Wicca Magic Spells and Ritual Secrets Revealed
Witchcraft is in effect the old Druidic Mother Goddess religion in Britain. It was a competitor with Christianity and as everyone knows it is not a good idea to lose a religious battle for supremacy. Wicca or Witchcraft didn't even get second place. Everyone who knew anything about witchcraft was either dropped in a river or burnt a long while ago, so modern day witchcraft is usually made up as it goes along.
The feats with coins described by Reginald Scot in 1584 in his Discouverie of Witchcraft were undoubtedly of ancient vintage in that day, and might well have been devised by the conjurers of the eighth century B.C. Scot defined legierdemaine as the nimble conveiance of the hand, which is especiallie performed three waies. The first and principall consisteth in hiding and conveieng of balles, the second in the alteration of monie, the third in the shuffling of the cards The conveieng of monie is not much inferior to the. ball, but much easier to doo. The principall place to keepe a peece of monie is the palme of your hand, the best peece to keepe is a testor but with exercise all will be alike, except the mony be verie small, and then it is to be kept betwixt the fingers The tricks described by Scot are used to this very day, and the plots are recognizable from his quaintly worded titles
The Sympathetic Silks, for which this move is useful, can hardly be presented impromptu, and therefore will not be discussed. For a description, see Tarbell , Vol. 1, p. 378 Hugard, Silken Sorcery , p. 60 Edward Proudlock's manuscript Sympathetic Silks , sold by dealers and Keith Clark, Silks Supreme , p. 13. Al Baker's Ways and Means , p. 66 gives a version with four silks instead of six, including an excellent count move.
Method After performing some other effects such as those in Si Stebbins Sorcery and while maintaining the Si Stebbins stack, table the deck and go into a short patter spiel about the clock effect and time. After explaining the usual business of choosing an hour, removing an equal number of cards off the top and so on, turn your back to the spectator.
Remove the two black Queens and obtain a break under the top two cards of the deck. Place the Queens face up on top and lift off all four cards above the break (the two Queens plus two face down cards hidden below). Peel off the upper Queen onto the deck then place the remaining triple on top, keeping a break under these three cards. The two black Queens will perform their witchcraft for us. trapped between the face up Queens. The witchcraft begins, you say. Drop the three-card sandwich onto the table and place the upper section of the deck below the other. This brings the other selection to the top. Now say, And more witchcraft. Reach into your pocket and bring out the palmed card. Hold it back outwards to the audience and ask the 2nd spectator to remind everyone of the name of his card. Turn it round to conclude.
The original draft of this work was written in Calcutta, India in collaboration with Sadhu Parimal Bandhu. Those who are familiar With my book, The Secret World of Witchcraft, and the book, Religious Mysteries of the Orient, coauthored with my partner, Ron Ormond, will recognize the name of Parimal Bandu. Parimal Bandu is a Hindu Sage of magnificent knowledge. I am certain that it was because of his warm friendship for Ron and his appreciation of my professional interest in magic, as an American magician and hypnotist, that he so generously revealed these secrets of Yoga magical teachings. Also, the Sadhu was a man of high intuitive powers, so it is entirely possible that he sensed the time as being right for opening to western people this phase of the esoteric wisdom of the Orient.
This book is the third of a series 1 The Secret World Of Witchcraft, 2 the teaching ranges from the highest form of psychic power to the lowest form of witchcraft, sorcery, and black magic. The books composing this Veda are some twenty in number and contain recipes, formulas, rites, ceremonies, and performances for the production of psychic phenomena, magical ceremonies, invocations, evocations, enchantments, etc. they exceed in variety and detail the better known similar writings of the ancient Hebrews and Greeks, and show with remarkable clearness how far the human mind may proceed along these lines.
