During the Winter Solstice, Wiccans celebrate a deeply spiritual time of year marked by the shortest day and longest night. They believe that this special day holds tremendous energy and power. As such, they engage in devotions and rituals to honor this occasion and connect with the natural cycles of the Earth and the universe. One of the primary devotions during the Winter Solstice is lighting a Yule log. This ancient tradition symbolizes the return of light and warmth to the world. Wiccans also arrange a Yule altar, adorned with seasonal decorations like evergreen branches, holly, mistletoe, and pinecones.
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It s the first feature that he has directed; hitherto, he has worked as a production and costume designer, and the legacy shows in the weave of the homespun clothes. Katherine is afraid that her baby, as yet unbaptized, will be among the lost, denied entrance to Heaven, while William, his authority flaking and peeling away with every scene, admits out loud to being a thief.
Wiccans also arrange a Yule altar, adorned with seasonal decorations like evergreen branches, holly, mistletoe, and pinecones. The altar becomes a sacred space to commune with the divine and express gratitude for the cycles of life. Another common practice is casting a solstice circle.
The Witch
"The Witch," a period drama/horror film by first-time writer/director Robert Eggers, tellingly advertises itself as "a New England folktale" instead of a fairy tale. Fairy tales are, at heart, parables that prescribe moral values. "The Witch," a feminist narrative that focuses on an American colonial family as they undergo what seems to be an otherworldly curse, is more like a sermon. Sermons pose questions that use pointedly allegorical symbols to make us reconsider our lives, just as one character uses the Book of Job to understand her role in her family (more on Job shortly). But "The Witch" is not a morality play in a traditional sense. It's an ensemble drama about a faithless family on the verge of self-destruction. And it is about women, and the patriarchal stresses that lead to their disenfranchisement.
For a while, it is unclear which character is exactly the focus of "The Witch." It's probably not grieving mother Katherine (Kate Dickie), though Eggers gives ample consideration to her mourning of infant son Samuel, who has disappeared under unusual circumstances. And it's definitely not Katherine's mischievous young twins Jonas and Mercy (Lucas Dawson and Ellie Grainger, respectively), though Mercy does often speak for her and her brother's inability to understand how the world works after their family is banished to a foreboding forest by a nearby colony. The film's main protagonist might be William (Ralph Ineson), Katherine's troubled husband. Or it could be her eldest son Caleb (Harvey Scrimshaw), a young man desperate to defend his father from his mother's frustration.
But more often than not, "The Witch" concerns Thomasin (Anya Taylor-Joy), the eldest of Katherine and William's five children. Thomasin undergoes puberty under the mistrustful eyes of her family, but realistically, they're not too concerned with her when crops are failing, money is scarce, and Samuel is missing. Still, Thomasin absorbs the brunt of her family's anxieties: her younger siblings look to her for comfort, but she balks at the added pressure, especially after her mother makes her do more chores than the rest of her family members. There are other subplots in "The Witch," but all roads eventually lead to Thomasin. That's the dark beauty of Eggers's expansive story: it's not just about the marginalized presence of women in a male-dominated microcosm, but the harsh conditions that can, even under extremely isolated circumstances, lead women to resentment, and crippling self-doubt.
"The Witch" is, in that sense, an anti-parable. Eggers eventually leads Thomasin out of the woods, but he takes his time in clearing her path. The result sometimes feels like an imaginary Harold Pinter-scripted version of "The Crucible," since it follows desperate, lonely souls who do everything—set animal traps, milk goats, till the fields, do laundry—to avoid thinking about what's really troubling them. It takes a while for Thomasin's clan to even consider that their problems are caused by witch, or demonic enchantment. But it eventually happens. Before that, there are only signs and portents, particularly evil-looking animals: a tetchy goat, a twitchy hare, and some talkative crows. Eventually, Thomasin's family personify their fears of nature, a gnawing uncertainty that is predictably gendered as feminine. And suddenly, the family's day-to-day troubles—almost all of which stem from the fact that their land seems cursed—takes the form of a fairy tale witch.
