A magical staff that has intelligence. Making magic staves, wands and wands. Cave Inexhaustible Spring
Magic staff made of wood. A staff (stick, wand, just a stick) can be considered one of the oldest tools used in magic. Staves and wands are mentioned as magical weapons, for example, in the Welsh Mabinogion. In later times (XVIII-XIX centuries), legends and traditions about magic wands gave birth to the image “ magic wand».
From a symbolic point of view, the staff is a reflection of the World Tree and the sacred spear of the God of Light (Odin, Lug, etc.). It is the role of the World Center that plays in a number of magical rituals a staff stuck in the ground. It can be used to channel magical energy. It is believed that the staff is perfect for accumulating mystical power.
The broom is a kind of “female analogue” of the staff. At the same time, the broom lacks a number of capabilities of the staff, although it has many of its own functions. For example, a broom is present in women's magical rites cleansing a place, home, etc.
Wood was the very first material from which all kinds of attributes for magical rituals were made. Thus, wood finds were found in the Netherlands, Denmark, and some other European countries. The most famous of these items are wooden sword from Arum (Netherlands), dating from the mid-7th century. A runic inscription is applied to the sword, which can be translated as “return”, “messenger”. It is believed that this amulet is intended to protect the traveler. Another similar object was found in Britsum, in Frisia. This is a wooden amulet dating from the turn of the 8th and 9th centuries. The amulet also bears a runic inscription that reads: “always carry this yew in the throng of battle.” Apparently, this amulet is associated with military magic.
Depending on the type of wood, staves vary significantly in their magical properties. They made staves from ash, hazel, oak, yew, elderberry, and many other trees. A staff made of ash was considered magical due to the fact that such a spear was likened to the sacred spear of the god of Light, for Odin’s spear, Gungnir, was made from the wood of this particular tree.
A hazel staff serves better protection on the way from someone else's magic. Previously along the contour certain territory walnut twigs were stuck in, which provided protection from dark forces. In this way, in Scandinavia, areas for fights were fenced off so that none of the spectators could use magic to influence the course of the battle.
In Russia, the analogue of yew is pine.
How to make a Druid's staff:
1. Select the material (wood) from which your staff will be made. The tree must be internally attuned to the magician.
2. Before you get ready to cut a stick for your staff, be sure to talk to the tree, explain who you are and why you need its part. It is auspicious to make some kind of offering, it could be honey, wine or incense.
3. After a positive response from the tree, you can safely chop the stick and prepare your staff from it.
4. You must take a vow that your deeds will be pure and that you will follow the magic of the Druids.
There are four standard sizes of magic wands, made of wood and serving as aid to concentrate and strengthen your own strength.
Staff - approximately tall
Large rod - two or three cubits
Small rod - one or two cubits
“Magic wand” - about half an elbow.
The smaller the wand, the more powerful it is, and the more careful processing it requires.
Wands can also be made of metal or stone, but since the labor intensity is significantly higher, I did not even try to find out anything about it. Before you begin, you need to perform a cleansing ritual that matches your ideas. During processing, you should observe what you call fasting. Any psychotics are strictly excluded; even tobacco or coffee can disrupt your work.
For any wooden wand, “its own” tree is selected (in my case it could be oak or hawthorn), in general case Harder rock is preferred. Selected young tree, suitable in thickness. For everything except the staff, a part of the main trunk is suitable only without knots. The tree is cut down with a feeling of regret for the ruined plant, and confidence that your need is worth it. A minimum of tools is used, ideally one knife, forged with one’s own hands. Since in modern conditions It is difficult to get hold of a knife forged with your own hands; you can use an ordinary medical scalpel purchased specifically for this work.
When working, it is necessary to eliminate the feeling of triumph, haste or anticipation.
A magic wand, on the contrary, is made from the most clumsy and gnarled (but in no case cracked or rotten!) part of the tree. The rhizome of a tree, or, for example, the stem of a Karelian birch, is very good for such purposes. If a part of a tree was taken to make a magic wand, if you have full self-confidence, it makes sense to “gift” the tree - rub a drop of blood into a cut in its bark.
