An ABC of Witchcraft Past and Present - Doreen Valiente 2018

Circle, Magic

The circle has long been regarded by occult philosophers as being the perfect shape. It is the symbol of infinity and eternity, because it has neither beginning nor ending. The early astronomers were much misled by their idea that the heavenly bodies must move in circles, on account of the circle’s meaning as the figure of perfection.

The magic circle is part of the general heritage of magical practice, which is world-wide and of incalculable age. Magic circles have varied from the elaborate spiritual fortress of divine names, which may be used by the ceremonial magician, to the simple round drawn by the witch.

One sometimes sees dramatic pictures made by artists, depicting magical ceremonies, which show an impressively-robed magus raising a spirit within a circle, while he himself stands outside it. This is, however, quite the reverse of the real way in which a magical circle is used.

The circle is drawn to protect the operator from potentially dangerous or hostile forces without, and to concentrate the power which is raised within. The latter, arising from the magic circle, is called the Cone of Power. It is this Cone of Power that the traditional pointed hat of the witch, or the tall pointed cap of the magus, is symbolical of. People who are clairvoyant have claimed to be able to see the Cone of Power arising from the magic circle in the form of silvery-blue light.

The magic circle is carefully orientated to the cardinal points, by having a light, or some symbolic object, placed at the east, west, south and north. For white magic in general, movements within the circle should always be deasil, that is, sunwise. The widdershins movement, or tuathal, is a movement of averse magic and cursing.

The circle may be drawn upon the ground in various ways; e.g., marked out with chalk. But in order to give it power, it has to be traced round with the Athame, or consecrated ritual knife. Ceremonial magicians sometimes use a sword for this purpose. Very precise details about making a magic circle may be found in Gerald Gardner’s occult novel High Magic’s Aid (Michael Houghton, London, 1949), and in Aleister Crowley’s Magick in Theory and Practice (privately printed, Paris, 1929, and Castle books, New York).

In order to have a permanent magic circle in a convenient form, some magical practitioners make use of a large square of plain carpet or felt, upon which the circle has been painted. This can be rolled up and hidden when not in use. Occult lodges often adopt this method; though of course the circle should be ceremonially reconsecrated with the magical weapon, as described above, each time it is used.

A small table or pedestal stands in the centre of the circle, to serve as an altar. On it are placed the various requirements of the ritual, such as a lighted candle, a censer of incense, etc.

According to tradition, the most effective size for a magic circle is one having a diameter of 9 feet. Outside this is sometimes drawn another circle, one foot larger all round; and between the two circles, at the four cardinal points, pentagrams are drawn. The lights, etc., which mark the four quarters, are placed within these pentagrams. However, some magicians have used much more elaborate circles than this, of which many illustrations can be found in the old books of magic called grimoires.

The great age of the concept of the magic circle is shown by the fact that it is described in the writings of the ancient Assyrians, which have been translated from their tablets of baked clay. The magicians of Assyria called the magic circle usurtu. In ancient India also, the practitioners of magic made use of consecrated circles, which they marked out in red lead or black pebbles.

It will be seen that the figure of the magic circle, oriented to the four cardinal points and with the altar in the middle, is precisely similar to that of the mandala, which Carl Gustav Jung regards as of deep significance to the collective unconscious of mankind. Jung has written extensively of the symbolism of the mandala, as an archetypal figure which conveys the idea of spiritual balance, and right relationship between God, Man and the universe. According to the theory of high magic, it is only when such balance and relationship exist that man can become a true magician.