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

Of course, one can argue that healing is (or was) a spiritual practice, that healing is (or was) a magical art and that some would define those law-breaking practitioners, those “witches” who continued to practice in secret, as uppity, defiant, arrogant women, although others might call them heroines.

We’re going in circles. With all these contradictions and ambiguity one would imagine the witch to be some obscure figure. This couldn’t be further from the truth. It would be extremely difficult to find anyone, from the smallest child to the most remote villager, who doesn’t know what a witch is—or at least a witch as defined by their definition.

This passionate debate regarding the true identity of witches only underscores how deeply the witch resonates in each person’s consciousness. Because one’s own individual personal definition rings so clearly and profoundly, any other definition seems inadequate, misguided or just plain wrong. Witches evoke a passionate response, whether that passion resonates as fear or as love. People emulate witches. They long for witches in times of trouble. They run from witches as sources of trouble. Witches are held up as role models or as examples of exactly what not to be. Even those who fear, hate, and despise witches can’t leave them alone, as history has too often tragically proved.

If one attempts to remove the witch-figure from worldwide folklore, you promptly eliminate the vast majority of fairy and folk tales. Think about the Western canon of fairy tales: if there’s no witch, then there’s no Hansel and Gretel, no Beauty and the Beast, no Snow White or Rapunzel. Witchcraft doesn’t only figure in entertainment dating from days of yore; the witch continually reappears, evolving with the times. Need we even say “Harry Potter”? If there’s no witch, count the movies, books, and television shows that no longer exist. Now some might protest that these works do not reflect the reality of witchcraft, but as we’ve seen, there is no single, simple reality of witchcraft. Witchcraft is important precisely because it’s so fluid, so mysterious, so resistant to definition, so able to touch so many different buttons in so many souls.

Is there any common denominator that underlies or unifies all these differing theories of witchcraft? Maybe. There is yet another theory of witchcraft. This vision understands witchcraft to be the surviving vestiges of ancient Paleolithic culture originally shared by all human societies all over Earth: witchcraft as the original religion, the cult of Earth’s powers, the mother of spirituality. As people spread out, migrated and diverged, variations emerged; however witchcraft’s roots remain universal. As Funk and Wagnalls succinctly put it: “Belief in witches exists in all lands, from earliest times to the present day.” This primal witch is our shared human heritage, although whether one reacts to her with love, awe, fear, and/or revulsion depends upon many factors.

Modern religions/spiritual paths as well as magical practices of all kinds, including the healing arts, may be understood as descending from this primal “witchcraft”’—or as reactions against it. Those who understand witches to be not flesh-and-blood reality but stories and archetypes can also trace the descent of their witch from this primal witchcraft.

Another way of understanding this primal witchcraft is as a worldview, a way of seeing, looking at and understanding the universe. Looking at the witch reveals more about the gazer then the witch. Instead, let’s try looking through that primal witch’s eyes. In witchcraft’s worldview, Earth is a place of mystery and wonder, full of powers of which one can avail oneself, if one only knows how. The witch is the one who knows. A good majority of the words used around the world, in various languages, not just Anglo-Saxon, to identify the concept of the “witch” involve acquisition of wisdom. A Russian euphemism for witches and sorcerers translates as “people with knowledge.” The witch isn’t just a smart person, however; what the witch knows is more than just common knowledge. The witch knows Earth’s secrets.

Whether you perceive the witch as powerful or evil may depend upon whether you perceive knowledge as desirable or dangerous; whether you perceive that human knowledge is something that should be limited. The witch doesn’t think so. She, or he as the case may be, wants to know. This may be the heart of the matter.

Saint Patrick’s Breastplate, a famous Irish prayer attributed to that snake-banishing saint, begs God’s protection against “incantations of false prophets, against the black laws of paganism, against spells of women, smiths and druids, against all knowledge that is forbidden the human soul.”

Although in Christian myth, Original Sin, triggered by the serpent’s temptation of Eve, is often understood to be sex, a close reading of the Bible reveals that what the snake really offers Eve is knowledge. In fact, wherever snakes and people exist together, snakes are associated with wisdom—and with witchcraft. In various subversive retellings of that biblical tale, ancient Gnostic as well as neo-Pagan, the snake is attempting to assist Eve, to be her ally, not to entrap her.

Looking through the witch’s eyes may offer a very different perspective than that which many modern people are accustomed. One sees a world of power and mystery, full of secrets, delights, and dangers to be uncovered. However it is not a black-and-white world; it is not a world with rigidly distinct boundaries but a transformative world, a world filled with possibility, not what is but what could be, a blending, fluid, shifting but rhythmically consistent landscape.

