#cc witches

In tog, we learn that Ironteeth witches carve their own brooms, as Manon recalls: 

Manon could still feel how her own hands had ached during the long days she’d whittled down her first broom from the log of ironwood she’d found deep in Oakwald. The first two ventures had resulted in snapped shafts, and she’d resolved to carve her broom more carefully. Three tries, one for each face of the Goddess. (koa)

This instantly made me think of Papa Archeron and his skill with wood. He bought the ironwood bed for his wife, and in it she birthed three sisters, one for each face of the Goddess. @starswhogaze suggests that he might even possess the gift of Sight, his eyes lost to memory, clouded. Is he a rare-born witch prince (of merchants), and did he See something in the future that compelled him to find the missing queen, Vassa, and gather an army? Or was he influenced by Koschei on the wind, as @offtorivendell has discussed before?

Ironteeth witches and their ironwood brooms are linked to the wind: 

She’d been thirteen, mere weeks past her first bleeding, which had brought about the zipping current of power that called to the wind, that flowed through the brooms and carried them into the skies. Each stroke of the chisel, each pound of the hammer that transformed the block of near-impenetrable material, had transferred that power into the emerging broom itself. (koa) 

Not only does this make me think of Papa Archeron and his chisel, spreading love and beauty with his carvings, but it also reminds me of Nesta’s trove of death-swords. She hammers raw magic into the swords like more elemental fae once did. 

I also can’t help but think about Elain imbuing objects or the land itself with power. Is that what her carved rose might foreshadow? Is it made of ironwood? Nesta describes the rose as a dark sort of wood with solid weight. Ironwood is known for being strong and dense, making it more difficult to carve. (And I just love the juxtaposition of something so delicate being so strong and solid, near-impenetrable.)

Nesta takes the dark rose from the cottage mantel and places it next to a figurine of the Mother in the House of Wind; the Mother is one of the faces of the Goddess that witches in Midgard and Erilea worship. Blooms are an important symbol for witches in Erilea, too:

A few bore flowers, but many brought small stones to lay on the site. Those who had neither laid down whatever personal effects they could offer. Until the blast site was covered, as if a garden had grown from a field of blood.

[…]

“Be the bridge, be the light. When iron melts, when flowers spring from fields of blood—let the land be witness, and return home.” (koa)

@offtorivendell pointed out that this imagery is similar to the way Elain is described in the witch accusation. She's a rose bloom among soldiers in a mud field, and at the end of the original series, she expresses a desire to create gardens after so much bloodshed and death.

Could Elain’s ironwood rose mean we'll see her travel on the wind? Like Illyrians, Ironteeth witches fly and have a deep connection with the wind. Their power calls to the wind, and as we see with Manon, the wind sings to them in return:

Hurry northward, the wind sang, day and night. Hurry, Blackbeak. (koa) 

When Elain meets the Illyrians, the very first question out of her mouth is about their ability to fly, and we learn they hear the song of the wind from birth like Ironteeth witches. 

Elain said to Azriel, perhaps the only two civilized ones here, “Can you truly fly?” 

He set down his fork, blinking. I might have even called him self-conscious. He said, “Yes. Cassian and I hail from a race of faeries called Illyrians. We’re born hearing the song of the wind.” 

“That’s very beautiful,” she said. “Is it not—frightening, though? To fly so high?” 

“It is sometimes,” Azriel said. Cassian tore his relentless attention from Nesta long enough to nod his agreement. “If you are caught in a storm, if the current drops away. But we are trained so thoroughly that the fear is gone before we’re out of swaddling.” (acomaf)

We see the frightening scenario Azriel describes above play out when he rescues Elain and Briar, the former notably silent when they briefly lose the current. It’s as if she was Made to travel on the wind.

Azriel turned, the girl moaning in terror as he lost a few feet to the sky—before he leveled out and soared beside me. (acowar)

There are so many possibilities for how the song of the wind might connect to Elain’s powers. She might transform into a winged predator, as Blodeuwedd does, and/or she might move through the world like the Cauldron, a force that travels unseen and constantly shifts form. Her power is repeatedly paralleled with Azriel’s abilities, and we already know that he learned the language of shadow and wind and stone when he was trapped in darkness. Elain’s sense of sound is also heightened after she is Made in the dark depths of the Cauldron:

“When I sleep,” she murmured, “I can hear your heart beating through the stone.” 

She angled her head, as if the city view held some answer. “Can you hear mine?” 

