The Western Gate

Foreword: This blog viz.Dagenhamdave.com contains works that I do not write in my Book of Shadows, however for this post, on ‘Beltane’ I thought I would write the frontispiece, or First written page . With reference to the ‘truedate of Beltane as written below, it is this year on May 6th. So i’m Four Days early, or perhaps if you want to be traditional, a day late.
Words in brackets have been added and are not on original text. N.B. Grimoire ? Book of Shadows? journal? Diary of wanderings and any other flowery names we can add…. Have used the term Grimoire which has its own conotations but none the less have used it as word implicity meaning the book, just to settle any arguments of purists.

Lest it be known, and inscribed with solemn intent, that the Book must not be wrought by another’s labour, nor conceived in idle imitation.
As we travel the winding stream, and crooked path and unmarked roads we do not (only) Emulate, we synchronise, we do not live in speculative Masonry, but Operative craft.
The Crafty then —be scribe, seeker, or bearer of hidden will—shall fashion it by ones own hand entirely, from first cut to final fullstop.
No borrowed craft shall dwell within it, for the spirit of the work binds only to they for whom it is wholly made.
The covering of the Book shall be of leather deep as sacrifice: crimson, scarlet, or burgundy ~most favoured.
Best it be the hide of the goat if such may be obtained, for in old tales told this creature bore the weight of being cruelly cast out, and thus carries within it the memory of exile and threshold ( of being the social pariah and expendable ) that we all know, and as the goat, the symbol of the winter’s dread (Capricorn ), be it known that all things begin in darkness and are illuminated by wisdom and thus the book shall be clothed in this fancy. ¹
The spine strengthened with cord, jute or thick braided raised bands, such that indeed it be the spine. Such a binding shall hold the work firm between worlds.
The signatures of pages within sewn as weaving threads, waxed so as to protect and alike the weaving serpent move easily within the leafs.
The Book must be of measure that it may be stood upon by the cunning’s own feet, upright as a pedestal or altar-piece. For it is not merely to be read—it is to stand, to (sic) beheld, to preside. If it be that discretion takes precedent and the book be humble, then stand ‘pon toes, as we rise to greet the dawn and kiss the mother.
Ink shall not be thin nor faded. It must be rich, dense, and of a body that holds deeply to the page. The Titles shall be set apart in a hue of deep emerald green, signifying hidden growth and the veiled path, that of Nature and the Flora. The body of the text shall be rendered in the colour of blood—whether true or wrought in likeness—so that each word bears the weight of life and vow, such that it is the colour of the Fauna, and these two then, compliment.
All etchings, sigils, and figures shall be drawn in carbon or graphite, that they may remain stark, unyielding, and shadow-bound, yet also vulnerable to smear and fray. (For all things perish, that is nature )
Let no frivolous colour distract from their purpose; for these markings are not adornment, but invocation. If colour need be used to symbolize or likewise emulate, let them be sated, muted and pastel, and let Nature have the richness of colour for her glory.
And thus, when the Book is complete, it shall not be merely an object, but a vessel—bearing the mark of its maker, and holding fast that which was laboured through hand, will, and knowing.
Let it further be understood that the writing within this Book must not be contrived into rigid perfection, nor overburdened by excessive care that stifles the living current of its making. The hand should move as the mind stirs, as the spirit inclines—naturally, fluidly, and without restraint. Let the words come as they will, shaped by emotion, impulse, and the quiet urgings beneath thought. It does not matter if mistakes arise upon the page for nothing is ruined, and if the script falters or wanders; such marks are not flaws, but signs of breath and presence. Do not seek to be the sterile precision of illuminated manuscripts, for nature itself does not abide in perfection—it shifts, it stumbles, it ebbs and wanes. So too must this Book live, imperfect and more, true.
And let it be set down as law -as within hidden margins -or thoughts before the speech: should the cunning makes drafts in lesser pages—be they notes, sketches, or wandering, outlines that were prior set apart from the Grimoire itself—then such workings are not to endure beyond their purpose. For they are husks of becoming, shadows cast before the true form is given. When the appointed night of Samhain draws its veil across the world, and the fire is kindled in honour of threshold and turning, all such pages, scribbles, notes and ideas shall be gathered and cast them into flame, that they may be consumed and carried into ash . In this burning is a sealing of intent, the casting off of what was unfinished, and the offering of all false beginnings to the dark that makes way for truth. Let nothing of the discarded remain, for the Grimoire alone shall hold what is worthy to endure.
In Covens structured, alike their books, they are set, planned, and their liturgy is, as they command, to be copied exact, but these are not Books of Shadows nor illuminated, what one speaks another may sing, what one frowns upon another may covet. To copy is to create their mask upon your own, to wander in someones footsteps is to follow a contrived path. Walk free.
Nature gives us that which we need to know, the Solstice and Equinoxes are the Major rites, and they are days not set in stone but wander², likewise the marker between them that (Wiccan et al ) Covens call the greater Sabbats fluctuate, and are not rigid, mark the Solstices and Equinox and count the days betwixt them to find the true Beltane, Samhain, Lughnasadh and Imbolc, for they may not be as written in the words of the ‘preachers. Mark well too the Full Moons and new Moons and the quarter Moons, for they may dance exact upon the ‘Sabbats, and are to be regarded.
Know thyself as age from Solar years, and more, to each full moon from birth, for you may be 60 years of solar age, but c.740 of Lunar. This age written when commencement of book³, and so on last page at completion.

