and Agni.

JUDGEMENT: Hades, Persephone, Ma'at, Crisis, Hephaestus, Isis, Kuan Yin, and Horus.

THE WORLD: Demeter, Aengus, Isis, The Dagda, Gaia, Cernunnos, and Green Man.

THE SUITS:

SUIT OF SWORDS: The Morrigan, Freyja, Hades, Odin, Athena, and Hel.

SUIT OF WANDS: Lugh, Hephaestus, Ares, Bellona, Pele, Aine, Brigid, and Apollo.

SUIT OF PENTACLES: Gaia, Demeter, Macha, and Freyr.

SUIT OF CUPS: Poseidon, Aphrodite, Hera, Isis, Boann, and Hathor.

KINGS:

KING OF WANDS: Ares, The Dagda, Zeus, and Apollo.

KING OF CUPS: Lugh, Poseidon, Manannan, Njord, Apollo, and Mac Lir.

KING OF SWORDS: Odin, Tyr, Hermes, Zeus, and Horus.

KING OF PENTACLES: Hades, The Horned God, Freyr, Pan, Cernunnos, and The Dagda.

QUEENS:

QUEEN OF WANDS: Brigid, Hestia, Bellona, and Aine.

QUEEN OF CUPS: Aphrodite, Venus, and Hera.

QUEEN OF SWORDS: The Morrigan, Freyja, Athena, and Themis.

QUEEN OF PENTACLES: Hecate, Gaia, Eostre, Aine, Ceres, Artemis, and Demeter.

KNIGHTS:

KNIGHT OF WANDS: Apollo, Brigid, Lugh, and Bellona.

KNIGHT OF CUPS: Aphrodite, Boann, Isis, and Hathor.

KNIGHT OF SWORDS: Badb, The Morrigan, Athena, Hermes, and Nemain.

KNIGHT OF PENTACLES: Athena, Macha, Persephone, Lugh, Artemis, Demeter, and Ceres.

PAGES:

PAGE OF WANDS: Artemis, Brigid, Apollo, and Athena.

PAGE OF CUPS: Aphrodite and Lada.

PAGE OF SWORDS: The Morrigan, Freyja, Odin, Athena, Nike, and Bellona.

PAGE OF PENTACLES: Athena, Lugh, Apollo, Pan, The Muses, and Hathor.

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the-witchs-library · 3 months ago

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When I was a child, I was often left in the care of my Nanna. It is from her that I learnt many of the pieces of what she would call "little magic".

At her side, I learned how to sew and make little finger puppets and 'dollies'. We walked through the park, and she pointed out the plants and trees and their properties. With her, I made my first lavender filled bag to help me sleep. She would spoil me with peanut butter and butter sandwiches (which my mother was staunchly against), and then showed me how to feed the house spirit (a bowl filled with crusts of bread and milk poured over the top with a bit of honey drizzled over it).

She also told me stories - so many fairytales and folktales that would horrify parents if told to their children nowadays. But it was only when I was older and in school that I realised the stories she told me were different from the ones my friends had been told... mine were darker and full of old truths and lessons I still remember to this day.

One of my favourite tales was of a little girl with honey blond hair and blue eyes whose name started with a V (I can't for the life of me remember her name). Her father was a merchant, and her mother was kind. Their little family of three were quite happy until the little girl's mother got sick. The merchant hired healers and priests to help his wife, but all failed to help the little girl's mother, her sickness worsening with each passing day. Soon, it was clear that her mother was dying, and the little girl's father refused to leave his wife's bedside, leaving the little girl to fetch water from the well, light the fires, cook meals for her family and care for the home.

One day, her mother called the little girl to her bedside and asked her husband to step outside of the room for a moment. The little girl approached her mother's bedside with trepedation. Reaching under the bed, the mother pulled out a strange little cloth doll with no face. The doll was made from a scrap of her mother's favourite dress, with her mother's hair ribbons binding it into the shape of a doll.

"Here, my child. She will protect you when I am gone. All you must do is feed the doll a drop of your blood and tell it your problem, and it will be fixed."

The little girl did not understand but took the doll from her mother. "But how will I feed her a drop of my blood if she has no mouth?"

The little girl's mother smiled, and for a moment, she didn't look sick anymore.

"Promise me, my beautiful daughter, that you will keep her with you, for she will act in my stead once I am gone."

The little girl did not understand her mother's words but promised again to keep the doll with her at all times.

The mother suddenly surged forward and tightly clasped her daughter’s hands in her own. "No one can know you have her, not even your father. Let no one see her. Keep her hidden on your person at all times unless you have need of her."

The little girl, now afraid at her mother's vehement pleas, nodded frantically to show she acquiesced and would do as she was bid.

Her mother, seeing the little girl's compliance, collapsed back into her bed and dismissed the little girl, bidding she tell her father he could return.

Her mother died that night; her father distraught at the loss of his beloved wife.

Though it was not long after the little girl's mother was buried, that her father remarried once more.

The little girl's new mother was a widow with no children of her own, and the little girl's father told her "She will make a good mother for you, my child" But she was not a good mother.

