The concept of the familiar has been a vital component of various cultures throughout man’s history. The Romans, for example, believed that each household was protected by a familiar whose job it was to keep the family from harm, and shamans and medicine men of various tribal traditions have long honored the spirits of animals for their wisdom and assistance in magickal workings.
Yet despite these positive influences, when we think of a familiar the most common image is that of the evil witch with her fearsome-looking black cat. This archetype, straight from the fairytales of our childhood, has its roots in the fear and superstition of the Dark Ages, and it bears no resemblance to the modern-day familiar.
Today’s witches view their familiars in an altogether different light. For the modern witch, a familiar can be any animal with which the individual feels an affinity. While these animals are not considered evil spirits, they’re far from being just a household pet and are treated as partners in the practice of magick.
Because animals are believed to be more sensitive to vibrations from the unseen world, they are useful to the witch as a kind of psychic sensor, indicating the presence of negative energy by their behavior. Familiars also bring added energy to magickal workings because of their close affinity with the spirit world and their attunement with their witch.
The finding of an animal familiar is a very personal thing, and often the witch will send out a psychic call to attract a suitable one. An immediate and overwhelming feeling of kinship between the witch and the animal usually signifies the discovery of the new familiar.
In some cases familiars are not confined to physical bodies. Although they play the same role as animal familiars, spirit familiars are more versatile in that they can move about more freely. The presence of these sprit familiars is often experienced as a voice, vision, or strong feeling of peace. If necessary, they can be associated with inanimate objects, such as a stone or piece of jewelry, to make contacting the spirit an easy task.
Creating A Familiar
This rite it designed specifically for cats, but may be employed with any animal you wish to make your familiar spirit.
Each night during the cycle of the waxing Moon, sit closely with the animal. Arrange it so that you are both facing toward the horizon where the Moon shall rise. Stroke the creature firmly, but with love, until he or she begins to purr or relax. Align your own breathing with the purr, or in the case of a creature other than feline friend, align your breathing with that of the animal.
Continue to do this each night at moonrise. When the Moon is at full, your will shall be as one with that of your familiar. You shall see through its eyes, and it will see through yours. Your thoughts shall be as one, and you will share a single heart.
Source: M. Williams
Great Goddess, Moon Goddess, Queen of the Witches
In the late twentieth century, Aradia emerged as an important Wiccan goddess. She is a major spiritual inspiration for modern Wiccans and practitioners of witchcraft. Rites and descriptions are found within her book and testament. Here’s a link to her story and teachings: The Story of Aradia.
- Number: 13
- Offerings: Strega liquore, walnuts, rue, tools of witchcraft and divination
Aradia has become an important figure in Wicca as well as some other forms of Neo-Paganism. Some Wiccan traditions use the name “Aradia” as one of the names of the Great Goddess, Moon Goddess or “Queen of the Witches”. Portions of Leland’s text influenced the Gardnerian Book of Shadows, especially the Charge of the Goddess.
Between 1950 and 1960, “Aradia” was probably the secret name of the Goddess in Gardnerian Craft. The Goddess Aradia is a central figure in Stregheria, an “ethnic Italian” form of Wicca introduced by Raven Grimassi in the 1980s.
The Goddess form of Aradia today is that of a nature Goddess, crowned with the crescent Moon of Her mother/other self-Diana. She is young and beautiful, but wise. Her consorts are Cernunnos, Herne or Pan.
Aradia ~ The Origin Stories
In the beginning was Diana, primordial Spirit of Darkness. She divided the world into complementary opposites: yin and yang, male and female, light and darkness. The light half evolved into her brother, Lucifer. Diana desired him, wishing to unite and merge, but Lucifer wanted light to remain completely distinct from darkness. Diana pursued him but he resisted.
Lucifer slept with his favorite cat. Diana switched places with her and so she seduced her brother, in the guise of a black cat. From this union, the world’s first witch was conceived: Aradia, Messiah of Witches.
Diana descended to Earth disguised as a mortal where Her knowledge and passion for witchcraft made Her so powerful that She became the Queen of the Witches. She became so well known that She was forced to shed Her human disguise and return to heaven. The Queen of the Witches had a duty to continue to teach witchcraft on earth so She delegated this task to Her daughter Aradia.
Diana instructed Aradia to:
“Go to earth below
To be a teacher unto women and men
Who fain would study witchcraft.
Yet like Cain’s daughter thou shalt never be,
Nor like the race who have become at last
Wicked and infamous from suffering,
As are the Jews and wandering Zingari,
Who are all thieves and knaves; like unto them
Ye shall not be….
And thou shalt be the first of witches known;
And thou shalt be the first of all i’ the world;
And thou shalt teach the art of poisoning,
Of poisoning those who are great lords of all;
Yea, thou shalt make them die in their palaces;
And thou shalt bind the oppressor’s soul (with power);
And when ye find a peasant who is rich,
Then ye shall teach the witch, your pupil, how
To ruin all his crops with tempests dire,
With lightning and with thunder (terrible),
And the hail and wind…. ”
Aradia would be the first of the known witches in the entire world. Diana instructed Her in the arts of poisoning, binding and paralyzing so that She would be able to defend and protect Her followers from the tyranny and oppression of the Church.
Aradia was a Goddess who didn’t have any qualms at all about exacting retribution upon those who harmed her followers. When Aradia descended to earth, she became the first of all witches, and promised her students that:
“Ye shall all be freed from slavery,
And so ye shall be free in everything”.
The legend of Aradia may have originated in a dim memory of an actual woman who was a great teacher of magick and witchcraft and who was a defender of the poor. Like King Arthur or Jesus of Nasareth the myth figure can also become the deity. The Goddess form evolves and acquires its own independent validity and power.
That’s the first coming of Aradia the Messiah according to the mysterious grimoire, Aradia or The Gospel of the Witches. Aradia returned for a second coming too.
This Aradia was born in Volterra, Italy, on August 13, 1313, and stimulated a revival of Italian witchcraft and pre-Christian traditions long driven into hiding by the Church. She learned the Old Ways from her family and taught them to others. She was caught by the Inquisition and burned but not before leaving the manuscript that is allegedly the framework for the testament Aradia or the Gospel of Witches, published in 1899 by folklorist C G Leland.
No documentation regarding either Aradia exists prior to publication, but in 1508, Italian Inquisitor Bernardo Rategno noted that a rapid expansion of witchcraft had occurred one hundred fifty years earlier, corresponding in time with Aradia’s second coming.
