Prévia do material em texto
About the Author Ember Grant is the author of Magical Candle Crafting, The Book of Crystal Spells, and The Second Book of Crystal Spells, and she has been contributing to Llewellyn’s annuals series since 2003. She lives in Missouri with her husband and two feline companions. Llewellyn Publications Woodbury, Minnesota Copyright Information Mythology for a Magical Life: Stories, Rituals & Reflections to Inspire Your Craft © 2021 by Ember Grant. All rights reserved. No part of this book may be used or reproduced in any matter whatsoever, including Internet usage, without written permission from Llewellyn Publications, except in the form of brief quotations embodied in critical articles and reviews. As the purchaser of this e-book, you are granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. The text may not be otherwise reproduced, transmitted, downloaded, or recorded on any other storage device in any form or by any means. Any unauthorized usage of the text without express written permission of the publisher is a violation of the author’s copyright and is illegal and punishable by law. First e-book edition © 2021 E-book ISBN: 9780738763200 Book design by Samantha Peterson Cover design by Shira Atakpu Interior art by Llewellyn Art Department Llewellyn Publications is an imprint of Llewellyn Worldwide Ltd. Library of Congress Cataloging-in-Publication Data (Pending) ISBN: 978-0-7387-6310-1 Llewellyn Publications does not participate in, endorse, or have any authority or responsibility concerning private business arrangements between our authors and the public. Any Internet references contained in this work are current at publication time, but the publisher cannot guarantee that a specific reference will continue or be maintained. Please refer to the publisher’s website for links to current author websites. Llewellyn Publications Llewellyn Worldwide Ltd. 2143 Wooddale Drive Woodbury, MN 55125 www.llewellyn.com Manufactured in the United States of America http://www.llewellyn.com/ To Jayme: Our collaboration and shared love of myth helped make this book possible. Contents Introduction Chapter 1: e Magic of Story Chapter 2: e Magic of the Soul Chapter 3: e Magic of Beginnings Chapter 4: e Magic of Wildness Chapter 5: e Magic of Change Chapter 6: e Magic of Creativity Chapter 7: e Magic of Opportunity Chapter 8: e Magic of Courage Chapter 9: e Magic of Balance Chapter 10: e Magic of the Shadow Chapter 11: e Magic of Acceptance Chapter 12: e Magic of Sacri�ce Conclusion Introduction “Myth is the foundation of life; it is the timeless pattern, the pious formula, into which life �ows when it reproduces its traits out of the unconscious.” T M Welcome to a world of myth and magic! As a practitioner of the Cra, this is probably a place you’re familiar with and already comfortable. I’d like to invite you to take a year-long journey to rediscover myths and how you can use them to inspire your magical life. If you’re new to myth or magic, that’s �ne too. ere’s something here for everyone. People have long looked to myths, fairy tales, and folklore to gain insight about the world and themselves. Why? Because these tales offer a deep connection to the human experience. ey console us, make us laugh, sometimes scare us, and give us hope. ey can also inspire us. Myths, like fairy tales, put us in a magical frame of mind. ey get us out of the ordinary, back to a more childlike, free, and imaginative state—the realm of fantasy, where anything is possible. is, too, is the realm of nature, the spiritual, and the divine. In recent years I’ve noticed a lapse in my personal magical practice. Aer a couple decades, �rst as a solitary, then a member of a coven, and now back to solitary again, I’ve seen my practice wax and wane. But lately I found myself forgetting sabbats and full moons; I felt scattered and ungrounded. I wanted a way to rekindle my magic, but everything I tried felt forced and arti�cial. en I turned to myth. As a lifelong lover of stories—especially myths and fairy tales—I have valued them for their timelessness. I wondered if they could help inspire my magic. at’s why I decided to write this book. I needed a reboot, and the myths that I love offered the perfect start. And so this book is intended to serve as a framework to add depth and inspiration to the practice of magic. What is Myth? You may already understand myth as the spiritual stories of a culture, used to explain the origin of the world, the aerlife, natural phenomena, and more. ey help us understand our world and ourselves, and oen stimulate awe and reverence. We may regard myths as ancient tales from the past, but we must remember that some myths still play a vital role in living religions. ey can serve a spiritual function, but can also guide us through life by allowing us to ponder the big questions about who we are, why we’re here, and where we’re going. D. H. Lawrence once stated that myth is “an attempt to narrate a whole human experience, of which the purpose is too deep, going too deep in the blood and soul, for mental explanation or description” (1995, 49). is, I believe, is a key feature of myths. ey defy rationality because they speak to us on a deeper level. ey create a “sense of mystery, a concealed knowledge … that is available only in story” (Kane 1994, 45). Like myths, folktales and even fairy tales can offer us more than mere entertainment. Starhawk and Valentine, in their book e Twelve Wild Swans, say that these stories are “more than just encouraging and inspiring … [t]hey are also templates for soul healing” (2000, 25). Each of these expressions illustrates our human need for stories. Myths and folktales speak to us in metaphor and this, in turn, can engage the imagination needed for successful magic. is is why myths are so oen used in psychological approaches to self-help. Stories speak to us on a deeper level than literal reality. ey use symbols that reach something we may not even realize or initially understand. Magic speaks to us on a similar level. Magic Before beginning this journey, it will be useful to revisit your de�nition of magic. is is important, as it may change over time. You may not have the same perspective that you did when you �rst started practicing the Cra. In fact, it’s a good thing if you have changed—we need to keep learning and adapting to grow as individuals and practitioners. What is magic? Is it science we don’t yet understand? Is it linked to religion or belief in the divine? Is it one’s personal power? I propose that it’s all of these and more. Your personal conception of magic will drive how you approach much of this text. Wiccan author Scott Cunningham described magic as coming from three sources: personal power, earth power, and divine power, and that both personal (our energy) and earth power (the energy of nature) are aspects of divine energy—the universal life force that created all things. His de�nition is: “Magic is the projection of natural energies to produce needed effects” (1999, 19). In his book e Magician’s Companion, Bill Whitcomb says “magic can be considered as a pragmatic approach to changing the human psyche and, through it, the surrounding world” (1999, 5–6). Margot Adler offers this de�nition: “Magic is a convenient word for a whole collection of techniques, all of which involve the mind.” She goes on to explain that these techniques concern issues of will, con�dence, imagination, visualization and the ability to “understand how other beings function in nature so we can use the knowledge to achieve necessary ends” (1986, 8). And, �nally, Dean Radin, who studies magic from a scienti�c perspective, tells us that magic can be categorized three ways: “force of will … divination … [and] evoking and communicating with spirits” (2018, 1). He goes on to saythat successful magic depends on “attention and intention” as well as four essential factors: “belief, imagination, emotion, and clarity” (2018, 73). Given this variety and spectrum of de�nitions, you need to consider what you believe. Where does your magic come from? I believe it comes from within—it’s in you. You can certainly work with deities if you choose, but this book is about personal power—your energy. If magic were rational, everyone would do it. But it’s not. It resides in your soul, the place where you believe, wish, hope, and dream—a place that may oen defy logic. I also see wisdom in Cunningham’s theory about magic—it comes from three places: the self, nature, and the divine. All work together in harmony. But you must decide for yourself. And of course, there’s “high” and “low” magic—one should not be considered better than another. High is ceremonial and formal; low is more down-to-earth using fewer props and tools—more casual and organic— more like how we imagine the work of cunning folk or herbalists and healers of ancient times or shamans. Many modern practitioners combine high and low magic for a hybrid approach or use different styles depending on the speci�c situation. As with all other aspects of magic, this is personal preference. Gods and Goddesses A word about deities: is, too, is your personal choice. Choose one or several, or none at all, or change your approach based on your need. It’s all up to you. is applies to working with ancestral spirits as well, and other entities. Some people work with deities and, for that reason, consider their magical practice a religion. Others, however, still work with deities but consider that part of their lives separate from magic which, to them, is a skill set; and for others, magic is practice and lifestyle but maybe not spiritual. Just like de�nitions of magic, there are as many ways to de�ne it as there are practitioners. If you approach your Cra as a religious practice, that’s �ne. Wicca is a religion, but