The role of a guardian is often associated with protecting and guiding another individual. In the realm of folk tales, legends, and fantasy literature, the concept of a guardian is frequently intertwined with magic, mysticism, and supernatural abilities. One particular archetype that embodies this notion is the "Guardian of the Witch." In folklore and mythology, witches are often depicted as individuals with extraordinary powers, capable of harnessing the magic of the natural world. However, witches are also vulnerable to outside threats and are in need of protection. This is where the guardian enters the picture.
In the celebratory omnibus of the first arc of the comics it is written that Yan Lin was guardian one millennium before W.i.t.c.h. This is confirmed through the explanation of the Oracle. If we say, most guardian teams did use the gift of Xin Jing and through it, became around the age of 1000 years, we'd have this equation:
First of all if we assume that the above noted 18 guardian teams truly were the only teams in the history of Kandrakar, each generation must have aged far beyond a normal humans life. On the surface, it is the story of a puritanical 17th-century English family enduring an American nightmare, tormented by a wicked witch who steals their children and their souls.
This is where the guardian enters the picture. The guardian of the witch acts as a shield, defending the witch from dangers both seen and unseen. The guardian of the witch can take many forms.
The Witch review - original sin and folkloric terror
“W hat went we out into this wilderness to find?” Subtitled A New England Folktale, writer-director Robert Eggers’s Sundance prize-winning feature debut is an atmospheric chiller rooted in the fertile soil of religious zealotry, social isolation and original sin. On the surface, it is the story of a puritanical 17th-century English family enduring an American nightmare, tormented by a wicked witch who steals their children and their souls. But beneath that surface lurks something more disturbing – a tale of God-fearing folk whose terrified belief in the twisted fantasies of folklore hides their own darker secrets.
We open with the beleaguered family leaving their New World community to live alone on the very edges of civilisation. As they depart, singing “I will confess…”, cinematographer Jarin Blaschke’s archaic framing – the taller, narrower 1.66:1 ratio – captures these lonely souls receding inexorably into alien lands (the film could equally well be entitled A Field Not in England).
The discordant strains of Mark Korven’s score, a superbly evocative symphony of nyckelharpa strings and eerie scrapes, give way to an image of prostrate prayer, as father William (Ralph Ineson) leads his brood in face-down worship on the outskirts of an imposing wood. It is into these woods that their youngest child will vanish, snatched by a spectral presence into a fairytale nightmare – an abyss of trees accompanied by a Ligeti-like wall of sound; a choir of (in)human horror.
Eggers suggests that the family’s anxieties about the concept of sin perversely invite horror into the home
What follows is a thematic mash-up of the European folk tales of the Brothers Grimm and Charles Perrault (the figures of Hansel and Gretel, Red Riding Hood and Sleeping Beauty loom large), the paranoid finger-pointing of Arthur Miller’s play The Crucible, the religious devotion of Dreyer’s Ordet and the historical detail of Aldous Huxley’s book The Devils of Loudun. “We will conquer this wilderness, it will not consume us!” insists William as the camera creeps repetitively toward the Twin Peaks-like woods, but the film tells another story – the story of a demonic goat named Black Phillip that whispers to the children, and of shape-shifting hares (one of several inevitable echoes of The Wicker Man) that call this fracturing family to damnation.
At first, Eggers favours the physical depiction of the family’s fear, a nightmarish early sequence of their child in the clutches of a haggard, ghoulish figure seeming to dispel any sense of ambiguity about the archetypal nature of this “evil”. Or does it? Despite this monstrous vision, it is still possible (and indeed preferable) to read The Witch as a story whose demons lurk largely within the mind. Just as the family are obsessed with the concept of sin (poor Caleb recounts his putrefaction by rote and anguishes about his lustfully hell-bound heart), so Eggers not so slyly suggests that such anxieties perversely invite horror into the home, where shadowy faces flicker in the firelight.
While the sounds of livestock and creaking gates blend with the wind to form Penderecki-esque night music, Kate Dickie’s bereaved, homesick mother Katherine personifies the down-to-earth derangement that feeds upon hunger, worry and loss. A dreamy sequence in which a raven pecks at her bloodied breast straddles the line between fantasy and reality, just as Caleb (Harvey Scrimshaw) emerges from his own guilty traumas with a poisoned apple in his mouth – extraordinary but not quite conclusive. Even when the narrative drifts into literal flights of folklorish fantasy, we should remember that what we see on the screen is by its very nature a trick of the light, a magic lantern display (or communal hallucination) rooted in the apparitions of the fairground seance. I would have preferred the omission of a coda that many will take (too?) literally, but even this is prefigured by a dramatic hiatus that causes us to question its “reality”. Or, at least, that’s how I chose to read it.