For you see, any time the little girl's father was home, the woman would treat the little girl kindly, but as soon as her father was gone, her stepmother would turn cruel and demand the little girl do all of the housework and chores. If little girl refused, her stepmother threatened to beat her, and told the little girl she would go to bed without supper if the work was not done. Since her father was away, and there was nothing the little girl could do, she did as she was bid; completing the work until her hands were cracked and bleeding with sores. However, despite the little girl's efforts, her stepmother was still unsatisfied with the little girl's work, locking her outside the house overnight.

Cold and exhausted, the little girl crept into the storeroom and laid down on the floor.

It was then that the little girl remembered her promise and the little doll she had kept secret in a pocket inside her dress. Carefully, pulling out the strange little doll, the little girl remembered her mother's words.

"Though you have no face, I will feed you a drop of my blood." And so the little girl dabbed one of her bleeding fingers against where the dolls mouth would be if it had one. "Please help me, little doll, for my stepmother is a cruel woman, and I can not possibly do all that she has bid of me."

It was then the little girl heard a voice inside her head, "Sleep, my child, and I will complete all that has been asked of you."

With a small smile of relief, the little girl went to sleep, and when she awoke, it was to find all of the chores her stepmother had requested, completed.

Surely, with all of the work done, her stepmother would let the little girl inside. So she tucked the doll back into the inner pocket of her dress and left the storeroom. But upon seeing the jobs miraculously done overnight, the stepmother's face turned ugly.

"I suppose since you've done all that was asked, you can come inside to break your fast."

The little girl meekly entered the home and ate the cold porridge she was given without comment. But as soon as she was done eating, her stepmother gave her another list of jobs to do, even more than the day before.

And so the little girl worked all day until her feet were sore and her hands were cracked and bleeding. But her stepmother remained unsatisfied, as all of the chores were not completed. Resigned, the little girl crept back into the storeroom for the night.

With bloodied hands, the little girl pulled out the doll from her hiding place and dabbed a drop of her blood where the doll's mouth would be.

"Please, little doll, I need your help once more. I can not do all that is asked of me, and my hands are blistered and sore."

Again, the little girl heard the doll's voice inside her head, "Sleep little one and all will be well, I will show you where the healing herbs dwell."

With a smile, the little girl went to sleep on the storeroom floor, and when she awoke, she found that once again, all of the jobs her stepmother had told her to complete were done.

Again, when the little girl went up to the house and knocked on the door, her stepmother seemed furious the jobs were done. With gritted teeth, she bid, "I suppose since you've done all that was asked, you can come inside to break your fast."

And so the little girl ate the cold porridge placed afore her as her stepmother once more listed more outlandish jobs for the young girl to complete.

And so the years went by, the little girl growing into a beautiful and capable young woman. Her hands and body were strong from all of the work she would complete each day, and thanks to her mother's blessing, she knew and harvested all manner of healing herbs and edible plants from the nearby forest.

But every time her father was home from his business trips, he would always comment "You are becoming so beautiful my darling daughter, just like your mother" These comments would make her stepmother scowl and her face turn ugly with rage. So, as each year passed, V became more beautiful, and her stepmother became more hideous in her hatred.

In her hatred, V's stepmother began sending her into the forest for ridiculous errands. V knew that her stepmother probably intended for her to get eaten by wolves, or worse, by the witch that supposedly lived in the wood. But thanks to her mother's blessing and a sharp thorn kept in the pocket of her dress, V was always able to fetch whatever her stepmother requested from the wood and return home safely.

One night, V's stepmother came to the storeroom door where V was sleeping on the floor. "Get up at once. Your lazyness has allowed the hearth to go out, and not even coals remain to light a fire. You must go to the witch of the wood and ask her for a coal"

"But stepmother," V cried out in vain. "The witch if the wood eats people! Surely she will not give me a coal!"

V's stepmother sneared down her long nose at her. "Go afore it is too dark to see the way."

And so V set off into the forest until not even the light of the moon could guide her steps. It was then that the quiet whispers of her mother's doll began to give directions through the dark wood.

Soon, V emerged into a strange clearing. In its centre, a wooden hut sat on top of tall wooden posts that looked almost like chickens feet. At the base of the hut was a small garden with all manner of plants growing. And surrounding the garden was a fence that seemed to be made of bones. Thankfully, as V approached the hut, she could see a warm light coming from within. This must be the home of the witch of the wood.

Following the fence of bone, V reached the garden gate. On either side of the gate were skulls set atop large bones. Small candles inside the skulls seemed to light as if by magic as soon as V touched the gate.

"Why are you here, child?" A voice called out from the hut. There in the doorway stood an old woman, her back bent from many years of hard work and her long grey hair gleaming in the moonlight.

V plucked up her courage and called out, "My stepmother sent me to find the witch of the wood to ask for a coal."

At her response, the old woman barked out a laugh that sounded more like the cawing of a crow than a human laugh. "And what will I get in return? I will not give you a coal for free."

Again, V plucked up her courage and responded, "I will work for it. I promise I'm a hard worker, you can see from my hands." At this V raised her hands for the old woman to inspect.

Seeing the calloses from many years of hard work, the old woman nodded. "Very well, you will work for me for a day and a night, and you will receive a coal from my hearth that will never go out."

