Wicthy girl names are a popular choice for parents who are looking for unique and captivating names for their daughters. These names often have a mystical and enchanting quality to them, evoking images of witches and spellbinding worlds. One of the most well-known witchy girl names is Luna, which means moon in Latin. This name is associated with mystery and magic, as the moon has long been linked to supernatural powers in folklore and mythology. Another popular choice is Raven, which signifies wisdom and intuition. Raven is often associated with witches due to its connection to the dark and mysterious world of the night.
In the 15th century, drawings began to depict nude witches, astride their broomsticks, flying through the air. According to some historians, this image was suggested by the practice of rubbing a broomstick with belladonna extract and maneuvering it in such a way that the active hallucinogenic ingredient, atropine, would be absorbed into the bloodstream through the sensitive genital tissues. So, in a fashion, witches really did fly!
In the beginning of the film, we see the characters exiled to New England s frontier a new and harsh environment, lacking in community support, that ultimately sets up the story s main conflict. Reverend Parris s delay of his acceptance of the position increased the village s divisions, and he was not seen in a good light by his own congregation.
Raven is often associated with witches due to its connection to the dark and mysterious world of the night. Other witchy girl names include Willow, which is reminiscent of the magical tree known for its healing properties in folklore; Aurora, which means dawn and represents new beginnings and transformation; and Seraphina, which has angelic connotations but also a sense of secret knowledge and hidden powers. Some parents may also opt for more traditional witchy girl names such as Agatha, which means good in Greek but has a witchy reputation due to the famous Agatha Christie mystery novels, or Morgana, a name derived from the Arthurian legends that represents a powerful sorceress.
Bewitching Environments in 2016’s The Witch
Every October we can expect a lineup of new thrillers and horror films designed to frighten and intrigue audiences. Often these films (consciously or not) present a veiled but hyper-realised version of a modern “threat.” Vampire movies, for instance, have represented a myriad of fears through the ages—like how Count Orlok’s character in the 1922 German film Nosferatu, had anti-Semitic features.(1) Usually these films present fear of an “other,” an out-group that causes havoc for the members of the in-group. In horror films about witches, the witch is usually a bloodthirsty old crone with a vendetta against average people. Unlike most horror films, 2016’s The Witch seeks to be historically accurate and does not present an “other” as the driving evil. Rather, the film’s characters turn on one another and ultimately create their own demise.
The Witch: A New-England Folktale, set in 1620 New England, is unique among horror movies about witchcraft in that it makes an effort to portray witches as they would have been understood in the 17th century. Robert Eggers’ film represents, in several respects, a better direction for historically-based thrillers. The film is well-researched and (though some non-academic viewers may find its attention to detail tedious,) is more responsible in how it builds suspense and conflict between its characters. Indeed, the film’s credits state directly that “This film was inspired by many folktales, fairytales and written accounts of historical witchcraft, including journals, diaries and court records. Much of the dialogue comes directly from these period sources.”
Eggers’ attention to the historical record shows, as his film’s witch complies with 17th-century beliefs. Historically, witchcraft was perceived as a very real and tangible representation of evil and the devil. Contemporaries believed that witches inherited their magical or supernatural powers (like flying or shape-shifting) by making a pact with the devil and signing his book. “Witches” were usually outsiders or individuals who lived on the fringes of society. They were usually lower class, didn’t fit into normative society, and often had physical or mental disabilities, or disfigurements. Because it was thought that women were intellectually weaker than men, it was also believed that they were more susceptible to the temptations and persuasions of the devil. These Western views on witchcraft originated in Europe and migrated across the Atlantic with North America’s first European settlers, and this is evident in The Witch.
*Warning: Plot Spoiling Ahead*
In the beginning of the film, we see the characters exiled to New England’s frontier—a new and harsh environment, lacking in community support, that ultimately sets up the story’s main conflict. After the loss of the baby Samuel, environmental stressors including a crop failure and the family’s inability to sustain themselves on limited game provoke familial strain. William acknowledged the impact of these environmental factors when he declared that, “We will conquer this wilderness, it will not consume us!” Little did he know that the drama incited by “this wilderness” would ultimately be the family’s downfall.
Soon after the family begins their new life on a frontier farm, the baby Samuel mysteriously vanishes under the care of the eldest daughter, Thomasin. The family attributes this disappearance to a wolf, but the audience knows that a witch who has taken him. Samuel’s kidnapping increases the family’s sense of vulnerability on the frontier. This unease, in addition to a sense of distrust among the characters after a silver cup goes missing, creates tension and conflict within the family that is exacerbated further by growing concern over their crop failure and difficulty trapping game. One by one, each family member is targeted by the witch and the family goat called Black Philip (who is actually Satan), who intensify existing pressures in order to drive them apart. As the film goes on, the family becomes more convinced that something evil is at play and causing their problems even as they continue to plunge deeper into a pattern of self-destructive behaviour.
By our summary, it is clear that (for a film called The Witch) the witch makes very few visual appearances throughout. Rather, much of the focus is placed on the tensions and “infighting” within the family. In the film’s canon, witchcraft is real and dangerous. However, even before the characters have reason to believe a witch is responsible for their recent troubles, their attention is placed on “the witch” rather than on the problems that they know exist. For instance, Katherine, the mother, describes the farm as “unnatural” and describes her son’s illness as looking like “witchcraft.” Blame is placed on a witch before the characters have evidence that supernatural forces are at play.