He wasn’t sure if she truly meant to address him, but he said, “No, lady. I cannot.” (acowar)

[…]

“There is a garden—at my other house,” I said. “I’d like for you to come tend it, if you’re willing.” Elain only turned toward the sunny windows again, the light dancing in her hair. “Will I hear the earthworms writhing through the soil? Or the stretching of roots? Will the bird of fire come to sit in the trees and watch me?” (acowar)

She can hear, see, and communicate with things that others cannot. It would not be a surprise if this extended to the wind, among many other things as @silverlinedeyes suggests in her Singer post. 

“Don’t,” Elain said flatly, starting once more into a walk, veils of steam drifting past her shoulders from the roasted rosemary potatoes in her hands, as if they were Azriel’s shadows. “She won’t listen.” (acofas)

Another word for steam is mist and mist can create a murky environment. Both oracles and mystics use murky environments, such as smoke-filled rooms or cloudy tubs of liquid, to access their gifts and respond to specific questions. I believe this environment is meant to mimic the murky waters of the Cauldron. The oracle in Midgard listens to answers in the smoke, much like Elain listens to a voice in her murky realm. When asked a question she cannot answer, she says it is all mist and shadow. 

Mor leaned forward. “Do you know why the other queens cursed her—sold her to him?” 

Elain studied the table. “No. No—that is all mist and shadow.” (acowar)

Mist and shadow. Like @offtorivendell, I believe Elain will need to use the language of shadow and wind and stone, or its counterpoint, for travel through the void as well as clear visions, which brings me back to witches. Ironteeth witches blink clear eyelids into place for protection, like owls. These eyelids allow them to see clearly in murky conditions while they fly. 

The smoke of countless forges stung Manon’s eyes enough that she blinked her clear eyelid into place upon landing in the heart of the war camp to the sound of pounding hammers and crackling flames. (qos)

In the Blodeuwedd post, I theorized that Elain blinks like an owl when she uses her gift of clairvoyance. Clairvoyance means clear sight or vision. Like an Ironteeth witch, she might blink to to see clearly, or focus her vision, in her murky realm. Does she possess an inner light, like owls of legend? Or can she hunt on sound alone, like an owl who has adapted to her dark environment? Move like a pale wraith through the darkness of the Void?

Her skin was so pale it looked like fresh snow in the harsh light. I realized then that the color of death, of sorrow, was white. The lack of color. Of vibrancy. I left Cassian and Rhys by the door. Nesta’s rage was better than this … shell. This void. My breath caught as I edged around her chair. Beheld the city view she stared so blankly at. Then beheld the hollowed-out cheeks, the bloodless lips, the brown eyes that had once been rich and warm, and now seemed utterly dull. Like grave dirt. 

[…]

Perhaps that was why she now kept all the curtains open. To fill the void that existed where all of that light had once been. And now nothing remained. (acowar) 

Void is darkness that devours all light. A Night Court weaver wove dark fabric in her grief and called it Void. Dark fabric is also linked to movement earlier on in the series, when Feyre learns to winnow: 

“How does that … vanishing work?” I said softly. I’d seen only a few High Fae do it—and no one had ever explained. 

Rhys didn’t look at me, but he said, “Winnowing? Think of it as … two different points on a piece of cloth. One point is your current place in the world. The other one across the cloth is where you want to go. Winnowing … it’s like folding that cloth so the two spots align. The magic does the folding—and all we do is take a step to get from one place to another. Sometimes it’s a long step, and you can feel the dark fabric of the world as you pass through it. A shorter step, let’s say from one end of the room to the other, would barely register. It’s a rare gift, and a helpful one. Though only the stronger Fae can do it. The more powerful you are, the farther you can jump between places in one go.” (acomaf)

Void seems to be the dark fabric of the world that characters weave through as they winnow.

Darkness gobbled us up, and it was instinct to grab him as the world vanished from beneath my feet. Winnowing indeed. Wind tore at me, and his arm was a warm, heavy weight across my back while we tumbled through realms, Rhys snickering at my terror. (acomaf)

And this tumbling through realms in darkness sounds like the description of Wyrdgates, black areas where life passes between worlds, that Baba Yellowlegs gives to Aelin.

“There are gates—black areas in the Wyrd that allow for life to pass between the worlds. There are Wyrdgates that lead to Erilea. All sorts of beings have come through them over the eons. Benign things, but also the dead and foul things that creep in when the gods are looking elsewhere.” (com)

@silverlinedeyes theorized that Elain may use the Void to travel unseen. In the space between, I talk about the opposing forces of Azriel and Elain and the balance, or harmony, in the place where they meet. Could Elain become a force of light and wind and color that penetrates the deepest darkness?