The cut trunk is transferred to the place where it will be processed and is not moved to other places until the work is completed. The waste is collected and, after finishing the work, sacrificed to the forest spirits (buried under the turf in the forest with a feeling of gratitude).
All processing is carried out in a state of permanent meditation on the material. Hurry, distraction by random things, attempts to speed up work at the risk of spoiling the material are categorically excluded (not even the attempts themselves, but reflections on this topic, that is, if something can be scraped off or cut off, but accuracy in the latter case cannot be guaranteed, then there should not even be any doubt about what should be scraped). It is best to work in the forest or in the country. Exactly as much work is done in one go as is fun. Whenever there is a desire to work, you need to do it, even if this work consists of two movements.
The bark and cambium are cleared from the trunk; in the case of a staff, knots are cut and scraped off (not until smooth), and defects are cut out. The staff can be finished at any time after this, but it is recommended to at least scrape it thoroughly and lovingly.
For the remaining wands, the upper end (according to the height of the tree) is pointed, the lower end is rounded. The lower part of the rod (by which you then hold it) is scraped across the grain. At this stage, the workpiece should no longer have any corners or cuts. By this time, the workpiece may crack lengthwise due to drying, this is normal.
On a magic wand, both ends are rounded.
The processing should be interrupted and play with the resulting object. You need to feel it as yours, find a comfortable position for it in your hand, love it, become attached to it. From this moment on, the workpiece should be kept with you at all times, at least in the area of attention. The feeling should be such that you are introducing him to yourself, to your life, to your habits, emotions.
Further processing is the main difficulty. Part of the wand, except for the place where you hold on and the tip, is covered with a pattern. It makes no sense to “cover” the rod with a pattern. Scratches are applied to it in those places that, according to the feeling that appears, “they want it.” Some of them may be small, some will “require” a recess, sometimes up to a quarter of the radius (I, however, did not have this). Scratches are caused by holding the tip of a knife between your fingers (by the way, you only need to sharpen it by hand), and require a steady hand. When working, there should be a feeling of conversation, conversation with the rod.
A small wand requires a pattern that is several times thicker and finer than a large one, but sections of the initial surface must remain on it as part of the pattern (then, probably, the magic wand should be entirely carved). If a crack has formed on the rod, then annealed copper, or even better silver, should be hammered into it with the same knife (just not very hard, otherwise it will crack) to the very surface.
For a magic wand, another type of pattern is preferable - a continuous, non-self-intersecting, open line covering the largest possible area of the magic wand. If you manage to apply it in one motion from start to finish... However, I doubt that you will succeed.
There is no need to demand European accuracy from the rod, it should have in its shape a reference to the original shape of the barrel, it should not be perfectly smooth or perfectly round, the metal hammered into the gap does not have to look like a filling, it is simply stored there, although if it is not will look tacky, then that’s correct.
Unfortunately, I cannot describe the pattern covering in more detail, since it occurs in deep meditation. The work should have the internal impression of a valuable process in itself; one should not feel concerned about the result; even some nostalgic pity that another part of the work has been done is allowed.
At the same time, he needs to be introduced to the world, that is, shown to the sun, moon, stars, trees, while intensely feeling his attitude towards the objects shown. There is no need to show EVERYTHING or name names. Only the attitude toward which you consider worthy of being noted.
The pattern is applied until you are confident that you cannot add a single stroke. By the way, the pattern may well contain various symbols that you might have seen before; it is absolutely necessary to accurately determine whether it is your subconscious that is playing around, or whether the scratches just happened that way. The first is not good, the second is normal.
There are so many symbols that they can be found in anything, there is no need to be afraid of them or strive for them, they are always secondary when interpreted by a person.
After applying the pattern, you need to polish the rod with a cloth and river sand. For those who have never done this, I warn you, don’t press, otherwise you will scratch it. By the way, it is better to sift and/or wash the sand. Only the pattern is polished, by this time the handle has already been processed with a knife, and the tip should be smoothed with a knife.
