Primal spells are typically cast through Ancient Draconic incantations and runes, whereas dark magic spells are often cast through incantations in which the mage speaks backwards. The purpose is to transport the Elf's caterpillar-like creature across the magic mirror in which he is trapped. It is a multi-step ritual that Viren performs with Aaravos. Firstly, both Aaravos and Viren gathered a purple cloth, a golden thread and a needle, a mortar and pestle, a rock, and a chalice containing water.
Next, both of them sowed a rune into the purple cloth with the golden thread. Aaravos then drew a glowing purple rune in the air, this rune transformed into a ball of purple light that he pushed towards the mirror. The ball of light disappears when it hits the mirror but the runes sowed into the cloths glow golden.
Aaravos levitated the rock into the air and the cloth encased it, then his cloth unravelled to reveal the rock had broken in half and become a geode filled with crystals. Viren then covered his rock with the cloth and broke the rock in half with the pestle, forming two geode halves. Aaravos and Viren then ground the crystals in the geode and poured the powdered crystals into the water-filled chalices. The mixture released a purple vapour that flowed into the air.
Both of them drunk the potion, which was apparently "surprisingly not terrible". Next, both Aaravos and Viren cut their palm with a dagger and bled into the empty mortar. As soon as their blood fell into the mortars, purple flames burned for a second before a swirling red and purple light filled Aaravos's bowl.
Aaravos then took a dark purple caterpillar-like creature out of his mouth and it crawled into the bowl. When the creature entered Aaravos's bowl the red light faded but, at the same time, Virens mortar glowed red and the creature appeared, lying at the bottom of his mortar. Artifacts are often used to harness certain magical properties or abilities and conduct or control various sources of magic or cast spells.
Artifacts are mysterious and strange, and not much is known about them. Magical artifacts are diverse and varied.
Sign In Don't have an account? Start a Wiki. Contents [ show ]. Cast by Lujanne , this spell showed Callum the ancient moon magic rituals of Moonshadow elves thousands of years ago, when Xadia was one land. The spell creates shimmering blue illusions that reenact a historic even, the illusion also produces sounds like music. The spell forms itself around land where mage spoke the incantation, recreating a past event that happened in that location.
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It is unknown if a moon mage can cast an illusion of a historic event that occurred elsewhere, or if they are bound by their location. The etymology of the spell is from Latin. Therefore, the incantation could best be read as "living history". He used the spell to hide himself and his fellow assassins from the Crownguard. The magick contained here is not something for bored teenagers to play with when their Ouija boards and tarot cards no longer amuse. This web site is a guide to power unimaginable.
Take a moment and think about those words. The products we offer are signposts to all worldly desires. They are the basis for a system of sorcery that both created and destroyed the greatest empires of the ancient world. The information, products, and formulas contained here date back to at least 5, B.
They are among the oldest human records, both cursed and praised. Their exact origin remains a mystery today, known to none. Get free spells and rituals in your email! Content on this page requires a newer version of Adobe Flash Player. I have included references for the sources I have used in researching these powers.
This is a companion piece to Personalities of Heaven and Personalities of Hell. More powers may appear here in time Quite why he left Baator for Gehenna is uncertain. Some say he was expelled in a coup d'etat. Others say he actually became too powerful for his job, which is unlikely. A particularly sinister, but not unlikely, rumour, says that he is duping rogue baatezu into working for him, while he still reports to the Dark Lord in Nessus. Moloch is a cruel and strict power, and he is claiming overlordship of all Gehenna. Many say he must be a yugoloth spy, or the 'loths would have kicked him out long ago.
His followers number human cultists who make foul sacrifices to him, just because he says so, rogue baatezu looking to found a new kingdom, and according to rumour, two baatoran nobles. His realm is in the heart of Khalas, far from most of the warzones, and it is called Topheth after one of Moloch's favoured Prime sites.
Source: Paradise Lost, with PS alterations. Nastrond is an evil power who is dedicated to hastening the advent of Ragnarok. He spans both the Celtic and Norse pantheons, and is also a principal power of the xvart, who also follow the Morrighan and an Acherian power called Raxivart. However, it was not until the first known collection of some of these old stories was compiled in Ireland in a seventh-century manuscript known as The Book of the Dun Cow, also sometimes called The Cattle Raid of Cooley Tain Bo Cuailagne , that any of them were committed to writing.
Charles Squire, an early twentieth-century mythologist, feels the Welsh stories suffered more alterations from the sophistications of the euhemerist [sic] than did the better-preserved Irish ones. In Wales the writing down of the ancient myths came much later, between the twelfth and sixteenth centuries, and are not so well fleshed-out.
