ALEXANDRIAN

[pt: alexandrian /end pt]

a term for those who are boygirls and love those who are boys/men/guys/etc; boygirls-loving-boys/boygirls-loving-men/etc. named after alexandrite.

coined by us! for @the-astropaws.

we do not consent to our creations being added to any wikipedia sites or reposted to other social media sites. anyone may use our terms and flags.

Wiccan altar.

Yes, I'm talking about Wicca, the religion that ppl love to hate these days. it was all apparently invented by a controversial figure, Gerald Gardner in the "1's" which I imagine is before the awful 2000's? Right?!?

Yes, he was a nudist which probably influenced him for nude rites. Still, ppl from the 1940's and early 1960's's were looking for freedom in their lives because social norms were quite restrictive except for porn houses and peepshows. That stuff wasn't for "normal" ppl. That stuff was for degenerates. Until the 60's sexual revolution - changed the whole game with Free Love. :)

Ppl now are being too critical about "sex stuff." The Great Rite in True was a very sacred act, usually with a couple, not perverted strangers. The Great Rite is very powerful and the energy is palpable. It feels like the Goddess and God are there in the room. BTW, Wicca haters, when they perform this rite, it is tradition to turn around. And it is not long either, nor have I heard or seen anything true about orgies! My coven was nude. Nothing weird happened.

I know that ppls problem now is that a Gardnerian coven wouldn't initiate you for your lack of witchcraft knowledge, your lack of resolve and resilience, only learning online and through to-day's books, lack of maturity and not fully accepting the "1's" teachings. So, stop looking through a closed lens and open up the aperture. I'm not here to insult. But I think Wicca, especially Traditional Wicca, should make a resurgence. Its a beautiful religion that needs ppl again. Don't bitch about it unless you've had a really bad experience!! If your judging, keep your hole shut on my blog. I may go back to Wicca someday. It balanced me and made me blissful. Check out my favorite Witches on Pinterest:

Sybil Leek

Louise Huebner

Patricia and Arnold Crowther

The Farrar's, Janet and Stewart

Luba Sevarg (quite rare!!!)

Sarah Lyddon Morrison

The Frosts (read over their weird shit and there are gems)

Don't engage with their politics. Who cares? Religion is not directly linked to it. For me, there just is no purpose to combining these or thinking of them in the same brainwaves. Here are some of my great old book collection!

All of these are pre-1980. Great stuff! My favorites are the two bottom ones.I'm missing my two Louise Huebner books!

Miss Unbreakable, Insufferable, J. Thorp

"Two of the best physicists the world has ever seen, a uniquely talented illusionist, a telepath like no other, an empath capable of captivating thousands of people, and a misclassified naturalist."

Why are Witches and Pagans so hard on Robert Graves and practically denounce everything he's ever written? It's certainly become verboten in some circle amongst the Craft to cite his book, The Greek Myths (despite its storied use amongst contemporary Classicist), nor the classic academic treatise, The Larousse Encyclopedia of Mythology for no other reason than he wrote the Introduction! Nevertheless, as a Witch, I must contend with the view that amongst my own kind--due to guilt by association--every book attached to Robert Graves is now viewed as highly suspect and dubious, which is (if you'll pardon the pun) gravely unfortunate.

As a matter of fact, in the criticisms of Graves, I wonder how many of us have overlooked the subtitle of The White Goddess (UK: Faber & Faber/U.S.: Creative Age Press, 1948), which quite clearly calls it a work of "poetic myth." The term, "mythopoetic" is an adjective defined as: Relating to the making of a myth or myths, i.e. Relating to or denoting a movement for men that uses activities such as storytelling and poetry reading as a means of self-understanding.

What's wrong with that? Contribution to one's myths are a wonderful thing. Unless one feel otherwise. I would argue that the strengths of Graves's The White Goddess have been overshadowed by pedantic critics that insist its misinformative. But, from my perspective, it teaches one how to look at folk-lore, archaeology and mythology from a different perspective that I (and others) have personally found invaluable.