Polishing should take place in a joyful (but not violently hysterical) mood, and this should not make the movements abrupt.
By this time the wand will make you feel the need for initialization (activation? consecration? I’m bad with the thesaurus Lately), which consists of a completely emotionless immersion of the tip into something. In my case it was night water, but it could be earth, wine, milk, a living body (God forbid, human), and sewage. If necessary, the next day the tip is wiped with the same cloth that was used to polish the rod (by the way, didn’t I say that it should be natural fabric from your old clothes?), which can be buried along with bark and sawdust, or can be thrown away or destroyed, at your discretion.
Initializing the magic wand looks a little more complicated. First, one end of it is immersed in something, then (the period of time does not matter and is unpredictable in advance) its other end is immersed in something else, something opposite in properties to the first. At first glance, the phrase is somewhat clumsy, but if you start making a magic wand, then at this stage everything will be clear to you.
The knife must be sharpened at the end of the work, and... that’s it.
If by that time you don’t know what to do next with the wand, then I obviously explained something wrong.
My respect, wise sorcerer. Have I heard you think about the transience of time?
So it is, warrior, I was thinking about time.
*The sorcerer’s face brightened with memories.*
Having lived to deep gray hairs and looking back, I do not torment my soul with regret. Each passing year gives me new knowledge and reveals to me the mysteries of this world. My strength is in the accumulated wisdom. Hmm... Time is given for the benefit of living beings, but it is not so merciful to other realities.
*The elder extends his staff forward.*
Look, the magic staff is deteriorating. Witchcraft powers flow out of him, like water through a crack in a clay jug. I need a new staff. But nowadays you won’t find wood as good as the one from which my old staff was made.
Where are you going to find material for a new staff, venerable sorcerer?
In the Fortress of Exiles. Hmm... I see the surprise on your face, warrior, but listen to me. I need a staff, fanned magical power that will graciously absorb new charms and serve me faithfully. Kofur, who has been subjected to the terrible curse of the vizier magician who lives in the Fortress of Exiles, has what I am looking for. His staff meets all my requirements, warrior, I need to get it. Only such a brave warrior as I now see before me can take a magical artifact from Kofur himself. I ask you to go to the dark fortress and get the staff of the cursed vizier.
Your goal: Go to the Fortress of Exiles and, having killed the Mage-Vezir Kofur, get the staff for the sorcerer.
Reward: 20000experience, 5 55 Elixir “Earth’s Grace” 1 pc., or “Earth’s Grace” Scroll 1 pc., or “Earth’s Grace” Talisman 1 pc.
The quest “Magic Staff for a Sorcerer” has begun for you. Good luck!
17:55 After defeating Kofur in a difficult battle, you received Kofur's Dark Staff 1 pc.
17:55 Player Triumvirator received: Kofur's Dark Staff 1 pc.
Mound of weepingSorcerer Arnabag
Hmm...Dark spells saturated the artifact, reviving in it an unknown ancient force, the force of evil. Until these spells are released from the staff, I will not be able to control it.
How are you going to do this, wise sorcerer? Is it really possible to cleanse the staff from evil spells?
You will help me with this, warrior. The finger of fate points to you. Listen... If the dark spells are released from the staff, they will bring a lot of trouble and destruction to Faeo. You can't let evil go free. Therefore, I urge you to go to the God of the dead and damned and invite him to take the power of evil hidden in the artifact. He is greedy and strives for power; he will not refuse such a generous gift.
Your goal: Perform a ritual to cleanse the staff at the Altar of Darkness near the vassals' crypts. Then return to the sorcerer.
Vassal CryptsAltar of Darkness
 |
Ritual of purification of the dark staff of Kofur |
Mortal, you must be desperately brave or hopelessly stupid if you set out to deceive me! How dare you?! I see self-interest in your action! By presenting me with this gift, you, mortal, receive benefits for yourself! But I will forgive your arrogance if you prove that you are ready to serve me. Place a dead heart and 5 portions of Kadhas bile on the altar. Then I will accept the dark enchantment of the staff as a gift.
