Hi! I'm Eclipse (they/them), a Filipino witch living in the Philippines, and this is where I dump interesting and useful witchcraft stuff I find on Tumblr. Sometimes, I talk about what I do or about witchcraft stuff I'm thinking about.
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A little charm for those days when you need to remember your worth and call your power back:
Take a black pouch. Add cinnamon chips or sticks (personal power, inner fire), mullein (courage), yarrow (protection and boundary setting), and black tourmaline (banishing negativity).
Once you've added everything, hold the pouch in your hand and say, "I am not afraid of my own depths. I will not hide. I grow, I change, and I begin again, stronger than before."
Hang or keep the pouch somewhere that you frequent, or carry it with you.
I would suggest crossing out Kenny Kleinās book. He was arrested and convicted for keeping child pornography. I havenāt read his book in a long time, but some pointed out troubling themes in his books.
WARNING: I am not responsible for any workings you do with these if you do use them. I just share what I know, and please be careful before you decide to do any of this. Please make sure you know what you are doing and do protections before any baneful working.
Say their name in a mundane moment (while stirring your coffee, stepping on a crack, throwing something away)with a sharp phrase like: āYour day breaks, your luck fades.ā Micro curses accumulate fast, especially if repeated casually.
Write their name on paper, cover it with used coffee grounds, and stir until the letters blur. This tingles their thoughts, makes them restless, anxious, or confused. Works well in jars or buried at their threshold.
Instead of stabbing a doll with pins, make a poppet with weak seems, loose stitches, or fragile clay. Your intent that their life falls apart at the seams as the poppet does. This trick is passive and clever, and you don't even need to revisit it.
The āRotting Fruit: Hex: write your target's name on a paper, stick it into a piece of fruit like an apple, lemon, orange. Let it rot in a dark corner or bury it face down. As it decays, so do their luck, beauty, or charm.
Think of what your target hate or is afraid of and include it. Lactose intolerant? Add spoiled milk. Allergic to peanuts? Add them in.
When performing curses, use fresh ingredients if possible. This way they will dry up, shrivel and rot which adds to the energy.
Crossroads Pebble Curse. Whisper their name into a small stone and throw it at a crossroads without looking back. Their path is crossed and scattered, while yours stays clear. This is a clever trick because crossroads energy is self-sustaining.
I wrote this charm for a working to protect another from false friends and negative influences.
Let the Spirits who made the road before your feet set the stone firm beneath your step. No crooked tongue shall guide you, no hidden hand shall turn you aside. Let the light of the Insight go before you like the morning sun, and let the shadow of the Discernment stand behind you like a wall of stone.
If any would lead you into thorns, let their words falter and fall to dust. If any would hide their face in deceit, let their mask break and their name be known. What is crooked shall be made straight. What is hidden shall be brought into the day.
As mist flees the rising sun, so let false friends depart from you. Blessed is your road and wise be your counsel. Your path is kept, you steps are guarded, and only those who walk in truth shall remain beside.
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Magical Recipe: Greer's Alchemical Magistery, the Vegetable Stone
From the Encyclopedia of Natural Magic, by John Greer. This substance is used to 'perfect' calcined vegetable matter into a potent substance amplifying its magical qualities.
Choose a day and hour corresponding to the ruling planets and signs of your chosen plant, and plan ahead so that the work can be completed then. Don't use plants that are toxic to burn or aggravating to the skin or stomach.
To Gather the Plant, if you choose to
Go out before dawn and trace a circle around your plant ally, ask it permission to take part of its body. Pluck what parts you need with a hand wrapped in cloth; leave coin, grain, honey or water as an offering.
Or store-bought is fine.
Supplies
You'll need:
Two canning jars and one small jar with an airtight lid
Mortar and Pestle
Flammable grain alcohol, such as Everclear. Don't use rubbing alcohol.
Matches
An Oven and a heatproof baking tray
Enough herbs that, dried and pounded, it will fill one-third of the canning jar.
1. Having dried your herbs, grind them into a fine powder with your mortar and pestle.
2. Fill the bottom of one canning jar with the powdered herbs, and pour enough alcohol into it to fill the jar halfway.
3. Steep for several hours in a warm place, until the alcohol is visibly deep green. Strain into the other canning jar and put aside, and scoop the herbs onto the baking tray.
4. Take the tray outside and drop a lit match onto it. This will ignite the alcohol, calcining the herbs. There will be lots of smoke. Try not to lose any ash.
5. Take the calcined matter inside and bake in a 500 degree oven until the ash is mostly white. This will also make smoke. Throw windows, disable alarms if necessary.
6. Let the ash cool and grind it in a clean mortar and pestle. Place in your small airtight jar and drop a small amount of your alcohol maceration into it until a consistent, waxy white substance forms. Your vegetable stone is done!
It is traditional, according to Greer, to use lemon balm (an herb once touted as panacea) for the first vegetable stone. The ointment can be applied topically or a small amount may be dissolved in water for the magical (and perhaps questionably, the medicinal) virtues of the herb.
I wanted to steal this one for my Blog of Shadows! Will report back with results soon.
Hi! Could you give tips on creating a decoy (for protection purposes)?
Rule 0: Your decoyĀ will be destroyed. If not by taking strikes meant for you, then by you when its time to move on. It is imperative that what you use for/on your decoy is environmentally safe and is disposed of in a way that does not poison the land and waters around it. So if you must use plastics, donāt bury them! Recycle them preferably, proper landfill trash if nothing else. (Or try not to use plastics unless necessary.) Consider how to incorporate the disposal methods into the working.
In all these suggestions, the actual working steps involved is left up to the reader to work out. One size does not fit all. Customize to your satisfaction.
What is your decoy? Stone? Paper craft? An unglazed clay jar? A glazed ceramic jar? Or even a glass jar? All these items are going to be disposed of in different ways, so keep that in mind as you start making the thing smell more you than you.
Speaking of smell, then a veryĀ light perfuming, or a smidge of your favorite antiperspirant/deodorant, or a drop of scented soap/gel can be used to make the decoy more you than you. You donāt have to complete douse the thing, just let it share your scent.
Do you smoke? Blow smoke over the decoy. Do you tend to get ashes on yourself? Rub a bit onto the decoy. Do you smell like cinnamon and nutmeg because of your job? Yup. Add that too. Whatever you smell like, give the decoy the same scent. If your decoy can withstand it, rub some body odor on it. (But, be safe. It doesnāt belongĀ there, there, or over there unless it was made for such purposes. Donāt risk an infection trying to set this up.)
Use makeup? Draw on the decoy. Use runes, sigils, and/or personal markings? Get to it. Avoid the use of paints, or large quantities of ink if possible. Especially if you are going to dispose of the decoy by burial or waterway.
Carry the decoy (or the objects youāre placing in jars) for a few days so it can pick up various āenergeticā associations connected with you. Why the quote marks? Because what one person would call energetic, another would call astral, and another would call soul-contamination, and I canāt keep up with all these new fangled terms so Iām just going to throw one out there and keep going.
Give it a good rub every now and then. Make some gesture and/or statement that reinforces that the decoy is associated with you. But donāt think of it as a pet (rock). This sucker is going to take an arrow to the knee for you. No emotional attachments!
Iād give it about three days of steady dunking in your personal aura before I would consider it ready for deployment. Where you place your decoy is dependent on what youāre trying to avoid, and why. If itās decent looking enough, you can have it out in plain sight. Which makes it easy to check for signs of strikes, or if it is time to dispose of it.
