No one occultist of the 20th century worked more vehemently in ad- vocating a "Western" - and within that, "Northern" - path of esoteric spirituality than did the English ceremonial magician, Dion Fortune. She founded an esoteric school that still persists, but beyond that direct transmission, her ideas seeded themselves into modern Neopagan religion to the point that they seem completely indigenous, their origins invisible.
Certain of Fortune's key ideas, however, were not so much transmitted through her mystical writings and articles in The Occult Review of the 1920s, as they were passed on through a unique series of novels, one of which stands fifty years later as "the finest novel on real magic ever written," in the words of Alan Richardson, her most adept biog- rapher1. Primary among these key ideas was her raising up of a lunar, feminine divine power - not that she was the first modern magician to do it, but by taking the two paths of ritual and literature she gave the power two ways to go.
The second idea was that of egalitarian magical working, something she came to late in her life (she lived from 1890-1946). This was a fairly radical idea in that all her associations with the Theosophical Society, the Order of the Golden Dawn, and her own Fraternity (later Society) of the Inner Light included the idea of hierarchies and grades, going back in her own self-proclaimed reincarnational history to lifetimes among the sacred priestly caste of legendary Atlantis.
Both of these ideas are found in the Anglo-American branches of modern Witchcraft, which first made its presence known in Great Britain in the early 1950s, having, I suspect, been developed and codified into its modern form during the later 1930s and 1940s. While a demonstrable personal connection between the modern witches and Dion Fortune cannot be proven - unless one had her entire mailing list circa 1939 in hand I think a literary connection can be shown.
Her ideas about an earth-based Western tradition of esoteric, magical religion, which exalted the feminine principle, fit so neatly with the cosmology of those modern witches who came out of a similar esoteric British milieu, that the connection is unmistakable. The reason it has not been acknowledged until recently is that to do so would conflict with the frequent assertion that Witchcraft was the "Old Religion" brought forward unchanged in its essentials from centuries ago.
Unfortunately for that assertion, the historical records, such as they are, showed little evidence for secret goddess religion persisting until recent centuries in Northern Europe. The voluminous "witch trial" documents of England, Scotland, and France, which the archaeol- ogist and folklorist Margaret Murray used to buttress her argument for the survival of a pre-Christian religion, do not mention goddess worship.
If one looks for other evidence of a goddess arriving in the mid-20th century, the other suspect typically is Robert Graves, whose widely influential book, The White Goddess, was written in 1944. Parallel and contemporary with Graves is Gertrude Rachel Levy's The Gate of Horn, which treats much of the same material Graves does, principally from the viewpoint of art history.2
The thesis of The White Goddess, which has been enormously influential among modern Pagan groups, is "that the language of poetic myth anciently current in the Mediterranean and Northern Europe was a magical language bound up with popular religious ceremonies in honour of the Moon-Goddess, or Muse,some of them dating from the Old Stone Age (Palaeolithic), and that this remains the language of true poe- try." Graves believed that this language "was still taught...in the Witchcovens of medieval Western Europe."3
I do not contend that Graves and Levy supplied the dual male and female divinities of most modern Witchcraft covens. Their books were both first published in 1948, after Fortune's works had been in print for a decade or more. Before examining the influence of Fortune's works, however, I will summarise the "coming out" of the British covens.
In 1951 the British Parliament repealed the Witchcraft Act of 1735 - largely at the urging of Spiritualist churches, who objected to its prohibition of mediumship. This statutory change unexpectedly led to the emergence into public view of a religious tradition thought to be extinct: Witchcraft.4 These British witches defied definitions of the term common both in the vernacular and in anthropology textbooks. They were of both sexes, all ages, and were not isolated practitioners of maleficent magic; rather they claimed to be inheritors of the islands' pre-Christian religions. Their religion was duotheistic: they wor- shipped a male god, often called Cernnunos, Kernaya, or Herne; and a goddess, sometimes called Aradia or Tana. Of the two, sometimes seen as manifestations of a nonpersonal Godhead, the goddess had the greater importance, and her earthly representatives, the coven's priestess, had greater ritual authority.
Greatly condensed, this is a description of what came to be known as "Gardnerian Witchcraft," after Gerald Gardner (1884-1964), who retired from the British colonial customs service in Malaya in 1936, returned to England and - as he described - was initiated into what he himself thought was a dying religion in 1938.5 This was no overnight conver- sion: Gardner was fascinated for many years with magical religion and "practical mysticism". A recognised avocational archaeologist and anthropologist in Malaya, during a visit to England in the 1920s, he set out to investigate the claims of British Spiritualists, trance mediums and the like.
As he wrote: "I have been interested in magic and kindred subjects all
my life and have made a collection of magical instruments and charms.