It is no accident that the heavenly body universally associated with witchcraft is the moon, whose shape changes continually, although her rhythm is constant

It is no accident that the element universally associated with witchcraft is water, whose tides are ruled by the moon; water appears, disappears, changes shape, shifts continually, but remains rhythmically constant

It is no accident that the human gender most associated with witchcraft is the female one: the female body, like lunar phases and ocean tides, changes continually, often to the despair of the individual woman herself, although the rhythms also possess consistency if we let ourselves feel them.

Although this may resonate in the souls of witches it doesn’t explain the allure witches hold for so many who do not identify themselves as witches. Why the almost universal fascination with witches? Maybe because they’re fun. Yes, there are tragedies associated with witchcraft (just look at this book’s section on the Burning Times), sorry days in the history of witchcraft, but those tragedies are not witchcraft’s defining factor. So many in both the general public and the magical community are attracted to witches precisely because they are fun, and in fact that’s a very serious point about witchcraft.

During a particularly dour era in Europe, between the fourteenth and eighteenth centuries, witches were consistently condemned for, among other things, having fun. Among the charges typically brought against witches was that instead of attending church and being solemn and serious, they were out partying, whether with each other, the devil, with fairies or the Wild Hunt. Among the crimes associated with witchcraft was having fun at a time when fun was suspect. What exactly were those witches accused of doing at their sabbats? Feasting, dancing, making love. So-called telltale signs of witchcraft are those stereotypes that automatically brand a woman as a witch: among the most common is loud, hearty laughter—the infamous witches’ cackle.

While others mortified their flesh, the witches applied sensual unguents. While others deprived themselves, the witches indulged. It’s not surprising that on Halloween, a night when repressions are set free, so many don the garb of the witch. In a time of repression, witches danced secretly in the forest. They were accused of flying away from their husbands and responsibilities to consort with the devil, portrayed by the witch-hunters as a being of tremendous, unflagging sexuality. The devil, at least as portrayed in trial transcripts, never gets tired and never demands that you do your housework.

Cards on the table. According to the tenets of French postmodernist literature, it is impossible for an author to remove themselves completely from the content of their work. In other words, no author is capable of writing a completely unbiased work and thus should address their personal beliefs and biases up front. This is probably particularly true when writing about a topic like witchcraft that inspires such passionate emotion. Therefore, I feel I should come clean about my own perceptions of witchcraft.

I confess: ever since I was old enough to toddle, I’ve dressed up as a witch on Halloween, never as anything else, even into adulthood. Even now, I own a “Morticia” dress. Once at a masquerade party a man who knew next to nothing about me commented how comfortable I seemed in that dress, my “costume.” It’s true: as a child, had I been this articulate, I would have said that Halloween was the only night of the year that I wasn’t dressing up.

I love witches and have done ever since I can remember. I craved fairy tales as a child: the witch resonated in my soul (my version of her anyway) and I identified with her instead of fearing her as I knew, even then, was the expected response.

What is it that I loved about the witch? These are hard things to articulate because, as the Jungians write, the witch-figure touches such deep primal emotions that an exploration of what attracts or repels us about witchcraft becomes an exploration of one’s deepest self. Certainly the magical aspect of witchcraft attracted me; I was simultaneously attracted to astrology, divination, and occult philosophy. But I also think that, as a child raised to be very “good,” “well-behaved,” and “obedient” the defiant quality inherent in witches was extremely attractive. Of course, the witch can afford to be defiant (at least in folk tales) because she has the power to back up her disobedience. As a child raised amid adults possessing many psychic wounds, a child raised to have a lot of fear, the witch’s lack of fear, her knowledge of secret defenses, her willingness to have fun and break rules, as well as her ability to instill fear in others resonated deeply within me, as I think it does for so many regardless of spiritual affiliation or belief in the existence of magic, although that resonance may inspire either devotion or revulsion depending upon the individual.

If you read studies of witchcraft, especially older or more academic ones, it’s clear that it never occurs to many authors that were the witch-hunts to resume they too might be accused, condemned by their very interest in the topic. However, it is not the victim with whom they identify, hence the focus on the Witch-hunters, judges, and general public. For a variety of reasons, I have never had any doubt as to which end of the stake I’d find myself on.

I identify with the witch, always. As a child, my least favorite fairy tales were the ones where the witch is made to appear irredeemably grotesque—Hansel and Gretel, for instance. Even then, I understood this as defamation and distortion and perceived that in some way it was directed toward me. Frankly the French postmodernists are right: I can no more write neutrally about witch-hunters than I could about Nazi genocide, white supremacists or serial killers. (Although, as the French postmodernists would point out, neither can anyone else, whether they realize it or not.)

