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Witchcraft: A Mystery Tradition [Paperback]

Raven Grimassi (Author)
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Book Description

September 8, 2004
Understanding the Mystery Teachings of Witchcraft is essential for anyone wishing to enrich their Craft. World-renowned author and scholar Raven Grimassi guides readers down the well-worn path to these Mystery traditions by exploring their roots in myths, legends, verses, and lore.

Witchcraft: A Mystery Tradition provides a cultural and mythical context that helps readers gain insight into these Mystery themes. Drawing upon the long-standing traditional European Witchcraft and occult concepts and tenets, Grimassi constructs a cohesive mythos that supports and unifies the Sabbats and their associated deities. Also provided are techniques for aligning with the "momentum of the past," a powerful current of knowledge and energy available to all Witches.

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Editorial Reviews

About the Author

Raven Grimassi is a Neo-Pagan scholar and award-winning author of over twelve books on Witchcraft, Wicca, and Neo-Paganism. He is a member of the American Folk Lore Society and is co-founder and co-director of the College of the Crossroads.

Raven's background includes training in the Rosicrucian Order as well as the study of the Kabbalah through the First Temple of Tifareth under Lady Sara Cunningham. His early magical career began in the late 1960s and involved the study of works by Franz Bardon, Eliphas Levi, William Barrett, Dion Fortune, William Gray, William Butler, and Israel Regardie.

Today Raven is the directing Elder of the tradition of Aridian Witchcraft, and together with his wife Stephanie Taylor he is developing a complete teaching system known as Ash, Birch and Willow. This system is the culmination of over 35 years of study and practice in the magical and spiritual traditions of the indigenous people of pre-Christian Europe.



 

Excerpt. © Reprinted by permission. All rights reserved.