witchcra on its own is not. Your Cra can be whatever you need it to be—a spiritual path, a lifestyle, or both. Many practitioners call themselves “magicians” because they engage with the Cra without any religious aspects. Again, it’s your choice. Remember, there’s really no wrong way to do it. All religions and traditions were �rst invented by someone. ey are shared and adapted but still originate with human beings. Religion and deities don’t need a place in your magic if you don’t feel it. But if you feel your magic depends on this belief, use it. Be true to your speci�c belief system. Now we need to clarify a few other points regarding magic: affirmations, meditations, visualizations, spells, rituals—what’s the difference? First of all, there may certainly be overlap between these. Some rituals involve spells and affirmations; some affirmations are spells; some spells require visualization; some meditations are visualizations, and so on. It can get confusing. Here’s a way to break it down—it may be oversimpli�ed, but it will serve our purpose here for the categorization in this book. Meditation WHAT YOU THINK Meditation involves thinking deeply; it’s centered focus. Meditation mainly concerns awareness and mindfulness. ere are different types of meditation; sometimes the goal is to empty the mind and focus on the breath. Meditation oen involves prolonged focus on something, with the goal of achieving insight on that particular thing and can, of course, be done outside the context of magical practice. According to Dean Radin, “the goal of meditation … is to achieve a state of awareness where one gains the realization that the personal self and the Universal Self are one” (2018, 75). ere are guided meditations that prompt you to follow a plan or path designed by someone else to lead you to a personal discovery of some kind. is differs from creative visualization, which gives you more inventive freedom. In the context of this book, guided meditation is a tool to help you relax and discover; visualization helps you reach a speci�c, magical goal to bring about a desired change. at being said, practicing magic effectively depends on maintaining “a disciplined meditation practice” (Radin 2018, 76). When you learn the basic foundation of quieting your mind, and the ability to focus intently on a goal, the other magical techniques become more effective. Reaching an altered state of consciousness is an essential component of magical practice. Visualization WHAT YOU SEE Visualizations ask us to picture and imagine—sometimes part of a spell—and are more “active” than meditation. is is oen an essential component of spellwork. As with the power of words, “seeing” your goal is oen an essential part of a spell, or the entire spell itself. If you think about it, daydreaming is a kind of visualization. For magic, however, your technique needs to be focused. If words help you visualize, then use them along with this technique. Some people like to sit in a meditative pose for visualization; others prefer to lie down. Just make sure you’re comfortable. Close your eyes, breathe deeply, slowly, and evenly. Imagination is the most powerful force here. Be as vivid and speci�c as you can with what you’re conjuring in your mind. Try to engage the other senses as well. Keep things positive. It’s ok to access your emotions as well—this can make the visualization even more powerful. Use props if you need to— hold a crystal, image, or object that helps you. According to Shakti Gawain, “creative visualization is the technique of using your imagination to create what you want in your life” (1979, 2). She goes on to say that this is “magic in the truest and highest meaning of the word” because it helps you understand and align yourself with nature and the universe (1979, 4). Affirmation WHAT YOU SAY Affirmation is the act of committing to something in words—making something manifest—spells fall into this category, but an affirmation doesn’t necessarily have to be a spell. ink of an affirmation as making a statement—you can ask a deity, the universe, or your higher self. You are making a proclamation in order to acknowledge your wish or desire—you’re using force of will. Words are powerful. So are symbols. An affirmation can be wordless, such as using a rune or sigil. In this case, the act of drawing or writing is the affirmation. Of course, words can accompany the creation of the symbol. e word “affirm” means to state as fact or declare support. It comes from the Latin affirmare, to strengthen or make �rm (“Affirm”). Imagine the strength of your beliefs, of nature, of the earth, all supporting you. You can write down your goal, desire, or wish and also speak it aloud (or whisper it). Words themselves are oen a component of a spell. e word “charm” comes from Middle English (in the senses “incantation” or “magic spell” and “to use spells”) and from Old French charme (noun), charmer (verb), from the Latin carmen “song,” “verse,” “incantation” (“Charm”). Notice that “song” is included here, as in singing or chanting. But note that the expression of words is not a component of magical practices throughout the world. Sometimes just certain sounds are used—humming or making music, for example. Plus, there are a variety of ways to actually say the words—there are rhyming chants to repeat, simple statements, whispers or shouts, and so much more. Whatever method you choose, it should feel right and not silly or arti�cial. I’m a fan of rhyming chants because they produce rhythm and are easy to remember and repeat. Of course, you can write your own verses for any of the spells in this book. Make them your own. So are affirmations spells? ey can be. It depends on your intent. Speaking words that help you focus or relax, outside of magical ritual space, are more accurately considered positive thinking than magic. e wordsyou speak in magical space are stronger, more focused, and oen accompanied by ritual actions or physical materials such as herbs, crystals, or other tools that are intended to bring about change. Ritual WHAT YOU DO Rituals are oen a religious or solemn ceremony consisting of a series of actions performed according to a prescribed order. ese are somewhat formal in nature, should have a clear purpose, and a beginning, middle, and end. Not all practitioners of magic use formal ritual structure, and rituals don’t necessarily contain magical work. Marion Weinstein describes rituals as a “bridge that takes you from where you are to where you want to be” (2003, 136). Scott Cunningham de�nes ritual as: “A speci�c form of movement, manipulation of objects, or series of inner processes designed to produce desired effects … [i]n Wicca, rituals are ceremonies which celebrate and strengthen our relationships with the Goddess, the God, and the earth” (1999, 47). Seasonal celebrations can be considered rituals, in addition to observing full and new moons. Most rituals and magical acts take place in the circle or sacred space; ceremonial magicians use tools of ceremonial magic to create this space. Not all practitioners use formal structure, of course, so you can use the method of your choice. But, it’s important for your own practice that you understand where your traditions originate and why you use them. It’s okay to change methods or even develop your own. If using the prescribed ritual method has lost meaning for you, try something else. Formal Wiccan rituals typically follow a standard layout—one begins by purifying (cleansing self and space) and then centering or collecting one’s thoughts and intent. Next, the casting of the circle or creation of the magical or sacred space. is is the place “between the worlds” or the altered state. e boundary ensures the continued focus of the magician and also serves to protect and contain the energy raised inside it until it’s ready for release. Sometimes spirits are evoked or invoked or other things are done, such as offerings being made or celebratory eating and drinking. en the circle is closed, oen followed by grounding. Entering an altered state of mind, taking action in that state, and returning are the basic components of ritual. Ritual practice gets you out of your head, out of the mundane world, and into the mystical where magic can happen. It can help you transcend reality. Circle casting rituals, like tools, can serve an important role in helping us switch our mindset to the mystical. But if you don’t need these things, you don’t have to use them. Spells THE EXPERIENCE Spellcasting is as varied as the people who practice it. ere are endless ways to combine all the actions, tools, and supplies—everything from candles and crystals to poppets, bags and bowls, oils, plants, incense, words and sigils, formal rituals with tools and on-the-spot chants, dream magic, using mirrors, ritual acts such as planting or tying knots, creating talismans—the list goes on and on. Whatever the magical act, though, your intent and concentration is vital. ink of a spell as an experience. If magic is transformation, the spell is used to bring that about; it can be an action (such as lighting a candle), visualization, or affirmation—or all of these combined. It can take place during a ritual, but it doesn’t have to. Sometimes a spell is performed within the context of a ritual, with the ritual action being part of the actual spell. Of course, you can perform a spell without a formal ritual. In fact, you may not even need to cast a circle (create sacred space) to perform a spell. It’s up to you. Some people will say always cast a circle. Inevitably, it depends on the type of spell you’re working. In the end, like all parts of your practice, it’s your choice. ere are many ways to bring about transformation and manifestation— not only the magical path. For example, prayer (which, yes, some