If you are worried about something coming through the mirror, place the decoy in front of it. Doorway? Knick-knack table next to it. Property boundary? Marked stones can be buried there. Still donāt trust that spirit board and/or tarot deck despite all that has been reblogged about the topic of mass-produced cardboard? Plop that decoy right on top of it.
How many decoys to use, and where to place them in relation to you is something that you will have to answer for yourself. A good way to figure it out is to pretend you have an evil twin from another dimension that wants to replace you. How would they attack you. There are your decoy points.
Check your decoy often. If it is showing signs of degrading, breaking, discoloration, unusual odors, or movements that can not be accounted for, then itās time to let it go.
Break the connection between the decoy and you before disposing, if desired. Rock? Douse it with water. Paper? Burn it or soak it in water. Glass jar or glazed ceramic jar? Fill it with water. (If already filled with liquid, pour out that liquid in a safe and responsible manner, then fill the jar again.) Unglazed clay or other porous container? Dunk it in a bucket of water.
(Iām quite fond of clean water as a cleansing and neutralizing tool, if you havenāt noticed. If your worldview varies, use what is appropriate for you. Just donāt burn down the garage, okay. Be safe.)
If you are reusing the jars, give them a good scrub out with salt and/or water. Rocks can be buried, or thrown in waterways if they wonāt bring any problems to the receiving waterway. Paper can be recycled, or thrown away responsibly. But donāt contaminate watersheds with diluted paints, or use liquids that will harm the wildlife when they come to investigate it. Be responsible.
Emergency decoys: Spit on it.
Letās say you walked into the wrong neighborhood, and the local spirits are not too happy about it. Theyāre on your ass and wonāt let you leave without a fight. Youāre trying to get away, but the damn darts keep coming.
Pick up a handful of pebbles or small rocks and spit on them. Throw them in various directions behind and to the side of your direction of travel. Then cover your head and depart with quickness.
This has been my emergency āwhy canāt Stealth be realā procedure and so far itās worked for me. As long as the spit on the rocks are wet and undiluted, the decoy is effective. Once the spit dries out, Iām now the brightest blip on the radar again.
In other words, this does not work in the desert nor in pouring rain. I also have found this out the hard way.
Blood? No.Ā I want to strongly advise to never use blood for a decoy, but I can not back up that advice with anything other than personal observations and an acknowledgement that it really comes down to how the working person views blood in the first place. But personally, I would never use blood for a decoy unless I was 1,850% sure that I would have complete control over that decoy at all times and that I would be the one to destroy it. And by destroy, I mean pulverize/burn that shit to nothing.
If you have read this far, keep in mind that this is all based on personal experiences and āOh Shit!ā circumstances. I am not a teacher. Not an expert. Have read no books on the subject that I would consider better than what I have found on the Internet. I can not tailor a specialized plan for you, because I do not know you, your circumstances, or what you are trying to dodge. It would take much more than a few asks/responses to sort that out.
If someone is out to get you and they have physical access to you, then these decoys are going to do jacque shitte at best, and at worst can be usedĀ against you.
Defend yourself, using whatever means are available to you. Donāt be afraid to think outside your paradigm(s).
Let the Spirits who made the road before your feet set the stone firm beneath your step. No crooked tongue shall guide you, no hidden hand shall turn you aside. Let the light of the Insight go before you like the morning sun, and let the shadow of the Discernment stand behind you like a wall of stone.
If any would lead you into thorns, let their words falter and fall to dust. If any would hide their face in deceit, let their mask break and their name be known. What is crooked shall be made straight. What is hidden shall be brought into the day.
As mist flees the rising sun, so let false friends depart from you. Blessed is your road and wise be your counsel. Your path is kept, you steps are guarded, and only those who walk in truth shall remain beside.
- a blessing charm for clarity and protection from false friends
Still one of my favorite and most effective charms I have ever written. When I initially performed it, it was done just be reading the charm. No extras. The effects were absolutely notable. I think I'm going to embroider it and put it in a frame.
The following is a simple protective charm that intends to protect a household from bad magicāthat is, spells and energy of evil intent cast by others in your direction. You may choose to do this at the door you enter/exit your residence from the most, or over each external door to your residence.Ā
If you rent or there is any other reason you canāt nail something into your residence proper, thatās fine! Obtain a small piece of wood in which to hammer the nail and hang it somewhere as a charm.
Take up a hammer and an iron nail. Find a spot above your front door in which the nail can be placed. With each strike of the hammer, read a line of the following:
istud qui malefacit,
istud qui imprecatur,
istud qui exsecramur,
hic non gratum es.
eiecto te,
abstergeo te.
(that one who curses,
that one who hexes,
that one who loathes,
you are not wanted here.
I eject you,
I drive you away.)
Repeat as many times as you need and visualise a shield forming around your residence, originating from the nail.Ā
Adder Stones: Stones said to be made out of the congealed venom of multiple adders, used to cure a man in Pitlochry, Perthshire of an adder bite [1] as they were elsewhere. In Cornwall, they were identified as blue stones with a yellow line through them and called "millpreves" (from Cornish myl pref, "thousand snakes) and folk healers wore rings made of them [2].
Blood Stones: Red stones with white lines running through them, used to cure bleeding, as in Guilden Mordern, Gloucestershire in 1911 [3] and carried as amulets against it [4]. In the Scottish Highlands, they were said to be the congealed blood of the Fir Chlis/Merry Dancers, the spirits of the Northern Lights, spilt in battles and falling to earth. Hence, in that region they were called fuil siochaire - faerie blood [5].
Charm Stones: In Scotland, these were pebbles credited with healing powers and bestowing those powers by being placed in water [6], such as on the island of Lewis, where they were placed in the water trough of cattle suffering from snakebites [7].
Hag Stones: Hag stones were stones with natural holes in them hung around the necks of horses to ward off witchcraft [8], hags [9] (nocturnal evil spirits associated with nightmares and sleep paralysis) [10] and faeries [11] and were also credited with healing powers and, in particular, that looking through the hole allowed viewing of faeries [12]. They remained in use well into the modern period, W. Hockcliffe, a train driver in St. Neots, Cambridgeshire, owned one as an amulet, and in the early 20th century, a woman from Exmouth, Devon used one to ward off nightmares [13] and one from Salisbury is on display at the Pitt Rivers Museum [14].
Growing Pebbles: In East Anglia, pebbles in the soil were said to grow into larger stones, and Blaxhall, Suffolk boasts a 5-ton boulder which was allegedly originally a pebble [15].
Haley Stanes: In the Orkney Islands, this was the name given to quartz pebbles which were built into the walls of houses for luck [16].
Hydrophobia Stones: This was the name given to the stones of the Monmouthshire village of Mynyddislwyn, which cured rabies if ground into powder, mixed with milk and given to the sufferer or just licked by them [17].
Irish Stones: In northeast England, Irish objects were credited with the power of curing snakebites and wasp stings; for example, an ancestral Irish flint in Blanchland, Northumberland used against snakebites and one in Stamfordham in the same county used against poison and never allowed to touch Irish soil [18] along with several others in the village. It was also believed in the county that Irishmen had the power to trap snakes by drawing circles around them, and that the milk of an Irish cow was also effective against snakebites [19].
Kenning Stones: In the West Country, these were old beads used to cure eye problems, usually a bluish colour and suspended on a string, and had to be kept from touching anything wooden to retain their power; one was kept in the Devon village of Great Torrington as late as 1899 [20].