Your goal: Place a Dead Heart and 5 jars of Cadhas bile on the Altar of Darkness.
Vassal CryptsAltar of Darkness
The battle "Attack on the Triumvirator" has begun.
Suddenly you heard a shrill whistle. The huge Varragna, sensing the dark spells of the inhabitant of the Fortress of Exiles several miles away, rushed to protect the staff. Repel the attack!
Immediately after the end of the dialogue, Varagna attacks 4100HP, hit 100-140
The battle "Attack on the Triumvirator" is over.
Vassal CryptsAltar of Darkness
|
Warragna attack repulsed |
To perform magical, occult, spiritualistic and various other rituals, a staff is definitely needed. It is necessary to enhance the power of spells, creating a more concentrated, directed and effective flow of energy.
Of course, it is possible to do without a staff, but it is the use of it that allows you to be sure that the spell and ritual will be carried out most successfully.
Material selection
To make a staff, it is permissible to use a variety of materials, but the priority, of course, is wood. Options using metals or stone as materials will not be considered in this article.
The first step is to choose what type of wood will be used for this. There are no generally accepted wood species for making staffs. The point is that best choice the staff will be made from the wood that the manufacturer prefers, be it spruce, rowan or acacia. In addition, there may be a choice between several suitable breeds. In this case, preference is given to harder wood.
The basis of the staff and its processing
Next, you need to find a small tree, which will need to be cut down, and then processed and made, in fact, a staff. After finding a suitable tree, approximately the same size as the manufacturer. Cut down a tree for this purpose with a regular tool. Preference is given to a knife forged by yourself. But not everyone is able to forge a knife, so it is permissible to purchase a knife or medical scalpel specifically for this - and no more - purpose.
It is necessary to cut down the tree, first making some kind of compensation. As compensation, you can bring your blood to the rest of the trunk. Just a couple of drops and the confidence that the death of the tree will bring only good, that the tree will not die in vain.
Next comes the processing of the future staff. During this process, impatience, haste, and inattention are unacceptable. First you need to cut off the knots from the future staff with the same knife. Next, you need to peel off the bark from the workpiece. If there are irregularities, they can be eliminated with sandpaper if desired. The next step is to round the ends of the staff.
If desired, you can install a tip of some kind on the upper end of the staff. It can be made from iron, silver, gold, precious stones or crystals. However, this can cost a fortune, so it will not be discussed in this article.
In addition, it is worth individually using sandpaper to narrow the grip area if necessary. This will make the staff more convenient to hold and use. You need to handle it according to your hand, and therefore from time to time try to see how comfortable it is to hold it.
Drawing signs.
Wood, despite its good ability to conduct energy, cannot be used without special magical signs. They should be applied neither with paint nor with a pencil, but rather cut out. To do this, you need to use the same knife that has been used all this time. Signs must be applied everywhere except the place of holding and, retreating from five to ten centimeters from the ends.
The pattern may contain Scandinavian runes, Latin inscriptions or various pentagrams and hexagrams. If you want to strengthen the staff, you can pour a little molten copper into the cracks.
After applying the pattern, it is better to hold the staff in your hand, twirl it, and generally get used to it. If you feel inconvenience due to the drawing, the inconvenience should be eliminated. After this, the staff must be coated with transparent varnish, preferably twice.
That's it, the staff is ready. Now, depending on the types of magic and the rituals performed, it is worth “consecrating” the staff. If the goal is to practice necromancy, then it is advisable to walk around the cemetery with a staff on a full moon and stick it into the cemetery soil. If the staff was created for light magic, sprinkle it with holy water while saying prayers. For dark deeds, you need to sprinkle the staff with blood.
Magic Rod
If a large staff causes inconvenience for performing rituals, then it should be replaced with some analogues. As a replacement for the staff, you can use the large and small wands, as well as a magic wand.
