Finally, after decades of construction, the temple was almost complete.
The soaring spires, towers, and tumults.
The glass, crystals, candles, and incense:
All had been made ready.
The supplicants adored their worship and were happy to honor their Gods, spirits, and ancestors.
The final touch, however, was yet to be made.
For it was the youngest of the Peoples who made the carving:
Etched into the cornerstone, with sacred knife and oils in hand,
The child etched and carved from sunrise to sunset.
A magickal pattern of spirals and spheres, diamonds and webs,
To trap all evils and negativities.
This was a sacred place, a place of reverence and safety.
No evils would enter here.
He repeated those words all day, as he carved and created,
Imbuing the stone and its marker with the power of protection and repellence.
And finally, as he blew out the final mote of dust and stone,
He stared in wonder at the magick before him.
And the Peoples rejoiced, as the sun set beneath the horizon.
With song in the air and drink in hand,
The People flowed into the temple, beginning their rites of worship and praise.
And the child knew,
That their joy and safety and magick and wisdom,
Protected by the stone and its marker…
Had only just begun.
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Grand tidings and welcome to you on this, the twenty-seventh episode, of Beyond the Seas. My name is Kieran and here we are again, back at it for another week. Let me tell you, I have spent the last week driving to Starbucks about every day on my way to the theater in Indianapolis and I have been overcaffeinated to the MAX. Thus, I am jittery with excitement and anticipation to do this week’s episode! So happy to be here with you all once again, especially as I spend this week prepping the technical elements of my next show…which is sure to be a smash, a HIT!
And now, artistic and literary updates. I want to start with the book today: I dug through my boxes of books to find some good reads while I’m back in the Midwest and came upon V.E. Schwab’s A Darker Shade of Magic, which I read a number of years ago. It is a delightful little romp through four parallel universes—three of whom have the gift of magic, and one that does not. It is a fairly popular book and I’m surprised it hasn’t been turned into a film or television show yet—insofar as we today are aware. Regardless, it is a wonderful read to spice things up as work continues on and the show is nearing its opening night. Speaking of, things are going super well and I’m super excited to share it with audiences here in Indianapolis. Tickets are available now at atistage.org, and we run through May 12th.
And now, the Card of the Week! This week is super special because there were TWO cards that jumped out of the deck when Claudia did the draw. Two cards, I tell ya, two! And they are The Hanged Man and The Ace of Swords. I always view these cards as opportunities and reminders: take the time to reflect on how you or others in your life suspend or stop you from moving forward with change. Events, places, peoples, situations, that literally turn your world upside down—and create room for you to do things that you may not necessarily want, or don’t reflect who you truly are. It is the Ace of Swords that is calling to us this week to cut away those negative habits, as a self-protective measure, so that that created space will be ripe for new opportunities to come flooding in. This is the year of the dragon, after all, so change is abundantly flowing around us. What no longer serves you? Where do you hold yourself up? How might you cut away these old things and invite in the new?
And now, the Wine of the Week! So, as I am home with my family, and working once again in the professional theatre, I have been relying on the wine from last week to get me through. So I don’t have a new wine to review this week because life is so tremendously busy. Suffice it say, though, that the wine I have been having has been all the better because it’s been spent in the company of family and friends. This week, then, let us take the time to savor those moments with loved ones: grab a cuppa, as they say, and call up that person you have been meaning to talk to. Ask your father how his day was. Text your friend and say hi. And enjoy the luxuries of life as you and I appreciate those we have in it.
And finally, this week’s topic. There is a large amount of negativity in the world right now, given the current events and social responses. It is easy to want to run from it all and hide under a rock, but what is more interesting of a choice is the setting of boundaries for oneself—to maintain a sense of protection and defense against unwanted negative energies. Ergo, I took a deep dive into the fascinating world of Apotropaic Magic, both throughout history and in the modern day. What, pray tell, is this type of magick? From whence and where in history do we see it play out? What techniques and traditions does it entail? And how might we employ its folklore and magick today?
For now, grab your favorite bottle of red, find a comfy chair, and close your eyes as I tell you the tale of Apotropaic Magick—and take you…
Beyond the Seas.
