The Horned God of the Witches
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214. Hutton, The Triumph of the Moon, 116.
215. Hutton, The Triumph of the Moon, 114.
216. That quote comes from the article “Dying and Rising Gods” by Jonathan Z. Smith, in volume 4 of Encyclopedia of Religion. I first came across the quote in Did Jesus Exist? by Bart Ehrman on page 227.
217. Frazer, The Golden Bough: The Roots of Religion and Folklore, 328.
218. Information on Ireland’s harvest season comes from the website of Teagasc: The Agriculture and Food Development Authority. My family owns a farm in Indiana, so the rest comes from more personal experience.
219. Rott, “Decline in Hunters Threatens How U.S. Pays for Conservation.”
220. Hutton, The Witch, 126.
221. Hutton, the Witch, 125.
222. Guiley, The Encyclopedia of Witches and Witchcraft, 361
223. Hutton, The Witch, 128.
224. Fitch, In Search of Herne the Hunter, 73.
225. “Corn and grain” is nearly a universal Pagan chant in the United States and was writtenby Ian Corrigan. It’s generally set to the melody of “We All Come from the Goddess” by Z Budapest.
Chapter Fifteen
John Barleycorn Ritual
The English folk song “John Barleycorn” is one of the most well-known tunes in the Witchcraft world. The version of John Barleycorn most of us are familiar with today evolved over several hundred years and tells the story of how barley is turned into beer or whisky.226 The idea of personifying barley as a person comes from fifteenth-century Scotland, while the character of John Barleycorn was created the following century in England. By the mid-eighteenth century, the story of John Barleycorn had been set to music and become a popular English drinking song.227 The tune sounds rather gruesome until one is let in on the joke, and many recorded versions of the tune seem to take it all far too seriously, especially the well-known version by the band Traffic recorded in 1970.
The song opens with three men from the West vowing that John Barleycorn must die and then putting him into the ground and throwing “clods upon his head.” These “murderous” men leave him in the ground until at least the Summer Solstice, where he ripens and grows a “beard,” an allusion to the now visible grain at the top of the stalk. John is cut down, bundled, and tied together and allowed to dry for a couple of weeks. He’s then taken to a barn, where he is beaten with sticks (threshed), to remove the wheat from the chaff. John Barleycorn is then turned into beer or whisky and triumphs over those who have treated him so violently by getting them drunk.
It’s an extremely clever tune and has been sung and performed for over five hundred years now. It also expertly tells the story of how grain is gathered each year, which is why it’s such a popular tale with Witches and has been a part of thousands of Lammas, Mabon, and Samhain rituals. Traditional pictures of John Barleycorn don’t include horns, but as a figure associated with an abundant harvest, the joys of beer and whisky, and the turning of the Wheel, he is often linked to the Horned God and figures like the Green Man by Modern Witches.
Folk-music historians once theorized that the song had origins in medieval Witchcraft, since it so perfectly summarizes the idea of the dying and rising god found in the works of both James Frazer and Margaret Murray.228 The connection to Witchcraft and the dying and rising god (here called the “Corn King”) was even included in popular books on the subject, such as The Penguin Book of English Folk Songs in 1958. Witches were so convinced of the song’s ancient connection to Witchcraft that it showed up in the Book of Shadows of English Witch (and the founder of the Alexandrian tradition) Alex Sanders (1926–1988) during the 1960s (and most likely the rituals books of hundreds of other Witches as well).229
Sanders, who was not media-shy, once let a German TV crew record a Witch ritual based on “John Barleycorn.” According to observers, a female coven member mimicked corn in the field being cut down, rising from the ground, and then finally being threshed. The ritual ended with coveners gleefully throwing flour and beer on the Corn Queen. Apparently, it was both “ridiculous” and “wonderful,” according to the non-Witches who were a part of the rite.230
This ritual doesn’t include anything as messy as that, but it does tap into John Barleycorn as a transformational figure and celebrates the end result of his “murder”: whisky (or beer or something nonalcoholic, depending on the needs of your coven or group). This is the perfect kind of ritual for Lammas or Mabon or can be done any time in the late summer or early fall. Like the song that inspired it, this rite is not meant to be taken all that seriously. I don’t ever want to trivialize the work we do as Witches, but we are also allowed to have fun.
There are dozens of versions of “John Barleycorn,” but all of them tell the same story. The only major differences are slight variations in word choice. The version I’ve chosen here is mainly from Ancient Poems, Ballads, and Songs of the Peasantry of England, which was published in 1857 and edited by Robert Bell. The last stanza was taken from A Bard’s Book of Pagan Songs by Hugin the Bard. Most of the text reflects the original sources, though I changed a few words here and there to make it more gender-inclusive and easier to say. The last stanza is heavily adapted to more accurately reflect the working of the ritual. I suggest simply reading the poem for your ritual. Most versions of the song are too long and too dirge-like for ritual, but do what makes the most sense to you. In addition to the version by Traffic, there are great renditions of the song out there by Jethro Tull and Pagandom’s own Damh the Bard.