Sure, one might belittle the Archetype of the Lunar Triple-Goddess of the Maiden-Mother-Crone as an invention; but rather, it has contributed greatly towards Pagan myth-making and it should be celebrated for that, rather than shunned. Although this should not be cited, as it has been publicly misappropriated, usually as an excuse to denounce the Wica/ "Wicca" as an utterly modern religion with no roots in the past.

We should not, therefore, be quick to pass judgement onto the late English poet and Classicist, Robert Graves (1895-1985 C.E.), as the alleged provocateur who contrived the modern lunar archetype of the Triple-Goddess as Maiden, Mother and Crone since this archetype may be interpreted as a mere reaction to human longevity. Throughout the Greco-Roman world there were numerous Triple Moon-Goddesses, virtually none of whom can be described as older in appearance than the median age of women, which was an average of twenty-five years (Carrieri, Maria Patrizia and Diego Serraino. "Longevity of Popes and Artists Between the 13th and 19th Century." International Journal of Epidemiology, 34:6 (December 2005): pp. 1435-1436.). As a matter of fact, ancient Triple Moon-Goddesses chiefly depict three women of a similar age, which should come as no great surprise since the difference in age between an unmarried female, a bride or mother (if she survived childbirth), and a woman nearing the end of her typical life-expectancy was quite narrow. This is how these ancient goddesses would have been conceived in the popular imagination of antiquity. In fact, Graves seems to have been well aware of this detail when writing his historical novel, The Golden Fleece (Cassell, 1944), in which he describes the fashion in which the Old Religion is practiced on the Spanish island of Majorca:

Maiden, Nymph and Mother are the eternal royal Trinity on the island, and the Goddess, who is worshipped there in each of these aspects, as New Moon, Full Moon, and Old Moon, is the sovereign deity.

As a result, Graves has merely brought to light what was self-evident, thus demonstrating how a contemporary culture would have viewed this archetypal goddess in his own day (and in ours). Remember that between the decades of the 1930s and 1950s, which spanned the years of WWII, one was considered elderly if they had reached the age of forty (Philip Heselton: pers. comm.), which is scarcely how one might define a crone in our own day.

This evident knowledge is underscored by the fact that Graves wrote The White Goddess in response to a conversation with his friend, the English historian Alan Hodge (1915-1979 C.E.), regarding the psychological process of poetic inspiration. Graves then acquainted himself with the works from noted scholars of his day that were especially en vogue, albeit some of which have not aged particularly well in retrospect: The Mabinogion (Bernard Quaritch, 1877), quoted at length, by Lady Charlotte Guest (1812-1895 C.E.); The Golden Bough (Macmillan & Co., 1890), which was meticulously researched by Sir James Frazer (1854-1941 C.E.) [and for more research consult this phenomenal essay]; Celtic Researches (Privately Printed, 1804), an imperfect and somewhat speculative treatise by Edward Davies (1756-1831 C.E.); the ideas of his friend, the anthropologist W. H. R. Rivers (1864-1922 C.E.), who was a proponent of the "mother-right" or matriarchal theory; The Witch-Cult in Western-Europe (Oxford University Press, 1921) by Margaret Alice Murray (1863-1963 C.E.), which Grevel Lindrop—Emeritus Professor of Romantic and Early Victorian Studies—described as "scholarship blended with myth-making" (Lindop, Grevel. "The White Goddess: Sources, Contexts, Meanings." Graves and the Goddess: Essays on Robert Graves’s The White Goddess. Eds. Ian Firla and Grevel Lindop. Selinsgrove: Susquehanna University Press, 2003: p. 31), whilst English historian Steven Runciman (1903-2000 C.E.)—who wrote the Foreword to The Witch-Cult when it was reissued in 1971 by Oxford University Press—stated that Murray "has always had solid evidence to back her claims" (Murray, Margaret A. The Witch-Cult in Western Europe. 1921. FWD. Sir Steven Runciman. Reprint, New York: Barnes & Noble, 1996: p. 5), which is not to detract from Murray’s more unfortunate suggestions (e.g., that blue bonnets were worn by the High Priest of the Coven as a headdress); and the masterful trove, The Secret Languages of Ireland (Cambridge University Press, 1937), edited by noted Irish archaeologist, Dr. R. A. Stewart Macalister (1870-1950 C.E.), which was reissued due to its importance amongst the field of Celtic Studies.