The story of Diana as Creator of the World, Mother of Witchcraft, does not correspond with anything from classical mythology, although that in itself proves nothing. Many myths and deities are known from but one single source. This could be another instance of a lone survival of an ancient myth, or it could be an attempt to defame witches.
The name Lucifer (light bringer) predates Christianity and was a title given to various Roman deities, female and male. It was originally intended as benevolent, but during the medieval period when Aradia was allegedly written, Lucifer was exclusively identified with Satan, the proud handsome fallen angel. Inquisitors branded Diana as the bride of Lucifer in order to damn and defame her devotees.
The name Aradia resembles Herodias, among medieval Italy’s favorite witch-goddesses. Leland, for his part, thought Aradia was a distortion of Lilith, the real first woman, not the New Testament’s Herodias. Italian Jews who brought Lilith to Italy do identify her with black cats.
Current historians and folklorists still can’t prove or deny the story created by the book published more than a hundred years ago. Nonetheless, Sabina Magliocco, a specialist in Italian folklore, believes that Aradia’s legend is a compilation of many characters known from ancient times to the 19th century.
She suggests that Aradia must have been a supernatural creature related to Italian folklore. Magliocco identified Aradia with the legendary witch figure – who is probably a supernatural legend known in the Sardinian tradition as ”sa Rejusta”.
Another theory comes from Raven Grimassi, who created Stregheria – a neo-pagan tradition. He says that a woman known as Aradia di Toscano was a real person who lived in the 14th century and was a witch, or a powerful leader of a group of witches, who worshiped the goddess Diana. Grimassi supposed that the woman described by Leland was none other than a medieval witch who believed she was an ancient goddess’ daughter.
One more hypothesis comes from Mircea Eliade, a Roman historian of religion who lived between 1907 and 1986. Eliade suggested that the name Aradia comes from Arada and Irodiada – a folkloric name for the famous Queen of the Fairies. In Romanian culture, she was related to Diana and was a patron for a group of dancers who existed until the end of the 19th century (although it’s possible that they secretly continue their work even now.)
- Encyclopedia of Spirits
- Sacred Wicca
- Ancient Origins
- Also known as: Mother Holle, Frau Holle, Hulde
- Origin: Teutonic
- Realms: The sky, underground, mountains, wells
- Constellation: The Milky Way is the street she travels
- Elements: Earth, air, water
- Sacred animals: Wolves, Rabbits
- Color: White, blue
- Spirit Ally: Odin, with whom she sometimes leads the Wild Hunt
- Plants: Holly, elder, juniper, mugwort, flax, Sorcerer’s Violet (Vinca major – sometimes called Frau Holle)
- Sacred Days: The Winter Solstice is Hulda’s feast day. The twelve days between Dec 25 and Jan 6 are sacred to Hulda.
- Offerings: She loves music and dancing.
A radiantly beautiful blond woman or a fierce old crone. In her guise as Queen of Witches, she has disheveled hair and a wild look.
She may also manifest as a woman when seen from the front but a tree from behind. She may be accompanied by an entourage of torch bearing rabbits who light her way.
Hulda, a great and ancient goddess of birth and death, presides over a transit station for human souls, a crossroads between life and death. Hulda receives the souls of the newly dead into her realm and releases newborns to live new lives on Earth. Hulda bathes at midday in a fountain from which babies emerge, a well of life.
She was no unknown spirit but a prominent Northern European goddess. Holland is her namesake. Her name may be related to “holy.” Hulda lives in mountain caves and among elder trees, portals to her realm. Her realm may also be accessed via wells. She is sometimes witnessed walking alongside rivers or mountain paths, alone or accompanied by an entourage of rabbits and Fairies. She may be Queen of the Elves.
She plays a prominent part in German folk-lore and superstition. In stormy nights she can be often heard flying through the air, accompanied by weird spirits and witches. On such occasions it is dangerous for ill-doers to be abroad, as they will surely meet with severe punishment; while to the good she frequently appears as a benefactor. Her particular season is winter.
Hulda is a weather spirit. When she shakes her feather bed, it snows on Earth. Rain falls from her laundry rinse water. Fog hovering over a mountain may be smoke from Hulda’s fire. She guards and nurtures all the growing things of the forest. She was a culture-goddess, too, credited with introducing flax to Europe and teaching the art of making linen.
Banished after official conversion to Christianity, people were forbidden to venerate or contact Hulda. Those maintaining that practice were branded witches. Hulda was reclassified as a demon witch-goddess who attacked and harmed children.
She retains dominion over Pagan babies. People were urged to baptize their babies lest they end up in Hulda’s realm. Mother Holle, once so benevolent was transformed into a monster. People warned their children that if they weren’t obedient, Hulda would “get” them.
Vestiges of rituals invoking Hulda’s blessings on baby girls were retained by Ashkenazi Jews (the Hollekreisch), whether because Pagan women found discreet safety in that community rather than convert to Christianity or because Jews perceived Hulda’s resemblance to Lilith. Although rituals survive, many would be shocked and horrified to realize that they invoke a Pagan goddess.
Like Lilith, Hulda is not always so benevolent these days. She is a proud and resolutely Pagan spirit with little patience for hypocrites. Hulda can bestow fertility but she can take it away, too. She has power over storms, raising them as well as soothing them. She can be ambivalent toward people as demonstrated by Mother Holle, the Brothers Grimm fairytail in which she stars.
The theme involves young girls who wander into Hulda’s domain, either inadvertently or deliberately in anticipation of a reward. She rewards the girl who respects her and follows her commands with effort and devotion but causes excrement to rain down upon the lazy, disrespectful girl.
- Encyclopaedia of Superstitions, Folklore, and the Occult Sciences
- The Encyclopedia of Spirits
Hekate is an exceptionally powerful spirit. She holds dominion over life, death, regeneration, and magic. She rules wisdom, choices, expiation, victory, vengeance, and travel. Hekate guards the frontier between life and death. She is an intermediary between the spirit world and that of humans. She is the witness to all crimes, especially those against women and children.
Hekate (Hecate) is Queen of the Night, the Spirit World, and Witchcraft. Her epithets include:
- She Who Works Her Will
- The Most Lovely One
- Influence From Afar
- Three Headed Hound of the Moon
- The One Before The Gate
- Light Bringer
Although today most associated with Greek mythology, her name, meaning “influence from afar,” acknowledges her foreign origins.