witches and magicians do use), positive thinking, and meditation or visualization (without the magical component), are some of the various ways people engage in transformative, spiritual experiences. Remember: You are the magic. But for it to truly be successful and enjoyable for you, you need to fully understand what you believe and why. Motifs and Archetypes roughout the book, I will be pointing out moments for comparison across cultures—motifs are recurring patterns that we can use to make connections between the stories. In addition, a great deal of study has been made in the last century regarding the psychological aspect of myth and how we can use that in our daily lives. Mythologist Joseph Campbell (1949) is famous for his work e Hero with a ousand Faces in which he synthesizes theories from psychologists and other scholars like Carl Jung. While Campbell has written extensively about myths, this book explores the monomyth—the hero’s journey—a format for looking at heroic epics (and modern stories) that helps us see the larger pattern and how it �ts our lives. e theory, in general, is that the narrative structure of heroic epics mirrors the rites of passage in human life because we all experience similar things. Jung referred to the “collective unconscious” to claim that despite cultural differences, we all have some common experiences. ese theories have their critics, of course, but they are useful ways to relate to these stories. Here is a very brief summary of some main points on the hero’s journey. e hero must leave the ordinary world he or she knows and venture out into the unknown. Along the way, the hero crosses thresholds that mark boundaries between transitional places and experiences various trials, including moments of despair. ese are referred to as the “belly of the whale,” from which the hero emerges transformed, and the “supreme ordeal,” the moment where the hero hits rock bottom (Campbell 1949). e hero also has encounters with enemies and is sometimes lured from the path. Additionally, the hero oen has help along the way in the form of archetypes such as guides, allies, or a mentor, and may receive “supernatural aid” (Campbell 1949). Eventually, the hero returns with some type of reward or epiphany. ese aspects of analysis don’t apply to all myths, and we don’t want to risk oversimpli�cation by saying there’s only one interpretation, but they can assist us with understanding and identifying with the myths on a personal level. I will make references to some of these points throughout the book. Campbell and Jung also explored the concept of archetypes in their work, and this, too, pertains to myths, since many of them contain archetypes. Archetypes are “primordial images” or character roles that humans “understand and identify, collectively, by their patterns of behavior” (Novara and Gant 2018, 6). We recognize these in literature as characters like the hero, ally or helper, wise woman, temptress, trickster, and more. ese archetypes can help us identify recurring motifs that we can incorporate into our magical lives. How to Use this Book Each chapter of this book features a story or stories, followed by commentary about some of the themes that will be explored, and then offers a variety of activities inspired by those themes or motifs. ere is some overlap between the themes across chapters, which is to be expected since life is �lled with connections. In addition to spells, rituals, affirmations, meditations, and visualizations, there are exercises for re�ection, such as journal prompts, and other activities to develop your magical skills and to help you rediscover your Cra and magical lifestyle. You can move through this book in chapter order, working through a chapter each month, but you don’t have to. You may begin any time of the year, and it’s ok to jump around. While it does work in some ways like a cycle, the materialdoesn’t necessarily build chronologically—although if you work through in order, beginning in January, the chapters correspond to months in the northern hemisphere. You don’t have to complete one chapter before moving on to another. I’m assuming the reader is already an experienced magical practitioner and is looking for ways to add new energy to his or her practice. While I am presenting these myths as useful to our lives, I’m not insisting there is always a de�nitive “message” to be gained from them. ere might be, but it’s not the same for everyone, nor is it the same as that of the people from the cultures and times from which these tales originate. We must not be so vain as to think we can pick them apart and “�gure them out.” When I explore the themes and importance of each, I will be trying to �nd nuggets of meaning and inspiration, but keep in mind these are not the only ways to understand the stories. I’m just trying to help us look and think deeply about various ways we can �nd our own meanings. If you see something I don’t, or don’t exactly see what I see, that’s �ne. One thing I do want to stress, though, is that we read them as metaphor and not literally. e beauty of myth is that they guide us in a deeper way by allowing us to use our imagination. is is what magic does. It changes the way we see the world and ourselves. Many of these stories come to us from oral traditions. Even those for which we have ancient, printed texts were shared orally long before they were recorded. In some cases, the person recording the story was from an outside culture, so we can’t always know for certain how “authentic” the story is. Also keep in mind that there is no “right” version of a myth. Based on various translations and changes over time, there are oen several versions of a story. And even when the myths were a living part of the culture, oen the people had no difficulty accepting several different stories at once. Myths can provide an endless source of enjoyment, yet the study of myths, while fun, can be frustrating. Frustration and confusion occurs when someone says “at’s not the way I heard it” or begins thinking in terms of right and wrong versions of the tale. Like many forms of art, it is subject to some interpretation, and like art, too, it’s oen subjective. Still, there are things we can research, study, and base on some �rm foundations. Scholars have dedicated their lives to such study, and we must give them credit for this work and learn what we can in order to continue making our own connections. is is the art of synthesis. In an effort to provide that foundation, I have included as much research as possible without distracting from the point: enjoying the stories and �nding ways to connect with them to create meaningful experiences in your life. is is a book about your magical life, aer all. When possible, I have tried to present a primary text, uncensored. I have, however, made some edits for length in some places. When a public domain text was not available, or when it was too long, I have adapted my own version of the story, keeping as close to the source materials as possible and oen blending several versions into a more complete telling of the story. While some of the myths in this book will undoubtedly be familiar to you, I’ve also tried to select some that are lesser known and from a variety of places around the world. Trying new things is a wonderful way to reinvigorate your magic. If you’re reading this with a desire to add that spark back into your life and practice, there are a variety of activities and spells to try. When we share stories, we wonder and seek, we search for meaning. Reading and exploring myths can enhance our lives and our magical practice. Psychologically, myths have become popular guided by scholars and analysts like Freud and Jung, and the monomyth of Joseph Campbell—each offers a perspective for examining our lives. rough myth we appreciate and acknowledge, and we can also �nd support. e stories remind us we are not alone. ese are ways to wisdom. While the cultural context should not be ignored, we can, and should, �nd ways to make these stories our own. It helps us connect with others, our deeper selves, and the world—the past, present, and future. Your magical life is more than just practicing magic now and then, it’s part of who you are. It’s a lifestyle. Myths can inspire you to renew your connections, see different perspectives, cope with changes, and �nd solace in times of stress. Myths help us address the “big” questions about life, and the small, everyday issues that we face. As you change and grow, your magic will also change and grow. Your practice should grow and change with you. If it hasn’t, perhaps it’s time for rediscovery. What do you want from your magical practice? Empowerment? Change? Connection? ese chapters will guide you on your exploration. T. S. Eliot (1942) famously wrote: “We shall not cease from exploration / And the end of all our exploring / Will be to arrive where we started / And know the place for the �rst time.” I have seen these lines quoted in both spiritual texts and science textbooks when discussing the human condition. ese words apply to both realms because they speak of human existence and experience. e beauty of poetry is that it touches each of us in different ways. e same is true of myth and magic. Bibliography for Introduction “Affirm.” n.d. Online Etymology Dictionary. Douglas Harper. Accessed November 24, 2020. https://www.etymonline.com/word/affirm#etymonline_v_5198. Adler, Margot. 1986. Drawing Down the Moon: Witches, Druids, Goddess- Worshippers, and Other Pagans in America Today. Revised and expanded edition. New York: Penguin Group. Campbell, Joseph. 1949. e Hero with a ousand Faces. New York: Bollingen. “Charm.” n.d. Online Etymology Dictionary. Douglas Harper. Accessed August 7, 2020. https://www.etymonline.com/word/charm. Cunningham, Scott. 