Appendix/ Addendum

_¹ It may be for ethical/lifestyle reasons that ‘Animal’ products will not be regarded, mycelium~ mushroom leather is then substituted. Mushrooms breathe in Oxygen and out Carbon Dioxide, it’s synchronous to the Fauna, Vegetable leather however is opposite and should not be used as the bound of a book.

²The Diagram below, shows the progression of the year from winter solstice (2025) to End of year 2026. Each Full Moon and New Moon noted, as too each ‘astrological’ begining. This diagram/guide is placed if the book recahes the Winter Solstic, be it at the begining or anytime thereafter where it occurs as the book is written.
The Five pointed markers denote the especial and wyrd system in ritual. The Nearest New Moon to Solstice, coincidentally actually falling c.on the solstice in 2025 is marked, the third full Moon following is then marked, followed by the Third New Moon after it, followed by the third Full Moon after that and finally the Third New Moon After that. This gives the Pentagram. Dependent on work, means the ‘especial’ days may start on Full Moon closest to the Winter Solstice in which case the Third New moon after it is marked &c.
It can be seen the ‘so called’ “Greater” sabbats of the ‘Structured’ Covens do not fall as traditionally ascribed by their fixed constitution.

³Pictographic Notation Above ~Denotes : 59 years of Solar Age, Book begun on New Moon in Capricorn, Last full moon was at 732 Lunar Full moons since birth.

Header and Above Image :~ VVitch upon the Pedestal (taken and adapted from image of ‘Anna Taylor Joy’ and Film The VVitch~ 2015) – By D.Wenborn 2026

Five songs from III- forthcoming album from creepy Carrie. First Song is on ‘The Craft of Grimoire ‘
Viz:-

Hearken now, all wandering souls,
No borrowed hand shall shape the whole,
To a charge in shadow cast,
No echo of another’s past,
The craftsman lone must take the blade,
For only work by self is made
From first cut drawn to final sign,
May hold the hidden thread divine.

In leather dyed of crimson deep,
Let goat-skin wrap what it shall keep,
Or burgundy like twilight bled,
A memory of exile’s tread.
Let ink run thick as living vein,
And words in red like sacred stain,
With emerald crowns for titles shown,
Each mark a vow, each line a tone.

And the Book shall be the plinth I tread,
All words within to Sophia led,
The pedestal beneath my feet,
In whispered vow and binding meet.
My words are breath that stirs within,
In ink and will, through loss and sin,
My eulogy, my hidden path,
I write my name in ash and wrath.

Let sigils rise in ashen hue,
No gaudy light to break them through,
In graphite dark, in shadow bound,
For these are calls, not idle sound,
At Samhain’s fire the false shall fall,
That one true Book may hold it all,
All lesser pages turned to flame,
And speak the bearer’s secret name.

And the Book shall be the plinth I tread,
All words within to Sophia led,
The pedestal beneath my feet,
In whispered vow and binding meet.
My words are breath that stirs within,
In ink and will, through loss and sin,
My eulogy, my hidden path,
I write my name in ash and wrath.