one
Witchcraft and the
Old World



The concepts, beliefs, and practices of modern Witchcraft are rooted in ancient European Paganism. Witchcraft, as it exists today, is a religion and magical system that has evolved over countless centuries. Although its basic foundational concepts appear in those of the Neolithic era, a variety of ideas and notions particular to following periods have also influenced it. These influences include the classical period, Middle Ages, Renaissance, nineteenth-century Romantic era, and the modern Wicca movement that arose in the mid-twentieth century.
To understand the core essence of Witchcraft we must look to a time before the rise of Christianity, when the beliefs and practices of ancient Europe were unaltered by imported alien concepts. Despite the fact that European Pagans were diverse in their beliefs and practices, there is a root core commonality that speaks of something older upon which all were based. Was there once a central primitive religion to explain the similarities, or are we simply looking at the ways humankind itself commonly conceives of religious and ritual elements?
When considering prehistorical beliefs we are left with a great deal of speculation because we have no writings upon which to formulate our understanding of how prehistoric people perceived the items and images they left behind. Some commentators argue that in modern times we reason with minds that are totally different from those of our prehistorical ancestors. This suggests that we cannot understand or view things in the same ways as our ancestors. However, such a view dismisses the core of our humanness and how we approach, analyze, and react to the unknown as a species. It also dismisses a key element of belief within Witchcraft, which is reincarnation. In this light we still possess the collective soul experience, which means we were once our ancient ancestors. Therefore, as Witches, we can access the older understanding of the ancient beliefs and practices that are recorded as soul memories. See chapter 8 for further information regarding such methods.
While we as modern humans like to think of ourselves as being highly evolved, beyond our prehistoric ancestors, we are in fact still just as subject to the primal or primitive part of our brains. History reveals that humans are still motivated by the same drives, goals, and ambitions today as they were thousands of years ago. Ancient Greek plays are as relevant today to human society and behavior as they were in the time period in which they were written. Is it then reasonable to assume that, thousands of years before these ancient writings, humans were completely different? It is more likely that the ways in which our prehistoric ancestors thought and perceived were not as alien to us, as a species, as some commentators like to think.
We know that humans build upon existing ideas and concepts. One of the earliest writings in Western literature, the Theogony, demonstrates this fact. In this writing, the author Hesiod refers to an elder race of gods (the Titans) who existed before the rise of the gods of Olympus. Hesiod patterns the Olympic gods after the categories of the Titans, demonstrating an ongoing human tradition of passing along knowledge and information in an established format. To Hesiod, who wrote sometime around the seventh or eighth century bce, the Titans were an almost forgotten race of gods from an earlier and half-remembered era. From where then did the earlier beliefs regarding the Titans originate in this misty past? Were they not based upon earlier prehistoric beliefs that came before them? It would seem reasonable to assume such to be the case, and the commonality of the human experience to be the uniting factor.
In the remainder of this chapter we will explore the primal concepts that evolved into religion in a manner that views everything as connected along a line of evolution. We will not view the things we examine as having no relationship or connection as generations passed through the ages. Instead we will approach this as though humans passed on their religious concepts in the same manner as they passed on everything else related to their society and technology. It would seem odd to consider it in any other fashion, for even on a mundane level, the arrow that was once the spear is not unrelated to the tool, the concept, or the need. In a metaphorical sense, this applies as well to religious thought and conception.
The world of our ancestors was one filled with mystery and wonder. Imagine not knowing or even having any idea of what the moon and the sun were in the sky. What kept them there and how did they move about? Where did they go when they disappeared beneath the horizon? Who or what created them? Humans, being naturally curious beings, no doubt spent much time wondering about these and many other things.
In time it became apparent that the mysterious world operated in patterns. The most noticeable ones presented themselves in the seasons and the migration of birds and animals. Later, when humans turned to farming (becoming less dependent upon the animals they hunted) the growing cycle of the crops was well noted. What appears to be apparent from ancient writings is a belief that a spirit or a deity was somehow involved in the cycles and processes of this mysterious world.
Images and statues were created to depict these unseen beings. A system of appropriate offerings was constructed, and a type of veneration or worship arose. These were all attempts at communication, supplication, and alliance building. Some individuals within the early tribes seemed more attuned to the unseen world and its beings, and these people performed what might be called religious or spiritual tasks for the tribe. Various examples of this commonality in diverse human cultures are the European shaman, American Indian medicine man or woman, and the African witch doctor. For the purposes of this chapter we are interested in the European witch.
The earliest written references in Western culture to Witches can be found in ancient Greek literature. Here such figures as Medea are priestesses of Hecate (a Titan) and are involved in themes related to magic, herbalism, and divination. They frequently live in rural settings away from the developed towns and cities. From where did the concepts associated with Witchcraft in ancient times originate? What were the origins of the ascribed beliefs and practices associated with these Witches? How did the Witches come to embrace them? The simplest answer is that such things were passed along from earlier periods of European Paganism, and were eventually formed into a sect that came to be called Witches. But what were these earlier concepts and beliefs?
Prehistoric Religion
It is difficult to know precisely what prehistoric humans intended when they buried their dead with various objects, or when they colored the body with red ocher. Some commentators suggest that such acts were designed to protect the living from the dead, while others believe that this indicated a belief in an afterlife where the departed would require his or her personal belongings. In either case there appears to be a rooted belief that death does not exterminate the vitality of the departed individual.
The phenomena of dreaming may have caused early humans to believe in another world beyond this one, but similar in many ways. In the dream world we encounter various situations in a realm similar to the waking world, but one in which magical things happen. It is not uncommon in a dream for an object to turn into something different by itself. In dreams we can fly, breathe under water, and perform many tasks not possible in the waking world. What would primitive humans have made of this strange realm?
A person who is asleep looks very much like someone who is dead. This fact may also have established a connection between the absence of animation in this world and the reanimation in another. If one can appear dead (the dreamer) and yet experience another existence (the dream world) then perhaps actual death is much the same. In this light it is not unreasonable to conclude that primitive humans believed in the survival of the individual who physically died in the waking world.
The creation of figurative art, evidenced as early as 30,000 bce, demonstrates that humans of this period were conscious of symbolism and personification as a form of communication. Here also are signs of ritual process and the connection between desire and the manifestation of desire through the ritual expression of themes. This strongly suggests a belief that ritual/magical actions can influence those forces that operate the natural world and its phenomena. Burial customs also suggest a belief that each world had some degree of influence upon the other. Here we begin to see what modern humans might call religion, a word derived from the Latin religare, meaning to tie together.
Primitive burial mounds featured a relatively small hole. The general view is that this hole allowed the spirit to come and go as it pleased. A more mystical view is that it allowed the light of the waking world to enter as well as the light of the dream world (the moon). In any case, burial mounds would continue to carry “Otherworld” connotations throughout the passing centuries, eventually being viewed as faery mounds. A woodcut appearing in a pamphlet on Scottish Witchcraft, circa 1591, depicts a group of Witches standing over a mound. Inside the mound are three tiny adult characters feasting at a table, in front of which appears a full-size man lying on the floor (Normand, Lawrence, and Gareth Roberts. Witchcraft in Early Modern Scotland. Exeter: University of Exeter Press, 2000). Some commentators view this as the depiction of a faery mound.
The placement of personal effects in the burial place of the dead can be viewed as an act of appeasement as well as preparation. In other words, it is an act designed to maintain the good favor o...