Peter's Stones: Another Devonshire charm, this one consisting of a chipped-off piece of a saint statue mixed with lard and used to cure sore breasts; this stayed in use well into the 19th century [21].
Puddingstones: In Hertfordshire, pebbles joined together through natural cement were called puddingstones, and credited with promoting fertility and warding off witchcraft. Hence, in 1662 in Aldenham a suspected witch was buried with one, several people were buried with them in Great Gaddesden, and the church towers of Harpenden and Stocking Pelham having puddingstones built into them for apotropaic purposes [22].
Saint's Pebbles: Both St. Cuthbert from northern England and St. Columba from Scotland blessed pebbles on the beach that hence act as amulets against drowning [23].
Serinstens: In the Shetlands, a serinsten (from Norse sigrsteinn, āvictory stoneā) is a talisman obtained from the active nest or the beak of a raven, which ensures popularity, good luck and protection from human and trow attack [24].
Pebbles in Magic
Divinatory Pebbles: On Nos Calan Gaeaf (the Welsh Halloween), families in North Wales built a fire each and inserted a white pebble, marked for the person it corresponded to, into the ashes. If any pebbles were missing the next day, that person would die. In Merionethshire, this practice continued until the 1930s [25].
Lucky Pebbles: In Lincolnshire, smooth white pebbles were lucky amulets [26].
Inserted Pebbles: The Finger Steen on the Orkney island of Rousay, said to have been thrown by a giant from Westray, had pebbles inserted into it by passers-by to ensure good catches of fish [27].
Pebbles in Wells: Pebbles were thrown into holy wells as part of magical rituals in Llanelian-yn-RhƓs, Denbighshire [28], Trellech, Merionethshire [29] and St. David's, Pembrokeshire [30]
Other:
In the West Riding of Yorkshire, children would try to expel rainbows by making a cross of two sticks and putting a pebble at each end [31].
On the Orkney island of Westray, to cure children or animals of sickliness or melancholy sent by evil beings in response to praise without the invocation of God, read the following charm over water with or one black, one white and one red, blue or green seashore pebble ā āSain. Father, Son, Holy Ghost, bitten sall they be, wha haif bitten thee, care to their near vein, until thou getāst thy heath again, mend thou in Godās nameā ā while making the sign of the cross, give some of the water to the patient and sprinkle the rest over them [32].
Bibliography
William Henderson, 1879, Notes on the folk-lore of the northern counties of England and the borders, Nichols & Sons, p.165
Tony Deane and Tony Shaw, 1975, The Folklore of Cornwall, Batsford, p.118
Owen Davies, 1998, āHealing Charms in Use in England and Wales 1700-1950ā, Folklore, volume 107, pp.19-32
Ronald Hutton (editor), 2015, Physical Evidence for Ritual Acts, Witchcraft and Sorcery in Christian Britain: A Feeling for Magic, Palgrave MacMillan, p.197
Katherine Briggs, 1976, A Dictionary of Fairies, Penguin Books Ltd., p.177
Colin Bord and Janet Bord, 1985, Sacred Waters: Holy Wells and Water Lore in Britain and Ireland, Granada Publishing Ltd., p.52
Henderson 1879 p.165
Marc Alexander, 2002, A Companion to the Folklore, Legends and Customs of Britain, Sutton Publishing Ltd., p.223
John Aubrey, 1684 (1881 reprint), Remaines of Gentilisme and Judaisme, Satchell, Peyton & Co., p.28
Briggs 1976 p.216
Janet Bord, 1997, Fairies: Real Encounters with the Little People, Michael O' Mara Books, p.12
Brice Stratford, 2022, New Forest Folklore, The History Press, p.137
Hutton 2015 pp.203-204
Hutton 2015 p.194
Jo Bourne et al., 2009, The Most Amazing Haunted & Mysterious Places in Britain, The Reader's Digest Association, p.126
Ernest Marwick, 1975, The Folklore of Orkney and Shetland, Batsford, p.79
Bourne et al. 2009 p.209
Davies 1998
Henderson 1879 p.166
Davies 1998
Theo Brown, 1961, āSome Examples of Post-Reformation Folklore in Devonā, Folklore, volume 72, number 2, pp.388-399
David Castleton, 2021, Church Curiosities: Strange Objects and Bizarre Legends, Shire Books, pp.85-86
Alexander 2002 pp.247-248
Marwick 1975 p.148
Ronald Hutton, The Stations of the Sun: A History of the Ritual Year in Britain, Oxford University Press, p.366
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Today we're scrolling through an illustrated Ethiopian protective roll, made in the 1700s. It contains numerous prayers against barya, legewon, evil spirits, demons, magical cunning and sorcery, and a variety of illnesses and conditions caused by these forces, such as smallpox, cough and sore throat, migraine, colic, and malaria. (UPenn Ms. Roll 2059)
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Access 'Ge'ez protective roll' through the Penn Libraries catalog.
if anyone is on the lookout for a gross curse ingredient, let me ask you. when was the last time you snaked your bathtub drain. because that will 100% produce a nasty glob that can clog up a personās life š
Apples. Apples are known as āthe fruit of the deadā in Ireland. As such, they are a traditional offering for the dead on Celtic holidays like Samhain. The wood from an apple tree can be carved into necromantic wands or poppets.
Basil. Basil has a long history in purification and cleansing rituals. The Egyptians prepared embalming salves with basil; the Gauls infused it into purification washes; and basil juice was said to āhelp witches flyā in the Middle Ages. In Hinduism, Basil is used in both weddings and funerals because it is said to link people in love. It was a symbol of sorrow of ancient Greece. Use basil to aid in divination, hedgecrossing, or spirit communication.
Bay. Bay leaves are often used in clairvoyance spells and divination. They aid communication with the dead; the ancients either chewed them or burned them as incense. I often burn bay to enhance divination and ward off evil. (Be carefulāit burns fast!)
Beet. Beet can be used as a blood substitute and as a dye in necromantic inks.
Carnations. Carnations are a common funeral flower, especially in France (where purple carnations are traditional). They are common in healing spells but are also used to remember the dead. After the crucifixion of Christ, it is said that Maryās tears grew carnations. In the Netherlands, people wore carnations to remember fallen veterans.
Chamomile. Chamomile is best-known for its ability to aid sleep and meditation, but its history branches far before that. The ancient Egyptians associated chamomile with the sun, specifically with the God Ra, who was said to heal malaria with it. They used it in mummification to repel flies. The Romans also dedicated chamomile to their Gods and bathed in it for its healing properties. Chamomile makes a great offering to assuage the dead.
Cinnamon. Ever since Moses anointed the Tabernacle with cinnamon oil, it has been associated with deity and spirit work. Cinnamon oil was common in the Egyptian mummification process. The Roman emperor Nero tossed cinnamon onto his wifeās funeral pyre. In magic, cinnamon can amplify magical workings such as divination.
Copal. There are many different types of copal that have unique properties. However, most of them make great offerings for the dead, especially those who remain disoriented from trauma.
Damiana. In my experience, damiana is one of the best herbs to use in incense and herbal smoking blends. Its smoke produces visions, increases your ability to astral project, and aids meditation.
Dittany of Crete. As another spirit work herb, Dittany of Crete is burned to manifest spirits. It is especially potent in summoning spirits of the dead. Since it grows near cliffs, many farmers fell to their deaths trying to harvest them, giving this plant a negative connotation. However, the ancient Greeks valued it as a symbol of love and healing.