The Witch director Robert Eggers: ‘This film attempts to get into the darkness in humanity’ - video interview. Guardian
In the end, that is the greatest strength of The Witch – that the audience will see in it what they want to see, or believe. New England native Eggers has clearly researched his history in depth (for him, the devil is in the period detail) and lifts dialogue directly from contemporaneous diaries, letters and religious documents. From such research, startling images emerge: of William chopping wood like a man possessed; Katherine laying down in an open grave, Caleb convulsing in rapturous torment and youngsters Mercy and Jonas howling in synchronised hysteria. At the centre of it all is Anya Taylor-Joy’s brilliantly rendered Thomasin, the family’s eldest child within whose coming-of-age transformation (“She hath begat the sign of her womanhood”) the heart of the narrative resides. Perhaps this is all a fevered dream, an ergot-induced hallucination for which those rotting crops provide a deliberately ripe explanation. But through Thomasin’s eyes it takes on its own reality, a reality we experience through her devotion, her disavowal and, ultimately, her defiance.
While the poster for The Witch may conjure up memories of William Friedkin’s The Guardian, this owes nothing to that film’s hokey horrors.Eggers has cited Kubrick’s The Shining as influential, alongside Benjamin Christensen’s silent classic Häxan: Witchcraft Through the Ages and Ingmar Bergman’s Cries and Whispers. Others have compared The Witch to Jennifer Kent’s The Babadook and Tomas Alfredson’s Let the Right One In, although I found myself thinking more of Hans-Christian Schmid’s Requiem as a thematic companion piece.
Apparently, a long-planned Nosferatu remake is in the pipeline for Eggers, which we eagerly await. For the moment, in an age of cattle-prod scares, The Witch plants its pitchfork proudly in the more unsettling landscape of evocative, intelligent modern horror.
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It could be a mythical creature like a dragon, a shapeshifter, or a magical being like a fairy or a nymph. In some stories, it may even be a fellow witch or a human with special powers. Regardless of its form, the guardian possesses innate abilities that make it adept at defending the witch against malevolent forces. The duties of a guardian may include warding off evil spirits, deflecting curses, and ensuring the witch's safety in the physical and spiritual realms. They may also provide guidance and mentorship, helping the witch navigate their magical abilities and teachings, ensuring they remain on the path of light rather than succumbing to the temptations of dark magic. In stories featuring a witch and their guardian, a unique bond is often formed. This bond can be portrayed as one of trust, respect, and friendship. The guardian becomes not only a protector but also a confidante, offering emotional support and advice when needed. The witch, in turn, relies on the guardian for guidance, stability, and a sense of security. The concept of the guardian of the witch highlights the idea that even those with extraordinary abilities require assistance and protection. It reinforces the notion that strength lies in unity and that everyone, regardless of their powers or vulnerabilities, benefits from having someone in their corner. Overall, the guardian of the witch embodies the theme of protection, mentorship, and friendship in the world of magic and fantasy literature. Through tales that feature this archetype, readers can explore the dynamics of trust, reliance, and the bond between two extraordinary beings working together to navigate the challenges of a magical realm while upholding the values of light and goodness..
Reviews for "The Guardian's Role in Healing and Protection Magick for Witches"
1. John - 2/5
I found "Guardian of the Witch" to be quite disappointing. The plot was convoluted and lacked coherence, making it difficult to follow the story. The characters were also poorly developed, with minimal character growth or depth. Additionally, the pacing of the novel was off, with certain scenes dragging on while others felt rushed. Overall, I struggled to stay engaged with the book and ultimately felt let down by its lackluster execution.
2. Emily - 1/5
I regret picking up "Guardian of the Witch" as it turned out to be a major letdown. The writing style was uninspiring and it felt like the author put little effort into crafting a captivating narrative. The dialogue felt forced and unnatural, making it hard to believe in the interactions between the characters. Moreover, the world-building was lacking, offering little to no explanation of the magic system or the overall setting. The book left me bored and uninterested, and I would not recommend it to others.
3. Sarah - 2/5
I had high hopes for "Guardian of the Witch," but unfortunately, it fell short of my expectations. The story had potential, but it was executed poorly. The pacing felt disjointed, jumping from one event to another without a smooth transition. The main character lacked depth and often made questionable decisions, making it hard to empathize with their journey. Additionally, the romantic subplot felt forced and unnecessary, detracting from the main plot. All in all, I was disappointed by this book and wouldn't recommend it to fans of the fantasy genre.