With that, the old woman turned around and began to walk up to the hut. As she walked, she began to list the chores she wanted V to perform. "You will clean the house and yard, wash the laundry, and cook us two meals; breakfast and supper. You will go into the storeroom and separate rotten grains from sound grains and gather and store seeds from the garden."

After years of dealing with her stepmother's ever expanding list of demands, this old woman's jobs seemed almost easy by comparison.

"First, let's see your skills as a cook. Go to the garden and fetch us something for supper"

And so into the witch's garden, V went, gathering edible and medicinal plants until she had enough to make a hearty soup, which would helpfully ease some of the old woman's pain.

The old woman nodded at V's selection and led her up the ladder into the hut. On one side of the hut was a large stone hearth, and at its heart, five large coals gleamed as they cradled the base of a large iron pot.

"Take the pot to the stream and fill it halfway with water. Then return to make your soup." The old woman bid.

It took all of V's strength to lift the large iron pot from the hearth and carry it carefully down the ladder so as not to scorch the wood. Down the garden path, V carried the pot past the bone gate and back into the forest. Thankfully, her mother's blessing whispered directions, and V was able to quickly locate the nearby stream and fill the pot halfway.

Returning to the hut, V began chopping herbs and vegetables and throwing them in the pot. Soon the hearty supper was bubbling away in the pot and ready to be served.

The old woman passed V two wooden bowls and a large wooden ladle.

"You want two bowls of soup?" V asked the old woman.

"No, the other is for you, child." The old woman barked before hitting V with the large spoon. Doing quickly as she was bid, V ladled out two portions of the soup; one for her and one for the old witch.

With the soup placed in front of her, the old woman quickly ate her supper seemingly ravenous. V ate her portion much slower, not used to having supper anymore, though she was happy to refill the old woman's bowl with more soup when she was bid to.

With supper eaten, V gathered their bowls, spoons, and knife into the now empty iron pot and carried it down the ladder, through the garden gate and down to the stream to wash.

Upon her return, she found a pallet bed had been made up.

"That is for you," the old woman muttered as she walked over to her own bed tucked into the wall of the hut.

"But how will I get all of the jobs done if I sleep here?" V asked.

The old woman turned back to her with a strange smile on her face. "I'm sure a hard-working young woman such as yourself can find a way."

With that, the old woman climbed into bed, leaving V to climb into the pallet bed. When she heard the snores of the old woman, V pulled out her mother's doll from the secret pocket of her dress. "Please, little doll, I need your help once more. I can not do all that is asked of me, and my hands are blistered and sore."

Again, the little girl heard the doll's voice inside her head, "Sleep little one, the jobs will be done upon the rising of the sun."

With a smile on her face, V fell asleep, assured that her mother's blessing would help her once more.

When she awoke, V saw that the old woman was already awake and was staring into the hearth as she sipped on a strong smelling tea. "I see you were quite busy while you slept." The old woman said with a crooked smile and a gesture to the iron pot full of hot porrige.

"Are there other jobs you need me to complete?"

"You will eat this porridge and carry one of these coals to your stepmother's house. Then you will return here."

Once more, V did as she was bid.

Upon finishing her porridge, the old woman gave V a fox skull. Using large iron tongs, the old woman reached into the hearth and removed one of the hold glowing coals and placed it in the jaws of the fox.

"Take this to your stepmother's house to light her hearth and then return here."

And so V carried the skull, down the ladder, through the garden, out the gate and through the forest until she reached the edge where her father's house stood.

V knocked on the door, and her stepmother quickly opened the door, a look of shock and horror gracing her features.

No sooner had her stepmother opened the door, and then the coal had begun to glow brighter and brighter. Within moments, her stepmother's dress and the doorframe of the house began to smoke, and soon, both were burning merrily until naught but ashes remained.

Once more, V did as she was bid.

She returned to the witch in the wood and learned all that she could.

As a kid, I loved this version of the Baba Yaga tale, and now as an adult I love how these stories were the avenues for or my Nanna to pass on examples of small magic and witchcraft.

This is also probably why I've never had an issue with blood based magic when so many other witches do have an issue with it.

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the-witchs-library · 3 months ago

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Simple Methods of Magical Protection

by Keziah

There is a misconception that the more steps involved in one's magical work or the more one pays to have it performed, the more effective, more powerful that work surely is. This, plainly put, isn't the case. Some of the simplest forms of magical work have been found to be incredibly powerful and effective.

Protecting ourselves from negative energy, malicious magic, evil eye, gossip, and other such (unfortunately) everyday occurrences shouldn't be inaccessible - it shouldn't be locked away behind a paywall, doled out by practitioners convincing others that magic can only be accessed via a pay-to-play system that benefits only those practitioners charging (often exorbitant amounts) for work that they've convinced others can't be carried out any other way; it shouldn't require financial strain or dedication of time that some people simply don't have to spare; and it shouldn't have to involve intricate ritual or spell work with dozens of steps and a reliance on magical systems that don't always align with the practices of those in need of protection.

In this post, we'll explore some very simple and versatile methods of taking magical protection with you wherever you go. These are measures ideal for any practitioner in need of magical protection, regardless of experience level, tax bracket, or creed. May it serve all those in need of it.