Dragonās Blood. Itās nearly impossible to research ceremonial magic without running into this resin from the palm tree. Dragonās blood is burned to aid spirit work and protect the magician. You can also infuse it into necromantic inks.
Eucalyptus. According to Australian Aboriginals, eucalyptus trees divided the Earth between the Underworld and Heaven. It is commonly used in healing poppets and health spells. DO NOT burn green eucalyptus; its oils produce too much smoke.
Fennel. Fennel is a protective and purifying herb. In the Middle Ages, people placed fennel inside their keyholes to prevent ghosts from entering their homes.
Frankincense. Due to its powerful vibrations, frankincense often aids spirit work. It is a common consecration herb in Judaism and Christianity. In Hoodoo and rootwork, frankincense boosts the powers of other herbs.
Heather. Heather is said to conjure ghosts and open the portals between worlds. In the Scottish highlands, heather marked the resting places of faeries. It was also said to grow where no blood had been shed. As such, it can help to heal deceased warriors.
Holly. Holly is often planted in graveyards to protect both the dead and the mourners. It also promotes good fortune.
Juniper. Juniper has ancient healing associations. The Egyptians used it both medicinally and to embalm the dead. In Scotland, it was said to guard against ghosts and illness. The Key of Solomon often lists it in purification rites. I often use juniper berries as offerings. (Be careful while burning or grinding it in a mortar and pestleāit is incredibly oily!)
Lavender. Beyond its sleep-inducing effects, lavender is also carried to see ghosts. Dried lavender was found in Pharaoh Tutankhamunās tomb. During the Middle Ages, Christians made crosses out of lavender to protect themselves from evil. It was also used in healing magic, as people carried it to cure headaches in the Mediterranean. You can use it to heal the dead, aid divination and psychic dreams, and protect the home.
Lemon Balm. Known as one of the āwitchās plants,ā it is said that Hekate gave lemon balm to Her daughters. Pliny the Elder hyped up lemon balmās properties as a healing herb, claiming that it could stop the bleeding from a stab wound and prevent bees from swarming. In the Abuzzi region of Italy, women would pick lemon balm between their fingers so Jesus would assist them into Heaven. For death work, lemon balm is a healing herb that helps souls to pass on.
Lily. Lilies do not only symbolize purity and love; they are also planted in gardens to ward off ghosts and evil spirits. They are a common funeral flower, especially for women and children. It is said that Maryās tomb was adorned with lilies. In the Anglican church, Jesus is sometimes depicted as being crucified on a lily cross. There are many types of lilies with different meanings. For instance, the Calla lily is associated with everlasting honesty and love, so it is used in both weddings and funerals.
Marigold. Marigolds are the most popular flower used in Dia de los Muertos, and they are also common in funerals. Along with being a protective herb, they also improve your relationships. It is said that bathing in marigolds will help you earn respect and admiration. Use it in healing and communication spells for the dead.
Mint. Mint used to be a popular funerary herb in Greece, as it masked the scent of corpses. It is not so popular at funerals anymore. The name stems from the myth of Pluto and Menthe, so many Pagans use mint to connect to chthonic deities. It is also a healing herb and can protect you on journeys.
Mugwort. Another one of my favorite spirit work herbsāmugwort is used in divination teas, smoking blends for spirit work, and washes for magical tools. Native Americans rubbed mugwort on themselves to keep ghosts away. According to a 9th-century grimoire (Baldās Leechbook), it casts out demonic possession. Use it to amplify spirit work and induce a trance state.
Mulberry. Mulberries (which are technically trees, not bushes) are planted in cemeteries to heal grief and grant eternal life. They also protect against evil.
Mullein. Because of its nickname āGraveyard Dust,ā mullein is often mistaken for a graveyard dirt substitute. To be clear: it is not a substitute. But mullein torches used to be burned during funerals, and its smoke can help people see spirits of the dead and the afterlife.
Myrrh. Myrrh is a common incense and oil in necromancy. The Egyptians associated myrrh with Isisās death aspects, so they used it in magical inks and embalming. The ash from myrrh can be used to draw magic circles. Burn it to enhance meditation and increase psychic powers.
Olive. Olive fruits and leaves were usually used for protection, healing spells, and luck. But olive oil is common in spirit work; the Romans used it for necromantic scrying. The Greek Magical Papyri recommends pouring it into spring water to see spirits of the dead.
Orchid. In Greek mythology, Orchis, the son of a satyr and a nymph, became an orchid upon dying. The Greeks also used orchids in fertility spells, so it became a symbol of death and rebirth. As such, itās a common funeral flower. It also induces trance states and develops psychic powers.
Oregano. The ancient Greeks believed that growing oregano on graves would ensure that the deceased was happy. This herb enhances love and is used in healing salves. Place it under your pillow to have prophetic dreams, or give it as an offering.
Parsley. Parsley has long had associations with death. According to Greek mythos, parsley sprang from the blood of Archemorus, whose name means āforerunner of death.ā It frequently appeared in ancient funerals. During Greek funerary games, victors wore crowns of parsley to commemorate the dead. It also has protective qualities.
Patchouli. Because of its earthiness, patchouli is often linked with graveyard dirt. I use it as an oil to anoint candles.
Rose. Possibly the most commonly recognized funeral flower, roses have been associated with death for centuries. In 5th century Egyptian tombs, paintings of roses covered the walls. Its relationship to love connects the living and the deceased for eternity. It can also heal the dead.
Rosemary. Rosemary is the herb of remembrance. Studies have linked rosemary to a sharper memory, but the ancients learned this long before. It appeared in Egyptian, Roman, and Medieval funeral rites to commemorate the dead. The Greeks tossed sprigs of rosemary into graves to ensure that the deceased would not be forgotten. It is also burned to magnify divination and infused into ritual washes.
Sage. In Medieval folklore, eating sage in May was said to promote longevity. It also symbolizes immortality. The Egyptians often used sage ceremonially. Sage pollen was found in the tomb of Pharaoh Ramses II. In France, sage is said to heal grief, so it is often planted in graveyards.
St. Johnās Wort. St. Johnās Wort sometimes appears in spirit work and divination rituals. In the Middle Ages, people carried it in the mouth to find witches. But it is also protective. Dry it during Midsummer and hang it over a door to guard against ghosts, necromancers, and evil spirits. Do not ingest if you are on an anti-depression or mood disorder medication.
Sandalwood. This fragrant plant was used in Egyptians embalming rituals. Nowadays, it is often burned as incense to support spirit work, consecrate tools, and protect a space. In my opinion, itās more effective if you burn it with frankincense.
Thyme. In ancient Greek funerals, thyme represented the bravery of a warrior. You can burn it to aid those suffering in death. It was also used in ancient Egyptian embalming and to induce prophetic dreams during the Victorian era. Combine it with marjoram in a bath to wash away sorrows of the past. You can also use it to communicate with the fae and the dead.
Tulips. Since blooming tulips signal the coming of spring, they are associated with death and rebirth. They often appear in funerals to signify perfect love. In Middle Eastern traditions, people wore tulips for protection.
Valerian. Like mullein, valerian root is called āgraveyard dirtā when powdered. But it is not a substitute for real graveyard dirt. Instead, it is used to induce a trance state and sleep. The Greeks hung a sprig under a window to protect the home from evil.
