THE THREE RITES

Shani Oates

‘…all that can be said about the Mysteries has already been written into folklore, myth and legends. What is not forthcoming is the explanation. It was recognised that these legends, rituals and myths were the roads through the many layers of consciousness to the area of the mind where the soul can exist in its totality. These and their surrounding disciplines and teachings became what the West describe as the Mysteries.’ – Robert Cochrane

   Robert Cochrane, atavistic spirit, former (late) Magister and founder of Clan Tubal Cain believed there to be few genuine cuveens extant throughout the British Isles, wherein few ‘real’ Crafters generated actual power via the flux of polarised gender imbued with genera of virtue culminating in a co-hesive fusion, or magickal harmonic. Moreover, he insisted this ‘natural’ state could not be acquired but was a ‘blood’ gift in the full and traditional sense. An avid reader of Charles Godfrey Leland, Robert Graves and Dr Margaret Murray, it is unsurprising then that he was influenced by the ideas promulgated within their pages. One book by Leland in particular, mentioned by Cochrane in one of his letters – Etruscan Roman Remains in Popular Tradition (1892) - mentions the strongly held principle among the Etruscans that a witch/wizard (sic) could not die until his/her ‘power’ had been transferred to another, superannuated within ‘bloodlines’. In its original context this simply meant that the soul was irredeemable until it had ‘passed on’ its accrued ‘karma’ embodied within the transient authority bestowed from one generation to the next. Moreover, Cochrane’s phrase that a witch loses his/her power when ‘blooded’ by an outsider is also reflected later in this book where Leland relates the folklore of the Northern Italians who remained convinced that if a witch loses one drop of blood whilst engaging in a supernatural act against anyone (not of their clan, family or tribe), their power would drain away with it. I would also like to add that true genius is in fact a divine gift, a spiritual gift that cannot be inherited on a cellular level. Bearing this in mind I should like to navigate the reader through the writings of Robert Cochrane, considered to be a maze of metaphor in order to reveal something of his uniquely poetic acumen whereby it is hoped a greater understanding of his legacy may be achieved.

   Convinced he was the repository of three centuries of hereditary gnosis, he proselytised a surprisingly ‘modern’ perspective of Traditional Craft practices. His idiosyncratic expositions accentuated his innovative flair for evolutionary and militant interpretation. As a radical reformer of his religion he aspired to integrate disparate views, to consolidate them en masse in opposition to the then newly emerging and popular ‘Wicca’. Naturally, working methodologies differed considerably, in accord with their inherent philosophies, creeds, Mythos etc; yet some basic similarities prevailed, affording common ground, recognised and appreciated by all traditional practitioners of their arte. Even so he expounded his belief that instinctive and intuitive modus operandi were infinitely superior to dogmatic working by rote, asserting that the form (Purusha – black, passive) that is, the structure and symbolism of the ritual was secondary to the force (Prakriti – white, active) invoked, or how this virtue is won, maintained and assimilated. In this he recognised three basic ritual forms fundamental to those of the ‘True Faith’; named ‘The Three Rites’, they inculcate the following:  1) Divination – retrieval of information from the Akasha;

2) Spell-casting and other acts of magick – invocation of heavenly force applied through will and    intent;

3) Communion – evocation of mystical energy, experienced and shared by the whole group.

   Cochrane defines the rings (circles) as ‘a map of the other worlds’ but emphasises how all tools and words spoken are relevant only within the actual rites, beyond this demarcation, their intrinsic value devolves into mere fantasy and delusion. This is an important point, often overlooked in common magickal practise. Furthermore, any ritual involving all three forms embraces the Qabbalistic principles of the Three Primary Mothers of creation – Fire, Water and Air (Shin, Mem and Aleph) and the resurrection of the Father through the Son as the Horned Child, a core Mystery (sub rosa). This Trinity of Truth, Love and Beauty are reflected within the tripartite nature of mankind, i.e. spirit (pneuma), matter (hyle) and soul (psyche) respectively. These alchemical principles feature as basic tenets of mysticism.

   The Three Mothers also represent Fate, Destiny and Eternity and their primal qualities formulate elemental virtues evoked as Air within the First Rite – the medium of transmission, inspiration, extrapolated from the winds, auguries and omens.  In the Second Rite, Fire manifests in the kinetic energy of metal, the forged material of the knife, sword and stang and thus the innovator of power. Finally, the Third Rite utilizes Water as an emotional quality acquiescesent within the womb matrix, the memory and nerve centre of life and the universe itself; embodies the timeless virtues of patience and omniscience.

