A Compendium of Witchy Women

[Finchbearer]

The witch is undoubtedly the magical woman, the liberated woman, and the persecuted woman, but she can also be everywoman.

Kristen J. Sollee, Witches, Sluts, Feminists: Conjuring the Sex Positive

What do we think of when we think of the witch? A woman burned at the stake? Religious fervour and fear of women? An old hag with a wart at the end of her crooked nose?

Think again. Witches are the everywoman. They have been fictionalised, sensationalised, and told and retold through storytelling for as long as stories have been told.

Here I present a compendium of witchy women. A sourcebook of complex and layered real and fictional women, who for the discerning fantasy writer may present a rich source of inspiration.

Some notes: this is a personal project for research purposes, however, I wish to share a shortened version of my findings, exclusively curated for Mythic Scribes.

The information sources are from my own existing knowledge and the internet. I’m not going to include citations. Conduct your own further research should you wish to. You may enter a discussion on this thread, but please be respectful.

 

[Finchbearer]

Morgan le Fay
Also known as Morgen an Spyrys in Cornish, and Morgên y Dylwythen Deg in Welsh.

Painting by Frederick Sandys, 1864

Morgan le Fay simply translates to Morgan the Fairy, which pertains to her earliest incarnation as a witch or a sorceress in Arthurian legend.

She is thought to have been created as a character of fiction by Geoffrey of Monmouth, and first appears in a Latin poem entitled Vita Merlini, which translates to The Life of Merlin.

Her character was initially written as a benevolent enchantress, later becoming Arthur’s saviour, however later incarnations of Morgan le Fay show her as more complex, with potential for both good and evil.

It is thought that Morgan le Fay is based on earlier Goddesses such as The Morrigan, from Celtic mythology and Circe from Greek mythology.

What makes her a witchy woman?

Her character was created as a sorceress, enchantress and witch, with the ability to wield magical powers. Aside from the obvious, Morgan le Fay lives on in storytelling as powerful woman, one who is complex, both good and evil, and embodies the divine feminine duality that we see so often in the Goddesses of old.

 

[pmmg]

Is the hope here that I will use this to post up a list of historical/fictional witches and write a bit about what I know of them? Or is it to relate what I know to its importance towards Feminist themes as a book like Witches, Sluts, Feminists: Conjuring the Sex Positive would suggest? I would suggest the later is a path to getting a locked thread. I am willing to look at the book if you like. Though, its not next on my read list.

I will say, I love me some witches. I use the term in my own stories, and it has many meanings. Some are called witch as a pejorative to dehumanize and demonize them, and some are actually witches, with spell casting abilities. The cultures in my story view them as unfavorable, but sometimes useful. At least so far. In the fiction of others, I love the idea of witches, and the many varieties of them. I have seen many variations on many of the well known witches, such as Morgan le Fey, and Circe, and would not mind at all if I could be an ally to Glinda the Good Witch from Oz (and before any says, I did not care for wicked the musical)

Love you Glinda

Outside of fiction and legends, I am sure that a term like Witch carries many connotations, and is used to encompass such a wide range of notions, as to include even the kitchen sink. I favor the magic using female type (warts on nose or not), but seductress, and as a general term to mean that woman (or sometimes man) I don't really like certainly applies.

As relates to human nature and the human experience, I think again there is also a wide range of why the term may and may not have favor. In a world that has been mostly dangerous, and slightly more dangerous for women, to have people think you are a witch might not be so bad. To the male half, a lot of what women can do may appear to be witchcrafty to them. I would suspect a woman who uses her wiles well could seem a lot like she uses witchcraft, as she may have an effect on a lot of males. Likewise, women as healers seems a natural extension of feminine compassion and nurturing...is it such a stretch to think they might be extra good at it? Course in some cultures, Witches may gain respect, mystique and even fear, in others, it gets them burned. So...one is never really secure in the public eye.

In real life, while women certainly seem to have powers over men and dragons, are they magic or supernatural? I'll just say I am not a believer. Though, I can accept that many want to be. And I am all for the sex positive stuff, but all things have good and bad to them.

 

[Finchbearer]

It’s interesting to hear your thoughts pmmg. I’m simply using this space to post as many ‘witchy women’ as I can, and some of them might surprise you, maybe.

I love me a witchy woman too, which is why I’m drawn to them. I will explore each woman’s witchy credentials, and will also, on a surface level, explore the underlying feminist themes on why women may be branded a witch for either positive or negative reasons. I think it’s supremely interesting how the witch trope fits into contemporary pop culture and fiction, and researching their origins is a voyage of discovery for me.