Generally believed to have first emerged in what is now Turkey, she was not an obscure goddess. Hekate was at one time chief deity of Caria, now western Turkey, and was eventually widely worshiped throughout Europe, Western Asia, and Egypt. Records of formal worship date from eighth century BC to the fourth century AD, although as magic fell from grace she became an increasingly disreputable spirit. All Hekate’s myths clearly identify her as a witch and matron of magical arts.
Hekate is renowned for her expertise with plants and her knowledge of their magickal and healing powers. A famed magickal garden was attached to her temple in Colchis on the Black Sea, now in modern Georgia. Some scholars suggest that an ancient Greek women’s guild, under the divine matronage of Hekate, once had responsibility for gathering and storing visionary, hallucinatory and poisonous plants. The same work in Greek indicates “pharmacist,” “poisoner,” and “witch.”
Hekate is a goddess of life, death, regeneration and magick. She rules wisdom, choices, expiation, victory, vengeance, and travel. She is witness to every crime.
- She is invoked for justice, especially for sexual crimes against women and girls.
- Hekate is invoked when justice is not forthcoming from other channels.
- Hekate has the power to grant or deny any mortal’s wish.
- She may be invoked for protection for dogs and from dogs.
- Hekate is petitioned for fertility, especially for female children.
- She brings victory in battle.
- Hekate may be invoked for healing, especially if medical solutions have failed.
- She may be petitioned for swift, painless death.
- Hekate can banish ghosts – or produce a ghost infestation.
Hekate typically responds to petitions via visions and dreams. If lost at a crossroads, literal or metaphoric, invoke her name and then pay attention to signs from her. She can be a shadowy, oblique goddess: her response may be subtle. Look for her animals: snakes, dragons, cats, and especially dogs.
- Favored people
Midwives, witches, healers, herbalists, dog lovers and rescuers. She is the matron of women in general and protects those who ride horses.
A Living Altar
Hecate is most famous today as a Dark Moon Spirit and Queen of Witches. Those are but two aspects of this multifaceted deity. Hecate was once the chief deity of the Carian nation, now in Western Turkey. She is matron of the city of Istanbul. She has dominion over life and death and makes the journey in between, indicating her power as a healing deity. Hecate is matron of midwives and herbalists.
Her priestesses (the most famous was Medea) were trained herbalists. Those in need of healing or solace journeyed to the gardens attached to Hecate’s shrine in Colchis on the Black Sea, home of the Golden Fleece pilfered by the Argonauts.
Hecate’s assistance may also be accessed by building a living altar in her honor. Plant a garden outdoors or create a living altar inside with potted plants. Add some or all of the following:
- Dog roses,
- Queen of the Night,
- Thorn apple,
Hecate’s trees include:
- Black poplar
- Date palm
Place votive images of Hecate, together with her favorite creatures – dogs, dragons, and snakes – in the garden. To petition Hecate directly or to receive spontaneous magical inspiration regarding your healing needs, sit in or beside your living altar in the dark.
To Summon Hekate
Hecate, Queen of Witches, maintains office hours only at night: formal petitions and invitations must be offered after dark. A particularly ancient spirit, the only source of illumination she favors is fire.
Summon Hecate at night by a three-way crossroads. Ideally, light your way with a mullein torch. Offer her garlic, lavender, and honey. If you have a dog, bring it with you. Keep an eye on the dog; it’s likely to perceive Hecate before you do.
Why would you wish to contact Hecate?
Because she can teach you to do anything with magic. Because she can grant you enhanced psychic powers, fertility, romance, protection, freedom from illness, and magical restitution for any crime committed against you.
Hekate has been with us for at least three thousand years.
She was a liminal goddess who was present at all the boundaries and transitional moments in life. She was also an ‘evil-averting’ protector and guide. Her triple form emphasized her power over the three realms, these being the heavens, sea, and earth. Her primal nature was seen in the many animal heads she was depicted with, each emphasising different qualities of her manifold character.
Some of her well known titles include:
- Chthonia – earthy one
- Dadouchos – torch bearer
- Enodia – of the ways
- Kleidouchos – key bearer
- Kourotrophos – child’s nurse
- Phosphorus – light bearer
- Propolos – companion
- Propylaia – before the gate
- Soteira – savior
- Triformis – three bodied
- Trioditis – of the three ways
To enhance your ability to summon Hecate, try this:
Dry dandelion roots, then slice and pierce them to create beads, forming a ritual necklace to wear when calling Hecate. Call – or think – Hecate’s name as you pierce, string, and knot each bead. For best results, string the necklace at night by firelight.
Another way to enhance your relationship with the Queen of the Night is to practice the Silence of the Night Meditation. It’s a very simple yet profoundly powerful meditation, especially when practiced for an extended period of time.
Hekate has been known to assume the shape of a black cat, a bear, a pig or a hen but most typically manifests as a mature woman or black dog. She has a particularly strong bond with dogs. Even when manifesting in human form, Hekate is usually accompanied by hounds. Somehow there will be a canine reference. When manifesting as a woman alone, Hekate often circles in the manner of a dog.
Artistic renderings of Hekate usually attempt to capture her spiritual essence. She may be depicted with three bodies, each facing a different direction. One hand holds the knife that is the midwife’s tool, another holds a torch to illuminate the darkness, the last bears a serpent representing medical and magical wisdom. Sometimes Hekate is depicted with a woman’s body but three animal heads – those of a dog, a horse, and a lion.
Hekate, Queen Witch, is a shape-shifter supreme. While her usual manifestations are as a black dog or mature woman, she may manifest as a haggard, decrepit crone or a sexy, elegant, seductive woman. She even has an occasional mermaid manifestation. She may wear snakes in her hair. Every now and then, she appears as a black cat, snake, or dragon.
Sacred to Hekate
Hekate’s sacred time is black night. All her festivities and ceremonies are held after dark, the only acceptable illumination is candles or torches. She only accepts offerings and petitions at night. Hekate is identified with the Dark Moon, the time of her optimum power.
The last day of each month is dedicated to Hekate. She also shared a festival with Diana on August 13th in Italy. Modern Wiccans, for whom Hekate is an important deity, celebrate November 16th as Hecate Night of the Crossroads.