There are two types of wands: large and small. A large wand should be up to three cubits in length from the manufacturer (By elbow we do not mean the elbow joint, of course, but the area from the wrist to it). The small staff should not exceed two cubits in length. In their production, they are almost no different from the original version - the staff.
However, they differ in the application of the pattern. The smaller the staff, the smaller the patterns need to be made. For example, if a rod is one and a half cubits in size, then the patterns should be applied twice as small as on a rod three cubits long
Creating a wand is much different from creating a staff. No need to cut down for a stick living tree, you need to find a dry but strong branch, if you want, then a slightly crooked branch. You can find such a branch, or you can cut it down and dry it yourself. It should be quite thin, and the size of one elbow.
The pattern on the stick is very small. After applying the pattern, it is enough to cover it with only one layer of transparent varnish.
Since ancient times, magicians and sorcerers have used additional objects in their work. Depending on the direction in which the specialist works magical attribute, which is partly the source of strength, may vary. For some it will be a ring, for others a knife, for herbalists - a bottle of seeds. Some warlocks use skulls and bones in rituals. Witches often wear beads and bracelets made from natural stones. However, there are several items in the everyday life of magicians that are familiar to us.
We are talking about a magic wand or wand. It is worth understanding that this item can be either a gift from Higher Powers, and a personally made amulet. The entire production process is a mystery and requires maximum concentration. On the other hand, after you make a rod or wand, a series of manipulations with the “object of power” will be required to fill it with energy.
Do not forget that you can start making a wand only after receiving a blessing from the Force with which you are working. A blessing is required both before and after production. Filling a magical object with power must be carried out on a pre-selected day that corresponds to all the canons of the Teaching within which you practice magic.
There are four standard sizes of magic wands, made of wood and serving as an aid to concentrate and enhance one's own power.
Staff - approximately tall
Large staff - two or three cubits
Small staff - one or two cubits
The smaller the wand, the more powerful it is, and the more careful processing it requires. Wands can also be made of metal or stone, but since the labor intensity is significantly higher, I did not even try to find out anything about it. Before you start, you need to perform a cleansing ritual that matches your ideas. During processing, you should observe what you call fasting. Any psychotics are strictly excluded; even tobacco or coffee can disrupt your work. For any wooden wand, “its own” tree is selected (in my case it could be oak or hawthorn); in general, preference is given to a harder species. A young tree of suitable thickness is selected. For everything except the staff, a part of the main trunk is suitable only without knots. The tree is cut down with a feeling of regret for the ruined plant, and confidence that your need is worth it. A minimum of tools is used, ideally one knife forged with one’s own hands. Since in modern conditions it is difficult to get hold of a knife forged with your own hands, you can use an ordinary medical scalpel purchased specifically for this work. When working, it is necessary to eliminate the feeling of triumph, haste or anticipation. A magic wand, on the contrary, is made from the most clumsy and gnarled rhizome of a tree, or, for example, the stem of a Karelian birch. If a part of a tree was taken to make a magic wand, if you are completely confident in yourself, it makes sense to “gift” the tree - rub a drop of blood into a cut in its bark. The cut trunk is transferred to the place where it will be processed and is not moved to other places until the work is completed. The waste is collected and, after finishing the work, sacrificed to the forest spirits (buried under the turf in the forest with a feeling of gratitude). All processing is carried out in a state of permanent meditation on the material. Hurry, distraction by random things, attempts to speed up work at the risk of spoiling the material are categorically excluded (not even the attempts themselves, but reflections on this topic, that is, if something can be scraped off or cut off, but accuracy in the latter case cannot be guaranteed, then it should not there may even be doubts about what should be scraped). It is best to work in the forest or in the country. Exactly as much work is done in one go as is fun. Whenever there is a desire to work, you need to do it, even if this work consists of two movements.
