Wiccan Sex Magic R PDF
Wiccan Sex Magic R PDF
Preface
In the past fifty years a new religious and magical
phenomenon has swept the world. It is commonly called
Wicca.
The basic idea of this book is that the primary working
formula of Wicca as originally practiced by Gerald
Gardner, for example is keyed to physical operations
surrounding the techniques of flagellation and bondage
(scourge and bonds) combined with sexual pleasure. This
formula, although articulated and activated by Gardner,
was by no means invented by him. If there is anything
truly ancient about his system, it is not the theology,
mythology, or ritual trappings which were borrowed from
Judeo-Christian magic, but rather it is these physical
methods of working that it uses.
It should be noted that when the author of this book uses
the adjective w/ccan it is meant as a possessive case of
the term wicca, which the author correctly understands as a
word for a sorcerer or magician and not as a term for
the over all religion. The word for the whole system is
generally understood by the term witchcraft which
literally means the power or skill of the magician. So
the title really connotes the sexual magic of the
(traditional) sorcerer/ess.
Witchcraft and sex have always been closely connected.
The exact ways in which this connection existed in the past
has been obscured by centuries of repression, followed by
more recent trends toward political correctness and
proponents of a therapeutic political state. Wiccan SexMagic is a work that brings the tradition back home to its
elegantly wild and savage basis.
v ii
v iii
Contents
Preface....................................................................... vii
Chapter 1: History:
The Wiccan Way................ ............................... 1
Chapter 2: The Theory of Wiccan Sex-Magic:
The Play and Work of the Gods and Goddesses. 11
Chapter 3: Techniques:
Ways of Work - Ways of Play...........................19
Chapter 4: Rituals....................................................27
Initiation into Witchdom............................ 28
Wiccan Ritual Format................................ 31
Ritual Formulas.......................................... 38
Worship of the Goddess...................... 38
Worship of the God.............................39
Dwolma (chaos)...................................40
Edwenden (inversion)..........................41
Appendix................................................................... 43
Glossary.................................................................... 45
Bibliography............................................................. 47
IX
Chapter 1
History
The Wiccan Way
Since time immemorial sexuality and religion have been
firmly linked together. In ancient times the excitement of
sexual feelings in the human body and soul were tanta
mount to the raising of a holy power for a holy power it
is. Only with the coming of Christianity and its doctrines
of repression did this sacred link become increasingly lost.
But, of course, it was never entirely lost. The Christian
view is most often that if sexual feelings are aroused in the
practice of religion, then there is something sinful (to
use the medieval word) or sick (to use the modem word)
about it. In fact, the experience of erotic pleasure is in and
of itself a manifestation of a divine presence. Just as
another tabooized feeling that of comedy can also
be considered a holy experience.
This lack of understanding is one of the greatest blocks
for modem practitioners of the old Vanic way. The con
tents of this book are part of the greater Vana-Troth. The
practices outlined here are not the only ones of the VanaTroth, to be sure, but they are important ones nevertheless.
A lack of experience of these aspects of the holy can lead
to an imbalance in ones development. (Just as an overindulgence or obsession with them can do the same thing.)
This history of the Way of the Wanes is not a
comprehensive one our task here is to focus on the
sexual rites and practices inherent in the practice of the
Vanic path of seidr or wiccecrceft.
l
Medieval
The erotic use of dominance and submission was not
limited to ancient times. In the Middle Ages, especially in
the period of the so-called High Middle Ages, from about
1000 to 1300, there flourished in Europe something which
has been called the cult of Courtly Love. In Germany
this kind of love is called Minne, which is related to the
word for memory, for in Minne one remembers the
beloved.
In the practice of Courtly Love the knight would
virtually worship a Lady. She would, if he earned her
attention through the love-songs he wrote and performed
for her, allow him to come progressively closer and closer
to her. In theory there was nothing physical about Minne,
but many songs from the period, called Tagelieder, or
Morning Songs, indicate that the knight and his lady did
sleep together.
One of the most pronounced aspects of this courtly
culture is F rauendienst Service of the Lady. A
physical, flesh and blood, woman would become the object
of the knights utter, virtually religious, devotion.