- Animals: Black ewe lambs, Boar, Bull, Cats, Cock, Cow, Dogs, Dragons, Fish, Goats, Horses, Lions, Mice, Mullet (fish), Polecat, Rams, Serpents, Toads, Wolf
- Attributes: Key, Cauldron, Broom, Torch, Knife
- Bird: Stork
- Color: Black, also Red, White, Yellow
- Emblem: Star and crescent moon
- Food: Eggs, Honey, Amphiphon Cakes (a cheesecake with lighted candles stuck into it)
- Fruit: Pomegranate
- Minerals: Copper, Gold, Loadstone, Meteorite, Sapphire
- Mount: Dragons pull her chariot
- Number: Three
- Planets: Moon (especially the dark moon), and Sirius, the Dog Star
- Plants and herbs: Aconite, Anise, Belladonna, Garlic, Grain, Henna, Lavender, Mandrake, Onion, Poppy, Saffron,
- Symbols: Dagger, Keys, Horned Crescent, Pegasus, New Moon, Three-Way Crossroads, Trident, Twin Torches
- Trees: Apples, Black poplar, Date palm, Oak (leaves), Pomegranate, Willow, Yew
Her sacred place is the crossroads, specifically three-way crossroads. Among her name is Hecate Trivia. That doesn’t indicate that Hekate is trivial or that worshiping her was a trivial pursuit: Trivia literally means “three roads.” Hekate is Spirit of the Crossroads: her power emanates from their point of intersection. Hekate’s image was once placed in Greek towns wherever three roads met.
Hecate is the Goddess of the dark of the moon, the black nights when the moon is hidden. She was associated with deeds of darkness, the Goddess of the Crossways, which was held to be ghostly places of evil magic, an Awful Divinity,
“Hecate of hell
Mighty to shatter every stubborn thing.
Hark! Hark! Her hounds are baying through the town.
Where three roads meet, there she is standing.”
Hekate’s ancient devotees held dinners in her honor, known as Hekate Suppers. Foods associated with her were prepared. The entree was usually fish, especially red mullet. Devotees feasted and celebrated. Offerings and leftovers were placed outside the door or at a crossroads for Hekate and her hounds.
- The last day of each lunar month is dedicated to Hekate.
- Friday the 13th – particularly if it falls in the month of August.
- November 16th is Hekate Night
- August 13th, in Italy, a festival is shared between Diana and Hekate
Even way back when, cynics scoffed that food placed outside was actually consumed by feral dogs and homeless people without realizing that this is Hekate’s intent: this is one way she accepts offerings. (The Church was still trying to eradicate this ritual as late as the eleventh century.)
Smaller, private offerings may be left at a crossroads, too:
- Place offerings on a plate or flat stone and leave them at a crossroads after dark.
- Make your invocation and then walk away without looking back.
- Do not return for the plate, or any part of the offering, but consider it part of your gift.
Offerings can include the following:
- Garlic and honey (especially lavender honey)
- Croissants and crescent shaped breads and pastries
- Images of dogs, especially black dogs
- Actions on behalf of dogs
Encountering or hearing a dog is an indication that your petition has been heard.
According to myth, Hekate once served as an Angelos, a messenger for the other deities. She stole Hera’s beauty salve to give to her rival Europa. Hera enraged, pursued Hekate, who fled first to the bed of a woman in childbirth, then to a funeral procession, and finally to Lake Acheron in Hades where she was cleansed by the Cabeiri. Hekate emerged more powerful than ever, a goddess of birth, death, and purification. She rules passages between realms of life and death and is thus invoked by necromancers.
Hekate is most prominent in Greek mythology for being the sole deity to voluntarily assist Demeter in her search for her abducted daughter, Persephone. Later, after Persephone eats Death’s six pomegranate seeds and is condemned to spend half the year in Hades, it is Hekate who accompanies her as Lady-in-Waiting. In some legends, she even becomes Hades’ co-wife. Ceberus, three-headed hound of Hades, may be Hekate in disguise.
Hekate becomes Persephone’s link to her mother and the land of the living. She guarantees that Death cannot break the bond between mother and daughter. Hekate is the Matron of Necromancy.
Hekate, daughter of the Titans Perses and Asteria, is older than the Olympian spirits. The eight-century BC Greek poet Hesiod writes that Hekate’s power dates “from the beginning.” Zeus was crazy about her: he eliminated all other pre-Hellenic deities (the Titans) but, having fallen madly in love with Hekate, he let her be.
Hekate is understood to be a triple goddess by herself, appearing as maiden, mother, and crone. She is also part of a lunar triplicity with Artemis and Selene, and also with Demeter and Persephone. Hekate dances in Dionysus’ retinue and is a close ally of Kybele.
Alongside her intense lunar identification, Hekate is also associated with the element of water: her first love affairs were with sea gods including Triton. Her great-grandfather was Pontus the Sea. Her maternal great-aunt was the sea monster Keto. Hekate is also related to the Gorgons and Sirens and may be the mother of Scylla, who was transformed into a sea monster by another relative, Circe. Prior to her transformation Scylla was a beautiful woman from head to waist, with canine hips terminating in a fish tale.
Hekate led a host of shape-shifting female spirits known as Empausas, whose usual manifestation was as a beautiful woman with one brass leg and one donkey’s leg; Hekate herself sometimes takes this form. The Empusas patrolled roads and apparently sometimes had fun terrorizing travelers. If one invoked Hekate, however, they left you alone.
Devotees feted the goddess by holding rituals known as Hecate’s Suppers at the end of each month at a crossroad. (The end of the month in lunar calendars corresponds to the Dark Moon, the new month begins with the first sighting of the new moon). The Church was still trying to eradicate Hecate’s Suppers in the eleventh century.
Post-Christianity, Hekate became among the most intensely demonized spirits, her very name synonymous with “witch”. Her symbols (toad, cauldron, broom) are inextricably linked with stereotypes of witchcraft. What were symbols of fertility became symbols of evil. Her sacred dogs were converted into the Hounds of Hell. This denigration served to camouflage Hekate’s origins as a deity of Healing and Protection.
An Interesting Historical Tidbit
Hekate was a goddess with an organized cult. In addition to Caria and Colshis, she had sanctuaries in Aigina and Lagina and a grove on the Aventine hill. She is the matron goddess and guardian of the city of Istanbul (previously called Byzantium and Constantinople).
Hekate is credited with saving that city from attack by King Phillip II of Macedonia in 304 BCE. His forces attempted to attack secretly during a dark moon but Hekate lit a crescent moon, creating enough light for the Byzantines to apprehend their danger and save themselves.
In gratitude, they began using her symbols (star and crescent moon) on their coins. The image still appears on the Turkish flag. The image predates Islam and was the official emblem of Byzantine Greeks.
