"No Witchcraft for Sale" is a short story written by Doris Lessing. The story revolves around the relationship between a young white boy named Teddy and his African servant, Gideon. Gideon possesses knowledge of traditional African healing methods, including the use of a rare plant called the gekkoi. The story explores themes of cultural differences, racism, and the power dynamics between colonizers and the colonized. Throughout the story, there are several notable quotes that highlight these themes. One such quote is when Teddy's parents, the Wilsons, discuss Gideon's knowledge of the gekkoi plant.
“…as soon as the Sun sets they assemble in orchards of plum trees, or among ancient ruins, while on summer nights they hold their revels in barns, old hollow trees, by dark hedges or in subterranean caverns… When a wild wild is blowing the witches love dearly to dance.” Gypsy Sorcery and Fortune-Telling, Charles Godfrey Leland
When I saw, for example, the spot in Germany where the Pied Piper supposedly led the children away, it didn t look exactly the same as I had imagined. This conflict between civilization and wilderness is portrayed well in The Witch 2015 , where a family is forced to live at the edge of an impassable forest that they fear is inhabited by a witch.
One such quote is when Teddy's parents, the Wilsons, discuss Gideon's knowledge of the gekkoi plant. Mrs. Wilson says, "I wish we could get Gideon to tell us how to find it.
There Are Witches in These Woods: Untangling the Fairy-Tale of the Wild Feminine
Our cultural obsession with witches parallels our preoccupation with wilderness. This infatuation may provide insight into how we see our place in the natural world.
Our cultural obsession with witches parallels our preoccupation with wilderness. This infatuation may provide insight into how we see our place in the natural world.
My grandfather Jószef was a Hungarian witch . At least, that’s what my Dad told my brothers and I in the dim glow of a nightlight. Under the covers with wide-open eyes and ears, we walked with Jószef and his book of spells into the woods. Save for the moon glistening through thick brush and the flicker of Grandpa’s lonesome candle, the forest was pitch-black.
We had heard this story before, but it didn’t matter. We loved to be told the same stories over and over. Dad was a great storyteller. Every night we were granted another colourful tale to help tuck us in. But this story? This was my personal favourite. It was a spooky tale—one that made my spine shiver.
My brothers and I partially grew up in Aurora, Ontario, in a house my father built with his own hands. In our backyard there was a garden full of veggies, a sandbox and swing set, and grass that Dad religiously maintained. The yard was his pride and joy, and our happy hunting ground.
Beyond the train tracks, there was a forest which was an enigma to us. With it’s impenetrably dark pine trees and, to us, uncharted paths, it was where wolves howled to the Harvest Moon, bears scratched their backs on great pines, and all manner of creatures lurked. When Dad told us stories these woods are where I pictured them taking place. It made my Grandpa’s magical endeavors even more visceral. There were witches in these woods.
Doubtful that the spell would work and feeling unnerved by a sudden chill in the air, Grandpa Jószef had cold feet. He packed up his bag and rushed out, pushing branches and bushes out of his way. He wasn’t supposed to be practicing magic. He wasn’t supposed to be summoning spirits in the night.
Spooked by a horse whinnying and what he thought was a woman’s cry in the distance, he moved closer to the noise. His heart raced as he reached an area in the field illuminated by diffused light. In a white dress, a lady stood there beckoning—Jószef was as frightened as he was beguiled by this pale figure.
Who was the lady in white my Dad spoke of earnestly so many nights ago? And was my Grandpa really practicing witchcraft? Unfortunately, I never got the chance to ask either of them more questions about this mysterious past.
Vasilisa by Tin Can Forest
Upon a little research I discovered that the White Lady is a common legend in Hungarian mythology. She appears in a variety of folklore from around the world. A White Lady is the spirit of a woman bound to a specific location who had died due to violent means such as suicide, murder, or during imprisonment. However, there may be another explanation for this supernatural sighting.
Enter the szépasszony. Pronounced sayp-uh-sohn-ye. She is a pre-Christian Hungarian goddess that has been demoted to witch-spirit status. An alluring but menacing witch, her name literally translates to “beautiful woman”. She often manifests as a White Lady, with fair-skin, silvery hair, and a white gown. Post-Christianity, the szépasszony has developed a bit of a reputation as a baddie—a femme fatale, a demon who lures children away in a manner very similar to many villains in Hans Christian Andersen’s fairy-tales. If she sounds familiar, that’s because she is.
The beautiful yet dangerous witch trope is abundant in media. Women’s bodies, especially depicted in a sexual, terrifying, or an enchanted way can be seen everywhere from paintings to books, movies, TV shows, songs, and even political discussions, just to name a few. She is the wicked witch, the intelligent, dominating woman, the whore, and the crone. Regardless of which sub-category—classic, wicked, or hot, it doesn’t matter—the female witch trope can be powerful, magical, and unsettling. Witches are intoxicating. They have been for millennia.
Witches in art have been examined before, such as in the Witches and Wicked Bodies exhibit at the Scottish National Gallery of Modern Art. The exhibit explores witches and women’s bodies in art over the past 500 years. What I’m curious about witchy imagery is it’s association with nature.