   In addition, the Three Rites conceal the Mysteries of the triune form of the Hunter, Tubal Cain and the Roebuck in the Thicket. Yet, they must not be considered as hierarchical,nor confused with stages of Initiatory development, rather, they should be understood as pertaining to the modes of ingress, congress and egress. Psychologically these transmute as intra-psychic, inter-psychic and extra-psychic forces, having natural compatibilities with the stellar/lunar, lunar/earth and earth/solar currents. Each of these Rites is ‘opened’ differently, using tools appropriate to the theme of the Mask (discussed later, under ‘tools’). It is noteworthy that unlike Wiccan or neo-pagan circle casting, the ‘ring’ denotes the separation of sacred space only, it does not delineate protected space, neither does it conserve energy raised within it precincts. This important distinction highlights a conceptual gulf between these uncompromising factions. The ‘ring’ may also encompass a complete ritual arena, comprising of more than one circle, dancing grounds, areas of preparation etc. It is in fact a temporal boundary in no way affording a liminal shift between the realms. For devotional and solar rites, the charges are delivered sunwise/deosil, but for acts of magick and divination they are delivered widdershins, making full use of the geomantic forces of the earth’s motion.

  In the First Rite the cuveen stang is placed centrally (see diagram) emulating the axial pole, geomantic omphalas of the universe, where the Paracelsion character of chthonic theory or forces of the ‘Stang and Serpent’ are said to open this ring. When placed to the South (Earth), squaring the circle with the staves of the elements, the ‘Broom and Lamp’ form the bridge that fords the magickal tides of manifest causes. But when placed in the North, it becomes the central pillar, flanked by those of the horn (severity) and knife (mercy). North is the place of power, held sacred since draconian times, perceived as the Gate of Heaven. Typically the stang resides here, as primary altar. It is Daath upon the Qabbalistic Tree of Life and as such it represents the time/space continuum of ascent. Purists would argue how the Qabbalah has no place in the Traditional Craft, yet many Qabbalists readily discern concepts cognate with that system. Moreover, Cochrane’s own work reflects clear Qabbalistic influence, noted by the eminent (late) magus William G. Gray with whom he worked and shared much correspondence.

   The schematic serves to reveal the fluid mobility of the secondary altar (commonly a chest or reliquary housing clan totems, fetishes and other impedimenta), the cauldron and other wands and staffs pertinent to the season, nature of rite and relevance to the first, second or third rite. For workings of the First Rite, a skull, fiery symbol of (the alder god) Bran as the oracular head is placed (west), asserting the emphasis on the Lord of the Mound. This is juxtaposed with the watery cauldron of rebirth (east). A caithir rod (north) rests upon the secondary altar placed to draw directly from the stellar regions of the Hyperborea. This opposes a Horned Crown mounted upon the Summoner’s staff (south). Ù

  Looking at the ‘ring’ of the Second Rite, it exposes another conceptual shift: the secondary altar has moved to the centre, the fire and cauldron stand in the east (fire) opposing the Summoner’s staff in the west (water). A riding pole in the north (air) supports a lamp that radiates the flow of creative energy. This opposes the broom in the south (earth).The cuveen stang, ‘masked’ and garlanded is also placed in the south. Charges, chants and prayers evoke the aspect appropriate to the Sabbat upon the stang as supreme representative of the Horned God, ‘Divil’or Master. u

   Finally, for the Third Rite, the masked and garlanded stang becomes the Master of Ceremonies in the North (named by Cochrane as the ‘Farmer’ – Cain, the Father of All) accompanying the Magister’s handstaff. In the opposite quarter the secondary altar holds the mirror and the pentacle, balancing the horn in the west partnered by the knife on the east. Central to all of this a fire burns beneath the ‘charged pot’. This Rite only maintains the true correspondences of the tools symbolic of their elements invoking the archaic and alchemical cross of power. These four magickal tools are also coterminous with the Grail weapons having associations with ancient rites of kingship and the ‘hieros gamos’.  Ú

The psychic artist, magickian and occultist Austin Osman Spare believed that will is our medium; belief is the vehicle and desire the force for raising of magickal energy. Such perennial truisms are in accord with the ‘Law of Seven’, which states that four qualities are imperative to the success of any one of these Three Rites: emotion, symbolism, direction, and aspiration, which when combined with unity (of purpose), leadership (including a balanced and harmonic egregore) will conclude in the seventh that of a manifest and comprehendible Godhead. This is one way in which the ‘Seven become One’; thus all alchemy is fused in the completion and communion of all magicks and bliss achieved in the climactic act of this final stage of the sacrament.