I personally always write about characters who could be described as witchy women, and I think they fit into the fantasy fiction landscape as an integral part of it.

On the subject of the book I have cited - take the title with a healthy pinch of salt.

 

[pmmg]

Well...then I think all women are witchy to some degree. I am not unhappy with it.

Kind of sorry that it got our of hand, and people would burn them over it....crazy. But it was not my time. With today values, I may not agree with much some people have to say, but I still like the world better with them in it.

(I say 'kind of', because it actually had nothing to do with me.)

 

[Finchbearer]

Baba Yaga

There wouldn’t be compendium of witchy women without the inclusion of the formidable yet ambiguous Baba Yaga.

Baba Yaga by Ivan Bilibin, 1902

The concept of Baba Yaga originates from Slavic folklore, with Baba loosely referring to the Russian word for grandmother, or babushka, and the term Yaga has been more difficult to translate with various translations ranging from horror, worry, fury and pain, amongst other similar words.

She is often depicted as an old woman, hag-like, with bony legs and a stupendously long nose, all the better for smelling with…

She is said to dwell deep in the forest in a hut that sits high up on giant chicken’s legs that spin the hut around continuously. Inside the hut she lies on an oven, with her long bony legs reaching the sides of the hut, and her long nose reaching the roof.

As if that wasn’t strange enough, she is also depicted as moving around in a giant mortar wielding its pestle.

She is also known as belonging to one of three siblings, all known as Baba Yaga, connoting to The Rule of Three, often found in old belief systems.

She is altogether mysterious with her purpose ranging from malice, to maternal figure. She is also thought to represent a kind of ancestral primitive woman, who has an affinity with the natural world and embodies earth, moon, death and winter, amongst other natural elements. In tales and folklore she is sometimes depicted as malevolent, devouring those who are unfortunate enough to be in her presence.

What makes her a witchy woman?

Baba Yaga is on the surface the archetypal hag-like, crooked nosed image of a witch, and yet, scratch the surface and she represents something deeper and darker about the primal woman. The idea that the old and decrepit female could very easily be a witch probably speaks a lot to how society once treat the elderly, and the isolated.

 

[Queshire]

Oh, fun. Let me see if I can contribute.

Himiko

Depiction as she appears in the video game Fate/Grand Order.

Himiko was known as the queen of the land of Yamatai which was located in modern day Japan and is the oldest known Japanese ruler. As Japan lacked a writing system of its own at the time most of what's known about her comes from Chinese accounts of interacting with them. She's known to live in a gigantic sanctuary with 1,000 female attendants, 100 male guards and either 1 male attendant and/or a younger brother who either handled the day to day politics or communicated her words to the public while she remained secluded. Frankly between the lack of first hand written accounts and the fact that the account we do have comes from a foreigner who they'd naturally want to impress it's a bit hard to say what's historically accurate.

What makes her a witchy woman?

In fantasy the divide between Shaman and Witch can be hard to make out, but she's said to have ruled and guided Yamatai with magic powers, and from a writing perspective the lack of knowledge surrounding her increases her mystique.

 

[Finchbearer]

Great contribution Queshire! You’ve introduced me to a fascinating woman. As with all ancient knowledge, I can see why there is a distinct lack of knowledge surrounding her, and possibly why she has so much mystique. How great that she has been reincarnated in popular culture as a character in a video game, very Japanese.

 

[Finchbearer]

Ophelia

Ophelia is the fictional character from the Shakespeare play, Hamlet.

Ophelia, by John Everett Millais, 1851 - 1852

She is one of the main female characters in the play and has become synonymous with tragic romance. Shakespeare ends her story when she is left to descend into madness rather than be saved by her beloved prince, Hamlet, and dies by drowning.

Her character is depicted as having a deep connection with the natural world, and sings and recites poetry about flowers, plants and the natural landscape. Her knowledge of herbs and flowers is shown through her mad scenes.

During her madness Ophelia speaks in a disturbed and nonsensical prose, that displays her diminished mental state;

They bore him barefaced on the bier—
Hey non nonny, nonny, hey nonny—
And in his grave rained many a tear—
Fare you well, my dove!

Ophelia became a favoured subject of the The Pre-Raphaelites, a group of nineteenth century English artists who were inspired by the early renaissance period, who revived themes of chivalric romance, classic beauty and melancholy.

