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lailoken · 3 years

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The Witches' Supper

“ The figure of the witch in the early modern era was an amalgam of religious typologies including blasphemer, heretic, spiritual malefactor, idolater, consort of fallen angels, and liege of the Devil. In parallel the witch accreted the substance of secular criminality: poisoner, thief, abortionist, grave-robber. These opprobrious brands were impressed on the accused by those whose written records survive, often in the form of legal tractates or penitentials. Yet as command of the printed word spread beyond legal and religious centers, other typologies emerged: healer, folk-charmer, superstitious rustic, impoverished wretch, and others. This procession of witch-guises has continued well into the present day, to include the glamorized images suffused in popular culture: the witch as diabolist caricature, illusion-maker, emanant of sexual allure, and repository of the unexamined ejecta of Christian orthodoxy.

An important and little-examined dimension of the witch-guise is that of the reveler at the Devil's Sabbath banquet. The imagery of this feast appears frequently in woodcuts and is occasionally innocuous, but at other times proffers the image of the witch as necrophage. The assembled coven is alternately portrayed as consuming unbaptized infants or the grisly products of desecrated graves; human bones are also included at the table, as they are in portrayals of the witches' Grand Rite. From the perspective of desecration taboo, the array of grim foodstuffs is no less appalling than the relics held in veneration by the Roman and Eastern Orthodox Churches: teeth, fingers, jawbones, foreskins and skulls, incorruptible corpses and vials of blood which liquefy and coagulate at auspicious moments. Yet, witches too have their saints and ossuaries, their hallowed relations to the Holy Dead. It is the passage from stewardship and veneration of remains to ritual consumption that triggers affront in the common mind, and has also contributed to the fear of witchcraft. Despite its abhorrent qualities, this forbidden lore persists and is known to some modern practitioners of folk magic as The Witches Supper' -a clandestine and disturbing meal which is, in some cases, a cipher for profound spiritual arcana, as well as the lore of poisons.

The process of bodily decomposition was a matter of fascinative obsession and repulsion to our ancient forbears, from both religious and magical perspectives. Upon death, the body naturally undergoes myriad biochemical changes bent toward the singular goal of material retrogression, the descent of the incarnative vessel to the mortified estate of the Profane Adam. Discoloration of tissue, stiffening of the body, abdominal bloating and pooling blood are mere precursors of the great corporeal tumult whose horrific imagery resembles the demonic horrors of the witches' cauldron. Bodily decay produces its own array of chemical poisons, many of which are responsible for the fetor so viscerally offensive to the living nose, but, also serving as inviting beacons to scavengers and detritivores. The fortress of primordial Adamas, once inviolable with God-given dominion over Nature, is rapidly transformed into a food source for a great variety of organisms, this status heralded by the production of corpse-poisons. Many of these putrefaction-derived compounds, in isolation, can be intoxicating or deadly to Homo sapiens"; some of them, in minute amounts, are also associated with pleasure or sexual allure, thereby recalling the ancient connubium between Eros and Thanatos. In some cases the corpse-poison also served a magical function before physical death: the power to cause flesh to rot on a living body, by forced infection and corrupt magical principles, was a known power of Zuñi medicine men and a documented procedure during the slow execution of witches. This odorous stew of nitrogenous cadaver-compounds falls into the ancient toxicological classification of ptomaines, from the Greck ptoma, indicating a corpse or provenance is the graveyard and charnel house, the crypt and plague-pit, and they are united in both science and magic as the vaporous effluent of the necropolis.

Witches and diabolical consorts at the Sabbath-feast.

No less than the natural decomposition of the human body, foodborne illness is also caused by organic decom 'fallen body'. Their position, and has been colloquially referred to today as a kind of poisoning. Corrupted food been a perpetual fact of civilized existence and has required ingenious solutions to forestall the advance of decay. Transmitted by the noisome taint of worms and micro-organisms en masse, putrefaction was a philosophically confounding process both dead and alive; the stench and ugliness generated in contaminated victuals were likewise an offense to reason as well as the senses. Early technologies of food preservation included cooling, drying and salting to arrest decomposition, or, in some cases, to mask the objectionable flavors of rancidification. The ancient arts of meat preservation naturally share a kinship with embalming: the outrage of post-mortem decay was of prime importance to the Old Egyptians, whose methods of providing salvific respite for the corpse may rightly be considered a magico-religious art form. In Christianity, the processes of corporeal decay were assigned to the dominion of the Devil, likely one reason for the folklore that Satan cannot abide the presence of salt. Persons who claimed to have attended the medieval Witches Sabbat remarked on the absence of salt at the feast. Similarly, when salt was brought in, the spectral revelers of midnight's table suddenly vanished, leaving the guest alone. The power of salt for slowing or arresting decay also relates to its magical uses for exorcism, blessing and consecration. The magician's exorcised circle is thus both fortified and mummified, a perfectly-preserved moment in time and space.