The earliest of these was The Black Book of Caermarthen. The Red Book was the last of these to be compiled, and is probably the most beautiful, poetically speaking. It contains the famous poetic Welsh Triads and also the famous and romantic Mabinogion stories, including the medieval version of what many believe are references to the King Arthur legends.
The greatest and oldest body of stories about King Arthur come from the Annales Cambriae The Annals of Wales , a Latin text dating to the tenth century. Many dozens of other smaller books and collections complete the cherished body of extant Celtic myths, many of which are available in reprints through specialty publishers in London, Dublin, or Edinburgh. Other parts of them have fortunately been snatched up by diligent scholars and placed on paper but, like a photograph, they can only catch a fleeting glimpse of a single moment in an ever-evolving, ever-changing life.
It is from these rich oral sources that many variations in the modern incarnations of myths and folktales arise, all of them valid in their own right, and all of them claiming to be able to trace their roots to much older sources. Most of the folktales from Cornwall and Brittany which have survived until today were collected from oral sources in the s when an interest in regional Celtic mythology peaked. For example, the Breton stories of Marie de France and Villemarque preserve much for us today which might otherwise be lost.
It is important to remember several different versions of some of the myths survive, and haggling over which is truest or more true, or which is older, younger, purer, adulterated, etc. The Irish historian Seamas MacManus said, The evidential points taken from tales are not set down as facts—but as probable or possible echoes of facts. It is these echoes which reverberate within us still, and the power and energy they generate is what makes them work for us as potently today as two thousand years ago.
Carl Jung, the psychologist who first dealt with the deeper meanings of myths, saw, as did Campbell, many universal themes—or archetypes—in world mythology. He suggested that myths were based on human dreams and fantasies which expressed in concrete terms our unconscious thought processes, and from there became powerful tools for profound inner change and growth. How is that possible?
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This pantheon of mythic images spans the vast continuum of all human desires and fears, and through them we can vicariously live out our wildest fantasies, create our greatest dreams, or be allowed to fail at any effort in a safe setting in which we can eventually work out a victory. Our deities and heroic figures are vibrant and real, living archetypes which are imprinted on our brains, images made real through our thought projections and imaginations.
Famed occultist William G. Gray in his self-proclaimed swan song book, Evoking the Primal Goddess, explains it best when he says:.
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By mentally making such images and handing them down to their children…they [early Pagan people] were focusing actual forces of nature into convenient forms of consciousness that could provide future power. They are a part of each of us and, with practice, we can draw these consciousnesses into ourselves where they can shine forth, becoming a beacon which lights our way. These are very potent archetypes with which we can align ourselves or which we can call upon to aid us when we need their special powers.
This feat is accomplished through the use of rituals designed to help us merge our energy and essence of being with that of the Celtic deities and heroic figures. The Celtic deities are some of the easiest to access in our inner worlds because, unlike many other cultures, the Celts did not view their deities as being supreme beings, or even as being separate from each other or from humanity.
This is made clear in the way the Celtic myths are written, and points out clearly that pantheism many deities all in one entity was the ruling force of Celtic religious life rather than polytheism many separate deities. The mental baggage we have brought to Paganism from the teachings of our mainstream religions has, sadly, clouded much of our judgment when it comes to how we view our Pagan ancestors and their deities. Some Pagans—and some scholars—try to refute the idea that the Celts had anthropomorphic deities by claiming this was merely a ploy of the clerics who transcribed the myths to devalue the power of the Celtic pantheon.
While this may be true in some small way, on the whole it is an idea rooted in the sanctimonious smugness of our modern culture which always feels—often wrongly so—that ancient peoples were no more than sniveling dishrags when confronted with the power of raw nature from which the power of most of the deities arose. Trust that the large-bodied, war-like Celts did not fall to their knees trembling in fear and prostrating themselves in supplication every time a whirlwind blew across their islands or lightning flashed brightly in the night sky. Their powers of observation told them from whence these natural phenomena came.
For instance, they knew that the dry winds came from the directions of large land masses and brought them sunshine, and they knew the wet winds came from over the western sea and brought rain, and they understood that when the cool winds and the warm came together that the sky was likely to turn violent. Unlike modern humans, if cyclonic winds occasionally destroyed their meager homes, there was no cause for bitter tears. What little was destroyed could be easily replaced, and was quickly done with the help of the clan—not with insurance companies! There was little sense of wanting to control nature through religious means, other than the basic needs of water and sun to ensure the successful harvest, and these were addressed during the solar festivals or Sabbats.