The knight would be initiated in stages by his Lady, first
he would be an aspirant (who aspires for the attention of
the Lady), then a suppliant (who is recognized by the
Lady), then a suitor (who is allowed to come into the
Ladys presence) and finally a Lover, who is formally
installed with a kiss and an oath of loyalty. His virtues are:
I) joy (provided by the Lady), 2) worthiness, 3) desire (to
please the Lady) and 4) discipline.
One of the knights best known for his devotion to
Frauendienst was Ulrich von Liechtenstein. Who was
known to be extremely devoted to his Ladies, and who, in
7
10
Chapter 2
11
Body Magic
Wiccan sex-magic makes use of the human body as a
magical vehicle the ultimate magical tool, as it were.
Two essential ways in which this tool is activated is by the
control of blood flow and by the application of painful
stimuli which are naturally transformed into pleasurable
ones by the body.
Blood flow is controlled by either restricting it with
bondage techniques or accelerating it and moving it to
different parts of the body by means of flagellation. The
purpose of these techniques essentially to reawaken
vestigial organs in the body by causing the blood to flow
away from the extremities into the core of the body and
toward the pelvic region. This secret is touched upon
toward the end of the eleventh chapter of Dr. Hanns Hein/
Ewers novel The Sorcerers Apprentice. There this old
Initiate reveals that what the mystics call ecstasy is in
reality not a rising up but a going under a
dissolution of the distinction between the ego and the outer
world. The technique of doing this is linked to the carnal
experience of vestigial organs in the body that were once
active in previous stages of human evolution.
The flow of painful stimuli transitioning into
pleasurable ones is not unnatural. Epicurean philosophers
such as the Roman Lucretius were fond of pointing out
that pleasure is the natural state of the body, that when
pain is introduced, it has a way of becoming pleasure
naturally. However, in experiencing this flow of nature,
and in riding this natural transformation o t h e i
transformations and changes become possible through it
secret linkage between the flow in the body/mind of lhe
individual and the flow in the outer world.
14
Wanic Magic
The essence of Wanic magic is tied to the concept of
sexual energy. Sexual energy is always connected to the
process of p ro d u c tio n and more especially of re
production. Whether an actual child is bom from sexual
union or not is not the question: It is simply the nature of
the energies involved to produce a product some fruit
will be born from all expenditures of sexual energies.
But in fact the Wanic form of magic is also closely tied
to actual reproduction (in humans as well as animals and
plants). The Wanes hold special secrets of eugenic
practices, which were essential to the mainten-ance of a
strong and healthy population in ancient times, but these
have become extremely taboo in todays world. We hope
the old spirit of the Wanes can be revives so that in the
future all who are bom into our world will be healthy and
strong.
One essential aspect of Wanic magic, linked to its
ultimately sexual nature, is the idea of polarity. The myths
emphasize this greatly. This is the importance of the whole
idea of the Lord and the Lady the sexual polarity of the
male and female. (However, because the divine Lord and
I ady are actually brother and sister, it can be seen how the
polarity is not an absolute dichotomy, but a polarity of
Im'ces within a natural system.) Other polarities are power
and a lack of power (or dominance and submission),
pleasure and pain, etc. . . . Wanic sex-magic works with
polarities. There are power-flows from zones of high
pressure to low pressure. There is a natural flow in this
direction, from high to low, from divine to human, and
Im>in pain to pleasure. Wiccan sex-magicians learn how to
l n id and then how to ride this flow.
15
17
Chapter 3
Techniques
The Ways of Work The Ways of Play
The Way of the Wanes is a way of action, of physical
action in the body and in the world. Other systems may
depend on spiritual or symbolic experience, which is
brought into the world of the flesh, but the way of the
Wanes moves in the other direction from experience in
ilie flesh into spiritual realization.