That said, I also appreciate that many who perceive the witch as evil, corrupt, and devilish do so from sincerity and religious conviction, not from foolishness and superstition. Witchcraft touches enormous chords within the human soul and not all perceive these chords as positive. Denying the reactions, making fun of those who perceive the witch as dangerous, further denies the complexity of the witch.

As a child, I loved pretty much anything featuring a witch: Wendy Witch, Bewitched, Baba Yaga, Andrew Lang’s fairy tales. The only entertainment featuring a witch that I didn’t enjoy—positively dreaded when it appeared on TV annually—was the film version of The Wizard of Oz. The winged monkeys did scare me, although the wicked witch didn’t. I found Margaret Hamilton much more frightening in her guise as Miss Gulch. What really terrified me, though was Dorothy’s family, her aunt and uncle, who would not defy Miss Gulch and save Toto, either openly and defiantly or sneakily and surreptitiously. I found their passivity terrifying. I thought Dorothy was an idiot for returning to Kansas and the people who, although she loved them, had already demonstrated their unwillingness to protect her and her interests.

My perspective may have been unique and probably reflects my experiences as a small child raised amid an immigrant community of adult survivors of concentration camps, extermination camps, labor camps, displaced persons camps and European prison camps. I was always aware of how crucial and vital it is to have people who will protect you, defend you, hide you, take risks for you and not deny you.

Thus, unlike to many scholars and witches alike, the Burning Times are not an abstraction to me. They are very real. It is not a coincidence to me that the extermination of witches occurred in the same areas of Europe that would but a few hundred years later exterminate Jews and Gypsies, my family among them. It is not a coincidence to me that the genocide associated with World War II began in the same areas of Europe where killing witches was most virulent. According to records, there were towns in Germany left without women, just as years later there would be towns left without Jews.

Except for studies specifically devoted to them, history books rarely discuss the witch-hunts except as a footnote or as an aberration, as an example of how superstitious and ignorant people used to be. It’s treated as an embarrassment to be rushed over (and of course, honest discussion of witches and witchcraft, as we’ve seen, introduces all sorts of sensitive issues); focus tends to be limited to the nature of the perpetrators (why were they so crazy about killing witches?) and of the victims: were they or were they not really witches? More sympathetic studies tend to emphasize that they were not, as if this somehow makes the killing more tragic.

Then the witch-hunts just go away. We mourn the many dead. There is little if any focus on the impact that this era, an era that lasted for centuries in some areas, not mere years or decades, had on the survivors, including those who narrowly escaped the clutches of the Witch-hunters, those whose families were tragically affected, the many who profited from the witch-hunts as well as those who watched on the sidelines. Yet I can personally guarantee you that that impact must have been tremendous, having spent my life with similar survivors.

After the witch-craze was over, presumably the survivors, bystanders, and perpetrators all went back to a normal life together, side-by-side. And the impact? Women of the Victorian age and beyond, basically until the 1960s (coinciding coincidentally with the resurgence of public witchcraft), are frequently criticized for their passive, submissive, obedient natures. I suspect that this passivity is a survival skill, learned in the wake of the witch-hunts. Even today the word “witch” used as a pejorative holds an implicit threat: behave yourself or else…

It’s fun to revel with the witches, but any honest examination of the history of witchcraft and perceptions toward witches reveals a lot more than fun and games. Among the topics concealed within the history of witchcraft are secret histories of spirituality, cultural attitudes toward women and parenthood, the evolution of modern medicine and agriculture, perceptions of race, gender, ethnicity, and the untold tales of many nations. Abortion wars didn’t begin with Roe vs. Wade; their long roots are entwined amidst the history of witchcraft, as are those of other modern issues like animal rights, eating disorders, ecology, environmental practices and more.

Studies of witchcraft are somewhat like that old legend about the blind men examining the elephant: one attempts to define the creature solely by its tail, another by its trunk, still another by its foot. Most studies of witchcraft focus on one definition or aspect of witchcraft—modern Wicca for instance, or the witch trials—satisfying some readers but inevitably leaving others searching for the witch that resonates in their hearts.

Thirteen Clues That YOU Might Be A Witch

Witches, in my book anyway, come in all shapes, sizes, colors, and genders. Identification via wardrobe is unreliable: anyone can dress up. However, there are some true, telltale clues. If any one or more of these statements applies to you, then you might be a witch—or, at least, have the option of heading down that road, should you so choose.