Product Details

  • Paperback: 288 pages
  • Publisher: Llewellyn Publications (September 8, 2004)
  • Language: English
  • ISBN-10: 0738705969
  • ISBN-13: 978-0738705965
  • Product Dimensions: 9.2 x 7.5 x 0.7 inches
  • Shipping Weight: 1.2 pounds (View shipping rates and policies)
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #876,349 in Books (See Top 100 in Books)

More About the Author

I was born in Pittsburgh, PA, to an Italian immigrant who married an American soldier at the close of World War II. My earliest training was in what I call a "peasant witchcraft" tradition, which consisted of Witchcraft and Folk Magic practices of Old Italy. Over the past four decades I have been a practitioner of several Witchcraft and Wiccan traditions. At present I am the directing Elder of the Ash, Birch & Willow tradition, which is a system of "Old Ways Witchcraft" not originating from any single region of Europe, but instead embracing what is held in common among many lands.

I currently have over 14 books in print and write on the topics of Witchcraft, Wicca and Magic. Many people seem to peg me as an author on Italian Witchcraft exclusively, but in fact only two of my books are about that specific subject. The primary focus of my work is about pre-Christian European beliefs and practices that appear in contemporary systems. In doing so I look to the commonalities of European traditions that appear in various regions instead of just one.

 

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22 of 23 people found the following review helpful:
4.0 out of 5 stars Good Reconstructionist Views, November 13, 2004
This review is from: Witchcraft: A Mystery Tradition (Paperback)
Few books on the subject of Witchcraft come along that I'm willing to doff my hat too mainly because so many are pedantic in their offering. This book is not one of those pedantic offerings but rather a well written and useful theory books that is so lacking in the Wiccan community.

This is not a cookbook or "how-to" manual. What it is makes it all the more desirable for the budding and mid-level Wiccan practitioner to want to own and study.

One of the things I have to give Grimassi is his due on covering the balance of the Wiccan cosmology. Most Wiccan books tend to focus solely on the divine feminine aspects and the chief reason for this is that many of the authors of Wiccan books are feminists. Thus the divine aspect of the male is either ignored (usually) OR relegated to little more than a masculine "escort" companion.

The chapter on the "Witches God" I found useful and entertaining. For instance, I chuckled at the thought of the looks of horror on the faces of so many fluffy bunnies when they see the inverted pentagram in the pages of a Llewellyn book on the Craft! Actually Grimassi uses the symbol merely to point out the idea of the look of Hercules' ritual death position which according to Grimassi was inverted.