Eggers’ storytelling falls strongly in line with the kinds of climatic stressors historians know to have been attributed to witches in the past. In the 1990’s, Wolfgang Behringer found that German witch hunts escalated during periods of climactic change, especially those causing food shortages.(2) More recently, Edward Miguel, similarly, concluded that witch trials in rural Tanzania intensified in times of drought or flooding.(3)
In The Witch…environmentally-driven anxieties manifest themselves as fears about witchcraft.
In The Witch, as in the historical examples Behringer and Miguel describe, environmentally-driven anxieties manifest themselves as fears about witchcraft. As stress builds in the film, the characters become more convinced that there is a witch in the area, if not among them. This stress is caused by several factors, including their isolation and failing crops, exacerbated by Samuel’s disappearance and the character’s attempts to place guilt or to understand God’s punishment. In Simon Abrams’s review of the film, he suggested that “Eventually, Thomasin’s family personify their fears of nature… [and their] day-to-day troubles—almost all of which stem from the fact that their land seems cursed—[in] the form of a fairy tale witch.”(4)
Screenshot from The Witch.Because The Witch is not based on one particular event or family, it’s successful in giving audiences a sense of how contemporaries experienced witchcraft during the 17th century. While films or documentaries about specific trials often focus on the particular phenomena that experts speculate caused fear of witchcraft at that time and in that place, The Witch tells a more standard story. “Witches” were blamed for ordinary things going wrong that contemporaries simply could not explain at the time.
The Witch brings this history, or the trend to blame environmental change (like crop shortages) on individual people, to life. The title character is a tangible threat in the film, however, in history witchcraft was a scapegoat. But—if the witch isn’t the threat–how can the danger be mitigated or controlled? As we enjoy the thrill and adrenaline rush of scary movies this Halloween, let’s also remain conscious of what these films are telling us to fear…
Erin Isaac is a Master’s student in history at the University of New Brunswick. Her thesis Conflicting Christianities: Anglo-North American Anti-Catholicism and Its Exceptions, 1763-1780 considers the legacy of imperial anti-Catholic traditions as expressed during the Seven Years’ War (1754-63) among British North Americans and its effects on politics and culture between the Quebec Act (1774) and the Franco-American alliance (1778).
Kapri Macdonald is a first year Master’s student in history at the University of New Brunswick. Her research interests include witchcraft and women’s experiences with the supernatural and preternatural.
Notes
(1) For more, refer to Rolf Giesen, The Nosferatu Story: The Seminal Horror Film, Its Predecessors and Its Enduring Legacy (Jefferson: McFarland & Company, Inc, 2019), esp. 103-110.
(2) Wolfgang Behringer, “Climactic Change and Witch-Hunting,” Climate Change 43 (1999): 335-351.
(3) Edward Miguel, “Poverty and Witch Killing,” Review of Economic Studies 72 (2005): 1153–1172.
(4) Simon Abrams, Roger Ebert Reviews, February 18, 2016, https://www.rogerebert.com/reviews/the-witch-2016.
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Tituba, Sarah Good, and Sarah Osborne were among the first to be accused and arrested for affecting Betty Parris, Abigail Williams, Ann Putnam Jr., and Elizabeth Hubbard. At the time, a vicious rivalry was underway between the Putnam and Porter families which resulted in polarizing the people of Salem. These disagreements often escalated into full-fledged fighting based on their opinion of the feud. I suppose an accusation of witchcraft was an easy way to get rid of an enemy, considering the gullible and superstitious nature of the people in this town.
Witchy girl names can be a way for parents to embrace their love for the mystical and embrace their little one's unique and magical spirit. These names often have a sense of allure and charm, making them stand out in a world of more traditional names. Whether inspired by mythology, nature, or literature, witchy girl names offer an opportunity for creativity and individuality, allowing parents to give their daughters a name that will set them apart and spark curiosity and fascination among others..
Reviews for "Discover the Power of Witchcraft: Unique Girl Names Inspired by Wiccan Traditions"
1. Emma - 2 stars
I was really looking forward to finding some unique and powerful "Witchy girl names", but unfortunately, this book fell short of my expectations. The names included were mostly cliché and overused, and I was hoping for something more creative and inspiring. Additionally, the book lacked any background information or historical context for the names listed, which would have been helpful in understanding their origins and meanings. Overall, I was disappointed with this book and would not recommend it to others seeking unique and enchanting witchy names.
2. Liam - 1 star
I found "Witchy girl names" to be incredibly lacking and unoriginal. The majority of the names listed were either too basic and generic or too outlandish and impractical. I was hoping to find some elegant and mystical names that truly embodied the allure of witchcraft, but instead, I was met with a list of uninspiring choices. Furthermore, the book provided no explanations or background information for the names, leaving me feeling disconnected and uninterested. I would not recommend this book to anyone looking for truly enchanting witchy girl names.
3. Olivia - 2 stars
"Witchy girl names" fell short of my expectations in terms of both quality and originality. The names listed were quite predictable and lacked the uniqueness and allure I was hoping for. Many of the names seemed forced or exaggerated and did not strike me as authentic or captivating. Additionally, I would have appreciated more insight or storytelling behind each name to make them feel more magical and intriguing. Overall, this book did not deliver the enchanting and mysterious witchy girl names I was seeking, and I would not recommend it to others who are looking for more genuine and bewitching options.