By the Hair

There are various methods of protection involving hair, be it by dressing the hair with substances, covering the hair, or wearing the hair in particular styles.

Dressing the Hair

Dressing the hair or scalp with oils or rinses believed to have protective properties is one method of taking added magical protection with you everywhere you go.

A practitioner can apply a small amount of oil to their scalp, their hair, or to a specific section of their hair to invoke the oil's protective aid. Using a rinse instead of an oil is always an option and can be a better alternative for those with sensitive skin.

[ *Note: It is wise to perform a patch test before applying any oils or rinses to the skin. This will help you determine which ingredients you may have allergies or sensitives to. ]

A few ingredients for oils and rinses commonly associated with protection (and also commonly used on hair) are rosemary, clove*, lavender*, and cedarwood.

*When using these as oils they should be diluted with a carrier oil - such as jojoba, sweet almond, coconut, or olive oils (research which is best to use with whichever herb or ingredient you prefer) - before being applied directly to the scalp or skin.

Braiding

Braiding hair, like braiding and knotting cords, thread, and other materials in some magical customs, can provide magical protection against harmful spirits or entities by means of confusion or distraction. Knot and braid magic as a means of protection is said to confuse spirits or distract them, as they become focused on the braid or knot and trying to undo or understand them, distracting them from carrying out any malicious acts. Knot and braid magic has also been said to be a trap for spirits, that the works entangle the spirits and their energy, rendering them unable to move against the worker.

Braiding one's hair or wearing a braided or knotted cord or ornament in one's hair can, then, offer similar protection. This can be made all the more potent by dressing the braid or ornament with an oil associated with protection.

Veiling & Covering

Veiling, as it's commonly called amongst the broader witchcraft community (though some religions and cultures have their own terms for this practice), is the custom of covering one's head or hair for spiritual, religious, cultural, or, yes, magical reasons. This has been in practice across many cultures and belief systems and throughout a vast number of regions, particularly across African, Asian, and European societies, for, at least, thousands of years.

Within the witchcraft community, some practitioners veil or cover as an overlap of their religious customs (forms of veiling are/have been prominent within Judaism, Islam, Christianity, and within some Pagan religious traditions) and their personal magical practice, and many folk witches have taken to covering their hair as a means of feeling better connected to the cultural history of their practices and their ancestors.

Eil Molei Rachamiem (Commemorative Prayer); Maurice Minkowski, 1922.

Veiling and covering, though, is also used as a means of protection. Within some schools of belief, covering one's head or hair (whether partially or wholly) serves as a ward between the person and negative, harmful, or malicious energy sent their way.

Some cover their hair with scarves, shawls, or veils of specific colors, patterns, or materials associated with protection in their personal practices - white is a color commonly associated with protection and purification, red has been used to empower protection work in some customs, and black is another commonly used color in protection work.

Some wear veils only whilst performing prayer or magical work, some veil when leaving the security of their home, and some veil all the time.

Veiling or covering one's head/hair with a scarf, cloth, or hat can, you'll find, be a versatile means of protecting oneself from undesirable energies.

By the Eyes

Line the Eyes

Across many cultures, there is the belief that wearing black around the eyes can protect the wearer from evil eye and attacks from harmful spirits or entities.

In some traditions, the customs around lining the eyes for magical or 'superstitious' reasons are more specific - for instance, there is a Hindu custom that calls for wearing kohl or kajal liner around the eyes or a kohl dot on one's neck (especially for children and babies) to combat evil eye; similarly, the Yemeni practice of applying kohl around an infant's eyes not long after their birth stems from the belief that it would prevent the child from being cursed by evil eye; ancient Egyptians wore kohl around their eyes as a marker of status, as added protection against the brightness of the sun, and also as a means of magical protection against illness and bad luck. *

The tradition of wearing kohl around the eyes has existed since at least as early as the Naqada III era (3200 - 3000 BC) Egypt and originated then as a means of protection against 'eye ailments'. The custom of lining one's eyes, whether for cosmetic, spiritual, or social reasons, has been found in countless regions and cultures around the world throughout history. From many of these customs comes the modern belief that wearing black eyeliner offers protection from negative energy, the effects of malicious spirits, evil eye, and other curses.

[ *NOTE: The modern use of kohl has been linked to toxic lead poisoning in children. ]

Eye Shadow

As eyeliner can be used as a simple means of protecting oneself magically, so, too, can eyeshadow. Using colors from one's cultural or religious beliefs that bear association with protection can be a great way to incorporate protective measures in one's cosmetic habits.

Common colors associated with various form of protection are red, black, blue, gold, and green.

By the Ornament

Charms, amulets, talismans, and other forms of apotropaic items have long been used as a magical means of protecting the wearer/carrier.

Some charms for protection, their origins, and their uses:

Blue clothing, jewelry, and accessories (Carribean / West Indies) - wearing blue clothing, jewelry, and/or accessories is believed to ward against maljo, bad eye, and najar. Bright shades of blue are sometimes referred to maljo blue due to this association.

Brigid's Cross (Irish) - the Brigid's Cross or St. Brigid's Cross is used to protect against evil spirits and illness.