Ophelia was a particularly captivating subject to artist John Everett Millais, who depicted her death scene in his iconic painting, Ophelia, 1851 to 1852.

What makes her a witchy woman?

Ophelia has distinctly witchy undertones, such as a deep connection to nature, with her knowledge and understanding of plants, herbs and flowers, along with her descent into madness and drowning, which could be seen as symbolic as her transformation into a supernatural being.

A deep connection to nature and any extensive knowledge of herbs and plants has long been associated with witchcraft. Madness in women has also been stigmatised, with many women who have suffered from poor mental health branded as witches, which could have perhaps been viewed as commune with sprits or otherworldly beings. Her drowning may have also connoted to water spirits such as nymphs and sirens.

 

[Finchbearer]

Mami Wata

Mami Wata, also known as Mambu Muntu, Water Mother and La Sirene.

Mami Wata is widely known as a water spirit from West, Central and Southern Africa, along with cross cultural significance in the Afro-American diaspora.

The etymology of her name could either derive from a form of pidgin English, essentially translating as Mother Water, or it could also have derived from ancient Egyptian and Mesopotamian translating mama to truth.

She is depicted as mermaid like, with a woman’s upper body and a fish or serpent like lower half. Other depictions have her as fully human-like, carrying a large snake with its head resting between her breasts.

Her purpose varies as widely as her lore has spread, however she is most often seen as benevolent. She also carries a mirror that may symbolise reflection and the spirit world, with those who encounter her emerging from her spirit-world as more reflective of their own character. It is also said those who return from her world emerge more prosperous and all the better for it.

Her connection to the Atlantic and the Afro-American diaspora has a particular significance, and she may have become a kind of water guardian or protective spirit.

Mami Wata is also sometimes depicted as male, although she is mostly presented in female form. Her connection with sex and sexuality is also significant in some more specific cultures.

What makes her a witchy woman?

There are many water spirits that present themselves as female, and many more are often depicted as beautiful seductresses, ready to lure the unwitting into the water. However, Mami Wata stands out as a benevolent spirit who offers those she encounters a chance to self-improve, and prosper.

Her significance in the Afro-American diaspora is particularly poignant, with her connection with water and her role as a protective deity or spirit.

 

[Finchbearer]

Galadriel

Galadriel, as played by the actress Cate Blanchett in Peter Jackson’s adaptation of The Lord of the Rings.

Galadriel, also known as Artanis, Nerwen and Alatárie.

She also is known under the titles, Lady of Lórien, Lady of the Wood, Lady of the Galadhrim and Mistress of Magi.

She is the fictional creation of the linguist and fantasy author J R R Tolkien, who describes her as ‘the mightiest and fairest of all the Elves that remained in Middle-Earth’, and ‘greatest of Elven women’.

As an Elven woman she is immortal, and her age by ‘the fourth age’, when Tolkien stopped writing, is estimated to be well over eight thousand years. Her physical appearance is that of a very tall, ethereal woman with long golden-silver hair.

Tolkien ensures that her hair is of great significance, and wrote;

‘Even among the Eldar she was accounted beautiful, and her hair is held a marvel unmatched. It is golden like the hair of her father and of her foremother Indis, but richer and more radiant, for its gold is touched by some memory of the starlike silver of her mother; and the Eldar say that the light of the Two Trees, Laurelin and Telperion, has been snared in her tresses.’

Tolkien 1980, part 2, ch. 4 ‘The History of Galadriel and Celeborn’

Women and hair are synonymous with the ideals of beauty and maidenhood, with women historically wearing their hair unbound until marriage. Women in Western Europe commonly practiced modest dressing and veiling, covering their hair completely once married. Galadriel’s hair therefore also connotes to a kind of freedom or liberation from those restrictions.

As a work of fantasy fiction, Galadriel represents an exaggerated sort of beauty, and is able to escape the restrictions of any mortal woman by embodying an altogether otherworldly, mystical female character.

She is one of the oldest and most powerful of the elves in middle earth, and possesses great wisdom and insight, along with seer-like abilities and telepathy, giving her an altogether supernatural presence.

She wears The Ring of Water, Nenya, that grants her the power to protect and enhance her realm, Lothlórien. The ring amplifies her power and reinforces her protective nature, sovereignty and connection to the natural world.

She does however have a darker side when she is tested by Frodo Baggins, when he makes her an offer of keeping the Ring in her safekeeping. She says, "I do not deny that my heart has greatly desired to ask what you offer.” And goes on to contemplate how corrupted she would become should she take the ring, contemplating that she would become ‘great and terrible’, connoting to her duality as a woman, capable of both good and evil.