1999. Wicca: A Guide for the Solitary Practitioner. St. Paul, MN: Llewellyn Publications. Eliot, T. S. 1942. “Little Gidding.” From Four Quartets. Columbia University. http://www.columbia.edu/itc/history/winter/w3206/edit/tseliotlittlegiddin g.html. Gawain, Shakti. 1979. Creative Visualization. New York: Bantam. Kane, Sean. 1994. Wisdom of the Mythtellers. Peterborough, ON: Broadview Press. Lawrence, D. H. 1995. Apocalypse and the Writings on Revelation. Middlesex, UK: Penguin Books. Novara, Jayme, and Christina Gant. 2018. An Introduction to World Mythology. Second edition. Dubuque: Kendall Hunt Publishing. Radin, Dean. 2018. Real Magic: Ancient Wisdom, Modern Science, and a Guide to the Secret Power of the Universe. New York: Harmony Books. Starhawk and Hilary Valentine. 2000. e Twelve Wild Swans: A Journey to the Realm of Magic, Healing, and Action: Rituals, Exercises, and Magical Training in the Reclaiming Tradition. San Francisco: Harper San Francisco. Weinstein, Marion. 2003. Earth Magic: A Book of Shadows for Positive Witches. Franklin Lakes, NJ: New Page Books. Whitcomb, Bill. 1999. e Magician’s Companion: A Practical and Encyclopedic Guide to Magical and Religious Symbolism. St. Paul, MN: Llewellyn Publications. [contents] Chapter 1 The Magic of Story “Our own lives are stories that we write from day to day; they are journeys through the dark of the fairy tale woods. e tales of previous travellers through the woods are passed down to us in the poetic, symbolic language of folklore and myth; where we step, someone has stepped before, and their stories can help light the way.” T W In the study of myths, we oen categorize stories based on their functions, for example, stories about the creation of the world, etiological tales (why things are the way they are), heroic epics, and so on. is particular tale serves a variety of purposes but, quite simply, it’s a story about why we have stories.Rather than being etiological in the sense of explaining natural phenomena, it explains the importance of preserving cultural traditions and knowledge. is story comes from the book Seneca Indian Myths, a collection edited by Jeremiah Curtin (1922); this particular story was collected by Henry Jacob. e Seneca people of North America are located south of Lake Ontario, a group that was part of the Iroquois Confederacy or League. ere are three Seneca groups federally recognized by the United States—two in New York, one in Oklahoma. e Origin of Stories “is happened long ago, in the time of our forefathers.” In a Seneca village lived a boy whose father and mother died when he was only a few weeks old. e little boy was cared for by a woman, who had known his parents. She gave him the name of Poyeshaon (Orphan). e boy grew to be a healthy, active little fellow. When he was old enough, his foster mother gave him a bow and arrows, and said “It is time for you to learn to hunt. To-morrow morning go to the woods and kill all the birds you can �nd.” Taking cobs of dry corn the woman shelled off the kernels and parched them in hot ashes; and the next morning she gave the boy some of the corn for his breakfast and rolled up some in a piece of buckskin and told him to take it with him, for he would be gone all day and would get hungry. Poyeshaon started off and was very successful. At noon he sat down and rested and ate some of the parched corn, then he hunted till the middle of the aernoon. When he began to work toward home he had a good string of birds. e next morning Poyeshaon’s foster mother gave him parched corn for breakfast and while he was eating she told him that he must do his best when hunting, for if he became a good hunter he would always be prosperous. e boy took his bow and arrows and little bundle of parched corn and went to the woods; again he found plenty of birds. At midday he ate his corn and thought over what his foster mother had told him. In his mind he said, “I’ll do just as my mother tells me, then some time I’ll be able to hunt big game.” Poyeshaon hunted till toward evening, then went home with a larger string of birds than he had the previous day. His foster mother thanked him, and said, “Now you have began to help me get food.” Early the next morning the boy’s breakfast was ready and as soon as he had eaten it he took his little bundle of parched corn and started off. He went farther into the woods and at night came home with a larger string of birds than he had the second day. His foster mother praised and thanked him. Each day the boy brought home more birds than the previous day. On the ninth day he killed so many that he brought them home on his back. His foster mother tied the birds in little bundles of three or four and distributed them among her neighbors. e tenth day the boy started off, as usual, and, as each day he had gone farther for game than on the preceding day, so now he went deeper into the woods than ever. About midday the sinew that held the feathers to his arrow loosened. Looking around for a place where he could sit down while he took the sinew off and wound it on again, he saw a small opening and near the center of the opening a high, smooth, �at-topped, round stone. He went to the stone, sprang up on to it and sat down. He unwound the sinew and put it in his mouth to soen, then he arranged the arrow feathers and was about to fasten them to the arrow when a voice, right there near him, asked, “Shall I tell you stories?” Poyeshaon looked up expecting to see a man, not seeing any one he looked behind the stone and around it, then he again began to tie the feathers to his arrow. “Shall I tell you stories?” asked a voice right there by him. e boy looked in every direction, but saw no one. en he made up his mind to watch and �nd out who was trying to fool him. He stopped work and listened and when the voice again asked, “Shall I tell you stories?” he found that it came from the stone, then he asked, “What is that? What does it mean to tell stories?” “It is telling what happened a long time ago. If you will give me your birds, I’ll tell you stories.” “You may have the birds.” As soon as the boy promised to give the birds, the stone began telling what happened long ago. When one story was told, another was begun. e boy sat, with his head down, and listened. Toward night the stone said, “We will rest now. Come again to-morrow. If anyone asks about your birds, say that you have killed so many that they are getting scarce and you have to go a long way to �nd one.” While going home the boy killed �ve or six birds. When his foster mother asked why he had so few birds, he said that they were scarce; that he had to go far for them. e next morning Poyeshaon started off with his bow and arrows and little bundle of parched corn, but he forgot to hunt for birds, he was thinking of the stories the stone had told him. When a bird lighted near him he shot it, but he kept straight on toward the opening in the woods. When he got there he put his birds on the stone, and called out, “I’ve come! Here are birds. Now tell me stories.” e stone told story aer story. Toward night it said “Now we must rest till to-morrow.” On the way home the boy looked for birds, but it was late and he found only a few. at night the foster mother told her neighbors that when Poyeshaon �rst began to hunt he had brought home a great many birds, but now he brought only four or �ve aer being in the woods from morning till night. She said there was something strange about it, either he threw the birds away or gave them to some animal, or maybe he idled time away, didn’t hunt. She hired a boy to follow Poyeshaon and �nd out what he was doing. e next morning the boy took his bow and arrows and followed Poyeshaon, keeping out of his sight and sometimes shooting a bird. Poyeshaon killed a good many birds; then, about the middle of the forenoon, he suddenly started off toward the East, running as fast as he could. e boy followed till he came to an opening in the woods and saw Poyeshaon climb up and sit down on a large round stone; he crept nearer and heard talking. When he couldn’t see the person to whom Poyeshaon was talking he went up to the boy, and asked, “What are you doing here? “Hearing stories.” “What are stories?” “Telling about things that happened long ago. Put your birds on this stone, and say, ‘I’ve come to hear stories.’” e boy did as told and straightway the stone began. e boys listened till the sun went down, then the stone said, “We will rest now. Come again to- morrow.” On the way home Poyeshaon killed three or four birds. When the woman asked the boy she had sent why Poyeshaon killed so few birds, he said, “I followed him for a while, then I spoke to him, and aer that we hunted together till it was time to come home. We couldn’t �nd many birds.” e next morning the elder boy said, “I’m going with Poyeshaon to hunt, it’s sport.” e two started off together. By the middle of the forenoon each boy had a long string of birds. ey hurried to the opening, put the birds on the stone, and said, “We have come, Here are the birds! Tell us stories.” ey sat on the stone and listened to stories till late in the aernoon, then the stone said, “We’ll rest now till to-morrow. On the way home the boys shot every bird they could �nd, but it was late and they didn’t �nd many. Several days went by in this way, then the foster mother said, “ose boys kill more birds than they bring home,” and she hired two men to follow them. e next morning, when Poyeshaon and his friend started for the woods the two men followed. When the boys had a large number of birds they stopped hunting and hurried to the opening. e men followed and, hiding behind trees, saw them put the birds on a large round stone, then jump up and sit there, with their heads down, listening to aman’s voice; every little while they