Vervain. Vervain is a common herb in spirit work. In Christian mythos, it is said that Christās crucifixion wounds were staunched with vervain. The Romans called it a āsacrificial herb,ā and it was said to be especially powerful. As a protective herb, vervain can be carried, burned, or infused into potions to drive off evil spirits. Use it in spirit work spells to enhance their powers.
āWormwood. Wormwood is often burned as an incense or smoking blend to develop psychic powers. In Slavic rituals and dances, people carried it for protection. The Greeks hung it to ward off malicious spirits. Its smoke is said to summon spirits. According to old grimoires, burning it on a grave will raise the dead. You donāt have to perform magic in a cemetery, thoughāwormwood will aid necromancy anywhere.
This post is a continuation of my Notes on Narrative Charms post, where I broke down some of the common parts of traditional narrative charms (particularly in European folk magic, which is my own magical background) and the roles they can play in the performance of magic. This post will focus on ideas and suggestions for narrative subjects which can be incorporated into contemporary narrative charms or used to modify existing charms.
The suggestions and associated symbolism here are based on my own background in diasporic European folk magic. I have not included symbols from outside my own folklore and practice, simply because I do not consider myself well-versed enough in other folklore and magical backgrounds to do so. These ideas are intended only as suggestions and should not be taken as a supreme authority. In instances where these suggestions contradict symbols or symbolism from your own established practice or folkloric background, I strongly recommend using your own practiceās symbols and symbolism over these.
Notes: 1. Although this post is centered on the narrative subject, the same figures and symbols can be used as secondary subjects, or companions to the primary subject in a charm. These can be the narrative subject or any figure they cross paths with or interact with. 2. You will notice that many of the figures addressed here have overlapping symbolism and associations. That is because the narrative charm has strong historical ties to healing and protective magic. I have used my own background where appropriate to expand on some historical associations in order to expand the application of these charms into other magical disciplines. 3. Some of the associations for each figure may appear to be contradictory unto themselves. For example, a figure may be listed as being both associated with nightmares and with protection from nightmares. It is important to understand the lore associated with these figures to understand how the associations come into play.
Traditional, Biblical & Mythic Figures
Note: These figures are classified here as ātraditionalā because they appear often in pre- and early modern European narrative charms. The suggestions I have listed for possible causes or magics that they may represent in charms, however, have been expanded to include both traditional and more contemporary approaches to these figures. If your goal is to make your own narrative charms (or adapted narrative charms) as traditional as possible, I recommend doing your own research into the more traditional symbolism of these figures within the specific region or era of charm magic that interests you.
The Devil - 1. Folkloric, often depicted as a witch-patron: baneful magic, divination, glamor magic, hidden knowledge, initiation, liminal spaces, magical aid, oaths and pacts (making and breaking), power, protection magic, transitions, witchcraft (general), witch flight, witch sight; 2. Biblical, typically depicted as malevolent: banishing unwanted spirits, clarity, divine protection (from devils, evil and mischief), insight, overcoming obstacles, protection from baneful magic, protection from nightmares, protection from witchcraft, returning unwanted magic to its source, warding, protection from evil; 3. Local, associated with local landscape: communion, pacts and oaths, protection, spirit work, stewardship, land magic; 4. General, lesser folkloric devils and devil-motifs in folklore: baneful magic, glamor, knowledge, manipulation, sorcery, trickery (overcoming or performing).
The Devil's Many Faces: In witchcraft, mention of the Devil can refer to one of several figures, including the Biblical Devil, archetypal folkloric devil-figures, patron spirits and entities associated with specific paths of Traditional Witchcraft, and sundry ālesserā spirits associated with local land features, crossroads, liminal spaces, hidden knowledge, and magical craft. In the context of a narrative charm, the Devil may appear as either a primary subject (a figure which represents the practitionerās role in the charmās magic) or as a secondary subject (a figure which lends aid to the primary subject). How he appears and what his role within the charm may be will differ greatly depending on the practitionerās personal background, beliefs, and relationship with Devil-related myth and folklore. In traditional folk charms, the Devil appears in similar ways as he might in the folklore that inspires and informs such magic; he is often depicted as being tricked, deceived, or easily out-witted in narrative charms intended to ward off harm and baneful magic. Generally, when the Devil appears in this way, the depiction is either that of the Biblical Devil or of a Devil figure associated with the direct causation of evil (ex: a demon, imp, or malicious trickster). This may be in opposition to how the Devil is viewed by many modern witches, particularly in the case of formal Traditional Witches and folkloric witches. In contrast, when the Devil appears as a secondary subject in a verbal or narrative charm, he is most often depicted in some kind of helping role, providing tools, hidden knowledge or other aid to further the subjectās cause.
The Maid - absence of harm or evil, blessing, dispelling harm, earnest desire, healing, innocence, love, new beginnings, purity (of heart/mind/body/intention/etc), safety.
The Three Maids / The Three Spinners / The Three Aunts - destiny, direction, divination, fate, guidance, protection against misdirection, protection against misuse, protection from evil persons, protection of fate, spiritual assistance, spiritual guidance, uncovering hidden knowledge, uncovering the truth, wisdom.
The Farmer - agriculture, the everyman, farming, growth, healing of animals, healing of the land, land fertility, land stewardship, layman's magic, livestock, practical concerns, protection of animals, the practitioner, protection of the land.
What is āLaymanās Magicā? A large part of the known body of European folk magic is what is known as service magic (Stanmore). This is magic that is given or performed by a professional cunningperson for a fee. Such service magic can be further divided into magic performed by a skilled practitioner and magic that can be performed by an āuninitiatedā layperson (Johnson). When narrative charms are given to a layperson to perform for themselvesāeither as a spoken charm or as written magicāit is important to remember that the narrative subject should then represent the layperson that is performing the spell, rather than being a symbol of the practitioner who has written the spell. For this, it can be helpful to understand and incorporate representations of āthe everymanā. The Farmer is just one archetypal example of such symbols. The Farmer may not represent everyone, but he often appears as a symbol of the layman in magical charms. Other such figures may include travelers, housewives, etc. When writing our own charms, the simplest way to incorporate the everyman into laymanās magic is to describe the person the magic is for. A young woman, an old man, or a weary person is enough as long as the rest of the charm meets your needs for specificity.
The Mother/Father/Parent - child care, children's health, family matters, guidance, home matters, magic done on behalf of a child, nurturing, parenthood, petitions on behalf of a child, protection against disease, protection against evil, protection against nightmares, protection of children, the everyman (parents).
The Child / The Baby - beginnings, blessings, healing, innocence, magic performed on behalf of a child, purity, vulnerability.
Christ - binding of demonic spirits, binding of evil, binding of unwanted spirits, blessing, healing, protection against baneful magic, protection from evil, protection from witchcraft.
The Virgin Mary / The Mother of God - blessing, blessing of children, blessing of women, blindness, blood, care for the dying, care for the sick, eyesight, fertility, gynecological issues, healing, motherhood, nuns, petitions for mothers, pregnancy, protection, protection of children, protection of women, religious stewardship, speech, speech difficulties.
Saint Peter - care for the afflicted, doorways, healing, healing of bones, healing of feet, healing of teeth, luck for fishermen, opportunities, possibilities, protection for sailors, protection for sea travel, removal of obstacles, thresholds, transitions.
Saint Michael - banishing, breaking curses, breaking hexes, defensive magic, protection, protection against baneful magic, protection against demonic influence, protection against evil, protection against unwanted spirits, protection against witchcraft, warding.
Saint Cyprian - aid in magic, aid in sorcery, protection against baneful magic, protection against witchcraft, protection magic, removal of baneful magic, removal of curses.