When we get into Chapter Five, "Exploring the Inner Mysteries", Grimassi offers up front a skull and crossbones and how it symbolizes the "guardianship and power over the realm of death". At last, a Wiccan book that doesn't eschew the mysteries of Death! Sadly this is an aspect that is so lacking in modern Wiccan literature but is NOT neglected in Wicca's cousin the religion of Vodu where a Lord of Death is given His respect and dignity at every ceremony.

Next the author takes us thru standing stones and sacred groves or that which we need to find peace in our workings. The idea that the stones retained all which they witnessed and that groves of trees harbored the Spirits of the Gods themselves. (Another concept that is found in other cultures.) Two other subjects covered by Grimassi are that of Summerland and Reincarnation both of which are not covered in any real depth but at least he makes an attempt to help the reader delve more into the concepts of each instead of just paying lip service to the notion as so many other Wiccan authors tend to do.

The next two chapters were reminiscent of Stewart Farrar's "Eight Sabbats For Witches" as Grimassi tries to offer more than an overview of each sabbat and the meaning behind its importance. Not since Stew Farrar has this subject been dealt with in any real depth and due to the lack of written evidence on neo-Celtic sources, this does not help make it any easier for Grimassi to explain the spiritual significance underlying each one. I for one would like to see Raven take his time and research this area of Wiccan lore more in depth perhaps even with a book devoted solely to the spokes of the year.

The rest of the book delves into other areas that are worthy of study for the Wiccan. One of the interesting things about Grimassi is that while I don't consider him a scholar in his research, I do consider him to be a valid reconstructionist. Why? Because some of his theories & conclusions just do not convince me when he points to historical evidence (sic). Too much of this material is skewed by minimal accounts and smacks of way too much personal interpretation.

The bibliography is not full of other Llewellyn books and thus lends more credibility to Grimassi as a researcher for this work. This in itself is a refreshing break from your typical Llewellyn offering. One sore point though is in the section on "The View from Colleges and Cauldrons" where Grimassi quotes from one of $ilver Ravenwolf's books and he was doing so well up to that point!

In my advanced, un-edited copy, there was no index so I'm not sure if the finalized version does indeed have an index. All in all I rate this book four stars and recommend it to anyone who wants to get a valuable overview of the mystery aspects of the Craft of the Witch.
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9 of 9 people found the following review helpful:
5.0 out of 5 stars Informative and Enlightening, June 2, 2009
This review is from: Witchcraft: A Mystery Tradition (Paperback)
This book received a rather nasty "review" from an individual who sang his own praises related to a background of archaeology and classical literature. The impetus for the "review" may be rooted in what Grimassi wrote in the third appendice. This section of the book points out the errors of scholars in the field of witchcraft, with a particular emphasis on scholar Ronald Hutton. Additionally, Grimassi notes Hutton's comment that ancient Greek philosophers were frustrated that the common person ignored their wisdom in favor of their own personal experiential perceptions. This condition apparently still upsets scholars of our own period.

For a balanced understanding of the book I offer the following -

This book contains ten chapters that present an understanding of the inner meanings and mysteries found in the modern Craft. The topics covered include an investigation of ancient concepts, modern traditions, the God & Goddess, inner mysteries, the Wheel of the Year mythos, the eight Sabbats, and metaphysical principles in contemporary Witchcraft/Wicca.

In this one volume the author shares over 30 years of extensive research, informed discernment, and personal practice. Like all of Grimassi's books this one is full of quotes from historical and literary sources, and also includes the insights of a well-seasoned initiate practitioner. The book also includes an artful blend of oral teachings with documented beliefs and practices. Now with that being said, this book is not about digging in the earth and trying to piece sparse fragments together in hopes of a picture, nor is it about the "wisdom" of classical scholars. Instead it's a book about a cohesive initiate level understanding of the inner mysteries that comprise the modern Craft.

In the introduction to this book, Grimassi shares his personal vision of Witchcraft/Wicca as being comprised on ancient and modern concepts. He makes it clear that he is incorporating pre-Christian concepts into "the common modern Craft structure" (primarily Celtic) through which to convey the inner teachings of Witchcraft/Wicca as a Mystery Tradition for modern use.