Both the corrupted products of Death and the means of slowing or arresting them bear crucial relationships to the Witches' Supper, which in one interpretation (stripped of its heretical elements) can be seen as fostering a ritual intimacy with the deceased. That the witches' delectations should be portrayed in the first instance as necro- cannibalistic is consistent with the position of witchcraft as transgressive, and as operating in spheres roundly condemned by religious and social orthodoxy. The witches' relation to the dead vis-à-vis their atrocious meal is, on the surface, portrayed as a mock Christian communion, or as the vulgar tactic of demonizing enemies by implied cannibalism. On a different level, the Supper operates as a hieroglyph of specific witchcraft power, namely the unique magical relationship between witches and the so called 'Mighty Dead', the retinue of ancestral shades and fountain of pre-incarnate atavism. The art of necromancy, or magically calling forth the shades of the dead, has long been a vibrant strand of witchcraft and magic of many epochs, and in many recensions may be considered its driving engine. Linked with more ancient currents of shamanism, this art was known from the writings of ancient Sumer, Chaldaea, and Greece, the latter providing the prototypal witch-figure and poisoner Circe, the sorceress of Homer's Odyssey.

The materia of the Dead—flesh, blood, and bones—is the mumia of art, known well to witchcraft, alchemy, folk magic, and medicine. The act of its ritual consumption, presented in early modern Witches' Supper depictions as vulgar cannibalism, encodes a number of precise ritual formulae and powers in necromantic magic. The most important of these is the elevation of 'dead matter to a living state by its incorporation into the living body. This is the active principle underlying the Holy Eucharist, wherein, through divine transmutation of elements symbolizing the mumia, Christ's body and blood are come forth from the tomb, and commune with the Body of the Faithful. The potent necromantic implications of the Holy Communion, as a magical act, would have been instantly recognizable to practitioners of folk-sorcery, particularly in contexts where funerary rites maintained close communication with the departing spirit.

Present within the Feast of the Dead is also the Formula of Opposition, a precept which underlies many historical patternings of witchcraft. Named by Andrew D. Chumbley, who wrote about it extensivelys , the Formula is an operant dynamic between the sorcerer and the 'Other', that being the zones of spirit-alienation external to personal experience and containing ungathered seeds of occult numen. In the case of historical folk magic, Formulae of Opposition are often transgressive against law, religious orthodoxy, or social convention, but above all against Self; as exacted they often make use of inversion. In violation of strongly-held personal Tabu, the structure normally governing conception and use of magical power is overturned, resulting in a liberation of consciousness, and the acquisition of previously-forbidden realms of power. At the Feast of the Witches, a culinary encounter with dismembered limbs, organs, and heads serves as an oppositional force on a multitude of levels, from the basic violation of the senses, to affronts against personal and group morality. Whilst the actual consumption of decomposing human flesh by historical practitioners of Sabbatic rites is an open question, it is, perhaps, the wrong question. More relevant is the depictions of the moribund Feast as a symbol of initiatic power gained through the Formula of Opposition.

The Accursed Victual, as a component of the Feast, may also mask the presence of initiatic power, conveyed through mumia. A recurrent component of magical charms is the secretion of semen, menstrual blood, feces, or urine into food as a spell of control over one's victim. This action mimics the spoor secreted by many mammals for the 'marking'or'claiming’of territory and if correctly engaged draws upon a vast astral repository of atavism, and belongs to an ancient stratum of magic reaching into prehistory. Spells employing such secreted matter are transgressive of ancient dietary laws wherein food, and the feast itself, represents a sacrosanct compact between the dining parties. However, when the parties are wholly conscious of the nature of their food, and eat nonetheless as they are shown doing in portrayals of the Witches' Supper- it may be presumed that there are religious or magical reasons for doing so, namely reverence for the deceased, the acquisition of power, or both.