Coins (Ancient Near East) - flattened discs of gold, copper, siler, and lead were worn, often around the neck, to distract the evil eye and confuse evil spirits. Coins of the same materials, so long as they are shiny enough, can be used to those same ends in modern practice.

Cornicello (Italian) - the little horn is worn, often made of silver, gold, or red coral, to protect the wearer from evil eye and bad luck, but also as an amulet of strength, good fortune, general protection, and fertility. It's also called cornetto and corno portafortuna ('horn that brings luck').

Cowrie Shells (Senegalese) - cowrie shell bracelets and necklaces are worn to absorb the negative effects of the thiat or evil eye, as well as other negative and evil energies.

Crucifix (Christian) - has been used to ward against evil since the early days of the Church.

Eye of Horus (Egyptian) - a symbol associated with the god Horus and believed to offer protection and healing.

Grasshopper (Roman) - a grasshopper charm was placed by Pisistratus at the Acropolis of Athens as a means of protection.

Hamsa (Mesopotamian) - though it is believed to have originated in Mesopotamia, the symbol of the open hand has also been found in ancient North African, Phoenician, Iberian, and Levantine regions and has sense spread to be commonly found in North Africa, the Middle East, South Asia, East Asia, and diasporic groups from these regions all throughout the world. It's used (in many variative styles) within a number of religious traditions, including Muslim, Jewish, Christian, Hindu, Buddhist, and folk religious customs. It is also called the Hand of Fatima, the Hand of Miriam, and the Hand of Mary (and may have been what Aristotle referred to as the Tool of Tools). It is considered a symbol of divine protection, protection against fascination (or magical workings against you) and sometimes features added protection with the incorporation of an open eye symbol in the hand's palm, believed to ward off evil, evil eye, and curses.

Nazar (Turkish) - this glass ornament or bead depicting the image of an eye, most commonly seen in blue hues but also in reds, blacks, greens, and other colors, is believed to offer protection from evil eye, evil spirits, demons, and other negative energies. It possibly hails from Turkey, but is also commonly found in traditions in Afghanistan, Albania, Armenia, Azerbaijan, Bosnia, Bulgaria, Cyprus, Egypt, Greece, India, Iran, Iraq, Jordan, Lebanon, North Macedonia, Pakistan, Palestine, Romania, Syria, Turkmenistan, Uzbekistan, and within Jewish diasporic groups throughout the world, as well as in some Christian and Muslim practices.

Red String (Judaism) - wearing a red or crimson thread, string, or cord, usually as a bracelet, is a Jewish custom believed to ward against evil eye.

Snake/serpent (Albanian) - charms and amulets featuring the likeness of a serpent or snake serve as a means of protecting against evil, evil eye, and bad luck.

Snakeskin (Albanian) - amulets made from or bearing a piece of snakeskin are also used to ward off evil eye.

St. Benedict Medal (Christian) - is used to ward against the effects of the devil and demons.

Phalluses (Roman / Ancient Greek) - believed to be a symbol that attracted good luck and fortune, the phallus was used to counteract the effects of any evil eye or bad luck sent one's way. Such amulets were also called fascinus and fascinum in Ancient Rome.

SOURCES & FURTHER READING:

-'A Cultural History of Hair in the Middle Ages' - Milliken, Roberta -'Angels & Demons' - Rubin, Norman A. -'the Book of Talismans' - Pavitt, Kate & Thomas, William -'Childhood in Ancient Athens: Iconography and Social History' - Beaumont, Lesley A. -'the Complete Book of Amulets & talismans' - González-Wippler, Migene -'Cleopatra's Eye Makeup Warded Off Infections?' - National Geographic -'the Encyclopedia of Jewish Symbols' - Frankel, Ellen & Platkin Teutsch, Betsy -'the Evil Eye in the Bible and in Rabbinic Literature' - Ulmer, Rivka -'From Sacred Symbol to Key Ring: the Hamsa in Sacred Jewish & Israeli Societies' - Sabar, Shalom -'Jewish Cultural Studies Vol. 1 - Jewishness: Expression, Identity, and Representation' - Bronner, Simon J. -'Makeup in Ancient Egypt' - Natural History Museum of Utah -'Opthamology of the Pharaohs: Antimicrobial Kohl Eyeliner in Ancient Egypt' - Kreston, Rebecca -'Ritual in Early Modern Europe' - Muir, Edward -'the World of Roman Costume' - Sebesta, Judith Lynn & Bonfante, Larissa -'Women in the Ancient Near East' - Stol, Marten -'the Year in Ireland: Irish Calendar Customs' - Danaher, Kevin

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the-witchs-library · 3 months ago

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Grimoire ideas that aren't research

While my grimoire is dedicated to research and documentation and I love that for it, I totally get how a load of writing isn't for every practitioner. I didn't want to leave you guys out so here are some grimoire ideas that aren't related to research.

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Pen test/paint test page

make a spell page or prayer page in the style of collage/black out poetry

make a zine of the holidays/your preferred tools/deities/spirits ect.

make collage of your deities/spirits or local wildlife

tape grid/dump

sticker dump

sigil dump

If you're handy with a needle and thread, turn those sigils into patches for your clothes

Tape in an envelope to store excess thread or make a page of thread colour correspondences

if you enjoy cooking, make a list of flavour combos and their magical properties including dish uses, colour schemes, aromas, general vibes ect.