   Eight watchers comprised of four pairs, (of opposite gender), one incarnate, one discarnate, hold the compass, and together with the Magister, Maid, Summoner, Seer and Scribe form the minimum pre-requisite of thirteen, though generally these (ideal) roles are not so easily accommodated. A quaternary of power is engendered from the twin masculine forces of Apollonian (air) and Dionysian (fire) magicks harmonised with the female primal watery Hekate in her manifest (earth) and unmanifest forms (water, or Primal Abyss) and all symbols used must represent the aspect of Godhead synonymous with purpose.

   On a mythological level the thirteen tools can be said to relate directly to the Thirteen Treasures of Britain for which Arthur traversed the Hollow Hills of the underworld – ‘Caer Annwyn’. This is the telling of the ‘Mound and the Raven’. Each tool/weapon/treasure plays a significant role in the rings empowered by them. A cursory study impresses their import as symbolic on all four planes: -

    Skull- pharmacopoeia of dew-filled manna, Bran, oracular alder god, Qayin, god of smithcraft and agriculture, Baal, fertility god of fire, prophecy, craft, and death, of magick, alchemy, … ‘all things of this world belong to him, the star-crossed serpent’ (Cochrane); Horned Crown – animal totem, a symbol of the anointed, chosen or blessed, emblem of supreme right to assume divine authority, tool of office, vinculum of bestial morphology; Mirror – mirrored doorway into the astral realms, and macro-cosmic reflector of virtue. Gateway of ingress and egress;  Pentacle/whetstone – elemental symbol of protection and kingship. Grail - ‘lapsit exhillis’ (earth); Horn/cup – Cornucopia of abundance, female [receptive] genitalia. (water) Feminine Mysteries of creation and destruction; Knife/sickle – experience, knowledge, victory, conflict, courage, choice, sacrifice, physical love, intuition, inspiration, supreme tool of balance, without which it cannot be used. Small knives may be substituted for three nails in acts of cursing. Its wielder holds the powers of life or death, justice or mercy….therefore it is temperance (fire). Masculine Mysteries incorporating the Order of the Sun and the Grail Mysteries; Staff/stang - conveying more than authority, it is ancient power, invested by might. It represents the supreme ‘right’ in continuity and perpetuity from inception of absolute awareness of status.(air), Godhead, unity, Old and Young Horned King. Manifestation, absolute power. Supreme altar. Love. Truth and Beauty. Representing the hermaphrodite it embodies male and female virtue, wisdom and the third Mystery. The term ‘masking’ relates to the symbols placed upon the stang relative to the rite performed in the form of tools and garlands, and to the actual totem animal mask or skull (not shown, sub ros)]. These may be mirrored upon the Magister. In its most basic form (see diagram) the ‘mask’ represents the four worlds of the Qabbalah, here described upon the original basic sketch allegedly drawn by Robert Cochrane. At the base (Malkuth) can be seen the serpent, the geomantic force of the earth. Next, the crossed arrows (Yetzirah) delineate the two opposing triangles of fire/air–male and water/earth–female. When conjoined they superimpose to produce the hexagram Briah, the graphic representation of the archaic yab-yum in which the active female mounts the passive male. A crescent moon cradles a circle of stars, the eight stations of the sun (Atziluth) - the horns of Venus, the master’s crown mirrored by the stars of the zodiacal mantle, of Nut herself. Beyond lies the Primal Abyss. This simplistic analysis offers the merest glimpse of its eternal Mysteries. The diagram central to the original sketches conclusively parallels a philosophy correlate with Qabbalistic metaphysics.

    Cloak - beyond humility, concealment and protection, this encompasses the ‘true’ self – the shadow, the absolute self, the ego we are required to fully integrate as the magickal ‘self’, the mind evolves in accord with True Will. i.e – Divine Will. Rods/wands/spear – caithir rod: ancestral authority etymologically linked to seat/throne, it also means ‘big’ and is commonly used as a blasting or cursing weapon, also for ‘charming’. Generally carved from antler, bone or crystal, but occasionally wood, in which case alder is preferred. Pointed at one end, it is suggestive of the spear. Keppen rod: a measuring tool (synonymous with a ‘ruler’, ergo a symbol of authority/kingship/lineage), it also symbolises spirit, illumination and eternity, seen by many as the equivalent to the Egyptian ankh. This is often forked at one end, sharpened and indicates a weapon of sacrifice similar to the handstaff carried by the Magister. Spear:  pierces the cauldron with its metal (iron) tipped point (Khronos) as an act of love in which the principle of life draws down the moon into the flux of the Mother (Hekate) to generate the ‘Aqua Vitae’ – the red blood of life…spirit brought to manifestation. Besom – paradoxically a male phallic tool as a symbol of civilization and domestication, therefore despised by Italian witches (who ‘rode’ goats or wolves to the Witches Sabbaths’).   Used in stamping dances, it is ‘worn’ over the shoulders (like a weapon). Female tool as the instrument by which the ‘family’ turn without motion between three elements (earth, air and water –hazel, ash and willow). The fourth is fire – the flying ointment applied to its shaft. Thus like the riding pole it is the mount of flight, the instrument of ascent and pathway to the Mysteries. The riding pole in another sense is the night-mare of hypnogogic dreamscapes. Cauldron – abyss, void, flux, wisdom, generation, creation. Remember the true meaning of the cauldron: ‘…bring forth the star son, and you have Dionysus, the Horn Child and Jesus Christ in one…[son of the Father, prophet and sacrificial king]’ (Cochrane)