All such approaches to the Feast are essentially necromantic, and as a coercive approach to spirits, it is properly classed as sorcery. It is thus aligned with early modern witchcraft, but ritual communion with the dead using food and drink is also a feature of ancient religion." Roman cults of the dead persisted into the early centuries of Christianity, with night-long memorial feasts in honor of those whose bodies had passed, often in situ at the tombs themselves. Archaeological evidence, as well as the written record, reveals remains of ancient graveside banquets, including drinking and cooking vessels. Church prohibitions on pagan rites honoring the dead occurs in written form as late as the thirteenth century, indicating that such observances were still in practice. Feasts offered in honour of the dead persist into the modern era, even in exemplars largely bereft of religious trappings. Ritual consumption of the dead as part of a socially acceptable funerary practice, is also documented.

The abominable meats, bones, and sundered limbs often pictured at the Witches' Supper may be afforded an additional interpretation with regard to their magical rôle at the Witches Sabbath. In certain inquisitional records, an emergent pattern among some groups, which differed from the usual clerical projections, involved a banquet with archaic features which scholar Wolfgang Behringer has called "The Miracle of the Bones'." This features the restoration of life to a cow or other animal from a disjointed skeleton. The implicit power of this mystery as a magical practice is captured in a section of Robert Fitzgerald's Midnight's Table, a manual of witchcraft lore and spellcraft concerning the arcane power of the witches' banquet:

The Mind void yet the Thought fully formed.

The Body hungry yet the Spirit replenished.

The Wood unfinished yet the Table carved.

The Platter empty yet the Larder full.

Here the desolation of the witches' feast remains, as well as their potentiality as nutritive victuals or even as living beings, is invoked, the suggestion of Voidful Presence through the juxtaposition of emptiness and corporeal flesh. Extrapolated beyond the objects themselves, the table may be seen as the witches'altar or circle, the zeroth vessel of all-potentiality which, like a cornucopia, may contain a multitude of fruits by way of ritual power. This symbolic and emblematic patterning is completely consistent with the atavistic patterning evident in the orally-transmitted magical lore of the Sabbatic Cultus.

The natural transformative processes of rot and decay are crucial strands of the magical currents feeding folk magic and witchcraft. The alchemists of Europe explored putrefactive states thoroughly, borrowing the process from Nature, then emulating, calibrating, and magnifying it under precise fractionations in glass vessels. It is likely that, as with the Royal Art itself, a considerable 'portion of putrefactive magic in Europe was a direct inheritance of Arabic and Islamic magic; such texts as Ġäyat al-Hakim and Kitab al-Sumum employ numerous members of dead animals, some ritually killed, for cursing, poison, and magical power. These usages also occur in the later corpus of European grimoire formulae. However, the powers of putrefaction and decomposition had a far more ancient pedigree, one of which is of specific interest to the Sabbath banquet. Correctly harnessed, they give rise to both of the primary mysteries of the witch sacrament: the Bread and Wine.

In the Bread and Wine of the Witches Supper, some have seen the historical outlines of the ritual consumption of psychoactive substances at the Sabbath, specifically conveyed through food and drink, and indeed this interpretation is present in some modern-day witchcrafi practices. Historical references are uncommon, but suggestive. The Inquisitor Pierre DeLancre reported that the bread of the Basque witches' was black and revolting, its flour ground from black millet, and served with 'false meats'. Aside from its resemblance to cadaverous flesh, the "black bread' is of potential toxicological interest. In centuries past, white flour was a privilege of the wealthy, and poorer classes resorted to eating so-called 'black breads', made of rye and barley, and which also contained diverse adulterants from the harvest. Piero Camporesi in his Bread of Dreams has speculated that psychoactive contaminants of grain such as darnel (Lolium temulentum) and ergot (Claviceps purpurea) were so common in the flours of some regions and eras that the average peasant was in a constant state of intoxicatio as a consequence of poor diet. If true, the evidence cited suggests that the psychoactivity of such breads was an accidental by-product of a fouled food supply, but if the phenomenon was understood by herbalists and magical practitioners, there would be little to stop the cunning from crafting experimental loaves. Indeed, as with the Thelemic Cakes of Light', the Sabbath Bread has its own secret formulations.

The Nocturnal Assembly gathering corpses for the Witches’ Supper. Compendium Maleficarum, 1608.