When the rain or warmth did fail them, it simply proved out their belief that the deities, like their human children, were neither omnipotent nor perfect.
In other words, the deities and mythic figures were powerful in the sense that they could, usually, produce phenomena which most humans could not though today we know we all have the power to do these things, even though that power may go unrealized or be slow in revealing itself , but they were not the infallible gods conceived of by the later patriarchal religions.
They were heroes and heroines because of their bravery and daring accomplishments, not necessarily by virtue of their divinity. They were eternal, but not ageless. As the seasons turned and all things died and were reborn, so it was the same with the deities. They were powerful because they, as nature personified, represented both the macrocosm and microcosm of existence just as humans did.
But humans, as a macrocosm, watched these cycles come and go many times in their lives, but, as microcosms, would grow old and die and the cycle would continue on. Celtic deities did not come in well-ordered hierarchies as so many other pantheons conveniently did, and this remained true even with regional deities. We can, however, loosely order them into one of seven categories, denoted by their functions or spheres of influence:. How each of these is restricted, and how they function and interrelate with figures from the other categories, will be made clear later on. With no refrigeration or international commerce, fresh produce with all its necessary nutrients was absent during the cold Celtic winter.
It is also no wonder that, in the midst of all this hibernation, the Winter Solstice was celebrated enthusiastically as the return of the Sun God a Celtic conceptualization, not a factual belief who would eventually warm their lives again and bring back the game and fertilize the next harvest as personified in the Goddess. Because of these beliefs, a few Celtic scholars also put forth the notion that, while the Celts used magick and ritual for contacting and working with the deities, they did not worship them in the sense that we think of worship today.
Again, this is a misconception.
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All people with deities have sought to honor them in some way. The difference with the Celts was in the way they approached the worshipping process. The Celtic deities were honored for being what they were—one great mass of primal power in which there was no differentiation of individuals except in how the human mind divided this power and drew from it.
They saw the deities as being a part of themselves, especially if one particular deity, like a mascot, was regularly called upon to merge his or her energy for a specific purpose. This is borne out in the many myths in which a heroic figure is called the son or daughter of a God or Goddess.
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The relationship was not really intended to be thought of as genetic, but was a metaphor for a spiritual kinship. For example, the warrior hero Cuchulain is said to be the son of the God Lugh after whom the Lughnasadh Sabbat is named , a warrior God who battled his rival, Balor, to the death.
There is an old Celtic blessing which asks the blessings of the Gods and the not-Gods upon thee. This ambiguous line has been interpreted by both scholars and Pagans to mean that Celtic Gods were any persons of exceptional power, and the not-Gods were everyone else who has only yet to realize their potential by choosing to align themselves with the powers of the divine which are there, within and without, for all of us to find.
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Through carefully crafted ritual we can still align ourselves with the potent mythic figures of the Celtic pantheon with the same powerful results as were obtained by those long ago mythic heroes and heroines. Ritual is defined as a systematic, formal or informal, prescribed set of rites whose purpose is to imprint a lasting change on the life and psyche of the participant. Ritual does not have to be stagnant and repetitious to the point of boredom, but it can evolve with us as we grow and develop spiritually.
Through such ceremonies we can, like our Celtic ancestors, harness the power of the deities which is, after all, power which lies dormant within each of us waiting only to be tapped. In the rituals given herein no attempt is made to force anyone to conform to any single practice. There are just too many varied traditions within the Celtic framework for that to be possible.
All of these variations are valid and have many unique expressions within Celtic Paganism. Ideas will be presented for those who have not made up their minds yet about these things, but no one standard will be pushed. The most effective rituals are those you construct by yourself, for yourself, and to facilitate this, this book addresses itself almost exclusively to solitary practice. While by its very nature, ritual involves a certain amount of repetition, when you are on your own, working as a solitary, you have great latitude to make meaningful changes in your ritual content and form as you evolve with your magick and spirituality.
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The deities are most certainly best experienced when working alone, and it is from solitary ritual that you will gain the most from the contact. The reason s you embark on a ritual is more important than the content. If any of you have seen the powerful Canadian-made telefilm, Lost in the Barrens shown periodically in the United States on The Disney Channel , you may recall the scene where the two stranded teenage boys, one Native American and one Anglo, have finally stopped quarreling over their predicament and have begun to work together for their mutual survival.