Ritual Supplies
For this ritual you will need:
Your usual altar setup
Stalks of grain or the leaves from an ear of corn (Wheat sheaves can usually be purchased at craft stores; even better if you pick your own! Alternatively, corn leaves can be used as well.)
A bottle of beer, whisky, and/or other beverage (Use what your group prefers and be sure to have a nonalcoholic alternative on hand.)
Rubber bands or twine to secure your sheaves of grain (or leaves) to the bottle (You want the sheaves or leaves to be easy to remove, as people will be pulling them off from around the bottle.)
The Ritual
Begin the ritual by setting up your magickal container (casting a circle, calling the quarters, etc.). Once everything has been set up to your specifications, call to the Horned God as John Barleycorn to come and be a part of your ritual.
High Priestess: On this sacred night of the harvest, we call to the Horned One, the King of the Corn, the God of the Grain, and the Lord of the Harvest as John Barleycorn, the embodiment of the fields and the harvest. Bring to us your powers of transformation as we honor your sacrifice and we remove the chaff from our lives and stand in our circle reborn as children of the harvest. Bless our rite with laughter and joy as we celebrate you and the opportunities given to us. Horned One, be with us tonight in the guise of John Barleycorn, Harvest Lord. Hail and welcome!
Other deities and powers may be called now if the coven wishes. Once that business has been completed, carry on with the ritual.
High Priestess: Tonight we honor the harvest and the sacrifice of the Horned God in the form of John Barleycorn. For it is the Horned One’s selflessness that brings to us the gifts of the grain: bread, beer, and whisky. The story of the God has been told in the tale of John Barleycorn for hundreds of years, and tonight we share it once more.
High Priest: There came three folks out of the West,
Their victory to try;
And they have taken a solemn oath,
Poor Barleycorn should die.
They took a plough and ploughed him in,
And harrowed clods on his head;
And then they took a solemn oath,
Poor Barleycorn was dead.
There he lay sleeping in the ground,
Till rain from the sky did fall:
Then Barleycorn sprung up his head,
And so amazed them all.
There he remained till Midsummer,
And looked both pale and wan;
Then Barleycorn, he got a beard,
And so became a man.
Then they sent farm help with scythes so sharp,
To cut him off at knee;
And then poor little Barleycorn,
They served him barbarously.
Then they hired farm help with pitchforks strong
To pierce him through the heart;
And like a dreadful tragedy,
They bound him to a cart.
And then they brought him to a barn,
A prisoner to endure;
And so they fetched him out again,
And laid him on the floor.
Then they set folks with holly clubs,
To beat the flesh from his bones;
But the miller, he served him worse than that,
For they ground him betwixt two stones.
O! Barleycorn is the choicest grain
That ever was sown on land;
It will do more than any grain,
By the turning of your hand.231
But little Sir John of the nut-brown bowl
And the brandy in his glass,
Aye, little Sir John of the nut-brown bowl
Proved the strongest man at last. 232
For John transformed does live on and on
By magick born of horn,
And now we Witches shall cast our spells
With the help of John Barleycorn!
At the conclusion of the poem, the High Priestess picks up the John Barleycorn figure (the bottle wrapped with grain) and shows it to the coven.
High Priestess: The sacrifice of John Barleycorn offers us several paths of transformation. The threshing of the grain removes from it the unwanted chafe. Tonight our Barleycorn offers us an opportunity to remove that which we do not want from our lives. As we pass around our John Barleycorn, place into the wheat whatever it is that no longer serves you. It can be a habit, an attitude, or a relationship. Whatever roadblock is holding you back, place that energy in John Barleycorn. You can even whisper it into the grain, if that works for you. When you feel like what you want to remove is within our Barleycorn, pass him along to the person next to you.
John Barleycorn is now passed around the circle clockwise (deosil) until everyone has had a moment with him. If there’s someone in your circle taking a really long time with John Barleycorn, it’s perfectly acceptable to remind them that “the harvest is coming” as a subtle reminder to keep things moving.
High Priestess: And now we rend skin from bone and cast out what no longer serves us. When John Barleycorn comes to you, pull a sheaf of grain from his body and throw it to the ground. For the sacrifice of the Horned God readies the grain but also takes from us that which no longer serves us. Tonight we Witches work out magick with the help of John Barleycorn. As you pull out your piece of grain from John Barleycorn, say, “The grain from the chaff,” and hold it in your hand.
John Barleycorn is passed around once more, with everyone pulling a piece of grain from him. Once your John Barleycorn has made its way around the circle, the High Priestess should explain the next part of the rite.
High Priestess: Like the chaff that falls to the threshing room floor, we now throw to the ground that which no longer serves us. John Barleycorn, as Lord of the Harvest, we ask that you take from us that which we no longer need! Witches, to work our magick and raise energy, let us repeat the following chant: “From all ills and harms, may we be free. In John Barleycorn’s name, so mote it be!” [Repeat until everyone has the chant down.] As we chant, envision that which you wish to be rid of, and see it falling away from you. On my signal, when the energy has reached its peak, we will throw our chaff to the ground!