The bark and cambium are cleared from the trunk; in the case of a staff, knots are cut and scraped off (not until smooth), and defects are cut out. The staff can be finished at any time after this, but it is recommended to at least scrape it thoroughly and lovingly. For the remaining wands, the upper end (according to the height of the tree) is pointed, the lower end is rounded. The lower part of the rod (by which you then hold it) is scraped across the grain. At this stage, the workpiece should no longer have any corners or cuts. By this time, the workpiece may crack lengthwise due to drying, this is normal. On a magic wand, both ends are rounded.
The processing should be interrupted and play with the resulting object. You need to feel it as yours, find a comfortable position for it in your hand, love it, become attached to it. From this moment on, the workpiece should be kept with you at all times, at least in the area of attention. The feeling should be such that you are introducing him to yourself, to your life, to your habits, emotions. Further processing is the main difficulty. Part of the wand, except for the place where you hold on and the tip, is covered with a pattern. There is no meaning to the emerging feeling of “this is what they want.” some of them may be small, some will “require” a recess, sometimes up to a quarter of the radius (I, however, did not have this). Scratches are caused by holding the tip of a knife between your fingers (by the way, you only need to sharpen it by hand), and require a steady hand. When working, there should be a feeling of conversation, conversation with the rod. A small wand requires a pattern that is several times thicker and finer than a large one, but sections of the initial surface must remain on it as part of the pattern (then, probably, the magic wand should be entirely carved). If a crack has formed on the rod, then annealed copper, or even better silver, should be hammered into it with the same knife (just not very hard, otherwise it will crack) to the very surface. For a magic wand, another type of pattern is preferable - a continuous, non-self-intersecting, open line covering the largest possible area of the magic wand. If you manage to apply it in one motion from start to finish... However, I doubt that you will succeed. There is no need to demand European accuracy from the rod, it should have in its shape a reference to the original shape of the barrel, it should not be perfectly smooth or perfectly round, the metal hammered into the gap does not have to look like a filling, it is simply stored there, although if it is not will look tacky, then that’s correct. Unfortunately, I cannot describe the pattern covering in more detail, as it occurs in deep meditation. The work should have the internal impression of a valuable process in itself; one should not feel concerned about the result; even some nostalgic pity that another part of the work has been done is allowed. At the same time, he needs to be introduced to the world, that is, shown to the sun, moon, stars, trees, while intensely feeling his attitude towards the objects shown. There is no need to show EVERYTHING or name names. Only the attitude toward which you consider worthy of being noted. The pattern is applied until you are confident that you cannot add a single stroke. By the way, the pattern may well contain various symbols that you might have seen before; it is absolutely necessary to accurately determine whether it is your subconscious that is playing around, or whether the scratches just happened that way. The first is not good, the second is normal. There are so many symbols that they can be found in anything, there is no need to be afraid of them or strive for them, they are always secondary when interpreted by a person. After applying the pattern, you need to polish the rod with a cloth and river sand. For those who have never done this, I warn you, do not press, otherwise you will scratch it. By the way, it is better to sift and/or wash the sand. Only the pattern is polished, by this time the handle has already been processed with a knife, and the tip should be smoothed with a knife. Polishing should come in a joyful (but not violently hysterical) mood, and this should not make the movements abrupt.
By this time, the rod will make you feel the need for initialization, which consists of completely emotionless immersion of the tip into something. In my case it was night water, but it could be earth, wine, milk, a living body (God forbid, human), and sewage. If necessary, the next day the tip is wiped with the same cloth that was used to polish the rod (by the way, didn’t I say that it should be natural fabric from your old clothes?), which can be buried along with bark and sawdust, or can be thrown away or destroyed, at your discretion.
Initializing the magic wand looks a little more complicated. First, one end of it is immersed in something, then (the period of time does not matter and is unpredictable in advance) its other end is immersed in something else, the opposite in properties to the first. At first glance, the phrase is somewhat clumsy, but if you start making a magic wand, then at this stage everything will be clear to you.
The knife must be sharpened at the end of the work, and... that’s it.