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How many times in your life have you crossed your fingers for good luck? Knocked on wood? Held your breath as you passed a graveyard or cemetery? These are but a few of the ancient customs that provide protection and reassurance, as we dispel the evils and ill wishes from our persons, in the modern day. Such practices have been handed down to us from our parents, as they learned it from theirs. But where did these practices first originate—and most importantly, why?
Apotropaic magick is a fascinating branch of the Craft. Etymologically, the word apotropaic derives from two Greek roots: apó, meaning “turn” and trópos, meaning “away.” Thus, by definition, apotropaic refers to the belief in an item, word, spell, chant, incantation, or whatever the person so desires, to turn away and dispel evil and negative influences. In the Craft, these are the wards and bindings we cast in order to protect ourselves, homes, and loved ones.
Now, this particular belief in dispelling evil is rife throughout history. In Ancient Egypt, during the time of the Middle Kingdom, expectant mothers would carry wands—depicted with images, iconography, and hieroglyphics depicting the goddess Heka, She of Magic and Healing—so as not to experience complications and the negativities from evil spirits.
According to the Hellenic Museum, in Greece, “superstitious beliefs were an important part of everyday life and a serious concern for all members of society. The ancient Greek term for these superstitious beliefs was deisidaimonia. The superstitions were grounded in the belief that people, both living and dead, had the capacity to send bad luck and negative energy to other people. For the living, they could choose to do this to an enemy or someone who had offended them in some way. For the deceased, if they had not been granted proper burial or due respect, they may choose to haunt those who wronged them and bring them bad luck as punishment.
“Apotropaic magic was any form of magic designed to turn away such harm, ward off evil and deflect misfortune sent by vengeful beings…An amulet (apotropaion) was any object believed to possess the power to protect its owner from negative energy, much like a good luck charm.
“…These superstitious beliefs and their associated amulets did not perish with their ancient adherents. Rather, many have persisted into the modern world and remain an important part of numerous cultures across the globe…For example, a human glare intended to curse the recipient with misfortune or bad luck is known as the Evil Eye and can be averted by wearing various different amulets, usually featuring the eye symbol and the heavenly colour blue. Wearing black clothing at funerals is also an ancient superstition still observed in the modern Western world. It is believed that wearing black shows respect to the deceased and their family, while wearing bright colours would insult the deceased because it is symbolic of the light of life, which they no longer enjoy. Lastly, good luck charms and gestures are abundant in modern times. Horseshoes, acorns, four-leaf clovers, coins, crossing our fingers, ladybugs, dice, lucky numbers, [and so on].”
Going back to the Evil Eye, there is much folklore and speculation around its existence throughout history. While I will more than inevitably dedicate an entire episode to this topic, I want to touch on it briefly today. In essence, from the research I have conducted, when a certain figure reaches a height of success—be it financial, political, or social—there is a sense of envy and ill-wish from those beneath that arise. This ill-wishing, when directed at the figure of success, causes a curse to manifest, in the hopes it will unravel the top-tier nature enjoyed by the individual—ultimately allowing those who cast the curse to pick up the fallen pieces, or ingredients, for success. There are several cultures and peoples who continue its survival and protection against: in the Mediterranean, the image of the blue eye and its reflective magick has been around for thousands of years. In Egypt, the Eye of Horus is seen not only as a potentially magickal symbol, but also an amulet against evil spirits and negativities. Thus, in our modern age, the bracelets, necklaces, charms, and jewelry that present this ancient motif allows the Evil Eye to remain in the backgrounds of our minds, as we continue to enchant ordinary objects in magickal vessels of protection.
Speaking of making the ordinary into the extraordinary, the common folk of the past several centuries—especially those who practiced the Craft—created vessels that would entrap the evil magicks and spirits sent their way, thereby sparing them from the malicious spellcraft of other practitioners. These vessels are commonly known as Witch Bottles. Traditionally, there are a couple of ingredients that go into the making of these containers: some urine, some hair, human nails, and some sharp objects—think broken glass or rusty metals. Simply combine all these necessary wares into one sealable jar and place in a cool, dry environment. And thus, the wall of protection against evil is complete.