Chapter One is titled 'Witchcraft and the Old World' and deals with archaic elements of witchcraft in both northern and southern Europe. Grimassi quotes from various academic sources including Witchcraft in Early Scotland (University of Exeter Press), Witchcraft and Magic in Europe (University of Pennsylvania Press), The Pagan Religions of the Ancient British Isles (Blackwell Publishers). Grimassi also draws upon Celtic works such as Celtic Myths & Legends (Dover Publications), The Myth of the Goddess (Arkana Books), and Mythology and the Celtic Heritage (Ashgrove Press).

Chapter Two is titled 'The Mystery Tradition in Modern Witchcraft' and deals with the themes of the Otherworld, teachings of the sacred tree, hearth teachings, and Nature as the "blue print" for understanding divine consciousness. This chapter reflects the core understanding of initiate level teachings.

Chapter Three is titled 'The God of the Witches' and explores the aspects of the Horned God, Green Man, Harvest Lord, Sun God, Child of Promise, Underworld God, and the Hammer or Smith God.

Chapter Four is titled ' The Witches' Goddess' and examines concepts such as the Great Goddess, Earth Mother, Moon Goddess, Star Goddess, Underworld Goddess, Crossroads Goddess, and Fate Goddess.

Chapter Five is titled Exploring the Inner Mysteries. It explores topics like standing stones, memory chain associations, inner mechanisms of magic and ritual, reincarnation, and the mystery teachings of birth, life, and death. This is a very informative and enlightening chapter.

Chapter Six is titled 'The Wheel of the Year Mythos' and deals with underlying themes that empower the Eight Sabbats. These include the solar & lunar mythos, ancient themes of the life of the seed from sprout to leaf and on to fruit.

Chapter Seven is titled "The Witches' Sabbat" and explores each underlying mythos associated with the individual Sabbats. This chapter is invaluable to anyone who wants to understand and embrace the spiritual essence of the Sabbats.

Chapter Eight is titled 'Occult Principles in Modern Witchcraft' and examines many time-honored and time-tested concepts that are the foundation and nourishment of key ritual and magical elements of Witchcraft/Wicca.

Chapter Nine is titled 'Ways of the Witch' and presents material concerning the practice of witchcraft. Topics include setting an altar, working with ritual tools, energy fields, and seasonal components.

Chapter Ten is titled 'Returning from the Mysteries' and is a review of the primary elements of the book. Grimassi brings them all into relationship in this chapter and connects the reader with holistic understanding of the inner mystery traditions.
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1 of 1 people found the following review helpful:
5.0 out of 5 stars What an imformative wonderful book, October 21, 2009
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Rayetta Myhre "Raye" (St. Maries, Idaho USA) - See all my reviews
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This review is from: Witchcraft: A Mystery Tradition (Paperback)
This book is really wonderful, but we have found all of Grimassi's book to be this way, it is very imformative, and it was in really great shape, it looked brand new.
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Inside This Book (learn more)
First Sentence:
It is difficult to know precisely what prehistoric humans intended when they buried their dead with various objects, or when they colored the body with red ocher. Read the first page
Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
triformis nature, memory chain associations, faery maiden, waxing forces, mystery tradition, occult perspective, faery realm, slain god, magical cauldron, waxing year, silver bough, astral substance, waning forces, ritual nudity, sacred branch, occult principle, ancestral knowledge, moon tree, horned god, hammer god, seasonal rites, smith god, deity forms, sacred king, chthonic deities
Key Phrases - Capitalized Phrases (CAPs): (learn more)
Mystery Tradition of Witchcraft, Harvest Lord, Wheel of the Year, Green Man, Winter Solstice, Lord of the Woods, Summer Solstice, Great Mother, Spring Equinox, Autumn Equinox, Oak King, Bronze Age, Source of All Things, British Isles, Child of Promise, John Barleycorn, Star Goddess, Lady of the Lake, Old Religion, Dis Pater, King Arthur, Lame God, May Queen, Middle Ages, Robert Graves
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