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A Witchcraft Handbook of Magic Spills and Potions Witchcraft, a practice deeply rooted in history and folklore, has long fascinated and captivated the imagination of generations. Practitioners of this mysterious craft often turn to various tools and resources to enhance their magical abilities and create potent potions. Among these resources, the Witchcraft Handbook of Magic Spills and Potions holds a prominent position. The Witchcraft Handbook of Magic Spills and Potions is a comprehensive guidebook that serves as a valuable companion for both beginners and seasoned witches alike. It offers a wealth of knowledge and guidance on crafting powerful spells and concoctions using natural ingredients. The handbook begins by introducing the fundamental principles of witchcraft, providing an overview of the various traditions and practices associated with the craft.

And it’s down to the water’s brim
He’s borne the rowan shield,
And the goldenrod he has cast in
To see what the lake might yield.

I first heard this song on Archie Fisher beautiful album for Folk-Legacy Records, The Man With a Rhyme , where it is called The Witch of the West-Mer-Lands. The PCs are journeying through her forest for an entirely unconnected reason and she becomes impressed with one or more of them, desiring to add them to her personal guard.

The handbook begins by introducing the fundamental principles of witchcraft, providing an overview of the various traditions and practices associated with the craft. It delves into the history of witchcraft, tracing its origins back to ancient civilizations and exploring its evolution over time. The focal point of the handbook, however, lies in its extensive collection of spells and potions.

The Witch of the Westmorland

This haunting song sounds like a Child Ballad but is actually a composition of English folksinger Archie Fisher. He recorded The Witch of the West-Mer-Lands in 1976 on his Folk-Legacy album " The Man With a Rhyme" . He commented in his liner notes:

"I have borrowed, for this song, the form of the narrative ballad. The ingredients are a mixture of legend, superstition, and ballad themes brought into focus by the Lakeland painter, Joni Turner. As far as I know, the female centaur is not a creature of mythology, and this role of witch disguise was suggested by the tales of antlered women with bodies of deer seen wading in the shallows of the lakes in the moonlight. There are many pleasant and hospitable inns in the Lake District."

Many first heard this song on Stan Rogers' "Between the Breaks Live" album.
Pale was the wounded knight that bore the rowan shield
Loud and cruel were the raven's cries that feasted on the field
Saying "Beck water, cold and clear, will never clean your wound
There's none but the maid of the winding mere can make thee hale and soond"

"So course well, my brindled hounds, and fetch me the mountain hare
Who's coat is as grey as the west water, or as white as the lily fair"
Who said, "Green moss and heather bands will never staunch the flood
There's none but the Witch of the West-Mer-Lands can save thy dear life's blood

So turn, turn your stallion's head, 'til his red mane flies in the wind
And the rider of the moon goes by and the bright star falls behind"
And clear was the paley moon when his shadow passed him by
Below the hills were the brightest stars when he heard the owlet cry

Saying, "Why do you ride this way, and wherefore came you here?"
"I seek the Witch of the West-Mer-Lands that dwells by the winding mere"
"Then fly free your good grey hawk, to gather the goldenrod
And face your horse into the clouds above yon gay green wood

And it's weary by the Ullswater and the misty brake fern way
'Til through't the cleft in the Kirkstane Pass, the winding water lay"
He said, "Lie down, my brindled hound, and rest ye, my good grey hawk
And thee, my steed, may graze thy fill, for I must dismount and walk

But come when you hear my horn and answer swift the call
For I fear ere the sun will rise this morn ye will serve me best of all"
And it's down to the water's brim, he's borne the rowan shield
And the goldenrod he has cast in to see what the lake might yield

And wet rose she from the lake, and fast and fleet went she
One half the form of a maiden fair with a jet black mare's body
And loud, long and shrill he blew, 'til his steed was by his side
High overhead the grey hawk flew and swiftly did he ride

Saying, "Course well, my brindled hound, and fetch me the jet black mare
Stoop and strike, my good grey hawk, and bring me the maiden fair"
She said, "Pray, sheathe thy silvery sword, lay down thy rowan shield
For I see by the briney blood that flows, you've been wounded in the field"

And she stood in a gown of the velvet blue, bound round with a silver chain
And she's kissed his pale lips once and twice and three times, round again
And she's bound his wounde with the goldenrod, full fast in her arms he lay
And he has risen hale and soond with the sun high in the day

And she said, "Ride with your brindled hound at heel, and your good grey hawk in hand
There's none can harm the knight who's lain with the Witch of the West-Mer-Lands" words & music by Archie Fisher. (c) by author. All rights reserved.

The Witch of the Westmereland/Westmoreland is a piece from the 20 th century written by Archie Fisher and has been performed and recorded by any number of artists, including Stan Rogers, Barbara Dickson, and Kate Rusby. The song features a knight who has been wounded in the field seeking healing. The knight is noted as bearing “the rowan shield” and it is called out as such every time it is mentioned in the song. There’s a few interesting symbols within that – the rowan tree is traditionally associated as a wood that protects its wielder from magical attacks. In Celtic lore, it is a tree that is sacred to the goddess Brigidh and was known to the early Celts as “the tree of life” and associated with purity. Bearers of such a shield would have been considered heralds and potentially as someone on a spiritual quest.

It covers a wide range of topics, including healing, protection, divination, love, wealth, and banishing negative energies. Each spell is meticulously crafted and accompanied by detailed instructions, ensuring that even novices can successfully perform them. The handbook also divulges the secrets of potion-making, explaining how to harness the powers of herbs, crystals, and other natural elements to create powerful elixirs. It offers recipes for potions designed to enhance intuition, attract prosperity, promote health and vitality, and much more. Additionally, the handbook provides guidance on brewing techniques, emphasizing the importance of intention and mindfulness in the potion-making process. Within the pages of this handbook, the reader will discover a vast array of magical correspondences and associations. From the properties of specific herbs and crystals to the significance of moon phases and planetary alignments, the handbook unveils the intricate web of interconnections that underlie witchcraft. The Witchcraft Handbook of Magic Spills and Potions extends beyond its role as a mere reference guide. It inspires and encourages the reader to tap into their own intuitive abilities, fostering a deeper connection with nature and the spiritual realm. By following the practices outlined in the handbook, individuals can develop their own unique magical style and incorporate witchcraft into their everyday lives. In conclusion, the Witchcraft Handbook of Magic Spills and Potions serves as an invaluable resource for those seeking to explore the world of witchcraft. It not only provides a comprehensive overview of the craft but also equips practitioners with the knowledge and tools necessary to weave their own enchantments. Whether one is a seasoned witch or a curious novice, this handbook is a must-have companion on the magical journey..

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