said, “Ûn!” “Let’s go there and �nd out who is talking to those boys,” said one man to the other. ey walked quickly to the stone, and asked, “What are you doing, boys?” e boys were startled, but Poyeshaon said, “You must promise not to tell anyone.” ey promised, then Poyeshaon said, “Jump up and sit on the stone.” e men seated themselves on the stone, then the boy said, “Go on with the story, we are listening.” e four sat with their heads down and the stone began to tell stories. When it was almost night the Stone said, “Tomorrow all the people in your village must come and listen to my stories. Tell the chief to send every man, and have each man bring something to eat. You must clean the brush away so the people can sit on the ground near me.” at night Poyeshaon told the chief about the story-telling stone, and gave him the stone’s message. e chief sent a runner to give the message to each family in the village. Early the next morning everyone in the village was ready to start. Poyeshaon went ahead and the crowd followed. When they came to the opening each man put what he had brought, meat or bread, on the stone; the brush was cleared away, and everyone sat down. When all was quiet the stone said, “Now I will tell you stories of what happened long ago. ere was a world before this. e things that I am going to tell about happened in that world. Some of you will remember every word that I say, some will remember a part of the words, and some will forget them all—I think this will be the way, but each man must do the best he can. Hereaer you must tell these stories to one another—now listen.” Each man bent his head and listened to every word the stone said. Once in a while the boys said “Ûn!” When the sun was almost down the stone said, “We’ll rest now. Come to-morrow and bring meat and bread.” e next morning when the people gathered around the stone they found that the meat and bread they had le there the day before was gone. ey put the food they had brought on the stone, then sat in a circle and waited. When all was quiet the stone began. Again it told stories till the sun was almost down, then it said, “Come tomorrow. Tomorrow I will �nish the stories of what happened long ago. Early in the morning the people of the village gathered around the stone and, when all was quiet, the stone began to tell stories, and it told till late in the aernoon, then it said, “I have �nished! You must keep these stories as long as the world lasts; tell them to your children and grandchildren generation aer generation. One person will remember them better than another. When you go to a man or a woman to ask for one of these stories carry something to pay for it, bread or meat, or whatever you have. I know all that happened in the world before this; I have told it to you. When you visit one another, you must tell these things, and keep them up always. I have �nished.” And so it has been. From the Stone came all the knowledge the Senecas have of the world before this. emes & Importance Culturally, this story is important to the Seneca people because it conveys the importance of their tradition and heritage; sharing stories means keeping their culture alive. In addition, the fact that food is exchanged for the stories shows the value of these traditions. Food is essential—trading it for stories illustrates how vital the stories are. Preserving their culture is as important and necessary as eating. Humans are storytellers by nature. We share stories with each other every day about our lives and experiences. We have always loved to be entertained by stories—and that certainly hasn’t changed today. Stories help us make connections, recall important moments, learn new information, and allow us to have fun. ey also bring communities together, as in the tale. Stories take time to tell, and we must be patient in order to learn them. In addition, the stone serves the role of an archetype: the elder of a group (wise man or wise woman), the one who has seen much and remembers it. Honor the elders in your life—they have stories to tell. Stories preserve history and convey knowledge; we learn about ourselves by looking to the past, by seeing our mistakes and triumphs, learning (hopefully) from them, and gaining wisdom because our view becomes tempered by the perspective that time gives us. How we view our past changes as time passes, as we also change. Distance allows us to look back and see things we may not have noticed in the moment. is is true on a societal level, as well as an individual level. It also applies to magic. e magic we practice today can be (and arguably should be) different from magic practiced hundreds of years ago. Some traditions are worth keeping, but others need to adapt, as we do. Magic is never stagnant. ings change by sharing information, learning from others, and allowing them to learn from you. In magical practice, it’s important to know the history of your Cra, no matter what type of magic you practice. Read, study, research. Know your Cra and the people who’ve served as teachers—those who have contributed their knowledge to the study. Know why you do what you do, the origins of your traditions, and the various ways those traditions have changed. Keeping connected to your Cra’s heritage is crucial to strengthening your magical practice. ink of the stone as a metaphor for all the stories in your life that you will both hear and pass along to others (as well as the knowledge the stories contain). Listen to the storytelling stones around you. Here are some ways to do that. Spell MAKING CONNECTIONS USING FOSSILS Fossils are petri�ed time, a record of life on earth. ey tell stories of the past, and this can help us connect to the world and each other. Use a fossil for this spell—any type will work. It can be a dinosaur tooth, impression of an ancient plant, an ammonite (Orthoceras are popular ones), or even a piece of petri�ed wood. Note: e name Ammonite (ancient marine animal) comes from Egyptian myth. e shape of the shell is said to resemble the horns of the god Amon. e spiral shape can also be used for its symbolism—the spiral of life. Magic is life itself. One way to reawaken the wonder and mystery of life is by examining a fossil and considering how old it is and pondering the progression and evolution of life on earth—the beauty and the majesty of nature. Energy is life; life is magic. Draw on this deep connection; let it inspire you. Let it remind you of your Cra and your path. It’s the story of earth, and the story of life—the story of our home. Use this spell to make the connection you desire—with the earth, with people, or both. Visualize the stone linking you to the world and helping you learn its stories, either by somehow “reading” them in the stone, or “hearing” them in your mind, or even having visions. Be open to all possibilities. Hold the stone and chant: Stories from stone, I seek the unknown— the secrets of the world. Help me connect to the stories you hold, the knowledge of old— the people of the world. Earth is my home, my �esh and my bone— help me to hear the stories of the world. Carry the stone with you or keep it on your altar for as long as you wish. Spell PERSONAL STORY STONE For this spell, you will be dedicating a stone or piece of jewelry that you can use as a talisman to wear or keep near you to help you access your memories and stories. is can help you as you write or create other types of artistic displays inspired by memories or stories from your past. You can choose a stone you already have or buy a new one; select a stone that appeals to you on a personal level. is may be your birthstone or some other piece that holds signi�cance. If you make jewelry, consider creating a special piece for this spell. Create the talisman during a waxing or full moon phase. Visualizethe stone or piece of jewelry �lling you with inspiration and helping you unlock memories you may have forgotten—this can be a painful process, so be sure you’re ready. Chant: My stories tell me who I am—they also tell the world. Let them �ow from me like sand, like water, like wind … looking deep within. I have things to tell, to share, to learn, to see— so mote it be. Wear the stone or keep it nearby whenever you are accessing memories. You can keep it in your pillowcase or near your bed while sleeping to encourage memory recall while dreaming. Use it while you work on the other projects in this chapter. Magical Skill CRYSTAL GAZING TO IMPROVE CONCENTRATION Crystal spheres are actually a kind of storytelling stone. Did you know that people have been making and using crystal balls for over a thousand years? Curiously, rock crystal spheres have been found in the graves of women next to silver spoons. Some of these �nds date between the �h and eighth centuries CE. Sometimes the spheres are wrapped in silver “slings” with a ring for carrying or wearing. Some scholars believe they may have been used to “symbolically purify water” (Beaney Museum; Ashmolean Museum). “ey are mostly found in female graves in early medieval England (especially Kent), France, Netherlands, Germany, Switzerland, Hungary, and Italy” (Dashu 2016, 153). Grave goods can tell archaeologists and anthropologists a great deal, but we can’t be certain what these stones were actually used for. Scholars speculate that, certainly, magical divination was one of the purposes, but many were “framed” to be worn—perhaps as a protective talisman? One speci�c relic from the seventeenth century has signs of the zodiac engraved in the band and is �tted with a cable for hanging. Perhaps the crystal is symbolic of the entire cosmic world, an “evocation of the celestial realm” (Page et al, 46). In that case, there is evidence for people seeking wisdom from stones. In our fast-paced modern world, our attention spans are decreasing. Many people