How this works is largely dependent on the application
ol certain techniques in order to provide the body,
emotions and mind with definite experiences. These exper
iences stimulate what amount to vestigial organs in the
cell-structure of the body. These reconstituted structures
become new (= extremely old) vessels into which
consciousness is poured and the reception of this
awareness into these organs is felt as ecstasy. Ecstasy is
ilie first sign of the entry of consciousness into these
ii.ivislic structures.
I here are essentially six techniques involved in this
piocess. Four of these are purely physical: binding, ordeal,
whipping and sexual pleasure. The others are more
1 1 implex and are different in kind: the roles enacted by the
Iai iicipants, and the function of the ceremonial structure
II If.
19
Roles
One of the major techniques of wiccan sex-magic is Ilie
taking on of divine characteristics by the various
participants. Making use of the polarity theory, howevci,
the relationship between the entities in ritual does no)
begin as one between God and Goddess which I n
perhaps more orthodox, or ordinary. The relationship used
in wiccan sex-magic is between a divinity (male or female)
and His or Her servant (thrall). The thrall serves the God
or Goddess as He or She demands, and is in the end I n
sometimes rewarded with congress with the divinity. The
taking on of these roles is really a matter of inner magical
technique. The better ones inner technique is, the more
powerful the working will be. Outer techniques also
include the wearing of masks by those who take the roles
of the divinities. In theory the divinity gives power, and
the servant receives, but because the divinity is made Id
give power, He or She becomes more powerful in Ihe
giving. In group workings the divinities are simply
pluralized into a whole pantheon, and the servants become
their cult.
Ceremonial Structure
The archetypal roles played by the participants have an
intrinsic power, and it can be found that once such god
forms are entered into, ceremonial structures will begin to
spontaneously suggest themselves. However, there is a
fairly standard ritual format which was even alluded to in
the old church documents condemning practices of
witchcraft.
There are essentially ten stages to a wiccan sex-magical
working: I) Wayfaring (where the participants move from
20
Physical Techniques
One thing that is intrinsic to the use of all physical
icehniques is that each of them must be tried practically
.iiid in consultation with anyone upon whom or with whom
ihey are to be used. It is unlikely that our ancestors were
mcareful in these regards, but they were a hardier lot than
we are.
21
Binding
Binding in the ceremony is done for one of three
reasons: as a sign of the worshippers relative powerless
ness, as a way of restricting respiration, blood flow and
movement for its own sake, and as a method of holding the
servant still for the infliction of the whip or other stimuli.
This latter use will always be a part of the initiation rite.
The instruments used in binding are most traditionally
soft leather strips. Some use ankle and wrist straps or
cuffs. The latter allows the worshipper to be bound and
unbound efficiently and quickly. Thin cords or rough ropes
should be avoided.
For purposes of binding in the fashion of the
worshippers at the grove of the Semnones, mentioned by
Tacitus, the worshipper should have his or her ankles tied
close together, so that he or she must take very short steps,
and the wrists are then tied either in front, or behind the
back.
The most usual position to tie the worshipper in is face
down over the altar, which is made of wood or stone, lioi
this the worshippers should have their hands bound behind
their backs and also be bound tightly at the ankles and
knees, with leather strips. Then they are bent over the
altar which is about three feet in height. Near the base ol
the front of the altar is a ring or hook to which the knees ol
the worshipper are tied. A loop is sometimes tied around
the neck to the hands, this should be quite loose, allowing
the worshippers to alleviate pressure on their necks by
holding their hands higher up on their backs. This position
is the perfect one in which to receive strokes of the whip
or cane on the buttocks generally the preferred place loi
the strokes to be taken!
22
Whipping
Whipping or flagellation is the technique most attached
io ancient pre-Christian practices of sexual ecstasy. It was,
nl course, carried on by the medieval Christians, but with a
marked reduction in the overt sexual nature surrounding
ilie application of the technique.
The general technique of applying flagellation in the
promotion of the ecstatic state is that of starting slow and
easy and working up to a more vigorous application with
prenter level of intensity. The flagellator must keep iniline with the person(s) being whipped so as to be aware
nl i heir levels of tolerance. Once certain patterns are
Ntablished, it becomes easier to achieve the right state
lull in the beginning care must be exercised. An
inexperienced witch-master may either start too heavy and
destroy the possible magical effects, or never be severe
enough to evoke power.