The Amerindian boy is bothered by the fact that, though he has killed a deer to provide them with food, he is not with his people who would have ritually initiated him into manhood for this act. His Anglo companion offers to help him do the ritual which the young Amerindian says he does not know. If you keep the ultimate goal of your ritual always in sight, you will never go wrong. If you are new to ritual, Appendix A will provide you with an outline for constructing your own.
Reading about ritual construction and psychology, and studying already written rituals can help too. Both of these works discuss ritual in detail, breaking down its components, showing how it works, and how to construct and work with it effectively. Various other topics and concepts related to ritual use of mythic figures are made as clear as possible, but the space afforded the scope of this book does not allow for excessive and elaborate detail of all peripheral subjects. Therefore, along the way, you will find numerous references to other works which can give you more details about many of the subjects being discussed such as the Sabbats or Esbats.
Some of these present ideas from a strictly Celtic point of view, while others are broader in focus. Any unfamiliar terms which are not fully explained within the text can be clarified in the Glossary of Terms found in Appendix H. These, too, are only meant to be used as a framework. For example, if Lugh is to you more a grain God than a sun God, then he should be approached by you from that perspective. To do anything else would lessen the potency of any ritual you undertake with him because your psyche is aligned differently as regards his energy.
Forming working partnerships with the divine fulfills the laws of balance which enable us to more easily create. In modern lingo the process is called synergism, the joining of two different energies to create one whole in which each complements what the other lacks. This is an ancient magickal principle still seen today in the joining of psychic forces such as above and below, in and out, astral and earth, and male and female.
Each of these can stand alone but, when joined, become a potent catalyst for magick and transformation. Each of these pairs need the other for completeness. The same is true of the human and divine energies. We complement and need each other. The divine energy of the Celtic pantheon holds untold treasures for all of us whether we boast Celtic blood in our veins or not.
The archetypal power they represent and hold within themselves is universal, powers which are deeply part of us. They lie anxiously in wait for us to discover them anew, to shine through the darkness and light our path. If you are new to Paganism, or to any of the Celtic traditions of the craft, you may wish to know a little more about the Celts and their lives and discover ways to make your ritual environment as evocative of Celtic ways as is possible.
This chapter outlines some of the ways in which this can be done. For many of us, one of the most attractive things about Paganism is that it does not require enslavement to a dogma, elaborate clothing, tools, or settings. Over the years many ideas about these things have been taken from other sources or from scant evidence, but none are required. Paganism of almost any tradition can be practiced simply, alone, and without lots of accoutrements; though there are many things we can do, some inexpensive and others not, which can add to the ambience of our ritual experiences. Few of us have the land and monetary resources to recreate a Celtic kingdom complete with hearth-centered homes, streams, and cairns though this type of residence can be created astrally, the methods lie outside the scope of this work , but most of us can afford to make or buy certain items for ritual use which offer us a touch of Celtic atmosphere.
It matters little exactly what tools, directional orientations, garb, jewelry, instruments, music, dances, or settings were used in the proverbial once upon a time. Celtic religion has evolved, as all religions do, to what it has become today—a multi-faceted, multi-traditional Pagan religion appealing to a great number of neo-Pagans. Polls taken at Pagan festivals throughout the United States show Celtic Paganism is the most popular choice, followed very closely by the various Teutonic traditions, many of which strongly influenced the Celts.
But it is misleading to accept this fact at face value. Celtic Paganism has many different expressions, and each of these constitutes a tradition in itself. Some are eclectic amalgamations of various Celtic pathways, and others have well-ordered hierarchies of practice and politics. If you wish to fully understand Celtic Paganism, it would be wise to explore several of these traditions and to try to glean an understanding of what each stands for, how it works, and how it views this world and all others, and how it interprets magickal and ritual practice.
The following is a list of some—but by no means all—of the traditions which are in some way Celtic. It will hopefully clear up any terminology and labels related to Celtic magickal traditions which may be confusing. Information on most of them can be found in occult books, Pagan periodicals, or through diligent networking. Others are highly secretive and it may take some time to begin to unravel their secrets. See Appendix d for information on ordering any of the books or periodicals mentioned in this listing. Although not exactly a Celtic tradition, many Celtic paths today use words and expressions which reflect the Kabbalistic influence of this Pagan tradition.
Many people believe that this blending first began in the late s when Moors, Jews, Pagans, and other non-Catholics fled the Spanish Inquisition. Many of these people came to the west of Ireland, then the end of the known world, to hide and begin a new life. A tradition based upon the beliefs of the itinerant Gypsy people of Britain and Ireland, commonly called Tinkers.