are recognizing this and turning to meditation to slow down and learn to be more attentive. However, meditation is not the same thing as focus; focus involves continuous concentration on something. Meditation is generally seen as being open and keeping your mind “empty” of thought (or, focusing on being “empty” if you will)—the lack of focus on something speci�c. Either way, you need to increase your stamina and attention-span, and practice avoiding distraction in order to improve your magic. In addition, there are guided meditations that are, more accurately, guided “visualizations” that help with your imagination. ere are several of those in this chapter as well. Some kinds of meditation do involve focusing on something—the breath, for example—but it’s still a type of “open” state, rather than deep thought. Take, for example, how you feel when you’re “in the zone” working on a project you love. You’re completely in the moment and may feel a sense of inner peace. For our purposes here, we’ll consider that state concentration— you’re thinking about something, and you’re totally focused on it—like when you’re enjoying a hobby or a sport. We’ll use the term “meditation” for being open and the term “focused” when you’re in the zone and concentrating on something speci�c, shutting out all distractions around you. Like when you’re practicing magic. is activity will help you practice that “in the zone” state—deep focus and concentration. e basics of crystal gazing can improve your magical focus as well as your divination skills. We will be using the classic clear quartz sphere for this practice. It’s actually best if the stone has some inclusions—perfectly clear quartz spheres are quite rare (and expensive) anyway. Don’t use glass or lead crystal. If you don’t have a clear quartz sphere, use a clear quartz point. As you proceed, keep your mind focused on the crystal. Concentrate only on it and what you see inside it. Note: this is not divination, although it is a great avenue into the process and will help you with that skill. e goal here is to keep your focus on one thing for an extended period of time. is will increase your stamina. is is an exercise you can repeat as oen as you like in order to strengthen your focus, but it’s recommended to try it for twenty-one days in a row at �rst. Sit alone with your crystal in a semi-dark room—a few candles will be necessary. Light some incense if you desire—the smoke can actually help you—or diffuse essential oils. Make sure you won’t be disturbed (silence your phone). Gaze into the crystal for one minute (set a timer). Remain totally focused on the stone. en try two minutes, then three. Increasing by a minute each time, work your way up to �ve minutes. If you �nd this difficult, try again another day. Once you can gaze for the full �ve minutes, repeat the process every day for twenty-one days. Aer that, do it at least once or twice a week. ink of this as exercise. If you’d like to really test yourself, see if you can go for ten minutes or longer (if you want to try that, increase by two minutes each time). Don’t strain your eyes, and don’t push yourself too hard. As with meditation, try to avoid letting your mind wander. As soon as it does, start over and reset your timer. Activity WRITING A MEMOIR Writing your story can be a priceless experience—even if no one else reads it. Journal-keeping is a wonderful way to process your thoughts and emotions. Write your magical memoir. Even if you’ve already done this, revisit it and see if anything has changed. Recount your history with your Cra—when you �rst started, how you felt then, and how you feel now. Write about your expectations, experience, what you’ve learned, and what you still want to learn. In addition, consider writing about your non-magical life as well. You don’t have to write your entire life story (but you should, if that appeals to you). You can write about an event or special day—it doesn’t have to be a grand trip across the world, it can be a story of daily life. e account of an important moment—a day, even the brief few seconds of an event—helps you remember it and recall your feelings later in life. ese moments shape who we are, and who we are shapes our magical practice. Stories of place are important too—your home, or a place you love. For example, it took me a long time to deal with losing my childhood home when my parents divorced and sold it. It was paradise to me. I’ve oen written about it, just to help heal and gain perspective. Recently, I came across some old photos of the house and, �nally, actually drove by to see it— something I had avoided for decades. at place is such an integral part of who I am. e memories, both good and bad, have shaped me, and learning more about that helps me on my journey. Whatever story you need or want to tell, do it. If you’re not sure, meditate on it or try divination. Tell the stories that mean the most to you; tell the stories of who you are, who you were, who you will become. If you’re not sure how to begin, use some of the meditation and visualization prompts to get started. You can write poetry, a blog, or even songs—whatever you like. Remember: you never need to show it to anyone unless you want to. Consider researching your genealogy; create a family tree. Alternately, make a friend tree, tracing the connections you have with others to whom you’re not related. Our lives, our existence, can be seen as one incredible story—as civilizations and individuals. What’s your part in the story? Activity MAKING A SCRAPBOOK If writing doesn’t appeal to you, tell your story with visual materials. Photos tell tales, as do souvenirs and mementos. If you’ve never scrapbooked before, there are kits available in cra stores to guide you. You can choose background paper associated with the theme of the moment or just somethingdecorative you like. Add photos, ticket stubs, stickers, and more to create a collage of the memory. is is also a fun activity for families and friends to do together. If you like using Pinterest, you can tell the story of your experience with the Cra this way, too. Make a collage of images that reveal your personal style. Taking Action SACRIFICE e boy in the story had to give the birds he hunted for food in exchange for the stories. In magic, we oen use candles, burn incense, or leave offerings of food outdoors as a type of sacri�ce. What next step can you take? What can you give? Consider donating money or food to those in need. Even if you’re already giving back, what else can you do? Consider fasting (check with a doctor �rst); many religions engage in this practice. Or, give a stone, or something else you value, to someone else. Make a sacri�ce—a sel�ess act —and view it as “payment” for blessings you have in your life. (For more on sacri�ce, see Chapter 12.) Taking Action GROUP WORK AND PRESERVING TRADITIONS Stories help us with our personal development and identity, but they are also essential to our social groups and community. Does your family, group of friends, or coven have a special tradition or custom that is unique? Explore that. Listen to the stories of a friend or family member and ask them questions about a speci�c tradition—when it started and why. ey may want to write their story as well—offer to read it, if they’re interested. Also, consider starting a new tradition. It can be something as simple as a particular way you honor or celebrate a special day, or even a dish you make for a holiday meal. Try some of the activities in this chapter with members of your magical group, if you’re part of one. Stories take time to tell, and they have a special impact when experienced in a group setting. Preserving tradition doesn’t mean things can’t change, that progress can’t be made, but it’s important to remember and learn from the past—the good and the bad—and to value the experiences of others in our personal lives, in our community, and those who’ve helped shape our world so we can �nd our place there as well. Many of us are solitary practitioners, so it can be challenging to feel a sense of community in the Cra. If you don’t have access to a local discussion group or coven, reach out to online groups. Even �nding just one other person with whom to share your experiences can be meaningful. Taking Action RESEARCH Remember the words of the storytelling stone: “Some of you will remember every word that I say, some will remember a part of the words, and some will forget them all—I think this will be the way, but each man must do the best he can.” is statement certainly applies during the process of acquiring knowledge—most of us can’t remember everything. We rely on communities to help us remember. In magical practice, we forget things too. If you’ve been practicing for decades, you may have forgotten some things you learned when you �rst began. If you’re new to your Cra, you may have been presented with so much information that it was difficult to take it all in. Spend some time researching your practice. Renew your interest in its history. Do you know why you do what you do? Who are the people who created the foundations of your Cra? If you feel con�dent in this area, that’s great—but you should still try to read at least one book on magic you’ve never read before. Explore the roots of your Cra or discover something new. And, as the stone says, “Do the best you can.” Further Action: Reflections, Research, and Journal Prompts IDEAS FOR ACTION Use these scenarios and suggestions to engage your imagination. You may wish to record your experiences in a journal. • Put yourself in Poyeshaon’s place. You are hunting or �shing (vegetarians may want to go on a gathering hunt for berries). See the place clearly where you are walking. You stop to repair an arrow or hook, or mend a hole in your basket, and the stone