The actual instrument used in flagellatory magic varies
Icom culture to culture. Most wide-spread from the most
ancient times was the birch-rod or bundle of birch
luanches, or a multi-tailed leather whip. (Substitutes for
ilu- lithe birch branches can be found in most parts of the
world.) Also quite traditional are canes or rods which
am flexible or semi-flexible single-staved instruments. In
iIn; case of a birch-rod or whip great rapidity of rhythmic
acokes can be achieved, whereas with the single-staved
i nne or rod (usually more intense in the level of physical
Simulation felt by a single stroke) a slower, deeper, pace
r. possible. I understand rings in America have even used a
paddle to good effect. Experimentation will be the guide
a-, to what is most effective for the individual worshipper.
( he point is always to feel a stimulus which can 1) be
23
26
Chapter 4
Rituals
This chapter contains everything one needs to know to
begin conducting a ring of wiccan sex-magic. The rituals
can not be in all cases reduced to recipes with fixed
words and actions. This is because wiccan sex-magic is a
matter of practical organic and bodily reactions. If it is
iiuditional (which it apparently was) to give strokes of the
birch or cane in so-called sets of six ( 3 x 6 = 18, the
number of the Birch-Rune); but the participant really needs
more, or could do with less in order to get to the desired
i.ilc of bodily reaction, then the practical simply must give
way to the traditional. The point is to get to the magical
Male, not to rotely follow a recipe.
What is given here is an outline of ritual formats and
Miuctures to be used by individual pairs and groups in
nnjer to begin experimentation. As we believe what we are
n ally doing is awakening sleeping atavisms, experience
will guide you in the ways of wise working.
I can only offer these few words of practical advice:
I fevelop a sense of empathy with your partner(s), this is
111*greatest aspect of playing safely and with trust. Do not
push your partner(s) to do things which they are not ready
I*i do. But all should also take it upon themselves to
xplore and push back the limits they have placed on
I Iit*mselves/rom within. By pushing back the horizons of
27
For the most part there are two segments of the working
formula which are performed the same way for all rituals.
These are the wayfaring and the ringing. In the following
working texts, where it says perform the wayfaring anti
setting of the ring as usual you are to follow the
instructions given here unless your own ring has developetl
an alternative tradition.
I. Wayfaring
This is a processional of the celebrants of the given
festival from a starting point to the place of the actual
working. In some real sense this is accounted for magically
by the trip taken by each celebrant to get to the place
where the festival will take place. But symbolically this
aspect is usually re-enacted near the working site. The
distance between the starting point and the final site can be
long or short. Ideally the wayfaring would start near a
more civilized area (for example near a house) and move
into a wilder, more natural area where the ring is set up.
In this way there is a definite movement from order into
the realm of chaos, or disorder of elements out of which
the witches will weave a new order in accordance with
their dreams and visions. It is a movement from the outer
most level of reality to the innermost center of being out o!
which all things come. Psychologically it is a movemenl
from the realm of the conscious through the sub
conscious into the collective unconscious (also called
the super-conscious) realm wherein the archetypes dwell.
Gather the folk of the ring at the starting point of the
procession. The witch-leader of the ring says:
Now is come the tide for us to lead away from this steail
and fare our way to the ring at the middle of the world.
32
IV. Playing
Beyond the verbal symbolic acknowledgment there is to
In* an enactment of the roles though symbolic actions.
These will vary from rite to rite, and from season to
Ncuson. For example, in the Midwinter rite, when the
<iotldess is to be worshipped, she (either in the form of a
pantheon of two or more female members of the ring or in
ilu form of a single female member) is served in various
ways. She is fed, caressed, and her every (sometimes
perverse) whim is catered to. . . This part of the rite
must go on until the inner state is reached where all the
participants really fe e l that they have b eco m e the
archetypes they are enacting. Just going through the prearranged ritual mechanics is not sufficient
V. Saw
I'he saw is a short statement in which the purpose and
intent of the working is made clear. This is usually nothing
more than a statement such as: We are come here tonight
to worship the God living in the Earth for the Midsummer
mligious working, for example or something like: We
am come here tonight to bring health and healing to all the
millings in our ring for a particular magical purpose, and
no on. This simple statement is a powerful direction of the
will, as it is made by those who have been transformed by
moans of the playing into archetypal forces.