Before we get down to the crux of the matter, who or what do I mean by witches?
WYTCHES: VOLUME 1. Graphic novel. Story by ScottSnyder. Art by Jock. Image Comics, 2015.
Defining the witch is difficult because the practice of witchcraft has varied among cultural and societal groups. Dictionary definitions predominantly tell us that a witch is a “woman with magical and/or evil powers“, or an “ugly, ill-tempered old woman.”
Certainly witches were not only women. In fact, during historical witch-hunts there were persons accused of witchcraft from all races and genders, such as Tituba, a South American native who was enslaved in Salem by a Puritan minister and the first to be accused of witchcraft during the 1692 Salem witch trials. Conversely, John Samond of Danbury was a male beer-brewer accused of being a “common enchanter and witch” in 1560.
In art, the witch is overwhelmingly a female figure. She has long, flowing hair that is tangled by the wind. She often has pale skin, dark crimson lips, and a wild look brewing in her eyes. The witch may be riding a broomstick beneath a full moon, tending to a cauldron bubbling with unknown elixirs, or accompanied by a gaggle of witches and their animal companions—an owl, a black cat, a bat, or a snake. The women dance around a fire or crawl up fireplaces chaperoned by diabolical creatures. They may form a circle under a full moon’s light, wreathed by a forest.
The witch motif has been used so often in media that it has become a little unoriginal. Think store-bought witch costumes and the surge in campy witch-themed TV, film, and books. Then there’s the witchy aesthetic of Halloween season all over social media, and all-year round in alternative subcultures. Not that I don’t love a little camp and Gothic witch glam—it has its place and time. Despite the witch’s sometimes ready-made traits, she serves as an archetype that isn’t going anywhere anytime soon.
It can help us to look at the psychology of archetypes. These can be used to understand why some of us are drawn to witches in the first place. Archetypes are representations of collective tendencies within us. They use images, patterns, and characteristics that help us understand human behavior and even the psyche. According to Carl Jung, archetypes are unconsciously played out and can be observed in motivation, desire, and action.
In the archetypes of Jung the witch is represented by both the Witch and the Priestess. They are two sides of the same coin; like Yin and Yang, the Witch is the shadow side while the Priestess is the light. Although witches are often portrayed in a dark light, they have also historically been the healers of our communities. They revered the natural world for it’s physical, psychological, and spiritual healing qualities.
Fairy-tales, horror stories, and artwork throughout the ages have trained us to associate witches with evil, destruction, and wickedness. On the light face of the coin, witches are also a representation of the healing power of nature, and the importance of respecting the Earth.
He keeps saying it's in the bush, but we can't persuade him to show us." This quote demonstrates the Wilsons' curiosity and desire to learn about African traditions. However, it also reflects their lack of respect for Gideon's knowledge by insisting that he reveal his secret without considering his cultural beliefs. Another significant quote in the story occurs when the Wilsons' daughter, Susan, falls ill with a venomous snakebite. Gideon immediately fetches the gekkoi plant and treats her. Teddy's father exclaims, "It's lucky for Susan you knew what to do, Gideon. You saved her life." This quote exposes the inherent power dynamics between colonizers and the colonized. While Gideon possesses valuable knowledge and skills, he is still seen as subservient to the Wilsons. His worth is only recognized when it serves their needs. Towards the end of the story, Teddy pleads with Gideon to reveal the secret of the gekkoi plant so they can use it to create a cure for various diseases. Gideon solemnly responds, "No, little bwana. No white man can know." This quote signifies the boundary between the colonizers and the colonized. Gideon understands the potential consequences of sharing his knowledge with the white people who have oppressed his culture. He recognizes that preserving his traditions and secrets is a form of resistance against the erasure of his identity. In conclusion, "No Witchcraft for Sale" presents a thought-provoking exploration of cultural differences, racism, and power dynamics. The quotes highlighted in this note demonstrate the complex relationships between the colonizers and the colonized, as well as the importance of respecting and valuing diverse knowledge and traditions..
Reviews for "Quotes from 'No Witchcraft for Sale': Revealing the Struggles of Indigenous Communities"
1. Sarah - 2/5 stars - I was really excited to read "No Witchcraft for Sale" based on the positive reviews, but I was quite disappointed with the book. The writing felt slow-paced and the plot lacked depth. I couldn't connect with the characters and found them to be one-dimensional. Overall, the book just didn't captivate me and I struggled to finish it.
2. John - 1/5 stars - I found "No Witchcraft for Sale" to be incredibly boring and uneventful. The story lacked excitement and the conflicts introduced were quickly resolved without much impact. Additionally, the dialogue felt forced and unnatural. It seemed like the author had a great concept but failed to execute it effectively. I wouldn't recommend this book to anyone looking for an engaging read.
3. Emily - 2/5 stars - I had high hopes for "No Witchcraft for Sale" as it was recommended to me by a friend. However, I found the writing style to be dull and monotonous. The characters lacked depth and I couldn't connect with any of them. The plot seemed predictable and the resolution felt rushed. Overall, it was a lackluster read that didn't live up to its potential.