speaks to you. You give it the payment. Imagine you are sitting on the storytelling stone. What does it tell you? Listen. • Research the history of your hometown, where you currently live, or your favorite place to visit. Alternately, visit a place you’ve read about and have always wanted to see. Immerse yourself in its history, the stories of the past. • You’re in a cave; it’s dark but safe, and you have a lantern … what do you see? Or, imagine you’re in an ancient circle of standing stones. Describe it. What do you feel? What story can you imagine from the stones? • You’re in a cemetery. It’s shady and cool, but there’s a beam of sunlight falling through the branches of an old oak tree; the light falls onto one particular headstone. You approach it. What does it say? As an alternative, actually visit a cemetery—the older the better. Consider creating a gravestone rubbing (check with the cemetery �rst, to be sure this is permitted), or just wander around and take note of what you see. What stories can you imagine? • Visit museums and take your time examining artifacts that interest you. Learn as much as you can about them and the people who made and used them—and those who discovered them. • What could be the possible signi�cance that the boy �nds the stone on his tenth day of hunting? Research numerology of the number ten in various cultures. • e boy found the stone when he went deeper into the forest than he ever had before. Consider the signi�cance of this. Is it fate that the boy stops to �x his arrow and then hears the stone? Is there some magic at work here? If so, what is it? • Why do you think the main character in the story is an orphan rather than part of a large family? Bibliography for Chapter 1 Curtin, Jeremiah. 1922. “e Origin of Stories.” Seneca Indian Myths. Sacred Texts. https://www.sacred-texts.com/nam/iro/sim/sim14.htm. Dashu, Max. 2016. Witches and Pagans: Women in European Folk Religion, 700–1100. Richmond, CA: Veleda Press. Object. Crystal Sphere. CANCM: 2144. Beaney Museum, Canterbury, United Kingdom. Page, Sophie, and Marina Wallace, Owen Davies, Malcolm Gaskill, Ceri Houlbrook. 2018. Spellbound: Magic, Ritual, & Witchcra. Oxford: Ashmolean Museum. [contents] Chapter 2 The Magic of the Soul “True beauty is not of the body or of the face, no, it is a thing of the soul—of �re and air, breath and spirit, something brave and unafraid.” S A The story of Cupid and Psyche originally comes from Metamorphoses (also called e Golden Asse) written in the second century by Roman author Lucius Apuleius. To create the most complete story, this version has been adapted from two sources: a translation by omas Bul�nch from 1855 and a version originally translated by William Adlington in 1566. I have also abridged portions of the tale for space considerations. Keep in mind the story is by a Roman author, so Roman names are used for most of the characters, yet “psyche” is a Greek word. Cupid and Psyche ere was once a king and queen with three lovely daughters, but words are incapable of expressing the beauty of the youngest daughter, Psyche. Such beauty drew crowds from far and wide merely to look upon her and pay to her such homage due only to Venus herself. And so Venus saw her altars become deserted as men paid more attention to this mortal virgin, singing to her, and offering �owers. ese actions offended Venus greatly. “Is my honor to be usurped by a mortal girl?” She shook with indignation. Enraged, she vowed to remedy the situation. She called upon Cupid, her winged son, and directed him to Psyche. “My dear son, punish that unworthy beauty; give me sweet revenge. Instill in her a passion for some lowborn and awful being; let her morti�cation be equal to her present triumph.” Cupid then prepared to do his mother’s bidding. But, as he leaned over the sleeping Psyche, bringing his arrow to her side,she woke at the touch. ough he was invisible to her, her sudden awakening startled him, for she seemed to be looking directly at him, and he accidentally wounded himself with his own arrow; he could no longer cause her harm, for he loved her. But despite Cupid’s error, the damage was done. Word had spread that Psyche had incurred the wrath of Venus. So while she still had many admirers, no man came forth to claim her hand in marriage. Psyche’s two moderately charming older sisters found royal princes to marry, but Psyche remained alone. She grew sick of her own beauty, for she felt unwanted and unloved. Psyche’s parents were afraid they had angered the gods, so they consulted the oracle of Apollo. ey were told that Psyche was destined to be the “bride of no mortal lover.” e oracle said they could �nd her future husband at the top of the mountain, and that he was a “monster whom neither gods nor men” could resist. is prophecy �lled everyone with dread; Psyche’s parents were grief stricken. But Psyche was not dismayed. She said, “Why do you lament? Instead you should grieve that people honored me when I was undeserved instead of paying homage to Venus. I submit to my destiny.” A royal procession was prepared, and Psyche ascended the mountain while all around mourned her fate; there, she was le alone. As Psyche stood tearful and afraid, the gentle Zephyr lied her from the ground and bore her away into a meadow �lled with �owers. Aer a time, she relaxed and fell asleep in the grass. Psyche awoke, refreshed and calm, and found herself near an inviting grove of stately trees. She walked into the grove, beckoned by the sound of water, and discovered a fountain which was near a magni�cent palace—it was so lovely that she knew it had not been fashioned by mortal hands. Surely it must be divine! Filled with awe and wonder, she approached the impressive abode and entered. Every aspect of this grand structure �lled her with amazement. ere were pillars of gold supporting a vaulted roof, and the walls were adorned with paintings of pastoral scenes and graceful animals. Each room was �lled with countless treasures and breathtaking works of art. As Psyche gazed around the room, a voice spoke to her. But she saw no one who could have uttered a sound. e voice said, “Honored lady, all that you see is yours. We are your servants and shall obey your every command with care. Retire to your chamber to rest and bathe and, when it pleases you, dinner will be waiting for you in the adjoining alcove.” Aer she bathed and rested and felt thoroughly refreshed, she seated herself in the alcove. A table at once presented itself, without any assistance from servants. It was laden with the most savory delicacies and sweetest wines. ere was music, too, played by invisible performers—harmonious voices accompanied by �utes. But what of her mysterious husband? He came to her only in the darkest hours and was gone by morning. Yet his attention was full of love and inspired passion within her. She oen begged him to stay until dawn so she could behold him, but he refused. He asked her to make no attempt to see him; for his own reasons, he wished to remain concealed. “Why should you wish to see me?” he asked. “Do you doubt my love? Is there any wish you have that is unful�lled? Perhaps if you saw me you would fear me or adore me, but I only ask you to love me. I would rather you love me as an equal than adore me as a god.” is reply satis�ed Psyche for a time, and she was content. But soon she began to think of her parents, le wondering about her fate, and of her sisters, denied the opportunity to share in her happiness. is haunted her, and she began to think of the palace as a prison. One night when her husband came to her, she confessed her feelings and received his consent to have Zephyr bring her sisters to the palace for a visit. e sisters embraced Psyche joyfully, and she led them into her shining home, offering them the care and attention of the attendants and the delights of all her treasures. But seeing Psyche in possession of such splendor evoked jealousy in the sisters. ey questioned her about everything, especially her husband. Psyche told them he was beautiful and kind, spending most of his time away hunting in the mountains. But the sisters were not satis�ed, and soon made Psyche confess the truth—that she had never seen her husband. ey �lled her mind with dark, suspicious thoughts. “Remember the words of the Oracle,” they said, “you were destined to marry a monster. He’s only luring you into comfort so he can eat you!” ey convinced her to conceal a lamp and knife in the room so that she may look at him during the night and, if he truly was a monster, to kill him. Psyche was tempted by her sisters’ words and her own curiosity, so she followed their instruction. When her husband had fallen asleep, she rose quietly and prepared the lamp and knife. But when the light touched him, she beheld not a monster but the most lovely of the gods, golden ringlets of hair falling over fair skin and snowy wings on his shoulders that glistened like dewy petals. She leaned in closer to see his face, but scalding oil from the lamp dripped onto his shoulder, and he jolted awake. His wide eyes �xed upon her, and he rose without a word, spread his great wings, and �ew out the window. Psyche leapt out the window trying to follow him and fell to the ground. As she sobbed in the dust, Cupid looked brie�y upon her. “Foolish Psyche. is is how you repay my love? I disobeyed my mother for you and yet you thought me a monster and would kill me? Go then. Return to your sisters. Love cannot dwell with suspicion.” With that, he �ew away. e palace and all the gardens had vanished. Poor Psyche tried to drown herself in the river, but the gentle water took pity on her and delivered her back to the bank. e god Pan happened to be tending a herd nearby and noticed her. Understanding she was suffering from love, he gave her advice not to