Tolkien’s creation of Galadriel is in the spirit of revivalism, and the character may well have been inspired by figures of antiquity, such as Circe from Greek mythology, Morgan le Fay from Arthurian legend, and The Lady of Shalott from the lyrical ballad by English poet Alfred Tennyson.

Tolkien noted that he took direct inspiration however from Toder Haggard’s heroine Ayesha, from his 1887 novel, She: A History of Adventure.

Tolkien, a great scholar, who took much inspiration from Old English for his world-building and storytelling, likely drew inspiration for Galadriel’s character from the idea of the elf. In Old English, elf can be loosely translated to ælfscyne, or elf-beautiful, and ælfsogoða, meaning lunacy, that could connote to ‘beauty itself as dangerous’.

What makes her a witchy woman?

As a creation from the mind of 20th century fantasy novelist J R R Tolkien, Galadriel has clearly been inspired by many a witchy woman before her, and so we can deconstruct her character to individual parts.

As an elf, she is already no ordinary mortal woman, but rather a supernatural immortal being, whose many years can be attributed to her infinite wisdom and knowledge. Ancient wisdom, or wisdom beyond the norm may be considered distinctly witch-like.

She is particularly beautiful, so much so, she is almost dangerously beautiful. Why is beauty so dangerous? Women have been persecuted for being too ugly, and conversely, too beautiful. Any departure from the what is considered normal may also be considered witch-like.

She has literal magical powers such as telepathy, prophecy, inner-light and healing. Women who claim to possess any or all of these powers are often considered witches.

Overall, Galadriel the ethereal elf from Tolkien’s Middle Earth is a modern amalgamation of many witchy women who came before her, and represents both the divine female and the everywoman.

 

[skip.knox]

What follows here is an observation not a criticism.

Most of these images are highly romanticized, many from the 19thc. If you drew on images from an earlier time, they would mostly portray hags.

I'm a medieval historian, not a modern one; I won't even speculate on the reasons for this shift, but it's striking. If nothing else, it serves as a reminder that perceptions of the past change over time, and that how anything--be it groups, events, or places--is portrayed in images says more about the era in which the images were created than it does about any actual past. Or, as the old saying has it, men resemble their times more than their fathers.

 

[Finchbearer]

skip.knox, It would be valuable for you to contribute some visual examples to go along with your suggestion that witches were always thought of old, or hag-like in medieval times. Or at least depicted visually as so.

In the 19C depictions of Ophelia and Morgan le Fay I have provided for this thread, they are certainly in the romantic style of the pre-Raphaelites, however, from the description of the original creators of both of those women, William Shakespeare and Geoffrey of Monmouth, they are both described as young beautiful women.

Geoffrey of Monmouth was a medieval monk, (b.1095) and Shakespeare from the renaissance, and clearly they thought that their witchy female creations were suited to being affiliated with youth and beauty.

The only hag-like witchy woman I have included here is Baba Yaga.

Even in pre-history, Goddesses and other folkloric ‘witchy women’ were depicted in art as many different types of women, from billowing and virile, to wasp-waisted and youthful, to old and wise.

 

[skip.knox]

Yeah, I was sloppy there. I was reacting to the highly romanticized images, but in turn I was mentally calling up images that date from the late 15thc through the 17thc -- in other words, from the era of the witchcraft craze, and which are every bit as stereotyped.

You can see those images by searching on "images of witches in the middle ages". What you'll actually get is all late medieval / early modern stuff. Only medieval by generous definition.

I took a humble look through Jeffrey Russell's excellent Witchcraft in the Middle Ages, then did a cross check with Kieckhefer and with Michelet. Of hag-ish witches I could find none. And, contra, I would add Vivienne, the Lady of the Lake. With that, I'll withdraw to my corner over here, where I'm mainly concerned with the social and economic history of the working classes of medieval cities. Not a witch in sight.

 

[Finchbearer]

Aslaug

Aslaug by Bernard Sleigh, 1902

Aslaug, also in Old Norse, Áslaug, alternatively known as Aslög, Kráka or Kraba.

Aslaug, a figure in Norse Mythology appears in Snorri Sturluson’s Prose Edda in both the Völsunga Saga and the Saga of Ragnar Lothbrok as one of his wives.