As I wrote in The Secret World of Witchcraft, the real magic of India is rarely found in the big cosmopolitan centers visited by the tourists, it is performed mostly in the back country for the native population. Thus, magic of this type is but seldom seen by western eyes, and one must probe deep into out-of-the-way places to find it. But it is there for the seeking. It is in such remote villages that a performance of the legendary East Indian Rope Trick may be found. The achievement of that power is the basis of The High Magic of India and Tibet (both of which are synonymous as many of the more advanced East Indian Sages seek the solitude of the high mountains in Tibetian monasteries for pursuing their studies) in which nature is directly controlled by mind. Sadhu Parimal Bandu presents a study of this high magic (which he termed The Sacred Magic of Tibet) in The Secret World of Witchcraft see chapter twelve, pages 160-168.
I believe that Witchcraft is nothing more than 'psi with props', what's your feeling on this I'm being contacted constantly from people here and abroad, who want me to remove a hex or a spell. But I believe the only time witchcraft would work or affect anybody is when the person believes it will. But I would have to agree with that, that witchcraft is nothing but psi with props.
When the owner of the hotel asked David to dream up a publicity stunt he immediately persuaded the fishermen to cooperate with him and bring along their truck, two boxes and a freshly caught shark, a creature that the locals associated with native medicines and, of course, witchcraft.
And just what does this sort of relationship sorcery require Knowledge. You must understand explicitly what a woman is genuinely seeking in a man if you are going to have any chance of showing her that you can be the man she's been looking for. And just as important, you have to know what you're going to require from a woman if you wish to stand any chance of being happy with her in the long run. Yeah I know maybe your drought has been so dry you'll take any woman who shows even the least bit of interest in you at this point -- but trust me, once the initial joy of bagging her fades away
And apparitions and somewhere else we read of the Popes of the Tenth Century, who practiced Magic and Sorcery. But these little stories are scattered and vague as no records of Magic were kept until the Dark Ages beginning with the Eleventh Century. Then we begin to get accurate history.
This term is applied to the subterfuge of causing a card to project about one quarter of an inch from the inner end of the deck. It is one of the oldest stratagems in magic, having been in use for three and a half centuries. It was first mentioned in Scott's Discouverie of Witchcraft, published in 1584.
James George of the Sorcery Shop passed along two new items to me. The first is their newest version of the I.T.R. It's called the Thread Boss, and it's a cutie. The reel is only 2 long and has a small alligator clip glued to it. This reel works exactly like the others in the I.T.R. line, and its small size makes it easy to hide under a shirt collar, or clipped to your belt. This is a nifty item, and thread-heads should definitely check it out.
THE KNOTTED HANDKERCHIEF The familiar one-hand knot is made for this effect, when the handkerchief is thrown into the cabinet through the opened lid. The sleight, simple as it is, will be found described in many magic books, the latest description of it appearing in Hugard's Silken Sorcery. At this point in the routine, psychology plays an important part. The audience is wondering about the ball's passage into the glass the assisting spectator is worrying both about that puzzle as well as his unexpected prominence on the platform, therefore, so far as he is concerned, a bit of stage fright enters into the situation.
Silk productions (pocket hanks are awkward to handle because of their weight and bulk). Silk is folded compactly into a ball that does not come apart, and placed under vest or in a vest pocket. Thread runs from silk to a lower button or the belt. When thumb is hooked in thread and hand moved quickly forward, it brings silk into the hand. See Hugard, Silken Sorcery , p.78 Christopher prefers to have silk under the armpit, from where it can be obtained with greater ease. In either case, the production can be followed by a dissolving knot, using same thread arrangement.
Ing sorcery by inventing magic TheReal Issue s the term Christian magician an oxymoron Believe it or not, there are some who would answer with a resounding Yes My first experience with such an individual had me thinking quick on my feet when I was bombarded with the questions, Would you let your kids 1 watch Harry Potter Are you going to feel responsible when they start acting ' out the parts Isn't magic just another form of sorcery I remembered thinking to myself, Just because I would , I shoot my friends with toy water pistols when I was young didn't mean I was bound to be a bank robber when I grew lup. But I could see her point. If God oes have a problem with such things s murder, sexual conduct, and in this ase, sorcery, is it moral to pretend to o these things Perhaps the tough-st question is why we would condone retending to do sorcery, but we would kely have a problem pretending to, y, molest a child. It makes you won-how much entertainment really is the standard by which we...