Saint Expedite - speeding processes along, time sensitive petitions, urgent money magic.
Saint Anthony - finding hidden wealth, finding lost items, luck, luck in gambling, luck in games, luck in hunting.
Saint George - banishing, binding, overcoming, protection from evil, protection of cattle, protection of livestock.
Saint Benedict - banishing, banishment of demons, banishment of spirits, exorcism.
Saint Francis - blessing of animals, healing of animals, protection of animals.
Other Saints: Although some Saints appear more often than others in extant historical examples of folk charms, any saint can be called on for aid in contemporary folk magic. Which saint is called on is determined by their traditional patronages as well as the legendary tales associated with them. They can be written into charms which hearken to the legends that the saints appear in or in charms which more closely depict the issue the spell is intended to target.
Othinn - aid in magic, aid in sorcery, aid in spirit work, aid of the dying, ancestor magic, death, divination, ecstatic magic, guidance, healing of horses, healing with herbs, hidden knowledge, protection, protection against witchcraft, protection of horses, removal of obstacles, spirits of the dead, spirit travel, spirit world, transitions, travel, war, wisdom, wortcunning.
Thor - andrological issues, erectile issues, fertility of the body, fertility of the land, land stewardship, protection, protection against elfshot, protection against giants, protection against illness, protection against natural disaster, protection against pain, protection against trolls, protection of cattle, protection of farms, protection of livestock, protection of the body, protection of the bones, protection of the home.
Frigg - blessing for marriages, blessings for children, blessings for looms, blessings for sewing tools, blessings for spinning wheels, communication, destiny, fertility, fibercrafts, foresight, grief, healing for children, healing for mothers, hidden knowledge, motherhood, protection of the home, spinning, troublesome marriages, wisdom.
Freyja - aid in magic, clarity, healing, healing from grief, healing in fatigue, healing in fertility issues, healing in sexual issues, judgment, prophecy, protection, strength, treasure, wealth.
Tyr - blessing of locks and doors, blessing of protective amulets, bravery, bravery in battle, clarity, conflict, fairness in court, justice, protection, protection against corrupt law enforcement, protection against law enforcement, protection for first responders, protection for soldiers, war, warding.
Baldur - blessing, care for the dying, care for the sick, healing, personal wards, protection, strength, vitality.
Frau Holle - blessing, blessing of looms, blessing of spinning wheels, blessings done with the first snow, blessings of flax, cleansing, destiny, empowering evergreen for magical workings, fate, house blessing, house cleansing, protection, protection from winter weather, protection of children, protection of the dead, protection of the hearth, protection of the home, spinning, stewardship of the home, stewardship of the land, warding, weaving.
The White Lady - protection, protection of livestock, protection of the family, protection of the farm, protection of the home.
Veles - aid in magical workings, blessing of fields, blessing of land, blessing of livestock, blessing of wheat, blessing of wildlife, livestock fertility, livestock health, protection against evil, protection for livestock, protection for practitioners, protection from baneful magic, protection from wildlife, protection of crops, protection of farm.
Perun - blessing of iron tools, conflict, healing, magic for rain, magic for the end of drought, protection, protection against baneful magic, protection against disease, protection against evil, protection against fire, protection against gunfire, protection against ill luck, protection against lightning, protection against misfire (guns), protection against spears and blades, protection of iron tools, protection of soldiers, war.
Mokosh - blessing of spinning wheels, blessing of looms, blessing of wells, divination, fate, fertility, fertility of the farm, fertility of the land, gynecological health, land stewardship, protection, protection during childbirth, protection of fate, protection of wells, protection of women, spinning, weaving.
Lada - blessing, blessing of the home, protection, protection from evil, protection from spirits, protection of children, protection of the home, protection of women, spring magic, warding.
Marzanna - banishing cold, banishing disease, banishing winter, death, night terrors, nightmares, warding off disease, warding off famine, winter.
Duality in Folk Charms: In many cases, the disciplines associated with certain figures and their use on folk charms may be entirely counterintuitive to their natures. Marzanna is a good example of this, as she is associated with magic (both narrative and otherwise) to banish winter, illness and nightmares despite being folklorically connected with the causation of such phenomena. In Marzannaās case, this is because much of this magic is performed using depictions of defeating, overcoming, or even killing her. Understanding the lore and customs that inform these associations is key to understanding how to incorporate these figures into magic.
Personified Disease & Evil
Although diseases and evil are sometimes addressed directly in narrative charms and other folk magic, they also sometimes appear in a personified form, depicted as various spirits and folkloric figures. These figures typically appear as secondary, adversarial subjects, which are depicted as being overcome, outwitted, destroyed or killed. These are just a few examples. In many cases, such forces are personified and addressed simply as āSister Feverā or āSpirit of Coldā, which can be a simple, useful way to address any ailment and command it out of the body.
Unwanted Visitor - fever, chills, general illness.
Spotted Man - traditionally smallpox, but can be expanded generally into rashes, chickenpox, shingles and other ailments with a dermatological expression.
Snake / Devouring Snake - venom, infection, any ailment that spreads through the body via the blood or tissue.
Night Demon / Night Goblin - nightmares, night terrors, sleep paralysis, insomnia.
Trolls - general evil, bad luck, baneful magic.
Animals as Narrative Figures
Dogs - protection, protection against dog attacks, protection against dog bites, protection against rabies, protection of cattle, protection of livestock.
Horses - fertility, protection, protection against glanders, protection of horses, speed, strength, travel.
Cats - aid in magic, aid in spirit travel, protection against evil, protection against ill luck, protection from witchcraft, protection from witches, spirit communication, spirit sight, spirit travel, spirit work, spirits of the dead, underworld.
Toads / Frogs - aid in baneful magic, causation of illness, fertility, grounding, healing, hidden wealth, mastery of horses, protection against illness, protection against plague, protection against poison, protection from baneful magic, transference of illness, transformation.
Rabbits / Hares - aid in witchcraft, cleverness, escape, fertility, outrunning law enforcement, protection from famine, protection from harm, protection from hunger, protection from ill luck, protection from witchcraft, shapeshifting, spirit sight, spirit travel, transformation, underworld, wisdom.
Snakes / Worms - banishing illness, banishing intestinal worms, illness, pestilence, protection against headaches, protection against lice, protection from plague.
Cows - banishing famine (Milk-White Cow), healing, healing from illness (Milk-White Cow), lactation, motherhood, protection against elfshot, protection from hunger.
Pigs - blessing of the crops, divine guidance, fertility of the land, fortune, healing skin ailments, hidden knowledge, luck, protection against starvation, protection from demons, protection from evil, protection from fae, transference of skin ailments.
Chickens - blessing of new homes, fertility, protection from baneful magic, protection from evil spirits, protection from the witch's gaze, protection from witchcraft, protection of livestock, protection of the home, spirit travel.
Ravens - death, divination, guidance, hidden knowledge, protection from death, protection from spirits, underworld, wisdom.
Magpies - aid in witchcraft, communion with the Devil, divination, foresight, protection from evil, protection from ill luck, protection from the Devil, protection from witchcraft.
Owls - divination, hidden knowledge, spirit communication , wisdom.
The storytelling format for spoken charms is one of my favorite elements of the cunningcraft I learned from my grandmother. Sometimes known as a narrative charm, this is a method of charm delivery in which the magical directions are given in the form of a brief story. The stories come in many shapes, but one that is common in healing magic in particular is the format that I refer to as a āTwo Maids Came Walkingā Charm. This was the first charm of this kind that I was taught to use, and has been the basis of my personal study of the mechanisms and applications of narrative charms.