It is untenable to imagine that religions do not naturally flux in response to such obvious changes as human life-expectancy, social and political changes. Even the early Christians likely would have affixed in their minds a younger image of the Abrahamic god than that which has swept the popular imagination in our current century. The same is also true of the modern image of the Ancient Greek god, Zeus, who is often portrayed in film and on television far older than he actually would have been perceived by the Ancient Greeks themselves. Even the Virgin Mary of the Christians was probably thirteen or fourteen years of age when she gave birth to the Christ, which was the age when Hebrew maidens became marriageable ('The Blessed Virgin Mary.' The Catholic Encyclopedia. New Advent. Web. 13 March, 2023). This may explain why observant Catholics who witness visions or apparitions of the Virgin Mary often describe her resembling a very young maiden.

Therefore, it is my position, that Robert Graves may be forgiven for his axiomatic contribution to the theology of contemporary Witchcraft, and therefore updating the public imagery and understanding of this Archetypal goddess. Yet again, this should not be interpreted, as it has, that Graves directly inspired our concept of the Triple-Moon Goddess through a book that is now lauded as "disingenuous"; and thereby misappropriated as supposed "evidence" that the Wica/ "Wicca" is a fabricated religion by Gerald Gardner that amounts to us virtually LARPing or Cos Playing the fantasies of Margaret Murray under the auspices of "religion."

CODA: It's not as though Graves concealed his speculations and inventive outlooks, which means that we are projecting our misplaced resentment and insecurities onto Graves. As a matter of fact, personal responsibility is one of the hallmarks of the Craft. Indeed, one of the empowering things about the Craft is that is demands personal responsibility and introspection as a code of ethics, rather than a series of divinely ordained proclamations. So, if one feels that Graves had duped or cheated them, then they clearly hadn't read Graves carefully since he was fairly open about this fact. Therefore, any enmity expressed towards Graves and his legacy is best explained the personal projections and insecurities of those witches and pagans who accepted The White Goddess more seriously than the author did.

Graves quite clearly states that he copied his information on Ogham from Roderick O'Flaherty (rather then inventing it himself), and then on the succeeding page he states that he contacted Dr. Macalister who was then the greatest living scholar on Ogham who told Graves not to accept O'Flaherty's ideas "seriously." Graves then writes, "I pass this caution on in all fairness, for my argument depends on O'Flaherty's alphabet, and Dr. Macalister is a very broad back for anyone to shelter behind who thinks that I am writing nonsense"; and how his [Graves's] argument "began with an assumption." Therefore, the fault is our own to shoulder; not his--and we must take responsibility for our own role in this.

Honestly, I see nothing objectionable with people regurgitating Graves anymore than someone doing the same with Ovid and Hesiod. There are many variants of a given myth, which are simply an elaboration onto that which came before--indeed, the Craft follows this pattern. But the strength of The White Goddess is its ability to inspire others in looking at the world, myths and folklore with new eyes filled with wonderment, to enquire philosophical thought, and to make meaningful additions to old myths for a new era. It very much encourages philosophical thinking! The kind that I think any Sagittarius would deeply appreciate.