The development of Satanism is a perfect example of the powers of propaganda and public relations. Christianity comes to the heathens and one of the early Church fathers has the bright idea of telling everyone that the old fertility religion that they used to follow is actually worshipping the Devil. (See Witchcraft and Gnosticism.)
Secondly, that entertainment magic is in no way connected to witchcraft, sorcery, black magic etc. It is unfortunate that a link is sometimes made by individuals lacking knowledge, but the truth is that magic is an illusion, and it is always brought about by logical and physical means.
If you prefer to pepper your patter with references to witchcraft and the occult, you need to pick up a copy of Tom Ogden's new book Wizards and Sorcerers, an encyclopedia of the strange. If you've ever wondered what words like bao, dukun, himmelsbrief, and succubus mean, you'll find them (and many more) here. Tom provides an eclectic mix of the past and the present, including magic references from literature, art, music, theater, television, and movies. A casual read through will give you more patter possibilities than you could use in a lifetime. Wizards and Sorcerers is a nicely produced hardcover book and will look great on your coffee table. And besides, any book that includes references to both Mr. Mxyzptlk and the Mighty Morphin Power Rangers can't be bad. I enjoyed it. You will too.
In the first book of this trilogy, The Secret World Of Witchcraft (pub. A.S. Barnes and Co., Inc. 1973), I wrote of a typical fakir exhibition of magic as the tourist sees it frequently performed in India. This description and occasional other references are presented here with permission Ron Ormond, and The Cobra Eating Magician. This Fakir performs the fantastic feat of swallowing a cobra alive. (Photos reprinted with permission from The Secret World of Witchcraft, A. S. Barnes & Company, Inc. 1973) Ron Ormond, and The Cobra Eating Magician. This Fakir performs the fantastic feat of swallowing a cobra alive. (Photos reprinted with permission from The Secret World of Witchcraft, A. S. Barnes & Company, Inc. 1973)
Hocus Pocus Junior was published in London in 1634. It was the first fully illustrated English book devoted wholly to the explanation of the magician's craft. Much of the material in the book was drawn from Scot's Discoverie of Witchcraft and Rid's Art of Juggling. The book was enormously influential, and served as the basis for magic texts for the next 300 years.
In the evening of Thursday was a show entitled Invitation to a Seance . The title was misleading, since it was purely of mental type presentations by Maurice Fogel, Robert Harbin, Jack and Frances Salvin and Peter Warlock. It would have been better if only professional artistes had taken part. This was followed by another short show by the Ladies, and entitled Witchcraft . Those taking part were Paula Baird, Marjorie Fletcher, Shan, Elizabeth and Elizabeth Warlock. London's favourite Cabaret Magician, Elizabeth Warlock, Ade and True Duval (U.S.A.) presenting Silken Sorcery, Fred Kaps, famous Dutch manipulator, Milbourne Christopher, the Marco Polo of Magic, The Two Voltaires, presenting Visitors from Space . This was the first half of the programme and it was compered by David Nixon. And so to Li King Si, with his partner in Tibetan Sorcery. This is a superb act, seen here once before from the Continent. Extremely fast moving, colourful. Eastern magic, that is really exciting to...
Street Magic begins with an examination of ancient tribal magic - the magic of shamans, medicine men, witch doctors, and priests - and segues into a discussion of the influence of magic in early Greek, Roman, and Egyptian societies. There follow chapters on the magic of Hindu Fakirs, Oriental conjurors, and the jugglers, mountebanks, and necromancers of the Middle Ages. The wandering magicians of the 16th century are discussed, as are the seminal texts which appeared at this time Scot's The Discoverie of Witchcraft, Thomas Ady's A Candle in the Dark, Hocus Pocus Junior, and Henry Dean's The Whole Art of Legerdermain. Clever & Pleasant Inventions was published in 1584, and was the first book in French dealing with the subject of conjuring. In fact, this book seems to be the earliest book in any language devoted entirely to prestidigitation. (Reginald Scot's The Discoverie of Witchcraft was published in England the same year, but it had only a small section which explained the methods...