The old term "Crow's Bread" originates in the founding lineages of the witchcraft order Cultus Sabbati, and originally referred to the intoxicating mushroom Psilocybe semilanceata as a gift of the spirits for visionary ritual use. In the late 20th century, the term was applied within the group for broader use to refer to any psychoactive ritual substance gathered from Nature, but its nature as 'Bread is linked both with the Communion Host of Christ and the male generative power linked with the 'Lord of Light’, in some cases identified with Lucifer. In this latter association, the Bread's power as Revelator is especially notable. Covines and lodges of the Cultus have long made use of venefic gnosis in various forms; its oldest known recensions, dating from the second half of the nineteenth century, contain obscure charms against poison, as well as certain ritual transmissions of power using a prepared psychoactive sacrament. Oral teachings long pre-dating the Great War concern another poisonous species of note in Britain: Belladonna. There are also adjunctive practices concerning a multitude of other plants of power, specifically their Eucharistic power. My contacts with other Traditional Witchcraft groups outside of the Cultus have, on occasion, affirmed the presence of such sacraments elsewhere, some of which have themselves passed into a largely symbolic or chemically inert form.

Within the Sabbatic Cultus, the Bread of the Sabbath Feast operates upon many magical levels, its essence is intimately tied to British agricultural cycle, the God of Harvest, Corn and Sheaf, sometimes manifest in the mythical divinity of John Barleycorn. The germ of this myth encloses the great mystery of ritual murder and resurrection embodied in the Holy Loaf, and the resulting sustenance of the kingdom. This quintessentially English expression of the Bread is thus seminal, nutritive, life- giving, and radiant, but also embracing the mysterium of Death and a patterning of seasonal time and tide. Here Barleycorn is sometimes identified as the Witch-Father Mahazhael. He is thus often depicted as a skeletal god with an erect phallus, bearing a scythe, sickle, and stalk of grain; his mystery is well encapsulated in his invocation from Chumbley's The Dragon-Book of Essex:

On the first day I awoke within the furrow.

On the second day I knelt in prayer 'neath the sun.

On the third day I stood in the long green robe.

On the fourth day my head was crowned with gold.

On the fifth day the sickle laid me to rest.

On the sixth day my body was ground between stone.

On the seventh day I was raised anew

to feed the brethren at Midnight's table-

to serve at the Round Feast for both the Living and the Dead.

In addition to the process of ritual murder which births the Bread, the putrefactive processes used for its fermentation, via yeast or bacteria, are also reckoned as a part of the Corn-God's dominion. As a natural agent of corruption, yeasts are widespread and penetrate countless strata of the world, often contaminating foodstuffs, as well as the human organism. Even where fermentation conditions are controlled, the process of making bread and wine relies on the mass death of these microorganisms. This catastrophic loss of life, on the order of hundreds of millions of individuals per loaf, nonetheless provides a delectable crumb serving as both an holy sacrament and the common man's ‘Staff of Life'. A further relation between bread and the grave is its frequent off-white colour, recalling bone, and the hardness it attains when stale, sometimes petrifying, as a skeleton, over the course of centuries; and amongst some witchcraft practitioners, the churchly Communion Wafer is sometimes addressed within the circle simply as 'The Corpse' or ‘The Skeleton'.

The magical corollary to the Witches' Bread is the Vinum Sabbati, or Winecup of Midnight's Table. Its alignment is with the Moon and the Lunar emanation, the feminine principle, and the many humours of the body, primarily blood, but also the female sexual secretions, both gross and subtle. In witchcraft contexts, as well as other secret societies and magical orders, the Wine is of legendary status and a great deal of lore and doctrines have emerged concerning its generation and use. To some it is a cup producing fantastic visions, to others, an initiatic ordeal which serves as the most harrowing trial for the drinker. Certain teachings, through its association with both the Living Cup and its Wine as a single entity, have two essential natures which in combination, magically unify to create a Blessed Third, an apotheosis of both. Within the Cultus Sabbati, the 'Graal of Midnight' has precise formulations to empower and support the various pathways of Sabbatic Congressus: Thanatomantic, Atavistic, Sexual, and many others. By a metaphoric pathway, the Wine of the Sabbath is not only a fluidic medium, fermented and distilled within the Flesh of the Initiate, but also the entire process of corporeal transmutation during its imbibition at the High Sabbat.

As an actual drink conveying ritual power, a medieval prototype of the Wine of the Sabbath is to be found in Johannes Nider's Formicarius (1435), which alleged the witches of the Simmenthal region of Switzerland were initiated using a potion brewed from the ashes of infants. More important than the composition of the brew was its alleged effect: the beguiling draught conferred upon the initiate an instant knowledge of the Art Magical. Though described prior to the advent of the Sabbath as a major component of witchcraft, it is the ritual cup and its function as a bestower of witch-power which links it to the Witches' Supper.