Rip off the labels of your candles, herbs and spices and stick them in your grimoire for future reference

design your own insignia (you don't have to be in a coven)

stick in pictures of local haunted attractions/spiritual places and (optionally) write about them

make a collage of you ideal work space or meditation spot

Plan/design your ritual outfit

make a charging station for small objects then design a large one for yourself (can be conceptual or literal)

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the-witchs-library · 3 months ago

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Creating a Spell Jar

Step One: Set your Intention.

Intention is key in most witchcraft, in spell jar making, it’s important to be specific. Beginning with a clear goal will help the spell to be effective. For example, building a spell jar to attract love isn’t quite specific enough. Do you want to find long-lasting, romantic love? Are you hoping to strengthen familial bonds and connections? Attract new best friends and platonic soul-connections? Visualize a clear picture of what this spells success looks like to guide the process.

Step two: Gather your ingredients and tools.

It’s time to select your jar and begin deciding which ingredients you’d like to use. Take your time here, and be thorough. Ensure you have everything you need BEFORE you start assembling your jar. Stepping away and breaking concentration could disrupt the spell’s viability

P.S. I typically get my jars from dollar tree, many herbs can also be found there or at your local grocery store with the spices. As for the less common herbs, I highly recommend finding a local metaphysical or apothecary to supply you with the herbs you need for spells. However there are some online options too!

Step Three: Prepare your space

Cleansing the space, energetically and spiritually is important. This ensures no unwanted energies will interfere or muddle with your spell. There are many different ways to cleanse your space (which we can explore in a different post). Try out different forms of cleansing or even a combination. Whichever feels right to you and your spell. I usually keep incense lit while I build my jars. That way I can use it to cleanse my space and my jars.

Step Four: Assemble the Spell Jar

I often start my writing out my intention for the spell on a piece of paper (remember what we talked about earlier?). After cleansing the jar with incense, the ingredients are often added heaviest to lightest. This isn’t a hard rule though, follow what your intuition tells you.

P.S. It is okay if you’re missing a few ingredients to your spell jar recipe. My recipes are often on the longer side and more of a suggestion for lots of different ingredients. Use your intuition and what feels right. If you’re missing one thing, don’t stress!

Step Five: Activate the Spell Jar

Now that your jar is full of your chosen ingredients, it’s time to activate it. There are several ways of doing this, through visualization; by using athames, wands, or clear quartz points; by simply shaking the jar; or by adding essential oils to the spell jar. Sunlight and moonlight can also be used to activate spells. I typically set my spell jars out with my crystals under the full moon for them to charge and activate.

Step 6: Seal your Jar

I typically use candle wax to seal my spells. I like the way it looks and the color magic I can do with colorful candles. Some other methods of sealing include, sealing with tape, cloth sealing or using sigils to seal them spiritually. Some witches prefer a more permanent approach and will seal by copper electroforming.

P.S. Birthday candles are a great steal for a witch on a budget. They have almost every color, and can sometimes be even easier to use than a larger candle

Spell Jar Recipes to come soon!

Thanks for reading,

Hailey

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the-witchs-library · 3 months ago

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MEDUSA

WHO IS SHE?

Medusa is a mythical creature from Greek mythology who is most well-known for her ability to turn people to stone by looking at them. She is described as having a head full of snakes instead of hair and a gaze so powerful that it can turn people to stone. In some stories, Medusa is described as a beautiful maiden who was cursed by the gods to have this fearsome appearance and power. Despite her fearsome reputation, Medusa is sometimes portrayed as a victim of the gods, who punished her for reasons beyond her control.

BASIC INFO:

Appearance: Medusa is typically depicted as a beautiful maiden with long, flowing hair that is actually made up of venomous snakes. Her face is usually described as serpentine, with sharp fangs and a venomous stare. Some versions of the Medusa myth also describe her as having a scaly body and wings, while others depict her as having a more human-like appearance. Regardless of the details, the key feature that sets Medusa apart is her ability to turn people to stone with her gaze, which is often depicted as being incredibly intense.

Personality: in some modern interpretations and reinterpretations of the Medusa myth, she is sometimes portrayed as a misunderstood or tormented figure who has the power to both harm and protect those who come into contact with her. In these interpretations, Medusa may be seen as a symbol of female empowerment, transformation, or resilience, and her appearance may be viewed as a powerful tool rather than a curse.