Azriel arrived first, no shadows to be seen, my sister a pale, golden mass in his arms. He, too, wore his Illyrian armor, Elain's golden-brown hair snagging in some of the black scales across his chest and shoulders. (acowar)

-

But sunlight on gold caught his eye—and Elain slowly turned from her vigil at the window. (acowar)

-

Even in the middle of winter, she was a bloom of color and sunshine. (acofas)

-

From the edge of my vision, purple and gold flashed—Elain. (acofas) 

-

Elain stood at the wall of windows, clad in a lilac gown whose close-fitting bodice showed how well her sister had filled out since those initial days in the Night Court. Gone were the sharp angles, replaced by softness and elegant curves. [...] Her sister turned toward her, glowing with health.

Elain's smile was as bright as the setting sun beyond the windows. (acosf)

-

The River House had finally fallen quiet after the raucous Winter Solstice party, the Faelights dimming to cast little pools of gold amid the deep shadow of the longest night of the year. [...] The Faelights gilded Elain's unbound hair, making her glow like the sun at dawn. (Azriel's bonus chapter)

Did she track Hybern and her family through her Sight, and then—like a pale wraith on the wind—weave through the dark fabric of the world to strike true? Was she Hope shining through the Void, as acofas may have hinted?

Before she appears out of shadow to rescue Nesta and Cassian, she comments on the movement of one of my favorite creatures: 

Her eyes shifted beneath her lids, the skin so delicate and colorless that the blue veins beneath were like small streams. “It moves …,” she whispered. “It moves through the world like … like the breath of the western wind.” (acowar)

Is this simply a poetic turn of phrase she uses for the Suriel’s movements, or does Elain understand the wind better than we realize? Is she familiar with the western wind specifically? Merrill, who is referred to as a witch (and reminds me of Manon), informs Nesta in acosf that she is descended from Rabbath, Lord of the Western Wind. Like witches, she too seems to have a special connection to the wind and presides over the spell-like ritual of the dusk services. Where is the Lord of the Western Wind from? Could it involve Dusk…or the Witch Kingdom in another world? All signs point to witches, as @psychologynerd reminded me of this:

Sometimes, Manon dreamed that she was in that room in the Omega, her half sister’s blood on her hands and in her mouth. Sometimes, she stood beside her grandmother, a witch fully grown and not the witchling she’d been at the time, and helped the Matron carve up a handsome, bearded man who begged for her life—his offspring’s life. Sometimes, she flew over a lush green land, the song of a western wind singing her home. (eos)

It's even more interesting that Elain specifically names the breath of the western wind, as though she has heard its call too. Though this list below is not exhaustive, the number of characters and creatures in the acotar series who are linked to the wind has grown immensely:

Suriel moving like a shadow on the wind and the western wind;

Illyrians hearing the song of the wind; 

Azriel learning the language of the wind;

Mor's blood calling her to go on the wind;

Koschei influencing others on the wind; 

Beron getting wind of Briallyn’s plans;

Queens scattering to the winds (like witches in tog); 

Autumn’s smokehounds moving as fast as the wind to sniff out any prey; and

Merrill hearing the wind through stone, a descendant of Lord of the Western Wind.

And because I was curious (and love to come back to connections between the Suriel and Elain), I reviewed how the Suriel traveled.

Like a shadow on the wind, the Suriel was off, a blast of dark that set the four naga staggering back. (acowar)

-

I glanced toward the river, as if I could see all the way to the cave, to where Rhysand slept. When I looked back at the Suriel, it was gone. (acomaf)

-

I drew my Illyrian blade, the metal singing in the thick air. But an ancient, rasping voice asked behind me, “Have you come to kill me, or to beg for my help once again, Feyre Archeron?” 

I turned, but did not sheath my blade across my back. 

The Suriel was standing a few feet away, clad not in the cloak I had given it months ago, but a different one—heavier and darker, the fabric already torn and shredded. As if the wind it traveled on had ripped through it with invisible talons. (acowar) 

The Suriel moves like a shadow on the wind, appearing and vanishing silently and suddenly, as Elain does now: 

Elain stepped out of a shadow behind him, and rammed Truth-Teller to the hilt through the back of the king’s neck as she snarled in his ear, “Don’t you touch my sister.” (acowar)

“Feyre?” Elain was again at my side. I hadn’t heard her steps. Hadn’t heard any sound for moments. (acofas)

Elain spoke from the doorway, having appeared so silently that they all twisted toward her, “Using me.” (acosf)

“You came,” Elain said behind her, and Nesta started, not having heard her sister approach. She scanned Elain from head to toe, wondering if she’d been taking lessons in stealth either from Azriel or the two half-wraiths she called friends. (acosf)

Elain seems to move like the breath of the western wind too, and I have a feeling that if we could hear it as she might, it would sound like a chant.

Next: The sense chanted, or Elain's connections to witchy rituals.