The bridge between wine and the incorporeal host is also relevant to the nature of the witches' cup. Historically, the grape was considered divine not only by mankind but also by spirits of the Dead. In ancient Greece, the Vine-shoot was regarded as possessing strong properties of purification; wine was often poured there as a libation for the dead, as well as to chthonic deities. This custom of offering alcohol to the deceased resisted the strongest attempts at eradication; Theodoret, Bishop of Cyrrhus (427-449) reports with outrage pagans bringing wine to the deceased in evening rites. Cæsarius relays a legend in which two servants at the monastery of Laach, charged to guard the vineyard by night, bribed the devil to do their work with a cophinum full of grapes, a deal which was apparently kept. Amongst the nocturnal activities later alleged of the Vaudois witches was the invasion of wine cellars, led there in a troupe by the Devil. "Under lead of the demon they enter cellars and drink wine, all of them first urinating in the cask from which it is drawn." The threefold linkage of wine to the Dead, witches and the Devil draw additional lines of arcane association with the Sabbatic Grail, both as a form of communion with the Dead and with the Black Man of the Sabbath, the God of the Lamiae.

The presence of Wine in historical English witchcraft and folk magic may indeed arise from its aspect as mock-sacrament, theʻpolluted bloodof Christ which featured in invertive and blasphemous sorceries. However, wine was present in England before the advent of Christianity; introduced by the Romans, there is evidence for viticulture among the Anglo-Saxons; one conservative estimate identifies at least 139 definite or possible vineyards in medieval Britain. Though climatological trends in past centuries have fluctuated, and viticulture has prospered or suffered accordingly, the Genius of the Vine has been present in England for millennia. This is certainly sửfficient time for a body of lore and rites to have accreted around the Grape and its divine expressions, drawing from numerous magico-religious currents, as well as the inevitable corpus of agrarian lore which accompanies so important and venerated a crop. This is to say nothing of England's great tradition of hedge wines, a testament both to the ingenuity of her vintners and the botanical diversity of her lands.

The Cup of Wine which features so prominently at the Feast of the Witches may be understood as the mechanism of sorcerous transmutation of the body, not only its vehicle, but its symbol, process, teaching, and legacy. This symbol in activated form unfolds, as an opening rose, the entire ecstatic algorithm of the Sabbat. Within the rites of Sabbatic Witchcraft, the Wine of the Devil's Graal appears in radiance at the confluence of sorcerous enchantment and spirit-veneration. Where the covenant of adepts is of sufficiently focused will, desire, and belief and of sincere devotion", the Cup is vinted, filled, mixed, and drunk. The motto ‘Ipse venena bibas’ or 'drink thou thine own poison' encodes the truth that the Grail of the Witch is both the cup from which it is drunk, and the initiate into whom the wine passes. The alpha-numeric essence of this matter is eloquently contained within the number 710, which corresponds both to the grail-poison (tar`elah) and the Sabbath itself.

The active magical nature of the Witching Graal, and its function as the intermediary in rites of 'Communion' naturally evokes the Body of the Goddess as the portal of mystery. In the Sabbatic traditions of witchcraft, the shade-mother Lilith or Liliya Devala is identified with the witches' cup in both its exalted and desecrated forms, aligned with sex-magical moduli of Void-mind (the empty cup) and the conjured circle of spirits (the full cup). Other permutations occur, especially those co-identified with the body of the Priestess or ritual adjuditrices. Each wine vinted within these cups is as much a product of the Vessel as the Vine.

Kenneth Grant has linked the Sabbatic Wine to the blood of Charis, wife of the smith-god Haephestos, and also known as the threefold goddess Charites, or the Graces. Expanding upon the writings of Massey, which quote the ancient writings of the Gnostic Marcus, Grant links the Vinum Sabbati with the blood of Charis, the 'original Eucharist'of the early Gnostic Christians. The vintage is the central component of the ancient magico-sexual rites of trance mediumship wherein the goddess spoke through a chosen medium. This bears certain similarities with kindred operations in the Order of Eastern Templars, as well as those of at least one Traditional Witchcraft lineage informing the Cultus Sabbati. Likewise, a cup-blessing used for the Wine connects its use to the forgotten intimacy of Samael and First Woman:

Bright Host of Saint Hawa, draw nigh unto this, my Cup.

Before mine eyes, the Well of Abomination,

Betwixt thy thighs, the Red Stream of Eternal Fire.