Narrative charms can be spoken directly over a wound or patient, as is the case in charms to staunch blood and to remove fevers. They can also be used to bless poultices, compresses and other supplies for healing work, imbuing the articles with the same healing spirits and powers that are wielded by administering the charm directly. To provide distance healing, they can be administered over pictures of the target or over items intended to be consumed or used by a healerās target.
The stories contained in narrative charms are not typical in the sense that we think of structured narratives. They do not contain a beginning, middle or end. There is no rising action or resolution. Rather, these stories depict a single moment, a single action. They are containers of symbol and instruction in the same way that prayers and petitions are containers of our desires. Speaking the charms over a patient or supplies is a coded command that is designed not to petition aid from a deity or spirit, but to directly cause the desired effect or action to take place. To stop or slow bleeding, to break a fever, to heal the sick, and so on.
Although many of the traditional examples we have of these types of charms describe scenes involving maids, the colors of their dresses, the items they carry in their hands, etc., there are also numerous examples which depict folkloric, mythological and even Biblical figures and motifs in the same manner. The methods associated with writing and performing narrative charms can be used by anyone to create narrative charms that fit within their own magical framework, symbol set, religious practice, etc. The figures that appear in the narratives used in these charms, the colors that are featured, the items they bring, the landscape, and so on can all be drawn from oneās own background, belief set, practice, and interests. And all of these can be used as functional tools for carrying out the charmās magic.
Narrative Subject
The subject of a narrative charm is the figure that is featured in the charm. In the example of the Two Maids Came Walking charm, the subject is the two maids. In the well-known Nine Herbs Charm, the subject is Woden. In variations that deal with saints carrying out various actions, the subject is the saint. In charms that describe two figures meetingāfor example, a farmer and the Devilāit can be more difficult to determine which is the narrativeās actual subject, but we will talk more about that in a moment.
From the perspective of the writer, the subject of any narrative should be the person, animal, spirit, or object that is participating in or facilitating the events around them (or otherwise interacting with their environment). If three maids come carrying three herbs in a charm for empowering medicine, they are the subjects of the narrative. If a fox shakes the snow from his fur to banish a chill, the fox is the subject. If a flower blooms to return vitality, the flower is the subject. If Woden is battling a snake or Christ is wrestling with Satan, Woden or Christ would be the subject. No matter how many figures are presented in a narrative charm, the subject will always be the person, animal or other figure that represents direct action.
From the perspective of the practitioner, the subject of the narrative charm functions in the same way as a wand does within some systems of magic. The subject is both an extension of the practitioner themselves and a tool for directing and manipulating spirit, energy and circumstance. Their place within the narrative is parallel to the practitionerās place within the spell; the subjectās desires, actions, and predicaments mirror our own through allegory. The subject of a narrative charm can be anyoneāmaid, saint, Devil, animal, or farmerāor anything that represents the practitionerās role in the charm we are working.
The narrative subjectās identity, how we refer to them, the features we focus on operate as symbols for who we are and where we stand in the working. The maid, for example, can be a symbol of purity and earnest desire. Different saints can be invoked through narrative charms to call on traits demonstrated in their associated myths. A farmer can represent the everyman. A fox can be a sign of cleverness and wile.
Who is the Subjectāthe Farmer or the Devil? When weāre modifying, syncretizing or creating a narrative charm, understanding the subject is an important part of assembling the machinery of the spell. So, how do we identify the subject of a narrative charm that contains two or more interactive characters? We look at the function and identity of each figure in relation to the practitionerās role in the magic. A common form that multi-subject narrative charms can take is the meeting of two figures, such as a farmer and the Devil or a young woman and one of the Hidden People. It can be easy to assume that the folkloric, mythic, Biblical, etc. figure is the subject because we tend to think of them as being the āmain characterā. But thatās not always the case.
Often, the primary subject in such charms takes on the role of the petitioner, meeting with a folkloric, mythic, or divine figure to ask for intercession or to acquire the necessary tools to complete a task. The Hidden People provide the maid water from a blessed spring, yet the maid is the subject because she is the facilitator of the charm. Her journey to visit the Hidden People to acquire the water represents the practitionerās earnest petition for aid in healing. The Devil appears at the crossroads and provides the farmer with a golden whistle that he can use to call any wandering cow back home. But the farmer is the subject, and his rendezvous with the Devil represents the practitionerās petition for protection for their cattle.
Even though the folkloric, mythic and divine figures in these charms may supply the tools for the subjects to carry out their magic, they are acting as secondary subjects. They are present in the charm because the practitioner is petitioning them for aid or intercession, because they are asking for their help to empower the charm. The Hidden People are not administering the healing; they are merely providing the supplies. The Devil is neither missing cattle nor blowing the whistle; his role in the charm is simply to provide the means of magical action.
Narrative Setting
The setting of a narrative charm is not always mentioned. There are many such charms that mention nothing at all about the setting apart from noting that two maids sat spinning, or Woden went riding. When a particular setting is mentioned, it is generally done in vague terms, without any specifics or description. Nevertheless, when a setting does appear in a storytellerās charm, it plays an important role in building the spellās coded command.
The setting can help us to hone our charm onto very specific targets. A stream, for example, may appear in charms related to the flow of blood (i.e. bringing about menstruation, ridding the blood of infection, or dealing with any number of ailments that would have been thought to come from some form of bad blood). It can also be used to help practitioners to get very specific about what kinds of spirits, if any, they are calling for help from or what kinds of energies they are calling into the working. A young girl coming over a valley invokes a very different energy than does an old woman coming from the forest; and a figure that approaches from the east can bring a different kind of aid than one who comes from the west.
A setting can describe something as specific as a stream flowing through a valley or something as ambiguous as mentioning snow. And, just as the narrative subject is allegorical for the practitioner and their desired actions, the setting is representative of the realm in which the practitioner is working or the internal landscape they are navigating. The stream represents the blood. The road represents transition and movement. Whether a setting is a necessary part of a narrative charm depends upon whether the writer feels that the charm is specific enough to address their exact target, their exact realm of concern without it.
Curios in Narrative Charms
When we think about narrative charms, we may not always think of magical curios in the typical sense. Part of the joy of narrative charms is that the story, the spoken charm can help to mitigate the ānecessityā of tools. The subjects of spoken charms do not generally arrive with daggers and wands. They do not typically come with candles and poultices of their own. Although they mayāalmost anything is possible with narrative charmsāsuch instances are atypical examples of how curios appears in these magical stories.
Curios in narrative charms typically appear in the form of symbolic elements carried, used, worn, or otherwise interacted with by the subject of the charm. In the example I have previously used of the āTwo Maids Came Walkingā format, the maids are often described as carrying flowers, branches from powerful trees, candles, pearls, fish, and any number of symbols that can lend themselves to magic.
Sometimes, however, the curios are subtler. It can be found in the description of a subject wearing a red dress or a blue sash. One of the first charms I remember learning started out with the lines: Three maids came to the river; the first wore red, the second wore white, the third wore blue. This example was a charm used to stop the flow of blood (either from a wound or from prolonged menstruation or other gynecologic issues). In this instance, the three maids in their dresses represent the flowing blood (red), dressings or gauze (white), and the return to a healed, āpureā state (which, in our tradition, can be represented by the color blue).
