The concept of a witch on a sword in a stone is an intriguing and mysterious one. It combines elements of fantasy, legend, and symbolism to create a powerful image. The idea of a witch being connected to a sword brings to mind notions of magic, power, and the supernatural. In Arthurian legends, the sword in the stone is often associated with the rightful king of Britain. According to the story, only the true king can pull the sword out of the stone, demonstrating their right to rule. This concept of the sword being a symbol of power and authority is prevalent in many cultures and mythologies.
I encourage others to develop an art from these principles, but will confine myself here to an Old Babylonian cuneiform text on the subject, which follows a somewhat different set of criteria. Firstly, the correct reading of smoke omens according to the Old Babylonian method requires the diviner to stand facing East, with the brazier or burner before them. As Maria Stella Cingolo (Some Remarks about the Old Babylonian Libanomancy Texts) observes, four steps are described, although it does not seem that the third and fourth must be involved:
The same is ultimately true of extispicy, although the process to get to the binary answer is much more complicated see Derek Collins, Mapping the Entrails The Practice of Greek Hepatoscopy. Thick smoke could indicate the presence of heavy energies or emotional blockages, while light, airy smoke could signify positivity and clear thoughts.
This concept of the sword being a symbol of power and authority is prevalent in many cultures and mythologies. Adding a witch to this equation adds another layer of complexity and intrigue. Witches are often depicted as powerful beings, possessing magical abilities and a deep connection to nature and the spiritual realm.
Libanomancy (Incense Divination)
Ancient animal sacrifice was not just an offering, but also a mode of divination. For one thing, of course, there was haruspicy or excispicy, the inspection of the innards (exta), especially the liver of a sacrificial animal. We are not particularly well informed about the details of this practice in the Greco-Roman world, due to the loss of ancient handbooks on the subject, but there are extensive surviving materials on the art of extispicy (akk. bārûtu) in cuneiform – no doubt enough to revive the art, if one wished, once the extant material are made available in translations with good commentaries.
Aside from this highly technical mode of divination, there were also more casual observations made during sacrifice: “They used to trouble themselves further about the corpses of the victims, (observing) whether they would fall down to the right or the left; and in the former case, they would predict fortunate (events), in the latter, unfortunate ones.
“They would also observe the moment of the (final) spasm after the sacrifice: and if the victims immediately breathed their last, they would predict a fast resolution for themselves in the matters at hand, but if not, a drawn-out and troubled one” (Psellus, On the Sacrificial Science).
These two examples are both binary (left vs. right, fast vs. drawn out), and deliver an essentially binary answer: yes or no, auspicious or inauspicious. The same is ultimately true of extispicy, although the process to get to the binary answer is much more complicated (see Derek Collins, Mapping the Entrails: The Practice of Greek Hepatoscopy).
But why do I spell all this out in a page on divination from incense? My point is that, while animal slaughter was the primary means of divination through sacrifice, the basic method (of making binary observations) and result (of learning whether the offering was received auspiciously or not) is generalizable, and in principle could be applied to any kind of offering that involves events or effects outside human control.
After all, “those who would placate the gods with frankincense were heard (by the gods) no less than those who immolated animals. For in place of victims, it is also possible to make an auspicious offering to the gods with nothing but a good conscience” (Lactantius Placidus, On the Thebaid 2.247).
And whether in animal sacrifice or pure incense offerings, it is possible to read smoke and fumes. As Lactantius Placidus writes: “The art of haruspicy contains this, that it observes the movement and crackling of the (grains of) frankincense, and the movement and inclination of the smoke, because these signs first testify the promise of the innards, if they are good – or if they are contrary, it is obstructed, as the book On the Signs of Frankincense attests, which is ascribed to Tiresias himself” (On the Thebaid 4.468).
“This kind of haruspicy is called καπνομαντεία (kapno-manteía, ‘smoke-divination’), because future events are shown from the distribution of the smoke itself” (ibid. 10.599). “There is a certain art of foreseeing the truth from the smoke of the altar, because those who are called καπνομάντεις (kapno-mánteis, ‘smoke-diviners’) know what things are going to happen from the distribution of the smoke itself” (ibid. 4.412).
In the scholia on Homer, there is even an explicit distinction made between “those who make divination using innards (gr. splánkhna)” and “those who make divination using incenses (gr. epithyómena), the burnt-offering-diviners (gr. empyroskópoi); these they call frankincense-diviners (libanománteis)” (Scholia on Iliad 24.221). According to Porphyry, the first to use such vegetarian divination from frankincense was Pythagoras himself (Life of Pythagoras 11), the sage who enjoined us not to stain altars with blood but to offer honey-cakes, frankincense and hymns (Philostratus, Life of Apollonius 1.1).
[Work in Progress: add Philostratus, Life of Apollonius 1.31]
What has been said should more than suffice to show the viability of divination from incense, but how can one actually practice it?
In some stories, witches are seen as a threat or a source of evil, while in others they are portrayed as wise and benevolent figures. The image of a witch on a sword in a stone suggests a merging of these two powerful archetypes. It implies that the witch possesses a unique and extraordinary power that is linked to the sword. This could be interpreted as a representation of the witch's ability to control or wield the power associated with the sword. Furthermore, the idea of the witch being stuck in the stone could symbolize a trapped or hidden power. It suggests that the witch's true potential is restrained or suppressed and can only be released by the right person or under the right circumstances. This adds an element of mystery and suspense to the concept, leaving us questioning who this person might be and what their role is in the story. Overall, the idea of a witch on a sword in a stone is a captivating and enigmatic concept. It combines elements of fantasy, legend, and symbolism to create a powerful and intriguing image. It invites us to delve deeper into the story and explore the themes of power, destiny, and the supernatural..
Reviews for "The Witch on the Sword in the Stone: A Mythological Encounter"
1. John - 2/5 - I was really disappointed with "Witch on Sword in the Stone". The story seemed rushed and poorly developed, and I struggled to connect with the characters. The world-building was vague and lacked depth, leaving me feeling detached from the narrative. Additionally, the pacing felt off, with some parts dragging on while others were brushed over too quickly. Overall, it fell short of my expectations and I wouldn't recommend it.
2. Sarah - 1/5 - I found "Witch on Sword in the Stone" to be incredibly boring and unoriginal. The plot felt like a rehash of other fantasy stories, offering nothing new or exciting. The writing style was lackluster, with clunky dialogue and shallow descriptions. The main character lacked depth and development, making it difficult for me to root for her. Overall, it was a forgettable read that I regretted wasting my time on.
3. Mark - 2/5 - "Witch on Sword in the Stone" had potential, but it failed to live up to it. The story had an interesting concept, but the execution fell flat. The pacing was inconsistent, with long stretches of mundanity and rushed action scenes that left me unsatisfied. The dialogue felt forced and lacked authenticity, failing to bring the characters to life. While the world-building had some intriguing elements, they were underutilized and left me wanting more. Overall, it was a mediocre read that I quickly forgot.