Of course, one might have a problem with any of this only if they believe that embroidering upon myths is wrong and makes us look foolish to the uninitiated. I do not. If the Craft is a rebirth, then it's core myths "damn well" (to quote an interjection of Doreen Valiente) should have evolved, which should be expected! That is why the MMC Archetype is a benefit to the craft, rather than a deterrent. Anyone who feels shame because the craft isn't a mirror image of an ancient religion--because that is the litmus test being used by historians with which to judge us--clearly don't understand how thriving religions work! Graves just pointed out what should have been axiomatic to us all in terms of the Lunar Triple-Goddess. This isn't to say that there are no examples in antiquity that mirrors the Craft! There are actually a great many historic shards if one knows where to look. But accepting them means accepting that what you thought was true about ancient paganism is much more blurry than you or some scholars have realized. The Old Religion, however, has adapted to meet new social and political stresses on society and the marginalized.

References:

The White Goddess, by Robert Graves

The Pagan Heart of the West, by Randy P. Conner

Lindop, Grevel. "The White Goddess: Sources, Contexts, Meanings." Graves and the Goddess: Essays on Robert Graves’s The White Goddess. Eds. Ian Firla and Grevel Lindop

Carrieri, Maria Patrizia and Diego Serraino. "Longevity of Popes and Artists Between the 13th and 19th Century." International Journal of Epidemiology, 34:6 (December 2005): pp. 1435-1436.

The Witch-Cult in Western Europe, by Margaret A. Murray

Here’s a list of different types of witches, this is a pretty chunky list but it’s not all and as I remember more and more and learn about more of them, I’ll add more of them onto the list but for now, here ya go:

There are many types of witches, many of which can change throughout one's journey, it’s important to know which path is which and how that affects us and others.

Atheist/Laveyan Satanic: Witchcraft worked with the idea that satan is a concept, rather than a real person or entity (loosely put; it’s a very detailed concept). Also known as Satanic witches who fit the secular description.

Alexandrian: holds that all participants are priests and priestesses; everyone is able to commune with the Divine, therefore there is no laity.

Augury: Divine omens, signs and symbols 

Celtic: Studies and worships Celtic deities and magick

Cosmic: Looks to the stars, moon, and astrology

Christian: Witchcraft that is performed to honor / or is performed in conjunction with the Christian God as the primary and only deity

Correllian: practices based on the idea that inner truth is universal in nature. Since Corellian Witchcraft teaches that Deity enters the life of the seeker in a way that can be best understood by them, Deity is key to the beneficial magic of this tradition.

Crystal: Uses crystals and their properties 

Dianic: Offshoot of Wicca focused on female deities 

Divination: Used tarot cards, I Ching tools, etc for divination

Druids: promotes harmony, connection, and reverence for the natural world.

Eclectic: Embraces any and all magick and magickal work

Elemental: Works with fire, water, air, earth, and spirit

Faery: Based on British folklore and works with the Fae

Gardenian: based on the polarity of a male and a female, which are represented in covens by the High Priestess and High Priest. The values being: the value of life, the inevitability of death, and the reincarnation after this life ends.

Green: Magic based on gardening and herbalism 

Hearth: Practices magick focused on the home

Hedge: Solitary practitioner, a herbalist

Hellenic: Worships Greek gods and goddesses

Hereditary: Handed down a bloodline of witches

Kitchen: Likes to mix food and cooking with magick

Lunar: Works with the lunar cycles

Norse: Based on the religion of Scandinavia 

(Theistic) Satanic: Witchcraft that is often centered around honoring and/or working with satan in spellwork and prayer

Science: A form of magick in which both metaphysical ideas and scientific facts/theories are mixed in together by the individual practicer

Sea: Practices water based magick 

Secular: Does not worship deities

Shaman: Enters altered state of consciousness 

Solitary: Practicing by ones’ self; not included in a group 

Traditional: One who practices witchcraft by honoring and using old and ‘traditional’ ways of magick; this type of witch might be one to practice modern methods of magick, but they might also stick to traditional concepts or techniques