A handbook for witch trials and a real bestseller. It was first published in 1486, just when Torquemada was winding up to the Inquisition and every printing thereafter seemed to coincide with an outbreak of witchcraft and the resulting spate of witch trials. It was favourite reading for King James I who would read it by the light ofa burning witch.
Steve Draun is one of America's finest card men and close-up performers. On this video he performs and teaches four very practical and commercial dice effects Ed Marlo's Dice Transposition, Dr. Sack's Spotted Sorcery, Mohammed Bey's version of the Four Object Assembly, and Dai Vernon's Climax for a Dice Routine. (The Vernon routine is designed to follow the Sack's routine.) Also included on the tape is Steve's commercial Ambitious Card routine.
The Discoverie of Witchcraft By Reginald Scot Mike Anyone who has been in magic for any length of time is probably aware of the importance of Reginald Scot's The Discoverie of Witchcraft, which was the earliest book in the English language to detail the methods of the conjurer. But while many would acknowledge that they are aware of the existence and importance of Witchcraft, I would imagine that few contemporary magicians have ever read the conjuring section of this book. I am ashamed to say that I was among that group. So, what's in it The Discoverie of Witchcraft is 283 pages long, and of that, 22 pages are devoted to conjuring tricks. But as Richard Kaufman states in his foreword, Do not be deceived any magician today could earn his living based entirely on this material. Here's what I found in those 22 pages the progenitors of the Elmsley count and Card Warp the technique upon which is based the Dad Stevens shuffle a version of the Roth Ammar Shadow Coins the forefather of the...
The performer acts annoyed to no slight degree, explaining, Tituba likes to have fun in her witchy way. She was the West Indian slave who started the witchcraft scare back in 1692 with her voodoo stories. I generally have a word selected on the chosen page of the book and Tituba, believe it or not, scrawls the word on the piece of paper inside the envelopes. She never knows what the word means because she was turned at the stake just when the children of Samuel Parris were trying to teach her to read and write. She duplicates the printing as best she can and I've noted quite a bit of improvement over a period of the five years since I learned of her presence but when she gets impatient, mad, or just wants to play a joke, she'll rip the entire page out. Books never meant much more to her than something with
THE EFFECT AS SEEN BY THE AUDIENCE Upon hearing the performer tell a strange tale of Voodoo Witchcraft, as practiced in Haiti, the audience is invited to particinate in such a Ritual. The performer is to be the victim of the Voodoo and each member of the audience will act as a Voodooist. The audience is informed that the Haitian natives believe that each person has a certain spot on his body known as a Vital Zone , and that if this spot is injured in effigy, then the victim will die. The performer introduces an Effigy and four large pins. The Effigy is divided into five- parts, each part represented by a different color. He states that one of the colors represents his Vital Zone and that he has written this exact spot, represented by a color, on a folded Fascination The very mention of koodoo and Witchcraft brings to the mind of the average spectator a picture of natives in far-off lands practicing forbidden rituals accompanied by strange and fascinating music. This recollection is...
Magicians have been finding thought-of cards for over four hundred years, ever since Reginald Scot explained how To tell one without confederacie what card he thinketh. In The Discoverie of Witchcraft (published in London in 1584) Scot explained how to determine which of three tabled cards a volunteer was thinking of. He was perhaps the first to point out that if the magician looked where the volunteer looked he might know which card was chosen. Over the years many different performers have developed the technique but the method remains essentially the same, observing the gaze of the volunteer. However, few performers have made the feat central to their card work in the way that David has. Watch him perform and you'll note that cards are rarely removed from the pack only to be replaced and then the pack shuffled. They are almost always thought-of and then produced in a manner as direct as their selection.