Collected from various sources including Encyclopedia of Spirits
- Titles: Goddess of Abundance, Queen of Witches
- Also known as: Bertha; Perchta; Frau Berta; Eisen Berta, Berchtli
- Origin: Germanic
- Sacred plants: Holly, mayflower
- Sacred creatures: Crickets, swans, geese.
Bavaria is the ancient stronghold of Berchta, goddess of abundance. Allegedly whatever you give her will be returned many times over. Berchta rules a sort of transit area for souls, caring for and guarding those who died as babies. Depending on the version, they either stay in her garden forever or she tends them until they reincarnate and receive new life. She protects living children, too. German folk tales describe a beautiful lady dressed in white who mysteriously appears in the middle of the night to nurse babies.
Initially, Perchta was the upholder of cultural taboos, such as the prohibition against spinning on holidays. She was an immensely popular goddess, and so post-Christianity she was aggressively demonized by the Church as a Queen of Witches. People were told to baptize their babies because otherwise they’d end up in Berchta’s realm, not in Heaven. She is among the leaders of the Wild Hunt, usually leading a parade of unbaptized babies.
She evolved into a bogeywoman still invoked as a threat to make children behave before Yule. She allegedly punishes “bad children” but gives gifts to good ones.
This old story is as follows:
In the folklore of Bavaria and Austria, Perchta was said to roam the countryside at midwinter, and to enter homes during the twelve days between Christmas and Epiphany (especially on the Twelfth Night). She would know whether the children and young servants of the household had behaved well and worked hard all year. If they had, they might find a small silver coin next day, in a shoe or pail. If they had not, she would slit their bellies open, remove stomach and guts, and stuff the hole with straw and pebbles.
She was particularly concerned to see that girls had spun the whole of their allotted portion of flax or wool during the year. She would also slit people’s bellies open and stuff them with straw if they ate something on the night of her feast day other than the traditional meal of fish and gruel.
- Unbaptized babies
- Stillbirths, miscarriages, abortions
- Those driven to suicide by broken hearts or despair
- Dead souls who lack people to remember them
- Dead souls who have not received proper, respectful burial
The types of dead souls Berchta protects have a tendency to trouble the living by manifesting as destructive ghosts. Should you be afflicted by such a ghost, petition Berchta to soothe and remove it, escorting it to her realm, where it will be much happier.
A beautiful woman with pearls braided into her gold hair. A white veil obscures her face, and she wears a long, white silk dress. She has another look too: an old decrepit hag with long, wild grey hair and disheveled clothes.
In many old descriptions, Bertha had one large foot, sometimes called a goose foot or swan foot. Grimm thought the strange foot symbolized her being a higher being who could shapeshift to animal form. He noticed that Bertha with a strange foot exists in many languages:
“It is apparently a swan maiden’s foot, which as a mark of her higher nature she cannot lay aside…and at the same time the spinning-woman’s splayfoot that worked the treadle”.
Because she sometimes manifests with one webbed goose foot, it is possible that Berchta may be the original Mother Goose. In the Tyrol she appears as little old woman with a very wrinkled face, bright lively eyes, and a long hooked nose; her hair is disheveled, her garments tattered and torn.
When she’s young and beautiful, she carries the keys to happiness in one hand and a spray of mayflowers in the other; as a hag, she carries a distaff.
A subterranean palace with a fabulous garden where she welcomes souls of children who died in infancy.
She maintains other homes within hollow mountains.
- Spirit allies
Perchta travels with a retinue of spirits called Perchten. Christian legend says the devil rides in their midst, but this may indicate the presence of a male deity who accompanies her.
- Sacred time
Berchta is celebrated throughout the entire Yule season. Post-Christianity, Yule became synonymous with Christmas, but in its original Pagan context it was a lengthier season.
In German tradition, the Feast of the Epiphany (Jan 6) is Berchtentag – Berchta’s Day. The preceding eve is Berchtennacht. The festival is celebrated with processions characterized by grotesque masks.
- Sacred places
Berchtesgaden in the Austrian Alps means “Berchta’s Garden.” Many springs near Salzburg are named in her honor.
Leave offerings out for her on Epiphany Eve, the way offerings are left for Santa. Not milk and cookies, though. Berchta likes a hearty meal: herring and dumplings is her favorite. Give her schnapps or other alcoholic beverages.
A Goddess of Many Names
Perchta had many different names depending on the era and region: Grimm listed the names Perahta and Berchte as the main names, followed by Berchta in Old High German, as well as Behrta and Frau Perchta. In Baden, Swabia, Switzerland and Slovenian regions, she was often called Frau Faste (the lady of the Ember days) or Pehta or ‘Kvaternica’, in Slovene. Elsewhere she was known as Posterli, Quatemberca and Fronfastenweiber.
In southern Austria, in Carinthia among the Slovenes, a male form of Perchta was known as Quantembermann, in German, or Kvaternik, in Slovene (the man of the four Ember days). Grimm thought that her male counterpart or equivalent is Berchtold.
Regional variations of the name include Berigl, Berchtlmuada, Perhta-Baba, Zlobna Pehta, Bechtrababa, Sampa, Stampa, Lutzl, Zamperin, Pudelfrau, Zampermuatta and Rauweib.
In contemporary culture, Perchta is portrayed as a “rewarder of the generous, and the punisher of the bad, particularly lying children”.
Vestiges of devotion to Berchta survive in some Alpine villages where it is traditional to place offerings of food for her on rooftops so she finds them while riding by.
Today in Austria, particularly Salzburg, where she is said to wander through Hohensalzburg Castle at dead of night, the Perchten are still a traditional part of holidays and festivals (such as the Carnival Fastnacht). The wooden animal masks made for the festivals are today called Perchten.
In the Pongau region of Austria large processions of Schönperchten (“beautiful Perchten”) and Schiachperchten (“ugly Perchten”) are held every winter. Beautiful masks are said to encouraging financial windfalls, and the ugly masks are worn to drive away evil spirits.
Other regional variations include the Tresterer in the Austrian Pinzgau region, the stilt dancers in the town of Unken, the Schnabelpercht in the Unterinntal region and the Glöcklerlaufen (“bell-running”) in the Salzkammergut. A number of large ski-resorts have turned the tradition into a tourist attraction drawing large crowds every winter.
From: Encyclopedia of Spirits and Wikipedia
- Names: Befana la Strega, Befana the Witch, Befana la Vecchia, Befana the Crone, Befania
- Attributes: Distaff, spindle, sack of gifts
- Home: Befana lives within chimneys
Befana is a benevolent Italian witch who brings gifts to children on Epiphany Eve (Jan 5). She fills children’s stockings with gifts just like Santa Claus does elsewhere.