According to the Tale of Ragnar Lothbrok, Aslaug was the daughter of Sigurd and the shieldmaiden Brynhildr. She was raised by Brynhildr’s foster father, Heimer, and upon the deaths of both her parents, Heimer was concerned for Aslaug’s safety, so he devised a plan to travel around masquerading as a poor harp player. It was inside the harp that Aslaug was hidden.

One night, they stayed with peasants Áke and Grima, however when Grima persuaded her husband to murder Heimer on the suspicion that the harp contained valuable items, they were surprised to find the little girl hidden inside. They then decided to raise Aslaug as their own and called her Kráka, meaning crow.

Aslaug’s beauty was apparent, a de facto confirmation of her noble origins, and so Áke and Grima sought to hide her beauty by covering her with tar and hiding her in a hooded cloak.

One day when she was grown, she was caught bathing by some men who were travelling with Ragnar Lothbrok. They were so taken with her beauty that they allowed the bread they were cooking to burn. When Ragar questioned the men about the bread, they explained that they had seen a beautiful woman.

Ragnar was curious and so he requested that she meet with him. However to test her wits, he demanded that she meet him on the conditions that she would arrive neither dressed nor undressed, neither fasting nor eating, and neither alone nor in company.

Kráka (Aslaug) arrived dressed in a net, biting an onion, and with only a dog as a companion. Taken with her inventiveness obvious beauty and clever wits, Ragnar took her as his wife.

Aslaug continued to show intuitiveness and cunning beyond her years and even showed herself to possess the abilities of foresight.

She is thought to be the archetypal ‘clever peasant girl’, who outsmarts her adversaries, despite not having any real life experience. She is also always described as beautiful, with her beauty and intelligence together making her a woman worthy of the great Ragnar Lothbrok.

What makes her a witchy woman?

Aslaug is a character that presents a paradox. She is noble yet also a peasant, cunning and intelligent, yet beautiful and maidenly. It seems that Aslaug was a character devised to be the perfect woman, both humble and yet noble and wise, destined for greatness.

Her paradoxical character makes her a contender for the archetypal beautiful woman-turned-witch. She is bewitchingly beautiful, so much so that she had to be covered in literal tar to hide her beauty. This seems to be a perfect analogy of the idea that beauty in itself is dangerous.

With her intuitiveness, her perceived beauty and intellect, Aslaug makes an altogether beguiling witchy woman.

 

[Mad Swede]

I'm with Finchbearer on this. There's no evidence from the eddas that any of the women in Norse mythology are ugly, in fact most of them are described as being attractive. They may have a bit of a temper, and they don't like being scorned, but they are attractive. As an example, the valkyries (Gunnr, Göll, Herfjötur, Hildr, Hlöck, Hrist, Kåra, Mist, Rota, Sigrun and Trud) are all described as taking the form of young women with long hair tied into a ponytail and wearing embroidered sleeveless dresses.

 

[Finchbearer]

I'm with Finchbearer on this. There's no evidence from the eddas that any of the women in Norse mythology are ugly, in fact most of them are described as being attractive. They may have a bit of a temper, and they don't like being scorned, but they are attractive. As an example, the valkyries (Gunnr, Göll, Herfjötur, Hildr, Hlöck, Hrist, Kåra, Mist, Rota, Sigrun and Trud) are all described as taking the form of young women with long hair tied into a ponytail and wearing embroidered sleeveless dresses.

This is so coincidental, I’ve just posted my next witchy woman, Aslaug.

 

[Finchbearer]

Yeah, I was sloppy there. I was reacting to the highly romanticized images, but in turn I was mentally calling up images that date from the late 15thc through the 17thc -- in other words, from the era of the witchcraft craze, and which are every bit as stereotyped.

You can see those images by searching on "images of witches in the middle ages". What you'll actually get is all late medieval / early modern stuff. Only medieval by generous definition.

I took a humble look through Jeffrey Russell's excellent Witchcraft in the Middle Ages, then did a cross check with Kieckhefer and with Michelet. Of hag-ish witches I could find none. And, contra, I would add Vivienne, the Lady of the Lake. With that, I'll withdraw to my corner over here, where I'm mainly concerned with the social and economic history of the working classes of medieval cities. Not a witch in sight.

I certainty have seen those medieval depictions of hag-like crook nosed witches, and I intend to research more into their origins, although I think I have a base understanding of where they came from. I will be posting the medieval witch and hope to cover some of the witch-hunt fervour from the ‘medieval’ era - that spans many years! I’m spoilt for choice. In your research, I would be surprised that you’ve never looked into the common woman as a witch. You have the peasant, the midwife, the mad-woman, the crone, too much to choose from.