When curios are described, it can be either overt or abstruse. It can be an object that is used or a flower that is simply present. It can be something that the practitioner has on hand, that they are incorporating into the physical element of the working; or it can be something that is rare and hard to acquire, but so significant to oneās lore and practice that the practitioner wishes to include it, even if it is only through the spoken charm.
Writing a Narrative Charm
The important thing to remember when writing your own narrative charm (or modifying an existing one) is that the purpose of the charm is to work magic, not to tell a story. They are not to add flair to a working by having something to say. Narrative charms are functional magical tools. They are commands for directing magic and for shaping outcome. Although, it may be tempting to make these charms beautiful and poetic, they donāt need to be. They donāt need to be flowery. They donāt need to rhyme. They donāt even need to describe a āprettyā scene. All they need to do is work.
I always advise that, to make these types of charms work and work well, they should be written in as direct a way as possible. No frills. No fluff. This might seem like silly or even counterintuitive advice to give in regards to storytelling charms. But what it boils down to is that whatever subjects, settings, curios and other elements you put into your own narrative charms should be necessary. Whether it is a stream, a tree, a red dress or a little mouse, every element should be functional. Every element should be part of the magical command you are issuing or it should be left out.
Historical Examples of Narrative Charms
I walked through a green forest,
There I find three wells, cool and cold;
The first is called, Kind,
The second is called, Good,
And the third is called, Stop the Blood.
This example from The Long Lost Friend (Hohman) is a Pennsylvania Dutch verbal charm for staunching blood as if from a wound. The forest mentioned here can represent the danger and uncertainty of bleeding that will not stop, while the color green can be a symbol of growth and life (especially to an agricultural community like the ones that might have developed this charm). The wells can be similar to the stream I mentioned in an earlier example, where the flow of water under the ground may represent the flow of blood. Wells are sometimes also incorporated into Christian folk charms as a symbol of Christās blood, which is often invoked in healing magic of this kind. This charm contains no outright curios, but instead invokes simple virtues in its working to dispel any āevilā that might be causing the bleeding and to support the final command to stop the blood.
Mary, God's Mother, traversed the land,
Holding three worms close in her hand;
One was White; the other was Black; the third was Red;
Now all the worms are dead.
This is another example from The Long Lost Friend, which is intended to rid livestock of intestinal worms. This charm does not mention a setting. It calls on the Virgin Mary, who is often invoked for healing, blessing and protective magic. It also employs the use of color magic. In Hexology and Pennsylvania Dutch magic, white may be used for blessings, black can be included for protection and banishing evil, and red can be a symbol of strong desire or vitality. These three colors are used together as a coded command to protect the cattle from the withering effects of worms, to protect uninfected cattle against their spread, and to return the livestock to their healthy state.
S. George, S. George, our ladies knight,
He walkt by daie, so did he by night;
Untill such time as he hir found,
He hir beat and he hir bound,
Untill hir troth she to him plight,
She would not come to hir that night.
This charm is an example of how narrative charms mention only what is useful to the spell, sometimes requiring prior knowledge of folklore and legend to truly understand the story it refers to. This English folk magic example is recorded in The Discoverie of Witchcraft (Scot), where it is mentioned as a charm against nightmares and other evils of the night. In this charm, the subject is Saint George. The language is archaic, but it details Saint George journeying through day and night until he came upon the dragon he is famous for slaying. In the story, the dragon has been terrorizing a village to the point that they have begun using a lottery system to select human sacrifices to sate the dragonās hunger. When Saint George enters the story, a young princess (the lady referred to in the charm) has been selected as the next sacrifice. Saint George beats and subdues the dragon by binding it with the princessās belt or girdle. In the legend, Saint George and the princess lead the dragon back to the village, using the girdle as a leash; there, Saint George vows to slay the dragon and save the village only if they will convert to Christianity. In the charm, however, Saint George appears to bind the dragon until the creature swears that it will not do harm during the night.
This is a wonderful example of how folklore and legend can be utilized in narrative charms as symbols. These charms can invoke a storyācalling on its themes, figures, and morals as magical toolsāwithout following the myth exactly. It is not adherence to the folklore in its exact form that lends power to the practitionerās command; it is the knowledge and understanding of the symbols within the story and the practitionerās use of its parts to direct magic.
Petter was Laying and his head upon a marrable ston weping and Christ Came by and said what else thou Petter Petter answered and sad Lord god my twoth Raise thou Petter and bee healed and whosoever shall carry these Lines in my name shall never feel the twothick.
This charm is one of the many in the collection of National Museums Scotland ("Charm"). It is a written charm, rather than a spoken one. It was written by a service practitioner by the name of Kate āKettā MāAulay in 1855. It was kept in a silk pouch and worn around the neck as a cure for toothache.
In this charm, the narrative is used to enchant the paper that the charm itself is written on. It tells a story of Peter who sits upon a marble stone and weeps in pain because of a toothache. The stone here is likely symbolic of the tooth itself. Christ approaches and asks what is troubling him and Peter answers. Through Christās healing of Peterās toothache, the paper is charged and the magical healing command encoded upon it.
Works Cited
Hohman, Johann George. The Long Lost Friend. T.F. Scheffer, 1856.
Scot, Reginald, The Discoverie of Witchcraft, Dover Publications, Inc., New York: 1972. ISBN 0-486-26030-5.
āCharm." National Museums Scotland, Museum Reference no. H.NO 18. National Museums Scotland.
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Since the season of Forced Family Gathering are upon us. I am going to share a charm my Great Gramma taught me when I was a kid
Nothing but the wallpaper
Supplies
Item to carry with you/wear beit jewelry, a worry stone, fidget, book, tablet etc
Incense, candle, vapor oil, wax or other scent if applicable that you associate with cleansing (mine are patchouli, pine, sandalwood, or lavender)
A clear stone, crystal, piece of glass or good old water. Basically anything clear or see through
Tea light, chime, or pillar candle depending on how much juice you want this thing to have
Lists of the people you want to ignore you.
Incantation
[Insert higher power, guide, spirit, etc] I call on you to imbue this object to hide me from [names, family tree branch] so that to them I am nothing but the wallpaper. Seen and uninteresting, there but unnoticed.
Directions
Cleanse the object in your preferred manner (I like a combination of smoke and sound but you do you). Place the list in a fire safe container and the candle (anointed or not) on the list, place the object in front of the fire safe dish. Repeat the incantation as you light the candle and as often as you feel is needed. Let it burn all the way down (keep in sight) or until you feel the object has been charged. Touch it while repeating the incantation again.
At the event any time you touch the object it will trigger the charm. Repeat as needed for any family gatherings.
A quick hex for the #SupermarketSpell challenge by @windvexer !
For the Witch who needs a Hex on the Go.
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Spell Ingredients:
+Fruit with Seeds inside (Apple, Watermelon, Orange ect ect)
Spell steps:
1.) Hold the seeded fruit in your hands and think of who you would like the hex to be placed on.
2.) Eat the fruit, spitting out any seeds that are in each bite.
3.) After spitting out the seed(s) say "For each seed that falls may your misery grow and bare the fruit of consequence."
4.) Continue eating and repeating steps 2&3 when applicable.
5.) When finished take the remaining Rind/Peel/Core/Ect and give it back to the earth (via composting or in the appropriate trash receptacle)
5.1) When discarding say "Let the fruit of your consequences be bitter with every bite."
Bonus: If you're feeling EXTRA vindictive: use a pomegranate
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