These studies led me to spiritualist and other societies..."6
Gardner wrote three books on Witchcraft, one novel, and two nonfiction works. The novel was High Magic's Aid (1949), a stirring tale of late- medieval English coveners dodging secular and clerical foes with something of the feel of Walter Scott's Ivanhoe or Robert Louis Stevenson's The Black Arrow to it. Interestingly enough, the "witchcraft" portrayed in High Magic's Aid differs from what was later called "Gardnerian Witchcraft." In it the goddess is de-emphasised; the rituals are more in line with the post-Renaissance traditions of ceremonial magic.
Gardner's next two books, The Meaning of Witchcraft (1959) and Witch- craft Today (1954), are more definitive of the tradition. All three of the forenamed remain in print; an earlier novel, with the suggestive title A Goddess Arrives, is long out of print, and I have not been able to locate a copy. Gardner and his followers also produced a "book" that was, until the early 1970s, passed on as handcopied manuscripts: "The Book of Shadows." It is a collection of "laws" and suggestions for running a clandestine coven, performing rituals, resolving disputes between witches inside the group, and so forth. Although it appears to be written in perhaps the English of the 17th century, I have concluded that it was produced during and immediately after World War II. Its atmosphere of secrecy and underground organ- ising is not a product of the witch-trial era, but of the early years of World War II when an invasion of southern England by the German Army appeared quite likely, and patriotic Britons were planning how they would organise a Resistance movement like those in France, Norway, and elsewhere in Nazi-occupied Europe.
The woman often assumed to have birthed the idea of a Pagan under- ground in Christian Western Europe was not Dion Fortune, but the Egyptologist Margaret Murray of University College, London. Professor Murray, better known as the time for her work with Sir Flinders Petrie in Egypt, began researching Pagan carryovers while convalescing from an illness in 1915. World War I had interrupted her work in Egypt, and she wrote in her autobiography, My First Hundred Years:7
"I chose Glastonbury [to convalesce in]. One cannot stay in Glaston- bury without becoming interested in Joseph of Arimathea and the Holy Grail. As soon as I got back to London I did a careful piece of research, which resulted in a paper on Egyptian elements in the Grail Romance...
Someone, I forget who, had once told me that the Witches obviously had a special form of religion, 'for they danced around a black goat.' As ancient religion is my pet subject this seemed to be in my line and during all the rest of the war I worked on Witches... I had started with the usual idea that the Witches were all old women suffering from illusions about the Devil and that their persecutors were wickedly prejudiced and perjured. I worked only from contemporary records, and when I suddenly realised that the so-called Devil was simply a dis- guised man I was startled, almost alarmed, by the way the recorded facts fell into place, and showed that the Witches were members of an old and primitive form of religion, and that the records had been made by members of a new and persecuting form."
Murray's researches into medieval and Renaissance witch-trial docu- ments from Britain, Ireland, and the Continent (including those relating to Joan of Arc and Gilles de Rais) led to her writing three books, The Witch-Cult in Western Europe (1921), The God of the Witches (1931), and The Divine King in England (1954). In them she described her evidence for the survival of a pre-Christian religion centred on the Horned God of fertility (later labelled "The Devil" by Christian authorities) up until at least the 16th century in Britain.
As the late historian of religion Mircea Eliade wrote, "Murray's theory was criticised by archaeologists, historians and folklorists alike."8 Pointing out some parallels between medieval witchcraft and Indo-Tibetan magical religion, Eliade gives qualified approval to part of Murray's conclusions.
"As a matter of fact, almost everything in her construction was wrong except for one important assumption: that there existed a pre-Chris- tian fertility cult and that specific survivals of this pagan cult were stigmatised during the Middle Ages as witchcraft....recent research seems to confirm at least some aspects of her thesis. The Italian historian Carlo Ginsburg has proved that a popular fertility cult, active in the province of Friule in the 16th and 17th centuries, was progressively modified under pressure of the Inquisition and ended by resembling the traditional notion of witchcraft. Moreover, recent investigations of Romanian popular culture have brought to light a number of pagan survivals which clearly indicate the existence of a fertility cult and of what may be called a "white magic," comparable to some aspects of Western medieval witchcraft."
One may thus argue that the existence of Murray's three works "paved the way for Gardner's reformation", as J. Gordon Melton of the In- stitute for the Study of American Religion put it.9 Gardner's "reform- ation" of whatever British witchcraft existed prior to his initiation into it had both theological and ritual aspects. The works he and his associates produced give a style of worship, a new set of ritual texts and increasing emphasis on the goddess-aspect as the tradition grew all of them pre-figured not in Murray's works but in Dion Fortune's.
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