1 You’re fascinated by the magical arts, the occult sciences, and/or the hidden powers of Earth.

2 You perceive Earth as sacred, filled with mystery, worthy of awe.

3 You feel an affinity with wild weather, wild creatures, and Earth’s wild places.

4 You perceive power, positive strength, and magic, maybe even the divine, in women.

5 You can maintain a relationship with an individual of another species, such as a bird or an animal. (Whether you define your opposing gender as another species is up to you.)

6 By nature, you’re nocturnal.

7 Darkness doesn’t scare you—not consistently anyway.

8 You have an independent nature; you like to make your own rules and you value your privacy and autonomy.

9 You possess curiosity and a thirst for knowledge.

10 Ancient stories (myths, legends, fairy tales) enthrall you.

11 You think the universe might hold undiscovered mysteries. Not everything can be explained by science; not everything can be controlled by people.

12 The mysteries of birth and death fascinate you.

13 You consider yourself a witch, or sometimes suspect that you are one, or think you might like to be one.

The Element Encyclopedia of Witchcraft contains many visions and versions of witchcraft. The word “witch” historically has been used to encompass wise women, priestesses, sorcerers, wizards, magicians, healers, conjurers, shamans, and powerful women, as well as archetypal figures of fantasy. I haven’t deliberately excluded any of them. The focus is mainly on so-called “operative witchcraft”—witchcraft revolving around magical practice, witchcraft as an international community of magical practitioners, dedicated to varying traditions but all ultimately descended from and rooted in that first ancient shamanic tradition. Witchcraft as religion or spiritual tradition is incorporated into this larger vision.

Witchcraft has many faces: alluringly beautiful enchantresses but also hags, crones, queens, wizards, and even a saint. (No, not Joan of Arc, whose jailors were never able to make a witchcraft accusation stick, although they tried hard.) Within these pages you’ll discover a host of famous and infamous witches, an examination of the Burning Times, and a celebration of the sacred witch, the witch worshipped as goddess.

I hope that you will find the witch who resonates in your heart in these pages, or at least discover some clues to help you track her down. Can I offer one single definition of the witch guaranteed to satisfy every reader? No. No one can. The witch refuses to be pinned down and defined by mere words, of which she is the magical master. No one owns her. She is independent, defiant, and resists narrow definition.

So finally, what do I tell that person who wants to know if I’m a witch? Frankly, way too much time has been spent over the ages worrying about whether other people are witches. It seems inevitably to lead to trouble. The more important question is: Are you a witch?

Language

One of the first things any magical practitioner must learn is to pay serious attention to the critical power of words. Because so much of the confusion and misunderstanding regarding witchcraft derives from linguistic sources, it’s important, for purposes of clarity, to be sure that we’re all on the same page.

Even a cursory glance through this encyclopedia’s HALL OF FAME demonstrates that powerful magical practitioners come in both male and female varieties. However, so that I don’t have to keep saying “he or she,” and also because of the powerful associations between witchcraft and women—and especially because so many of the victims of witch-hunting were and remain female—unless specific reference is made to male practitioners, I’ve used female pronouns to refer to witches in general. No disrespect intended toward the many wonderful male workers of magic, powerful male witches, throughout history.

(On behalf of the astrologers in our midst, wherever possible I have also included specific dates, especially birth and death days.)

For purposes of clarity and to avoid confusion, within these pages the following words are defined as follows:

Wicca: a narrow definition—the modern religion deriving from the pre-Christian spiritual traditions of the British Isles, what some would call Gardnerian Wicca; Margaret Murray’s “ritual witchcraft.” Spelled with a capital “W”

Wicca, wicce: the Anglo-Saxon root words, masculine and feminine respectively, from which the modern words Wicca, witchcraft, witch, wit, wise, and wisdom may derive. Spelled with a lower-case “w”

Wiccan: a narrow definition: one who follows the path of Wicca; a practitioner of Margaret Murray’s “ritual witchcraft.” Spelled with a capital “W”

Witch: a broad definition: a practitioner of witchcraft as defined below; also someone perceived and identified as a “witch.” Spelled with a lower-case “w”

Witchcraft: a broad definition: the magical arts, encompassing shamanism and traditional healing; Margaret Murray’s “operative witchcraft.” Spelled with a lower-case “w”

Elements of Witchcraft

I wasn’t being entirely sarcastic about my perpetually unruly hair being grounds for suspicion of witchcraft. J.K. Rowling’s depiction of Harry Potter’s messy, defiant hair isn’t mere description and character development but a deep clue to his identity, based on centuries of tradition.