 

[Finchbearer]

The Three Sisters

Not one, not two, but three witchy women, all of whom are sisters? In this instalment we will explore the phenomenon that is The Three Sisters, its repeated occurrence in belief systems, folklore and mythology, and the significance of the number three.

The number three holds significant symbolism and meaning in many cultures and belief systems throughout global history, and has been associated with concepts such as balance, harmony, completeness and interconnectedness.

The Three Graces

Primavera by Sandro Botticelli, 1470

In Greek mythology The Three Graces are depicted as three female Goddesses, the daughters of Zeus, Aglaea, who represents elegance, Euphrosyne who represents mirth, and Thalia who represents youth. They together, symbolise the ideals of gracefulness and elegance in women.

The Fates

The Three Fates or the Moirai by Alexander Rothaug, 1910

In Roman mythology, The Fates, who are also known as The Moirai, are sisters Clotho, who spins the thread of life, Lachesis who measures the length of the thread, and Atropos who cuts the thread. They symbolise the cyclical nature of birth, life and death. They are tied to the fate and destinies of mortals.

The Norns

The Norns by Anastasia Marchi, 2020

In Norse mythology, The Norns are depicted as three sisters that are tied to fate and the shaping of mortal destinies. They spin the threads of fate beneath The World Tree, Yggdrasil in the realm of Asgard. They draw water from Urðarbrunnr, otherwise known as The Well of Urd, to nourish Yggdrasil, preventing it from rot.

The sisters are known as Urðr, who is responsible for the preservation and knowledge of the past events, including the deeds and actions of gods and mortals, Verðandi, who is concerned with the present moment, observing and shaping the current events and circumstances of individuals and the cosmos, and finally Skuld, who looks ahead and determines the future outcomes and consequences of actions and decisions. She represents the concept of necessity and the inevitable fate that awaits all beings.

The Norns are described as maiden giantesses, or Jotuns, whose arrival from Jötunheimr ended the golden age of the Gods.

The Three Morrígna

In Celtic mythology, The Morrigan is also depicted as belonging to one of three sisters known as The Three Morrígna, Badb, Macha, and Morrigan, who represent aspects of war, sovereignty, and fate.

Baba Yaga

We revisit Baba Yaga here because she was also sometimes depicted as belonging to three sisters all of the same name. Baba Yaga is associated with wisdom, nature and magic, though she is often ambiguous as to her purpose and intention, and is also often associated with malice.

The Three Sisters

In some Native American / indigenous cultures, the concept of The Three Sisters is commonly utilised in agriculture, in growing corn, beans and squash together as companion plants. The female connotation to this practice may be due to the link between females and ‘fruitfulness’, with the female part of the plant producing the fruit. It is also a sustainable way of growing crops due to the mutual benefits that the plants offer each other, supporting nutrients and deterring pests.

What makes them witchy women?

Ultimately, it is hard to speculate as to why the concept of three sisters is so strongly associated with the ideas of fate, destiny, completeness and of supernatural knowledge, far beyond mortal understanding. However, all of our sisters are distinctly witchy in their practices and in their unique roles in such a wide and diverse range of belief systems.

 

[Finchbearer]

Circe

Circe Offering the Cup to Ulysses by John William Waterhouse, 1891

Circe, from Greek mythology is known as an enchantress, for her magical powers and association with witchcraft.

She appears in Homer's epic poem, The Odyssey, and is one of the many characters encountered by the hero, Odysseus, during his long and arduous journey back home after the Trojan War. According to The Odyssey, when Odysseus and his men arrived on her island, she welcomed them with a feast laced with a potion, turning them into swine, however, with the help of the god Hermes, Odysseus was able to resist the spell and convince Circe to restore his companions to their human forms.

She is most often depicted as the daughter of Helios, the sun god, and Perse, an ocean nymph and resides on the mythical island of Aeaea in a palace surrounded by lush gardens and magical creatures.

Her name, derived from the Greek word kirke, means bird or falcon, which may symbolise her connection to nature, or to freedom.

What makes her a witchy woman?

Circe has inspired numerous interpretations and retellings in literature and popular culture, emphasising her alluring persona. In these adaptations, she often embodies the archetype of the predatory woman - a captivating and enigmatic figure with potent magical abilities, shrouded in mystery and often challenging societal norms and expectations.