Symbols: snakes, eyes, feminism and divine femininity, the aegis, “divine eyes” or Gorgon eyes (sometimes drawn as concentric circles or spirals), the water element, and silver, green, and gold

Enigmatic Figure of: turning people to stone with her gaze, rebirth, beauty, power, and transformation

Culture: Greek

Plants: seaweed, apple tree, vanilla, water lilies, rose petals, mugwort, thyme, sage, and wormwood

Crystals: Medusa quartz, aquamarine, malachite, pearl, moonstone, tsavorite, diamond, peridot, amethyst, serpentine, turquoise, aquaprase, and tanzanite

Animals: snakes and jellyfish

Incense: frankincense, vanilla, and apple

Practices: embodying the divine feminine, shadow work, banishing negativity, healing (especially from sexual trauma), and setting boundaries

Colours: green, silver, and gold

Numbers: 3 and 7

Zodiacs: Scorpio and Pisces (not confirmed)

Tarot: The Tower, The High Priestess, and The Hermit (not confirmed)

Planets: Pluto and Neptune (not confirmed)

Days: Monday, Thursday, Samhain, and new moons

Parents: Phorcys and Ceto

Siblings: the Hesperides, Stheno, Euryale, the Graeae, Thoosa, Scylla, and Ladon

Partner: Poseidon

Children: Pegasus and Chrysaor

MISC:

Snakes: Medusa is often associated with snakes because she is depicted as having a serpentine head, complete with writhing snakes for hair. According to one popular myth, Medusa was once a beautiful mortal woman who was cursed by Athena to have this fearsome appearance after she was seduced by Poseidon in the goddess' temple. Thus, the association of Medusa with snakes is often seen as a symbol of her cursed and fearsome nature.

The colour green: in many cultures, the colour green is associated with nature, growth, and rebirth, which can be seen as a reflection of Medusa's own transformation from a mortal into a fearful creature with serpentine features. Additionally, the colour green is sometimes associated with the goddess Gaia, the personification of the Earth and the natural world in ancient Greek mythology, which can also tie in with Medusa's connection to the natural world and her role as a powerful and fearsome figure.

Feminism: Medusa is often seen as a symbol of feminism due to her portrayal as a powerful and fearsome female figure. She is often depicted as an embodiment of female power and strength, particularly in modern reinterpretations of Greek mythology. Medusa's transformation from a beautiful mortal into a fearsome creature with serpentine features can be viewed as a metaphor for the subjugation and transformation of women in patriarchal societies. The themes of male gaze and the dangers of vanity and pride that are often associated with Medusa's character can also be seen as reflections of the societal expectations and pressures placed on women.

Coral: she is often associated with Medusa due to its connection to the sea and the underwater world. In ancient Greek mythology, Medusa is often depicted as a creature of the sea and the ocean depths, with her serpentine features and association with Poseidon, the god of the sea. The color and texture of coral, with its intricate and branching structure, can also be seen as reminiscent of Medusa's serpentine hair and writhing snakes.

Divination: in some tales, Medusa is depicted as a seer or oracle, possessing the power to foretell the future or divine the will of the gods. Additionally, her fearsome and intimidating appearance and her ability to turn people to stone with her gaze may further contribute to her association with the supernatural and prophetic powers, as her gaze could be seen as a powerful and otherworldly form of divination.

FACTS ABOUT MEDUSA:

Medusa is a protection symbol. She's been found on houses, tombs, walls of cities, and temples.

She works mostly with women, but can also work with men too.

NEVER place a mirror or reflective device on Medusa’s altar. If she sees her own reflection, it will turn her to stone.

The myth of Medusa's rape by Poseidon (Neptune in Roman mythology), is a more recent addition to the traditional story, written by the Roman poet Ovid, who was known to make women look like victims in his poems. In Ovid's version, Poseidon is depicted as the initiator of the encounter, and Medusa is portrayed as a victim who is punished by Athena for the crime of being raped. However, in the original Greek mythology, Medusa was not raped by Poseidon, and her transformation into a fearsome creature was punishment for her violation of Athena's temple, not for being a victim of assault or violence.

HOW TO INVOKE MEDUSA:

If you’re just getting going working with the Goddess Medusa, start small. Medusa comes to those who are in need, so she doesn’t expect a totally decked-out altar from her followers. You can simply offer her a devotional candle or a seashell.

Whether or not you’ve chosen to make an offering to the Goddess Medusa, be sure to directly ask her if she would like to work with you and wait for an answer. Be sure to keep a lookout for signs and symbols of the gorgon in the days thereafter, as she may approach you in subtle ways.

I recommend that you work with Medusa using a pendulum or cards if you’re new to divination work. She has really strong energy with the pendulum so you’ll definitely know when she’s around.

The goddess Medusa may also reveal herself in dreams or through symbols in life, such as the snake, or by sending other outcasts your way. Try sleeping with a symbol that represents the Goddess Medusa under your pillow if you want to connect during sleep. However, be really for some kind of intense imagery: Medusa isn’t for the faint of heart!

PRAYER FOR MEDUSA:

Hail Medusa,

Protected of women

Righter of wrong

Symbol of strength

Partake of this (a drink) with me

I drink in your solemnity, magic, and glory,

May you help me write my own story.

So mote it be.

SIGNS THAT MEDUSA IS CALLING YOU:

You may see Medusa herself or some of her common symbols in your dreams, such as snakes.Artistic representations of Medusa find their way to you. You’ve been encountering statues and paintings of Medusa in your daily travels or receiving them as gifts.

Seeing green during meditation.

May feel controlled in a more mental or emotional way (rather than physical) and seek your independence.

Having a sudden interest in snakes.

You hear or see her name everywhere you go: books, online, TV, etc.

Someone gifts you a present with Medusa as a feature.

You open a book and see her name randomly.

You’re in a transition that bucks against societal standards.

May be in need of protection, particularly when it comes to womens rights.