Throughout history, these bottles have been found in the walls of homes, underneath the foundations, or hidden within compartments of the home. They have even been known to live on the property lines of homesteads, where as one of the first things the witch or cunning person does when establishing a new residence was to place one of these vessels on the property—as close to the boundary line as possible—so as to protect not only oneself, but also the entire property. Again, the entire point of the Witch Bottle was to attract the attention of malicious magick or evil spirits first, so as to spare the witch or cunning person—think of it as a double of yourself.
As we barrel on towards the break, let us talk now about the Sheela na gig and Gargoyles. The following information comes from the Encyclopaedia Britannica. The Sheela na Gig is “a type of (usually) stone architectural figure of uncertain significance, representing a naked woman gesturing to or otherwise flagrantly displaying exaggerated genitalia. Sheela Na Gigs are usually situated on or in Romanesque churches of western and central Europe (dating roughly from 1000 to 1200 CE), but they can also be found, though less frequently, on secular buildings of the same era.
“The greatest concentration of Sheela Na Gig figures occurs in Ireland, but there are also significant numbers in England, France, and Spain, and they also have been found in smaller numbers in Scotland and Wales as well as elsewhere in Europe.
“…The figure was long believed to be pagan in origin; the Binstead figure on the Isle of Wight, for example, was referred to as “The Idol” as early as 1781. Despite the popularity of that idea, there is little evidence to support it. Most researchers place the figure within the corpus of Romanesque religious sculpture, together with its less frequent and unnamed male counterpart with similarly exaggerated genitalia. That type of “exhibitionist” sculpture contained many motifs of sin and punishment, and one theory holds that its presence is a warning against the sin of lust. That interpretation is supported to some extent by the existence of male and female pairs of figures showing obvious signs of arousal. Because of a traditional belief that the Devil cannot bear the sight of a woman’s genitals, another theory holds that the Sheela Na Gigs were intended to protect the buildings they adorned from the Devil’s presence. Yet another hypothesis holds that the sculptures are fertility symbols, and there is some folkloric evidence of their use in birthing rituals.”
And finally, Gargoyles. From our dear friend, Ancient Origins, “Believed by many to ward off evil spirits, the myth of the gargoyle took on new life with the relatively recent idea that the stone beasts come to life in the dead of night to physically fight off spirits and act as guardians. Their fearsome looks have also led some to posit that they are evil creatures, either as demonic beings possessed by the souls of demons or former human souls, or beings brought to life through the supernatural.
“…Another reason gargoyles were popular during the Middle Ages is the fact literacy was not common among the general population. The church was able to convey messages through their gargoyles, and one such message was a reminder of evil and the devil.
“Their ominous presence was a notice that attending mass was important to remain under the protection of the church. Their perceived magical powers and guardianship of the buildings they graced, also reminded the public that the church was a sacred area, free from the influence of evil spirits.”
Refill your drinking horns, your goblets, your chalices, for the second half of Apotropaic Magick, after this brief break.
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In modern times, our understanding of folklore and legends of the past helps us live magickally in the present moment. And the biggest example of apotropaic magick that we modern practitioners may choose to employ is the casting of the sacred circle. It not only demarcates a boundary among the worlds, but also a gateway—a doorway. One that may open to those other worlds, but only if the practitioner so wishes. For the inherent purpose of the circle, or compass round, is to protect and keep out negative influences and evil spirits.
When the liminal space is created, so the practitioner may employ ritual and rite, there are familiar words such as “Hail to the Guardians, guard and bless my circle,” etc. By inviting in these protective energies and spirits, the practitioner is ultimately wishing to keep out and bar the evils and negative influences of other energies that would harm him and the work he is casting. Naturally, this practice stems directly from the influences of ceremonial magick on modern craft, but suffice it to say that it is apotropaic in nature.
Even in Christianity, there are several psalms and proverbs that, when chanted in prayer, suggest a powerful act of apotropaic magick: the petitioning of safeguarding from evil, evil spirits, and the theological devil. Thus, prayer beads spring to mind: these tangible, meditative chains of stones and others suggests not only an act of prayer, but also a petition for protection against negativity and strife. These ideas, concepts, practices, and ultimate outcomes thereof must then, assumedly, share a commonality with the pagans of the past—if not a “borrowing” from them. Everyone wants to be safe and protected—it is a part of our instinctual need to survive. And any act of magick that helps aid in that endeavor is found throughout most religious and spiritual practices.