   Cords/girdles/garters – symbol of sacrifice and subjugation, birth, death, a witches’ ladder or rosary, a spellbinder. In folk magick it is used for spell-craft. It is our own personal strand of fate, ours to hold and weave, guided by will into the great web, the ultimate matrix and key to our destiny. Synonymous with the scourge it also represents submission, stimulation, surrender, discipline, fealty, ascent and descent. As substitutes of the Tephillin and phylacteries (Jewish bindings embodying the power of prayer and the word for use in the Merkavah Mysteries)  they generate the virtue of sacred charms and chants, protecting and purifying. Arrows - Two arrows, one black, one white (the archaic colours of Fate) form a cross upon the stang suggestive of the ‘lunar cross’ of Bride, although conversely, it also represents the holy cross of the Gnostics and Mithraic initiates. They also suggest the Masonic twin pillars of Joachim and Boaz outside King Solomon’s temple in Jerusalem. Within Clan Tubal Cain, this cross essentially represents the arrows of Neith, the primal Mother, who protects, creates and destroys us. As a universal and primal deity, Neith has other ‘weapons’- a sceptre (symbol of rule and power) and the ankh (symbol of life). Also known as the ‘Cow of Heaven,’ this sky-goddess is cognate with Nut giving birth to the sun daily and creates both primeval time and cyclical time.’ Formed from two v’s, one upward and one downward, they are in fact the chalice/womb and the blade/phallus, depicting the conjoined virtues of both to manifest Charis, or Grace. Therefore solar, lunar and stellar fluxes combine in this simple symbol.

  The ‘ring’ itself can be aspected as the ‘threshing floor’, where such rites were known and recorded up to 1873 (In fact The Regency revived a ritual exemplifying this concept). During harvest-time, a ‘bride’ performed anointings amidst family members who danced and paid homage to a table and a throne made from the planks drawn from the threshing fields. A significant magical precedent for this is known in biblical times when King David purchased threshing fields upon which to erect a sacred altar in Jerusalem, in thanks for its continued abundance during plagues and pestilence which had decimated surrounding areas. The site is believed by many to have been Mount Moriah.

            In a letter to the Oxfordshire cunning man Norman Gills, Cochrane outlined the ‘Basic Structure of the Craft’, the content of which incorporates the principles and symbolisms of ‘The Three Rites’ and the thirteen ritual tools. More than anything Robert Cochrane ardently asserted that the Craft preserved no great secrets, that everything could be won for those brave and true enough to traverse the many realms of existence. Yet he also recognised in the Mysteries a premise that can never be taught – only full experiential and initiatory immersion can induce their apprehension. Indeed a Sufi parable succinctly concludes this Truth: ‘Even though a donkey be laden with books, it is still only a donkey’.

Material that is relative to this brief exposition may be found in The Roebuck in the Thicket by E.J. Jones and The Robert Cochrane Letters by Robert Cochrane with E.J. Jones and M.A.Howard, both published by Capall Bann.

Biographical note: Shani Oates lives in Derbyshire and is the Maid of the Clan of Tubal Cain. She is a regular contributor to TC and in the next issue she writes of ‘The Alchemy of the Compass.’

THE ONE EYED SEER IS QUEEN

  Iranian archaeologists have discovered a 5000-year-old artificial eyeball that they speculate belonged to a female seer. Excavations of an ancient necropolis at Shahr-i-Sojkha in the desert on the Iran-Afghanistan border revealed the grave of six-foot tall woman, aged between 25 and 30 and Arabian in origin. The eye was made from a lightweight material derived from bitumen paste and was engraved with an ‘iris’ and gold lines “like rays of light”. Buried with the woman was a mirror, which the archaeologists say she used to check her appearance! More likely, if she was seer, it was connected with her arte. The city of Shahr was an important trading post in ancient times at the crossroads of East and West and its is peculated that the woman may have arrived on a caravan train from Araby. The city was destroyed around 2000 BCE, when Stonehenge was being built, The archaeologists said that the artificial eye would have given the woman a “mysterious and supernatural gaze” that enhanced her alleged role as an oracle or soothsayer. (The Times 21.02.07)