VI. Weave-Work
This comes in the form of an exchanged dialog between
aml/or among the now transformed participants that is,
11 ii example, between the God and His bond-maid, or
I" Iween the Goddess and Her thrall. Remember that these
35
VIII. Gifting
This is the climax of the rite. In most instances it is
i haracterized by sexual activity ending in orgasm. The
expenditure of the energy of orgasm is the gift to the
divinities. This is the part of the rite which came to be
known as the Great Rite in Gardnarianism. In some
instances this may be substituted for by some especially
evere ordeal undergone by an elected member of the ring.
Iiowever, these are advanced techniques, and should not
In- practiced without experience in the long-standing
icaditions of a ring.
The energies built up and held in by the witching are
i rleased in the gifting.
IX. Leaving
This is the formal closing of the ringed part of the
11 icmony. The closing is simply effected by the leader of
Ilie rite stepping through the Yule-gate, and speaking the
words: And so our work is ended, and so shall it be.
X. Merry Making
I he whole is usually followed by Merry Making
which may or may not be of a more unstructured sexual
imlure. The Merry Making takes place in and in the
proximity of the ring, or circle, but the formal boundaries
nl (he ring are not observed. In the winter time, the Merry
Milking can take place indoors. Merry Making is an
informal fest in which the participants bask in the glow of
ilic Wanic power. They eat, talk, and play with each other
in ways that are guided by the Wanes. In some rituals the
<tverily sexual aspects of the rite are reserved for this part
nl (lie festivities.
37
Ritual Formulas
There are essentially four ritual formulas of wiccan sex
magic. These are linked to the fourfold mystery of llu*
Brisingamen. Rituals of wiccan sex-magic can he
undertaken at any time during the year, but as noted below
there are certain seasonal correspondences. The four
formulas are: Worship of the Goddess, Worship of the
God, Dwolma, or chaos, and Edwenden, or inversion.
Each also has its own kinds of practical aims which are
most natural to it, although experimentation has shown that
almost every formula can be used for differing practical
aims.
Worship of the Goddess
In rites of worship of the Goddess, the Lady, by whom
we mean Freyja, the male members of the ring are to
serve, and worship, either a single female member of the
ring, who represents the Lady, or all of the female
members of the ring, who then represent the pantheon of
Wanic Goddesses. Such worship consists of vdrbal praise
of, and physical servitude to, the Goddess(es). In the
w itch in g portion of the rite power is raised by the
Goddess(es) through ordeals and whippings of the male
members of the ring. In some instances, the ordeal may be
suffered only by a single elected member. Traditions vary
from rite to rite, and from ring to ring.
The force associated with the mystery of the Brisinga
men for this rite is that of drawing inward toward the
center of a ring or circle. This could be called magnetic.
This sort of rite is most associated with the yule-tide, or
Midwinter, and is linked to the northerly direction. It can
be called upon for a wide variety of magical aims
38
Dwolma
(Chaos)
Dwolma, pronounced DWOL-ma, is an Old English
word for chaos. Old English dwolcrceft was yet another
word for wiccecrceft. The concept of a primeval, and in
some sense eternal chaos (cf. Old Norse ginnung) is a
deep-seated one in the old Germanic mythology. As the
world originated, or was born, out of this chaos, when
the witch wishes to renew something, to revitalize it, then
it should be returned to a state of primeval chaos, or
dwolma. This is not to bring disorder to ones life, but
order under will and in a revitalized state.
Essential to the performance of rites of this kind is the
practice of selecting who the worshippers will be by means
of games of chance (or skill). The game of chance will be
played in the ring just prior to the singing part of the rite.