Befana may pre-date Christianity and may originally be a goddess of ancestral spirits, forests, and the passage of time. Some identify this wandering nocturnal crone with Hekate.
Other legends describe her as an elderly woman in either ancient Judea or Italy who was too busy cleaning to heed the Magi when they invited her to join them in paying homage to the newborn Christ Child. Befana soon regretted her decision and has spent the past two thousand years trying to catch up with the Magi, leaving gifts for good children along the way.
Befana manifests as an old lady who flies through the air on a broom or goat. She carries a heavy sack on her back filled with gifts or is a hunchback.
Befana is most active on the night of Jan 5th, the eave of the Feast of the Epiphany and the Day of the Magi. However, she may be contacted for assistance at other times as well. Befana is invoked in many Italian spells, especially those for good fortune.
Befana travels the world leaving gifts on Epiphany Eve (the night of January 5th). As an old lady can get tired from all that flying around; leave her some gifts to replenish her spirits: espresso, Strega liquore, cookies, Italian pastry.
From: The Encyclopedia of Spirits
In Slavic folklore, Baba Yaga is a supernatural being (or one of a trio of sisters of the same name) who appears as a deformed and/or ferocious-looking woman. Baba Yaga flies around in a mortar, wields a pestle, and dwells deep in the forest in a hut usually described as standing on chicken legs (or sometimes a single chicken leg).
Baba Yaga may help or hinder those that encounter or seek her out. She offers comprehension, not comfort. She sometimes plays a maternal role, and also has associations with forest wildlife. She is a many-faceted figure, capable of inspiring those who seek to see her as a Cloud, Moon, Death, Winter, Snake, Bird, Pelican or Earth Goddess.
Baba Yaga is an enigmatic spirit who rules the conjunction of magic and harsh reality, of limits and possibilities. This Death Spirit provides fertility when she chooses, but she also consumes those who disappoint her. She is iron-toothed, boney-legged, and wears a necklace of human skulls. Her home is surrounded by a fence crafted from human bones and, when inside of her dwelling, she may be found stretched out over the stove, reaching from one corner of the hut to another.
Like her compatriot spirits, Kali and La Santisima Muerte, Baba Yaga encompasses all the mysteries of life and death; contemplate her in order to begin to comprehend these mysteries. I don’t suggest contacting her (the Baba has little patience; don’t waste her time without good reason), a kind of magical contemplation is recommended instead.
Connecting With Baba Yaga
The Baba Yaga’s Feast Day is usually celebrated on the first full moon in November, but a connection can be made at any time during the year.
- Build an altar featuring birch wood and leaves, animal imagery, a mortar, pestle and broom, and especially, food and drink.
- Baba Yaga is always voraciously hungry. Offer her real food or cut out photo images for the altar. She is especially fond of Russian extravagances like coulibiac.
- Offer her a samovar with blocks of fine Russian caravan tea and perhaps a water pipe.
- Sit with the altar, gaze at it from different angles, play with the objects and see what comes to mind.
Be patient, and expect that it will take time to achieve a connection and a response.
More About Baba Yaga
The ‘old woman’ of autumn was called Baba by the Slavic inhabitants of eastern Europe, Boba by the Lithuanians. This seasonal divinity lived in the last sheaf of grain harvested in a year, and the woman who bound it would bear a child that year. Baba passed into Russian folk legend as the awesome Baba Yaga, a witchlike woman who rowed through the air in a mortar, using a pestle for Her oar, sweeping the traces of Her flight from the air with a broom.
A prototype of the fairytale witch, Baba Yaga lived deep in the forest and scared passersby to death just by appearing to them. She then devoured Her victims, which is why Her picket fence was topped with skulls. Behind this fierce legend looms the figure of the ancient birth-and-death Goddess, one whose autumn death in the cornfield led to a new birth in spring.
Baba Yaga is a Slavic version of Kali, the Hindu Goddess of Death, the Dancer on Gravestones. Although, more often than not, we consider Baba Yaga as a symbol of death, She is a representation of the Crone in the Triple Goddess symbolism. She is the Death that leads to Rebirth. It is curious that some Slavic fairy tales show Baba Yaga living in Her hut with Her two other sisters, also Baba Yagas. In this sense, Baba Yaga becomes full Triple Goddess, representing Virgin, Mother, and the Crone.
Baba Yaga is also sometimes described as a guardian of the Water of Life and Death. When one is killed by sword or by fire, when sprinkled with the Water of Death, all wounds heal, and after that, when the corpse is sprinkled with the Water of Life, it is reborn. The symbolism of oven in the Baba Yaga fairy tales is very powerful since from primordial times the oven has been a representation of womb and of baked bread. The womb, of course, is a symbol of life and birth, and the baked bread is a very powerful the image of earth, a place where one’s body is buried to be reborn again.
It is interesting that Baba Yaga invites Her guests to clean up and eat before eating them, as though preparing them for their final journey, for entering the death, which will result in a new clean rebirth. Baba Yaga also gives Her prey a choice when She asks them to sit on Her spatula to be placed inside the oven: if one is strong or witty, he or she escapes the fires of the oven, for weak or dim-witted ones, the road to death becomes clear.”
Baba Yaga lives in the middle of a very deep forest, in a place which is often difficult to find unless a magic clue (a ball of yarn or thread) or a magic feather shows the way. The old hag lives in a wooden hut on two chicken legs (sometimes three or four legs are described).
Usually the hut is turned with its back towards a traveler, and only magical words can make it turn around on its chicken legs to face the newcomer. Very often, the hut revolves with loud noises and painful screams that make a visitor cringe. This serves to frighten the reader, showing the hut’s old age, and to show that Baba Yaga does not care about her hut’s well being.
- Baba Yaga fairy tales can be found at Widdershins.
It is also fascinating that some fairy tales describe the hut as being a unique evil entity: firstly, it has the ability to move on its chicken legs. Secondly, it understands human language and is able to decide whether and when to let a visitor enter its premises. Finally, the hut is often depicted as being able ‘to see’ with its eyes (its windows) and ‘to speak’ with its mouth (its doorway). I also cannot help feeling that the hut is able ‘to think’, and one can observe these thoughts as wild powerful clouds of steam emerging from the hut’s chimney. What powerful imagery!