Thus, when looking at the folkloric and witchcraft elements of apotropaic magick, what simple things might we employ today to help us in our own personal endeavors to protect ourselves, homes, and loved ones from negativity and malicious intent? When you feel comfortable, sit in silence before a blank piece of paper. Feel into your body and spirit and drift. Then, when ready, channel a rune or sigil of protection onto the paper by automatically drawing or writing it. Allow the sense of safety, protection, and warding to fuel your intention as you open yourself to the message of what this image is to you.
Rowan is one of the most sacred trees, in association with witchcraft. It grows luscious red berries, that are apparently edible. Pick some from a Rowan tree, giving copious offerings to the tree in thanksgiving, and allow them to dry out in your home for several weeks. Then, take a sharp needle and poke holes through them all, so as to string them together on a long cord. As you do this simple craft, focus your will and intention on protecting your home from evil spirits and negative energies, without and within. Hang by your front door or most commonly used entrance when you have strung all the berries together. Give thanks to the Gods for this simple yet powerful tool of protection.
From Robin Artisson’s An Carow Gwyn, we have access to Mawkincraft: the construction of a doll-shaped object that becomes the focus for sympathetic magick. This working requires a piece of hair, nail, skin, or bone from the intented person you wish to make the sympathetic link to. For simplicity’s sake, let us concentrate on this type of apotropaic magick on yourself. When comfortable, take one of your discarded fingernails or long piece of your own hair and attach it to a doll you have crafted from found objects in nature: these could be twigs tied together in the shape of a person, covered in cloth or fabric to give the sense of clothing. Pieces of leaves and flowers may be used to create hair and ash from the fireplace may be used to decorate the face for eyes, mouth, and nose.
Once the piece of the actual person has been attached to the doll, whisper your intention to it. Speak to it as you would an actual living human being. This doll is alive. Whatever happens to it, happens to the person it is sympathetically linked to. In this instance, you must guard and protect it to the utmost degree. For apotropaic magick is the main motif of our discussion today. You might construct a special altar in your sacred space for this mawkin’s home to be—or an elaborately decorated box that you hide away in the dresser or walls or floorboards. The limit of this working comes directly from your own imagination. As with all of Artisson’s works, the caveat here is this: Mawkincraft may be used to infiltrate malicious intent upon another. Again, for the sake of our discussion today, let us not focus on that—protection from malice, negativity, and ill-will is the name of the game for us in the present moment.
Place a broom by your most commonly used entrance to block the path of evil spirits. Hang horseshoes above doorways to every room to block negative energy from entering. Sprinkle salt along windowsills and doorways to block evil spirits and negativity. Lock your mirrors in your home, so as to keep shut the way betwixt the worlds. Place quartz crystals on window ledges, to trap negative energies first and then transmute them into positive energy that will radiate throughout your home. Carve sigils, runes, symbols, and signs into the stones of your home to invite in the protective energies inherent within—you may even wish to paint them decoratively throughout the house, as well. Carry obsidian and jet in your purse, wallet, or pocket—or as a talismanic piece of jewelry—to ward off malicious intent and spirits in your daily life. And finally, always construct your spiritual shields in your aura when you feel the sense of danger approaching.
These are but a few practical ways to conduct apotropaic magick, as a means of protecting the self and home against all evils and negativities. Again, it is in our nature to protect ourselves and those we love most. To survive and thrive. For when we ward and guard against those who wish us ill, we create a boundary that is not cowardly or submissive—rather, it creates space for us to learn, grow, and love. And to find the strength and courage to defend, fight, and protect ourselves and homes. Our dreams. Our magick. And as a result of that measure, we magickal, folkloric folks know, that your magick, my magick—our magick—will always be stronger…because of it.
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The stories, research, and production elements were done and edited, respectively, by me, Kieran, with sources attached in the description. If you want to be a guest on the show, or have a topic you wish me to explore and discuss, send me an email at beyondtheseaspodcast@gmail.com. And be sure to hit the follow button, on whichever platform you enjoy the podcast, and look forward to more content next week. Until then, seek the veil between the worlds, and allow yourself to travel…Beyond the Seas.