AdvertisementWhich brings us back to Job. In the Book of Job, God hurts Job in order to test his faith. The reader knows that God exists, and has a divine, or perhaps just Mysterious, reason for trying Job. But until Job's body is plagued by God, he doesn't question that there is a reason for his torment. The same is basically true of William and his family. Until events lead his family to start clawing at each other's throats, he goes about his business as best he can. As a result, when you watch "The Witch," you often don't seem to know what the film is about. But the film's title is a big clue: this is a fantasy about empowerment, albeit through unorthodox methods.
I've talked a lot about what "The Witch" is about without mentioning how well it's about it. That's partly because the film is so consistently engrossing that I surrendered to it early on. Eggers' hyper-mannered camerawork draws you in by evoking Johannes Vermeer's portraits and the landscape paintings of Andrew Wyeth (there's also an overt reference to one of Francisco Goya's more famous paintings, but I can't tell you which one for fear of ruining a surprise). The complex sound design and controlled editing also help establish a mood that is (paradoxically) both inviting and somber. "The Witch" draws you in so well that you won't realize its creators have been broadcasting exactly where they're taking you.
Simon Abrams
Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in The New York Times, Vanity Fair, The Village Voice, and elsewhere.
Obviously, the night exteriors, we can't light with the moon with the Alexa Plus [a digital camera], but all the interiors are lit entirely with flame. I will say that historians would say [the characters are] burning way too many candles. That would have been very costly. But we needed a little bit more light.
This is a ritualistic way to create a sacred and protected space for Wiccans to connect with their spiritual energies and perform spells or divination during the solstice celebration. The circle offers a sense of sacredness and helps to focus intention and energy. Wiccans also engage in meditative practices during the Winter Solstice. This is a time for reflection and inner transformation. They may use meditation to connect with the deeper meaning of the solstice, to release any negativity or fears, or to focus on their spiritual goals and intentions for the coming year. Finally, feasting and sharing a meal together is an essential part of Wiccan devotions during the Winter Solstice. This feast is a time to nourish the body and to celebrate the bountiful gifts of the Earth. Wiccans may incorporate traditional seasonal foods and drinks into their feast, such as spiced cider, roasted root vegetables, and Yule log-shaped cakes. In summary, Wiccans have various devotions during the Winter Solstice to honor the spiritual significance of this time of year. Lighting a Yule log, casting a solstice circle, practicing meditation, and sharing a festive meal are all ways in which Wiccans connect with the energy of the solstice and celebrate the cycles of life and nature..
Reviews for "Connecting with the Elements: Wiccan Rituals for the Winter Solstice"
1. Christine - 2 stars
I was really disappointed with "Wiccan devotions during the winter solstice". The book promised to provide a spiritual and meaningful experience during the winter season, but I found it to be lacking in substance. The content felt repetitive and didn't offer any new insights or perspectives. Additionally, the rituals and practices described were confusing and difficult to follow. Overall, I was left feeling underwhelmed and unsatisfied with this book.
2. Michael - 1 star
I found "Wiccan devotions during the winter solstice" to be a complete waste of time and money. The author seemed more focused on promoting their own beliefs rather than providing helpful guidance for the winter solstice. The book lacked organization and coherence, making it difficult to navigate and understand. The content was shallow and offered no in-depth exploration of Wiccan practices during this time of year. I regret purchasing this book and would not recommend it to others.
3. Sarah - 2 stars
I had high hopes for "Wiccan devotions during the winter solstice", but unfortunately, it fell short of my expectations. The writing style was overly flowery and lacked clarity, making it challenging to grasp the intended meaning. The book also included a lot of personal anecdotes and stories that felt indulgent and distracting from the main topic. I was hoping for a more scholarly and informative approach to Wiccan devotions during the winter solstice, but instead, I found this book to be disjointed and unhelpful.