Baba Yaga’s hut is often surrounded by fence made of human bones and topped with human skulls with eyes. Instead of wooden poles onto which the gates are hung, human legs are used; instead of bolts, human hands are put in; instead of the keyhole, a mouth with sharp teeth is mounted. Very often Baba Yaga has her hut is protected by hungry dogs or is being watched over by evil geese-swans or is being guarded by a black cat. The gates of Baba Yaga’s villa are also often found to be guardians of Yaga’s hut as they either lock out or lock in the Witch’s prey.
Baba Yaga – The Black Goddess – An Essay
For those of you who enjoy a more scholarly approach to the goddess, here is an essay by an anonymous author about Baba Yaga, the Black Goddess, and what her mythology represents.
Baba Yaga and her Magical Colts
I have been thinking and thinking about the image and story of Baba Yaga now for months and wondering how girls and women can resolve the seemingly paradoxical story of a bony heartless witch with the image of innocence of a rejected and abandoned girl. The following essay outlines how we use myth and story to perpetuate unconscious mindsets and it also unveils the gifts that these stories unfold in our inner psyche.
The story of Baba Yaga is prime among many images of the Black Goddess. The Black Goddess is at the heart of all creative processes and cannot be so easily viewed. Men and women rarely approach her, except in fear. Women are learning of her through the strength and boldness of elder women who are not afraid to unveil her many faces.
Sofia as wisdom lies waiting to be discovered within the Black Goddess who is her mirror image. Knowing that, until we make that important recognition, we are going to have to face the hidden and rejected images of ourselves again and again.
As women, we are confronted throughout our lives with unavoidable body messages regarding the uniqueness of our form and the inevitable changes that characterize aging and the passage of time. Although aging presents difficult challenges for both men and women, women confront some specific difficulties because of their gender. In traditional narratives, the end of biological fertility has relegated women to the status of “old women” who are stereotypically viewed as poor, powerless, and pitiful in our sexist and youth oriented culture. Baba Yaga, often referred to as the Black Goddess, and Vasalisa, often representing Sophia, are intrinsic to the psyche of girls and women because they shows us that the illusion of form can hide wonderful qualities within.
Baba Yaga, ugly, haglike, flying in her mortar,
seemingly isolated and abandoned,
yet broom at hand, ready to sweep the clouds across the skies
and reveal her hidden cosmic nature
One of the cruelest of stereotypes that older women face is the “menopausal woman.” These are accentuated by the very fact that younger women are often rejecting or distancing to older women in society, unwilling to identify with women older than themselves. These experiences are painful confirmations that the aging woman no longer meets the social criteria of a physically and securely attractive woman. The common result for most women is the activation of shame — as if becoming/looking older means that something is deeply and truly wrong with oneself.
Conscious femininity is a cyclic process and involves an awakened awareness of the triple form of the Goddess – Mother, Virgin and Crone – and how she exists simultaneously and continuously in all of our psyches, each taking center stage in awareness at different moments. These archetypal patterns are considered intrapsychic modes of consciousness in the individual, and the primordial image of a powerful and integrated woman, crowned with wisdom gleaned through real experience, is again reemerging through both the individual and collective psyches of humanity.
First, however, women must learn to embrace, respect and honor their changing bodies, abilities, capacities and WISDOM. We can learn a lot from Baba Yaga!
An archetype is a universal symbol, an inherited mental image to which humankind responds, and which is often acted upon as an unconscious reaction to human experience. These stories are no different and the story of Baba Yaga exemplify this phenomena.
The female experience is symbolized by and archetypally corresponds with the ancient Triple Goddess as the creator and destroyer of all life — “the ancient and venerable female divinity embodying the whole of female experience as Virgin, Mother, Crone.” The archetypal figure representing the end of a woman’s childbearing years, or the “third age” for women, is the third aspect of the Triple Goddess, the Crone.
At the climacteric or menopause, women are often forced to stand precipitously between the culmination of past experiences, to realize that youth is left behind, and prepare a new space within whereby a fresh image will coalesce as she envisions her future. This is real labor. The traditional constructs that are available to women are largely influenced by patriarchal standards of youth and beauty and we need fresh constructs that honor the diversity of life in all of its forms.
When a culture’s language has no word to connote “wise elder woman,” what happens to the women who carry the “Grandmother” consciousness for the collective? Prejudicial (prejudged) attacks throughout history against older women symbolized patriarchy’s feminization of fear: the ultimate fear of annihilation, to be nonexistent (no existence). Centuries-long indoctrination limits our imagination so that we see this ancient aspect of the feminine only in her negative forms. We see her as the one who brings death to our old way of being, to our lives as we have known them, and to our embodied selves.
Our fear of the unconscious makes the Crone or Baba into an image of evil. The prevalence of paranoid masochism finds its expression through feminine perversion. Kristeva writes from “Stabat Matar” that: “Feminine perversion is coiled up in the desire for law as desire for reproduction and continuity, it promotes feminine masochism to the rank of structure stabilizer.” Structure stabilizer! Natural death is to be feared, hidden away, certainly not recognized as part of the natural rhythm of cycles of birth, death and rebirth?
Only when death becomes projected does it become a monster to be feared. There is an unconscious belief that a woman who has outlived her husband has somehow used up his life force. Walker claims that the secret hidden in the depths of men’s minds is that images of women are often identified with death. Women have also bought into this mindset largely because of lost connection with their own spirituality and the natural cycles of nature!
Vasalisa Approaching the Hut of Baba Yaga
To be sent to Baba Yaga was tantamount to being sent to one’s death, but Vasalisa was actually helped by Baba Yaga. By facing her own worst fear — death itself, Vasalisa became liberated from her previous situation and immaturity.
The myths of our society tell us much about the attitudes and world view of the myth-owners, and these attitudes are the products of women’s roles within the wider society. Myth arises out of the collective level of humankind’s experience, which is presented through images and symbols that resonate within our psyche. It is something we inherit from our ancestors and it is expressed through our genetic, racial memory. Kaufert reminds us however, that “myth is a system of values presented as if it were a system of facts.”
The symbol of the Crone is unique to a feminine worldview where the face of the Virgin and the fecund Mother, the Virgin Mother Mary, was absorbed in Western tradition into Judeo-Christian imagery. Likewise, we see the image of Vasalisa embodied as this innocence. The Crone has retained much of her pre-patriarchial character where she has haunted the fringes of Western culture, largely ignored, unacknowledged and rejected; one that often strikes fear into the hearts of men and some women because she has tremendous power and cannot be confined.