Reginald Scot, in his ground-breaking expose THE DISCOVERY OF WITCHCRAFT (published in 1584) was probably the first to point out in print that by watching where the volunteer watches, a Performer might be able to tell which card was chosen. In his words The eyes bewraieth the thought . In fact, the concept of forcing or locating a though-of card from a fan of cards likely has its origins in Scot's book. In THE DISCOVERIE OF WITCHCRAFT Scot describes the notion of tossing the cards onto a table so that they land in a spread, with some of the cards more exposed than others. The more obvious cards are noted by the Performer, who also watches the participant's gaze. Pumping and elimination are then brought into play to get to the participant's thought-of card. In Decremp's TESTEMENT DE JEROME SHARP (published in 1786) the cards have now found their way off of the table and into the Performer's hands. In the very first description of its kind that I can find, Decremps describes both a...
Either the force will work, or the Participant will mentally select another card. Here it is important for the GAZE principle to be utilized. First mentioned in Scott's Discovery of Witchcraft (in his words The eyes bewraieth the thought ), the idea is to simply watch where in the row of five cards the Participant settles his gaze. This will give a good indication of his mentally selected card.
Although not strictly a necromancer, William Shakespeare was a weaver of spells through his words, creating the witches of Macbeth to chime with Scot's Discoverie of Witchcraft, transforming Bottom into an ass, bringing the statue of Hermione to life and inventing the magic island of Prospero along with the ghost illusion of Hamlet. He passed away on 23rd April, 1616, at the then respectably old age of 52. With the impeccable timing of a true dramatist he died upon what was believed to be his birthday -which also by happy coincidence happened to be St. George's Day. We have records to prove that he was baptised on 26th April, and this traditionally occurred three days after birth.
This happens rapidly and gives good illusion of ends being crossed beneath wrist, then brought up again. A double knot is tied above wrist (Fig. 346). Right hand grasps knot, while left goes below to free the loop. Jerk up with right hand. Hank appears to penetrate wrist. A larger hank can be looped around performer's ankle, leg, or neck. This classic impromptu effect can be found in Hugard, Silken Sorcery , p. 75 Rice, More Naughty Silks , p. 13 Tar-bell , Vol. 1., p. 372 Sacks, Sleight of Hand , p. 61 and many other books. A complicated variation, involving two large silks of contrasting colors, was invented by Stanley Collins and described in his Original Magical Creations , p. 77. One silk is looped around one thigh, and tied. The other silk is similarly fastened to the other thigh. When one silk is pulled free, the other jumps from one thigh to the other. A description may also be found in Hugard, Silken Sorcery , p. 75.
Method Perform Marlo's procedure from Si Stebbins Sorcery, getting the pack into an Out Incomplete Faro, having a card very freely peeked, holding a break in the lower section, and stripping out the upper section. In this case, give the stripped-out packet to the spectator and ask him to shuffle it.
The whole idea of the effect seems to be that the performer does something to a hidden article to prove he really holds it in his hands during a ghostly interlude before his audience. In other words by some sort of witchcraft or demonology J the wizard finds the hidden object-without leaving the room. Or his astral body travels to the point and locates it. And to prove that such is true a mark is plaoed upon the object. Therefore, why not do something simple
You think spells work I was having a rather spirited debate with some friends and I'm still thinking about it. Then agree with her beliefs. And listen. Either How the hell can people still believe in witchcraft in this day and age I mean, what do I tell my best bud Or Have you ever cast a spell on someone Have you ever had a spell cast on you Then why do you believe it What evidence Don't be a YES man, actually hold your own ground but be TACTFUL so you don't begin an argument. Be ready to move the conversation to some interesting anecdote like the time you and friends at a party were trying to conjure ghosts with a ouja board but nothing happened but one of you faked some thread around a trophy that lead out to the kitchen than someone pulled and freaked everyone out. It was a blast.
To start, the performer announces an experiment in witchcraft. A bit of Voodoo ceremony used to impress ignorant souls that the incantating and muchly overdressed native Witch Doctor is really possessed of powers beyond the reach of ordinary mortals. A power that permits him to send his astral body into far off places during the curious and forbidding rituals of the Voodoo ceremonies.
Some sleights for vanishing or producing a silk, without using gimmicks, can be applied to pocket handkerchiefs, but they are awkward for close-up work, and will not be discussed here. They may be found in such standard silk references as Harold Rice's Encyclopedia of Silk Magic , 1948, and Jean Hugard's Silken Sorcery , 1937.
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