The High Priestess begins the chant, and if possible, it makes perfect sense to move around here and dance around the circle while the chant goes on. The longer the chant goes on, the more the energy will build. When the energy reaches its peak, the High Priestess should indicate that it’s time for everyone to throw their grain to the ground. This can be done by holding up a finger or shouting something like “last time!” before the final round of the chant.
After everyone throws their grain to the ground, the High Priestess should let everyone catch their breath and then continue.
High Priestess: The God has taken from us that which we no longer want. Horned One, we thank you for your sacrifice! And we know that your sacrifice is not the end. It’s simply the start of another transformation, for your fall and harvest leads to many blessings. It gives us bread, beer, and whisky, for we know that behind your death in the fields lie happiness, joy, and the waters of life! For behold, our little John Barleycorn is with us once more!
The High Priestess holds the John Barleycorn aloft, perhaps removing several more sheaves of grain to reveal the bottle beneath.
High Priestess: For death is not the end, but a new beginning! Witches, let us drink the gift of the sacrificial god, and as its essence washes over us, let us drink in our new life free from what holds us back from reaching our full potential as Witches!
The wine or beer can now be poured into a communal cup and passed around, or into individual glasses, depending on the preferences of the coven. As the cup is passed along, everyone can be encouraged to engage in a toast to celebrate the Horned God and the harvest.
When the drinking has finished, be sure to thank John Barleycorn before closing the rest of the circle.
High Priestess: Harvest Lord, King of the Corn, eternal John Barleycorn, thank you for being with us tonight in our circle. We thank you for your sacrifice this harvest season and for helping us to better our lives. As you make your way to the realms of the dead, we ask you to watch over our beloved dead while you continue to be with us in the forms of your transformation. Hail John Barleycorn! Hail the Horned God! Until next we meet in the circle, we now say hail and farewell!
The ritual should be concluded as the coven sees fit. Be sure to save some beer or whisky from your bottle to offer as a libation to the Horned One at the end of the rite.
[contents]
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226. As a Scotch aficionado, I prefer the Scottish spelling of whisky, which drops the Irish e between the k and the y.
227. Wood, “John Barleycorn Revisited: Evolution and Folk Song.”
228. Young, Electric Eden: Unearthing Britain’s Visionary Music, 127.
229. Young, Electric Eden: Unearthing Britain’s Visionary Music, 443.
230. Young, Electric Eden: Unearthing Britain’s Visionary Music, 444.
231. Stanzas taken from Ancient Poems, Ballads, and Songs of the Peasantry of England, edited by Robert Bell, 80–81.
232. Last stanza taken from Hugin the Bard, A Bard’s Book of Pagan Songs, 120.
Chapter Sixteen
From Horned God to The God:
the Horned One in Wicca
Wiccan-Witchcraft’s primary male deity has always been the Horned God. In recent years, I think this has sometimes gotten lost as people talk of “the God” or “the Lord” (with the Goddess being referred to as “the Lady”), instead of “the Horned One.” I don’t mean to suggest that it’s wrong to honor the Sun God or the Sea God or whatever other deity someone wants to place in their circle, but only that at the beginning of Wicca, the God of the Witches was nearly always horned or had attributes that we’d think of as belonging to the Horned God.
While this section is focused mostly on the evolution of the Horned God in texts that most of us would think of as “Wiccan,” nearly all of those texts use the word Witch exclusively. Because of this, I use Wiccan/Witch and Witchcraft/Wicca as synonyms here, because that’s how they are generally used in the books I’m referencing.
&
nbsp; In his 1959 The Meaning of Witchcraft, Gardner provides perhaps his most thoughtful explanation of the Horned God of the Witches. In just a few sentences, he links his Witch God to life, death, Pan, the King of the Wood, and, perhaps surprising to some, the two-headed Roman god Janus:
Now, we have seen that Janus or Dianus was a form of the God of the Witches; the two faces depict his dual nature. As the witch ritual says, “Thou art the Opener of the Doorway of the Womb; and yet, because that which is born must also die, that it may be renewed, therefore art Thou Lord of the Gates of Death.” Being the consort of Diana, he was the King of the Wood, and as the Phallic God, he was the renewer of life. It is evident that the bust which Lady Raglan illustrates depicts him as the renewer of life in spring; the green leaves take life from his mouth. Closely akin to him are Faunus and Silvanus, and Pan, who was hailed in Hellas as “Pamphagë, Pangenetor”, “All-Devourer, All-Begetter”; and as “Chairë Soter Kosmou”, “Beloved Saviour of the World”, yet from whose name was derived “panic” as a term of terror. Priapus, too, was the Phallic God and the God of Gardens. The concept of fertility, of eternal, ever-renewing, upspringing life, is the basis of them all. 233
Here Gardner’s God is cosmic and all-encompassing. He’s one being, but he’s also Pan, Priapus, Janus, the Green Man, the King of the Wood, and the Lord of the Gates of Death. He’s the joyous god of the eternal English countryside, but he’s also a deity with one foot (or hoof) planted firmly in the afterlife. In Witchcraft Today, Gardner wrote that
while the gods wished them [people] well, they [the gods] were not all-powerful, that they needed man’s help; that by performing certain rites men gave them power. 234