weep nor pity herself but to seek Cupid and “win him with the gentle promise of service.” Eventually, she found her way to her sisters and told them what happened. ey pretended to grieve but secretly hoped Cupid would take one of them as a wife instead. e sisters crept away to the mountain early the next morning and called upon Zephyr as they leapt off the mountain, but Zephyr did not come, and they fell to their deaths below. Meanwhile, Psyche roamed day and night without rest searching for her husband. She saw a temple on a mountaintop and thought perhaps he went there. Inside, she found untidy piles of corn and barley and harvesting tools all scattered about. She recalled Pan’s words about service and set herself to arranging everything and sorting all the grain, believing a god’s temple should be placed in good order. is was the temple of Ceres, and she pitied Psyche and thanked her for such piety. Ceres said to her, “ough I cannot protect you from the wrath of Venus, I can teach you to assuage her displeasure. Go and surrender to her. With modesty you may win her forgiveness.” Psyche obeyed and made her way to the temple of Venus, who received her reluctantly and with anger. Venus ordered her servants, Solicitude and Sorrow, to punish Psyche by whipping. Venus was enraged further when she realized Psyche was pregnant. She ripped Psyche’s clothes, tore at her hair, and beat her on the head. “You are so ill-favored that only by great diligence can you hope to regain any merit in your husband’s eyes. I will make a test of your skills.” She ordered Psyche to her storehouse where she kept great amounts of barley, wheat, millet, beans, and lentils as food for her pigeons and bade her to separate all the grains before nightfall. Psyche sat in dumbfounded despair before the enormous piles of grain. Her situation aroused the compassion of the ants, and they were moved to assist poorPsyche. Grain by grain, they sorted all the piles, then vanished from sight. But when Venus returned, she was not fooled. “Wicked one! You did not do this alone!” e next morning, Venus ordered Psyche to venture out near the river where a herd of golden-�eeced sheep grazed without a shepherd. “Go and fetch me a bit of that precious wool from each animal.” Psyche went to the riverside, and again sought to throw herself into the water. But the reeds murmured and whispered to her, “Maiden, do not tempt the rams, for the sun causes them to rage against all mortals, and they will destroy you. But when they seek shade from the midday sun to rest, you may cross the water. ere you will �nd golden wool stuck to the trees and bushes.” And so by aid of the river god, Psyche was able to accomplish this task as well and she returned to Venus with arms �lled with wool. Venus still was not placated. “I know you did not succeed on your own. I am still unsatis�ed, and so I have another task you must complete.” Venus handed Psyche a crystal vessel and ordered her to seek the source of a dark stream high on the cliff, the origin of waters that �owed into the Rivers Styx and Cocytus in the Underworld. Psyche made the ascent, thinking again she could �ing herself from the summit and end her suffering. When she saw the dreaded waters, gushing from the jagged, treacherous mountainside, and guarded by vicious dragons, she understood the impossibility of her task. But just then an eagle of Jupiter �ew overhead and, seeing the wretched Psyche in her predicament, came to her aid. is particular eagle owed Cupid a debt, and he was moved by Psyche’s sorrow, so he fetched the water for her. Again, Venus was enraged and knew Psyche had help in completing the task. is time, she handed Psyche a box and commanded that she take it to Proserpine (Persephone) in the underworld. She said: “Tell her that Venus desires some of her beauty, for in tending to my injured son, I have lost some of my own. And make haste: I must appear at my full beauty among the gods and goddesses tonight.” Psyche was certain this task would be her end. She went to the top of the highest tower she could �nd, determined to throw herself down to Tartarus —for ending her life would be the easiest way to get there. But the tower spoke to her: “Why do you try to end your life in such a manner? What cowardice causes you such despair?” e voice told her of a cave where she might journey to Pluto’s realm and directed her how to avoid Cerberus the three-headed dog, and how to persuade Charon, the ferryman, to take her across the river. e voice added, “When Proserpine has given you the box that contains her beauty, never open it nor look inside it. Do not fall victim to your curiosity to seek the beautiful treasure of the goddesses.” Psyche was encouraged and obeyed the advice, making her way safely to Pluto’s kingdom and was admitted into the palace of Proserpine. As instructed by the voice, she declined to sit or eat at the banquet, being content with only common bread, and delivered her message. e box was returned to her containing its precious contents. Psyche returned with gladness. But in the light of day, pleased with her success, she was seized with a desire to open the box. “Why shouldn’t I, the holder of divine beauty, not take a small portion for myself so I may be presentable in the eyes of my husband?” She opened the box, but found nothing inside but a dark and Stygian sleep which took hold of her at once. She fell to the ground in deathlike repose. Cupid, now fully recovered from injury and unable to bear the loss of his beloved wife, slipped secretly out of the chamber where he was being held in his mother’s home and �ew to Psyche. He gathered up the sleep and returned it to the box, then woke Psyche with a gentle touch from one of his arrows. “Again, you have almost perished by curiosity. But continue your task as my mother directed, and I will handle the rest.” Cupid dashed to the sky and presented himself before Jupiter, who listened with favor and, pleading the case before Venus, won her consent that the lovers should be reunited. Jupiter sent Mercury to fetch Psyche, and on her arrival, he gave her a cup of ambrosia. “Drink this,” he said, “and you will become immortal and Cupid shall be bound to you in eternal nuptials.” And so Psyche and Cupid were united at last and a daughter was born to them; her name was Pleasure. emes and Importance Scholars have classi�ed this myth as an “animal groom” tale, a category that includes stories like “Beauty and the Beast.” Several motifs found in those folk and fairy tales can be traced back to this story. Even though Cupid isn’t a beast, Psyche believes he is. is story also includes the motif of the “search for the lost husband” and common messages about trust and compassion. Animal Groom stories deal with marital anxiety, most likely due to the practice of arranged marriages. ey also contain lessons about virtue and self-sacri�ce, the transformative power of compassion, and courage. ere are other tales in this category too—stories about skin-changers (see Chapter 4) and their relationships with humans. In fact, we can trace many of our fairy tales back to mythology and stories about gods, goddesses, and other magical beings. e sibling rivalry motif of jealous sisters, oen found in fairy tales, exists here as well. is is most likely from pressure for ladies to “marry well.” ere are similar stories from around the world that contain the motifs found in “Cupid and Psyche.” In one of them, a Norwegian story called “East o’ the Sun and West o’ the Moon,” the girl is forced to marry a bear who removes his skin at night. If she could have avoided trying to look at him at night for an entire year, he would have been transformed permanently into a human. But alas, she looks. And then, like Psyche, she must embark on a journey to recover him. But in this story, Cupid doesn’t actually change—he simply asks Psyche not to look at him, despite the rumor that he’s a monster. Secret-keeping is a common motif in these stories, and the wife must redeem herself for not trusting her new husband. It’s easy to see the obvious message here, so let’s look for deeper insights. Soul and Spirit e word psyche means “soul”—one’s essential essence. (It also means “breath” and “butter�y” but we’ll get to that in a moment.) So let’s look at some de�nitions and concepts of the soul and the spirit, because most people make distinctions between them. Philosophers have long considered the concept of the soul; people have thought about its existence for thousands of years. It’s oen the core of the question about who we are and our ultimate purpose—the meaning of life. Many religious scholars and philosophers say the soul is the very life essence and lives on aer the body; it’s our universal, divine, and eternal self. Whatever you believe, here we will speak of the “soul” as the essence of who we are and, whether or not you believe it’s divine, it’s your personal center of being and, therefore, essential to your magical practice. An interesting perspective is found in the book Soulcra, which describes the distinction between soul and spirit as follows: “Spirit is the mystery of … eternal life. Soul is the mystery of the unique and the in�nitely diverse … Soul shows us how we, as individuals, are different (in a community- affirming way) from everybody else. Spirit shows us how we are no different from anything else, how we are one with all that exists” (Plotkin 2003, 29). Here, soul is the individual and spirit is the collective. According to Clarissa Pinkola Estés, author of Women Who Run With the Wolves, the spirit grows out of the soul, learns, and carries information back to it; in this way, soul and spirit have a symbiotic relationship: “When not interfered with, the relationship between soul and
Continue navegando
Perguntas dessa disciplina
