Table Of ContentFeasting
from the
Black Cauldron
TEACHINGS FROM A W ITCHES’ CLAN
WRITTEN AND COMPILED BY
AMARANTHUS
Copyright ©2017 Amaranthus.
Published by Pendraig Publishing Inc at Smashwords
All rights reserved, no part of this publication may be
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work of the author.
ISBN: 978-1-936922-88-8
Editing by Raven Womack
Front Cover image by Artist Maxine Miller
Cover Design by Ted Venemann
Book Design by Raven Womack
Dedication
This book is lovingly dedicated to our friend and fellow witch,
Lord Shawnus Merlin Belarion, Elder Priest of the Coven of the
Catta. Lord Shawnus, AKA Gary Lee Hoke, Passed away on July
1st, 2015. When I first meant Shawnus I was a young man living
in Pennsylvania. We became quick friends and often spent week
ends at his home talking in his back yard while drinking tea. Lord
Shawnus was a compli cated man who tried to lead a simple
(and mostly solitary) life.
Shawnus was a lifelong student of the Occult and Spiritual- ty.
Receiving all three elevations into the Coven of the Catta, a
branch of Wicca founded by Sybil Leek. Shawnus was also a
member of the O.T.O and an initiated priest of Anubis.
In his youth, Shawnus was initiated into Vajrakilaya and Aval-
okitesvara, as well as receiving empowerments into Tibetan Bud
dhism. Shawnus and the Legacy of the Catta Coven live on in his
Books and his Blog. He was a true friend and is greatly missed!
Table of Contents
-Foreward
-Introduction
Chapter i Witchery
Chapter 2 Blood of the Red Rose
Chapter з Anointed Eves
Chapter 4 l^nem Serpentes
Chapter q Betwixt and Between
Chapter 6 Entranced in Manteia
Chapter 7 At the Crossroads of Night
Chapter 8 Terra Umbrae
Chapter Q Familiar Spirits
Chapter io Covenant of the Witch
Chapter n Implements of the Art
Chapter 12 To Sanctify the Tools
Chapter n Feasting from the Black Cauldron
Chapter 14 Clan Formulary
Chapter iq The Romances of Witchcraft
-End Notes
-Appendix: Magical Terminology
-Bibliography
-About the Author
Foreword
Let me begin by saying that writing the forward to a book such as
this is no easy task! What words does one use when describing the
working of a fellow magister? And while I’m at it, am I even worthy
of such a job? Which words will best describe the author himself? Of
course, the obvious choices- witch, sorcerer, and magician all come to
mind. And yet somehow, they don’t seem to satisfy me on some in
stinctual level. I guess I could sing his praises (he would probably like
that), but that’s not really my job here. I wasn’t asked to stroke any
one's ego or feed the flames of a Geburic illusion. I was asked to
write from a place of honesty concerning my opinions and experiences
with the author, and so I shall attempt to do just that.
It was on a chilly Samhain night in Pennsylvania that I first meet
Amaranthus, before either of us knew it, a friendship had sparked be
tween us and soon we found ourselves hiking in the mountains, cut
ting herbs in the field and enjoying coffee in my sunroom during the
long Pennsylvania winters which seem like they will never end some
times. As our friendship grew, I realized that Amaranthus has a ten
dency to be as controversial as myself, a fact that has undoubtedly
contributed to a number of acquaintances and “so called friends”
having their fill of us and our nonconformist ways. And yet, we
stayed our course, unchanged by the peer pressures of a community
that has taken the term “Fluffy Bunny” to a whole new level (yes,
you know who you are).
Some of the most memorable rituals I have attended in the last
decade were held by the author of this book. Our covens would often
come together to work the wheel, spin the thread and dance the
dance that we call witchcraft.
Each and every time we entered the circle together, it seemed as if
the rituals would get better and better. Worked to perfection by the
author and his students, our celebrations were a masterful blend of
old-world craft, both cunning and calculated. Simple yet complex in
ways that many rituals will never be, I have been left in awe on sev
eral occasions by the intuitive practices and the dedicated structure
by which these witches practice their art.
In the time of P re-Christianity, the witches of the old world had deep
roots filled with a wealth of accumulated knowledge. These witches,
hedge-riders, and village folk had a covenant with the spirits that
many practitioners today lack. I believe that this book does its job in
showing people the wisdom of witchcraft, a belief different from
those who practice today's modern Wicca, while staying true its
form,
the author has given people a glimpse and a taste of what it's like to
be in a witch’s clan. Upon reading the manuscript for this work, I im
mediately noticed that this book was different than anything I had
previously read. With many chapters being dedicated to ancestral
work, necromancy and the realm of the dead, the information given
within these pages can be used to fill in the holes that other authors
often leave.
With this being said, the manuscript not only felt new and different
but also old and familiar in a sense that it contains things long for
gotten, lost upon this era’s New Age mentality that everything occult
must be politically correct. Here we find out that witches truly get
their hands dirty, practicing what they preach, not merely gathering
books to add to their vast collections. In these pages, we learn that
witch- craft comes from within. Here you will find chapters on sub
jects rarely written about, one of the many reasons that I agreed to
write this forward.
To those of us with occult integrity, the initiation oath is often times
both a warehouse of power as well as a commitment to silence. It is
in that silence that the secrets of the craft are revealed to those who
are ready to receive them. It is my belief that Amaranthus has bal
anced the work in this book, as well as any witch under the oath of
secrecy, could hope to do. Here wefnd work that is deeply rooted in
Malkuth yet dares to gaze upon the sphere of Yesod. And it is my
hope that this work will find its beauty in Tiphareth.
-Lord Shawnus Merlin Belarion, yd* Elder, Coven of the Catta
Introduction
