The Element Encyclopedia of Witchcraft: The Complete A–Z for the Entire Magical World. Judika Illes

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СКАЧАТЬ that devotion to the Madonna, particularly when she is visualized with the crescent moon, masks forbidden devotions to Diana.

      In the context of medieval grimoires, Aradia or The Gospel of the Witches is radical because the focus is on powerful female deities (and Diana is clearly a goddess, not a demon) and because most of it is clearly intended for use primarily by women. There is no pretense toward containing hidden teachings from ancient Egypt or secret writings authored by prophets, kings or popes. Instead this is a text of witchcraft ostensibly created by witches for other witches, and humble ones at that. Simple if potentially powerful folk magic spells, the “Conjuration of the Lemon and Pins” for instance, are included that, one imagines, would have bored Dr Faust-style magicians with loftier pretensions.

      However, Aradia is more than just a collection of folk magic and ritual. The book includes Leland’s personal definitions of witches and witchcraft:

       …in Italy great numbers of strege, fortunetellers or witches, who divine by cards, perform strange ceremonies in which spirits are supposed to be invoked, make and sell amulets, and, in fact, comport themselves generally as their reputed kind are wont to do, be they Black Voodoos in America or sorceresses anywhere.

      Leland understands Italian witchcraft (stregheria) to be the joint product of hereditary witches and those who over the centuries, for one reason or another, joined forces with those witches: “the witches of old were people oppressed by feudal lands [sic] …holding orgies to Diana which the Church represented as being the worship of Satan,” as well as a “vast development of rebels, outcasts, and all the discontented, who adopted witchcraft or sorcery for a religion” who held “secret meetings in desert places, among old ruins accursed by priests as the haunt of evil spirits or ancient heathen gods, or in the mountains.”

      In Aradia or The Gospel of the Witches, Diana is described as the first of all spiritual entities. Reminiscent of the Pelasgian creation tale retold in ANIMALS: Snakes, Diana first begets Lucifer (who may or may not be that Lucifer). Vain, proud, and arrogant, Lucifer rejects Diana’s advances but she outsmarts him by resorting to witchcraft, shape-shifting into the form of a black cat, and so is able to conceive their daughter Aradia (Herodias), identified as the female Messiah, the first true witch.

      Aradia contains no demonology comparable to medieval grimoires; the deities are treated respectfully. Aradia contains no commanding and compelling rituals equivalent to medieval grimoires but does share some themes in common with standard sorcerers’ grimoires—most jarringly (to modern ears and in a book largely devoted to women’s magic) a spell intended for use by a wizard desiring the love of woman.

      He is encouraged to transform her into a dog, Diana’s sacred creature, in which form she will be compelled to come to him whenever he wishes. He can then transform her back into female shape and have his way with her. She will remember nothing of the experience, it will seem like a dream. This is essentially the wizard’s equivalent of a magical date-rape drug.

      The image of women transformed into dogs is very powerful, however. Diana’s votive imagery almost always depicts her accompanied by hounds; the implication contained in Aradia is that these hounds are transformed devotees, witches accompanying their goddess in disguise, and recalls that the slur “son of a bitch” was once intended to insinuate that a man’s mother was a witch and hence sexually autonomous (or promiscuous depending upon perception), and that his father’s true identity might thus be suspect.

      See also Books of Shadows; ANIMALS: Dogs; Snakes; DIVINE WITCH: Aradia; Diana; Herodias; HALL OF FAME: Gerald Gardner; Charles Godfrey Leland; Doreen Valiente.

       The Black Pullet or The Hen with the Golden Eggs

      Do you remember the story of the goose that laid the golden eggs? Wouldn’t you like to own a bird like that? Impossible, you say? Well, how about a chicken that can lead you to treasure? Would you settle for that? Sure you would. Now all you need is this book and the magical skill to put its secrets into practice.

      Subtitled The Science of Magical Talismans, The Black Pullet is believed to have been first published in the late eighteenth century. Who wrote it? Who knows? The oldest extent version was written in French although it seems to have been published in Rome. According to what’s written in the text, the anonymous author was traveling in Egypt when a mysterious man took him inside a pyramid and taught him occult secrets, which the author now wishes to share. The Black Pullet is the result.

      This grimoire is devoted to talismanic magic and treasure hunting. It is divided into two sections, which may or may not have once been separate books. The first contains instructions for making magical rings that will enable you to command and control the elemental fire spirits known as salamanders. Why ever would you want to do that? Because salamanders can, allegedly, be compelled to bestow gifts like invisibility and winning lottery numbers. The book’s second section, fairly unique among grimoires, is devoted to instructions on how to create a magical chicken that can lead you to buried treasure. Don’t laugh; this wasn’t intended as a joke—or at least maybe it wasn’t. A fairly late grimoire, with no pretense of presenting ageold information, The Black Pullet was produced in an era where the lines between obsessed sorcerer and mad scientist were very fine.

      The Black Pullet takes a novel approach toward the prevention of piracy and copyright fraud, one that other publishers would perhaps like to consider. Similar to those curses found within Egyptian tombs or inside buried hordes of treasure, the text warns that anyone producing a pirated version will be severely punished via magic.

      The Black Pullet displays more humor (or what can be interpreted as humor; maybe there was never any intention of being funny) than is customary in this genre. However, one mustn’t underestimate The Black Pullet. It’s an influential grimoire, which has been incorporated into various traditions, especially those of the Western Hemisphere including Hoodoo. The book is available in English. A Spanish translation—Gallina Negra—has been influential in both Afro-Caribbean and Mexican Santeria.

      The Black Pullet created a new style in grimoires, resulting in a series of book with equally evocative titles. Extremely similar grimoires were published under titles like Black Screech Owl, Queen of the Hairy Flies, and Treasure of the Old Man of the Pyramids. A new “version” of the Grand Grimoire was also published around this time entitled The Red Dragon (see page 127).

      See ANIMALS: Chickens; DICTIONARY: Santeria.

       The Book of Pow-Wows or The Long Lost Friend

      The Book of Pow-Wows has over the years become the work most often used to define the Pow-Wow tradition. This selection of charms and folk medicine was compiled in 1819 by Johann (John) George Hohmann.

       Pow-Wow uses an Iroquois word to name the magical traditions of German immigrants to the United States. More information may be found within the DICTIONARY.

      Unlike virtually all other books in this section, medieval and otherwise, The Book of Pow-Wows and its author are well-documented. Pow-Wow artist John George Hohmann (his name is variously spelled Hohmann, Homan, and Hohman) was born in Germany in approximately 1775. He emigrated to the United States as an indentured servant, arriving in Philadelphia on October 2, 1802 with his wife Anna Catherine and at least one child. Mr and Mrs Hohmann worked as indentured servants in different households in exchange for payment of their sea passage.

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