Dice can be thrown, or some other game played. Who will <
be the thralls or bond-maids and who will be the divinities
is left to random chance. Also, the gender of the
worshippers as they relate to the divinities will thus' be left
to chance or to the will of the Noms.
The character of force associated with the mystery of
the Brisingamen here is that of random association. This
could, of course, be called chaotic.
This kind of ritual is associated with the spring, and
corresponds to the eastern direction. It is most effectively
used in rites to make changes in routines (getting new jobs,
relationships, etc.) and to generally renew ones self.
40
Edwenden
(Inversion)
Edwenden, pronounced ed-WEND-en, is Old English
lor a change, reversal, or inversion. The chief
i liaracteristic of rites using this formula is that of an
inversion of roles along a polar model male becomes
female, powerful becomes powerless. . . Rites of this kind
nre common in traditional cultures where the fool might
become king for the day, and women dress as men, and
vice versa. The essence of the formula is a return to the
basic level of being, where in the opposite of what one
appears to be is reality. In returning to this mysterious
source, vital power is recovered and renewed. (See the
myth of Eorrs dressing as Freyja to go to the realm of the
plants to recover his hammer reflected in the
"hrymiskvida.
Participants should enter the ring in their normal
personas, and during the singing portion of the rite roles
should be reversed within the ring, and the rite continued,
l Jpon return to the mundane, shapes are once more shifted
back to normal. However, it will be noted that the
"normal state of affairs are engaged with a new sense of
vitality and strength.
The character of force associated with the mystery of
Ihe Brisingamen in this instance is that of reversing
direction. This could be called inversional.
This type of ritual is associated with the fall, and
corresponds to the western point of heaven. It is best used
with the magical intent of reversing present trends or
courses of action. It is also effective for reinforcing healthy
trends or states of being, to which one will naturally return
on the day after the rite.
41
42
Appendix
Resources
1. Organizations
True witchdom is a grass-roots movement with no
mitral authority or organization per se. The publishers of
liis book endeavor to keep a registry of individuals and
mgs who are looking for others with whom to explore the
Mysteries of true witchdom. It is an old tradition that one
uay not pass the mysteries to any but those of the sex
ipposite your own, and that you can do this no more than
line times in your life, but that you must do it at least that
ttany times. The passing of these mysteries is a secret
liing which can not be put into words anyway.
2. Equipment
The best equipment is that which is fashioned by your
nwn hand. However, care must be taken in the making of
pertain items, such as whips. This is because you might
make a scourge that is too severe one that is difficult to
use in the controlled manner necessary to the slow build
up of the energies which are useful in wiccan sex-magic.
I or this reason it is advisable to shop around at leather
stores or sex shops to find whips of softer leather. There
are many fine craftspeople who have practically dedicated
(heir lives to creating practical and beautiful whips of the
kind that are of great use in the practice of wiccan sexmagic. If you have any difficulty finding such equipment,
write to the publishers of this book, and they may be able
to help you. As sources tend to come and go, it is best to
get up-to-date information.
43
Glossary
airts: The eight directions of the horizon.
ergi: Magic which involves the use of perverse sex
uality. It may or may not always imply passive anal
eroticism by a male, although this is one of the old
meanings. It generally seems to have denoted taboo
breaking acts as a part of magical technology,
etin: A giant, which is a living entity of great age and
strength, and often knowledge. Female etins were often
beautiful, Old Norse jotunn.
Frauendienst: Term for the cult of service to a royal lady
as practiced by the M innesinger-knights of medieval
Germany.
ling: A group dedicated to the practice of witchdom. There
are usually no more than twelve members of a ring, and
for technical magical reasons it is best if there are an
equal number of women and men in the ring.
seidr: A kind of magical technique contrasted with galdor.
Seidr involves attaining of trance states and often
involves sexuality. Sometimes this involves shapeshifting into animal forms. It is the kind of magic taught
to OSinn by Freyja.
Wane(s): The Gods and Goddesses of organic existence in
Ihe Germanic pantheon, governing the realms of organic
and material production and reproduction, eroticism,
wealth, craftsmanship and physical well-being. Same as
Old Norse Vanir, singular Van.
45
46
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