Behold thou the Good Companie assembled

To feast upon the grave-wandering corpse,

Draught of Manbane, and dew of the Forest grail,

The blood-fouling thorn, the Fang and Toad-froth,

Yea, All Delights of Resurrection's Vineyard:

O, Mercy of the Spirit I pray!

Here 'Communion' also relates in mystery both to the Witches' Agapae or love-feast as well as the coition of spirit transpiring within the circle of the High Sabbat itself. This resonates with the witches' Fortunum or Cup of Good Fortune, a specific preparation of male and female sexual secretions, ritually expressed in the correct lunar phase, and empowered through conjuration of precise spirit- presences. Withing these covines are preserved teachings concerning 'the vinting and pouring’ of the Agapae-wine, as well as its function at the Feast. It is impossible to pinpoint with certainty the origin of the oldest of these witch-rites, though their resemblance to some practices of South Asian Tantra is striking. This may be an occult adaptation of Tantric practice, as perpetuated through such magical orders as the Ordo Templi Orientis, with which some covines have had contact. However, the oldest witch- praxes of this type pre-date the Oriental Templars' contact with Tantra, and in fact retain elements marking their origin as specifically English and Northern European. Additionally, their foci incorporate atavistic formulae, placing them squarely within the precincts of an ancestral cult, as well as incorporating elements which would to many occult lodges, be considered "low magic".

Despite the linkage of these sexual witchcraft formulae with the Dead, their strata of magical expression very much concern the living, the present body of initiates, woven into the perpetuity of magical time. In addition to the powers of manifestation their perfected exaction radiates, they are capable of simultaneous intoxication, empowerment and nourishment -the great 'Transmutation of the Body' in which one becomes magic entire. Its linkage with the ghastly imagery of the demonologist lies in its formulation from the Corpus Humanis. Under correct conditions, the two give rise, like the antediluvian pillars, to the Great Temple of the New Flesh.

Returning to the concept of Crow's Bread, within the Sabbatic Cultus, the Liberty Cap mushroom (Psilocybe semilanceata), when encountered growing in the wild, is regarded as an omen of ancestral favor. A prime concentrator of atavistic force, it is a gateway to the dominion of Faerie and a guardian of the Way. It is never hunted, but when encountered must be acknowledged by certain ritual customs and sacrifices.

Importantly, it eschews dung, unlike other visionary mushrooms of its genus, and thus in mystical terms is separated from Abel, the unrefined or 'profane' nature of flesh prefiguring the sorcerer Cain. Proceeding as it does from the soil and thus the subterranean vaults of the Mighty Dead, its fruiting body is the brief apotheosis of those fallen and yet come again: the ephemeral Risen Phallus of the Spirit-Meadow. The mushroom thus subsumes three important mysteries of the Witches' Supper in one body: the Corpse, the Phallus, and the Visionary Sacrament. From a devotional entry in Hypnotikon:

Amongst the true-born of its flesh, it is known as ‘The Watcher on the Moor' and this is precisely where I was introduced to this Friend. It speaks of many things: great spectral mists uncurling before the moon; of time and the procession of bodies upon bodies; of hedge-haunting devils; of the deeds of the Saints' bones, resonant and deep in the earth; of the Immovable Stone and its wisdsom; of symmetries and arrangements of things - trees, plants, beasts; of holy books writ in ossuary dust; of the delectations and radiances of the flesh; of the Round Dance and the Fallen Star; of the Sovereign and Horn'd Head detached from the body, ruling over the Land; of the telescoping of the soul into indescribable abysses. When it has spoken its final word, and revealed its last vision, what then remains? The accumulated counsel of every incarnation as I'.

In the abyssal heart of ancestral shadow, the 'Bread' of Midnight's Table is served both for the Living and Dead. For those who sup in flesh, and walk in the world of men, it is a sacred loaf broken for remembrance: to honor the Dead with sensation and savor, and to call forth into the body, through the rite of necrodeipnon, what has gone before. For them who abide in shade, the Bread is the Lantern of the World, shone as a beacon for return to the flesh, if ever briefly. Through the medium of poison, and its child ecstasy, the decay and annihilation of Death is cast aside, the spirit clothed anew in the radiance of corporeal transfuguration. ”

—

Veneficium:

Magic, Witchcraft and the Poison Path

by Daniel A. Schulke

#magic #witchcraft #traditional withcraft #grimoire #sabbatic witchcraft #sabbatic tradition #cultus sabbati #sabbatic craft #veneficium #poison path #daniel a. schulke

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