Coral is given to you or you find a bunch of coral at the beach.

You’ve had a recent spiritual awakening at the beach, ocean, or cave.

OFFERINGS:

Seashells or coral.

Art of her, either that you’ve drawn or bought.

Green candles.

Jewelry.

Water.

Seaweed.

Depictions of serpents or snake figurines.

Petrified wood.

Olive oil.

Sand dollars or starfish.

Beach sand.

Silver.

Green fabric.

Beauty products.

Snakeskin that has been naturally shed.

Aquamarine, pearls, malachite, or moonstone.

Seawater or sea salt.

Cool water incense.

Seafood.

Wine.

Sea salt water.

Rose petals.

Green thread.

DEVOTIONAL ACTS:

Performing a self-care ritual, such as having a ritual bath since Medusa’s element is water.

Read about Medusa in literature. Take a deeper dive into the epic poems that tell the stories of Medusa.

Meditating near the beach or a body of water encircled with calming sounds to connect with Medusa on a deeper level.

Stand up for women’s rights.

Playing/listening to ocean sounds.

Taking care of your pet snake.

Get more in tone with the water element.

Clean up your local beach.

Drink lots of water.

Stand up for the innocent.

Collecting sea water.

Swim in Her honour, or teach someone else how to swim.

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the-witchs-library · 3 months ago

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Ways to work with Medusa 🐍

1. Meditation & Visualization: Imagine standing in her presence, absorbing her strength.

2. Sigils & Symbols: Use her image for protection, power, and transformation.

3. Shadow Work: Journal about what parts of yourself you’ve been told to hide or fear.

4. Mirror Magic: Medusa’s myth is tied to reflection use a mirror for self-exploration or ritual.

5. Altar or Offerings: Snakes, obsidian, mirrors, or protective charms.

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the-witchs-library · 3 months ago

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Offerings to Baba Yaga

Who is Baba Yaga?

Currently in the pagan community (especially among slavic pagans and witches) there’s a feeling that Baba Yaga has been unfairly maligned. Described as a grotesque horrifying almost demonic figure, modern Slavic Pagans now refute this and believe she is a goddess of witchcraft and nature, and a reminder of man’s distance from the natural world.

Offerings to Baba Yaga

- Beeswax candles - Bones - Ashes from a fire you set - Bread and salt - Earth and stones (river stones are the best) - Water (storm, wild, moon) - Sowing or weaving equpment - Chicken feathers

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the-witchs-library · 3 months ago

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Baba Yaga, Witch and Ghost Whisperer

There is a fascinating creature in Slavic folklore known as Baba Yaga. People frequently depict her as a terrifying witch with a complex and varied nature. The role she portrays is one that is both dangerous and mysterious, exemplifying the dual nature of being both a danger and a friend. Baba Yaga is often portrayed as an elderly woman who lives in a cottage that is perched on chicken legs and located deep in the forest. This odd dwelling has the ability to turn around, and only those who are familiar with the secret phrase are able to make it stop and allow access. In mythology, she plays a variety of roles; in some stories, she is a nefarious hag who devours anyone who dares to enter her domain, while in other stories, she is a knowledgeable matron who provides instruction to those who demonstrate respect and fortitude. Because of this dichotomy, she represents the wild and untamed elements of nature, reflecting the unpredictability and harshness of the natural world.

Because Baba Yaga is such a multifaceted character, her witchcraft is, too. She is an expert in concocting potions and spells, and she frequently makes use of her extensive understanding of herbs and the natural world to create concoctions that have a variety of effects. Several different stories depict him as floating through the air on a mortar, using a pestle as a rudder, and clearing her tracks with a broom. Her use of this means of transportation highlights her link to the supernatural and the occult, thereby establishing her as a being that goes beyond the typical. One more facet of Baba Yaga's legend lies in the fact that she interacts with ghosts and spirits. Being a witch with a strong connection to the supernatural, she often serves as a mediator between the living and the dead. Some stories depict her as a guardian of the boundary between life and death, while others portray her as possessing power over spirits and dictating their actions. Her association with the afterlife further strengthens her role as a custodian of ancient knowledge and secrets. Baba Yaga's frequent contact with spirits is evidence of her ability to influence the spiritual realm. Other depictions portray her as a necromancer, demonstrating her ability to summon spirits for information or assistance. In this capacity, Baba Yaga symbolizes the character of the knowledgeable lady who is able to go to a variety of worlds and comprehend mysteries that are beyond the comprehension of humans.

Despite the fact that she has a reputation for being terrifying, Baba Yaga is not entirely evil. Through her interactions with the protagonists in folklore, she frequently reveals herself to be a multifaceted character who can function as both an antagonist and a supporter. People who approach her with bravery and respect have a chance of receiving her assistance, which could result in them gaining significant gifts or learning vital lessons. Her trials frequently fulfill the function of rites of passage, putting the hero's wit, bravery, and determination to the test. Baba Yaga continues to be a fundamental figure in folklore, as she is a representation of the unpredictability of the natural world and the enigmatic depths of the supernatural. Her witchcraft, contact with ghosts, and dubious morality continue to attract and inspire people, which is what makes her an enduring emblem of the mysterious and the esoteric.

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