“Wise women,” in the past, were literally seen as having the power of life and death. They symbolized maturity, authority, attuned to nature and instinct. They were women whom men could not bind by making pregnant. They personified, as Hall writes:
“That aspect of life that men would most like to control but against which they are powerless: death. The Crone was healer, seer, medicine woman and, when death arrived with inexorable certainty, she was the mid-wife for the transition to another life.”
Baba Yaga’s Hut standing on its magical Chicken-Leg,
yet revolving like the solar symbol it is,
always rising and setting in a new place,
bringing birth — and death — daily.
Over time, and in recent history the Crone became associated with the dark side of the feminine; the withered old hag, the witch. Ironically, the word “Hag” used to mean “holy one” from the Greek hadia, as in hagiolatry, “worship of saints.” And during the middle ages hag was said to mean the same as fairy.
In deconstructing these familiar images of the older aging woman, we must first identify their symbolic roots and challenge them in order to allow for potent, vital images that energize women’s potential creative spiritual evolution. In this quest it is crucial to find valued female images that present creative and spiritual power, that offer a paradigm of ongoing formation and integration. If we do not do so, we risk encountering images of women that reinforce stereotypical models and moreover, can only alienate us from our own truest selves.
The Crone is a figure who incorporates both dark and light, life and death, creation and destruction, form and dissolution. The doll [Vasalisa’s doll, given to her by her dying mother] becomes the symbol of the Sibyl, a figure of inspiration and intuition. She acts as a guide through the great passages of life, leading a woman into her own inner knowing.
Vasalisa and her doll with the White Horseman of Dawn(who reports daily to Baba Yaga, just like the Red Horseman of Noon, and the Black Horseman of Evening)
We see this in the story of Vasalisa and Baba Yaga, the innocence of the maiden coming of age through a series of tasks. Baba Yaga forces Vasalisa to look within through intuition (the doll) and she awakens to the illuminating light that is carried in her heart. Within the simple limits of a folk story, the interactions of Sophia (Vasalisa) and the Black Goddess (Baba Yaga) are demonstrated. Baba Yaga or the Crone also embodies the inner archetype of Sophia, feminine wisdom.
Hall writes: “Sophia is a Wise Woman, one who epitomizes feminine thought. This thought is of a particular kind. It is ‘gestalt’ or whole perception; it synthesizes and looks at the overall pattern; it is logical but empathetic, and combines acute observation with intuition. It is relational (taking account of the past in order to project forward into the future), and it arises out of care and concern for man and womankind. It uses both the left and right brain modes of thought. It is creative and concerned with vision and solutions — attributes which are an integral part of the Wise Woman.”
Sophia plays, hides, adepts, disguises, and brings justice. Interestingly, we see these very same qualities attributed to the wise woman as being Vasalisa’s, only not fully formed. Thus affirming the feminist perspective of the Goddess in all of her aspects and that all ways to wisdom are valid paths. Girls and women are encouraged to rely on their own subjective experience or on the communal experience of other women This is a very important point!
From a feminist perspective, the entry into the third phase of women’s life is seen as a time of spiritual questing, renewal and self-development. It is a time where women are encouraged to explore themselves through interaction with other females who are providers of friendship, support, love, even sexual satisfaction, rather than a woman’s family.
Baba Yaga helping young Ivanushka
Likewise, the young girl growing into maidenhood needs the guidance and wisdom that elder women can provide. She must receive the gifts that the wise ones can give her. Baba Yaga may appear as a witch, yet she is instrumental in folk traditions. She aids heroes to find weapons, simplifying tasks and quests when she is treated with courtesy. Her transposed reflection is none other than Vasilisa the fair – the young righteous maiden who defeats her opposite aspect by truth and integrity.
The older woman is the keeper of the wisdom and tradition in her family, clan, tribe, and community. She is the keeper of relations, whether they be interpersonal or with all of nature. Every issue is an issue of relationship. It is assumed that she has a deep understanding of the two great mysteries, birth and death.
Another quality is the ability to be mediator between the world of spirit and earth. She is emancipated from traditional female roles of mothering and is free to make a commitment to the greater community. As a result of this freedom, there is an abundance of creativity unleashed in this phase of life; often expressed through art, poetry, song, dance, and crafts, and through her sexuality as she celebrates her joy (Joussance).
This elder time must again become a stage of life revered and honored by others and used powerfully in service by women themselves. The elder “Wise-woman” can represent precisely the kind of power women so desperately need today, and do not have: the power to force the hand of the ruling elite to do what is right, for the benefit of future generations and of the earth itself.
A powerful Baba Yaga, flying in her mortar,
protecting her forests, and banishing all obstacles with her pestle and broom.
Like Baba Yaga, the Crone must help us by her example and “admonish us to revere all peoples and all circles of life upon this earth . . . not only important for the dignity and self-esteem of each woman, but vital for the countenance of life on our sweet Mother Earth.” Since men define power as the capacity to destroy, the Destroying Mother Crone must be the most powerful female image for them, therefore, the only one likely to force them (us) in any new direction.
A woman who denies her life process at any time in her development, clinging desperately to outmoded images, myths and rituals of her past, obscures her connection with Self, the Divine, and therefore, with her spiritual heritage, the natural universe. The same holds true for our daughters, maidens who are coming of age. There is a kind of internal balance and sense of holiness available to us when we accept ourselves as part of a world that honors cycles, changes, decay and rebirth. It is time for women to reflect and give form to the authentic self in its evolving, formative process.
The woman who is willing to make that change must become pregnant with herself, at last. She must bear herself, her third self, her old age with labor. There are not many who will help her with that birth. To Crone is to birth oneself as “Wise-woman,” and see the world through new eyes.
We have not had the safety valve of feminine metaphor in our spiritual understanding; consequently, the Feminine, both Divine and human, have appeared monstrously contorted, threatening and uncontrollable.
The Black Goddess lies at the basis of Spiritual knowing, which is why her image continuously appears within many traditions as the Veiled Goddess, the Black Virgin, the Outcast Daughter, the Wailing Widow, the Dark Woman of Knowledge.
The way of Sophia is the way of personal experience. It takes us into the realm of “magical reality,” those areas of our lives where extraordinary vocational and creative skills are called upon to manifest. Those treasures of Baba Yaga and Vasalisa lie deep within each of us, waiting to be discovered.
Baba Yaga and Vasalisa,
Crone and Puella [Maiden]: Two Aspects of One Archetype