The study of moth behavior and folklore has often linked these nocturnal insects to witchcraft. Moths have long been associated with darkness and the supernatural, perhaps due to their ability to navigate through the night with such grace and precision. In many cultures, moths are believed to be creatures of the underworld, serving as messengers between the living and the dead. One possible reason for the connection between moths and witchcraft is their association with light. Moths are known for their attraction to artificial light sources, often leading them to their demise. This behavior has led to the belief that moths are drawn to witchcraft, as witches are said to possess powers that can manipulate light and darkness.
Summoning her faithful Huntsman to her, the Queen orders him to take Snow White far into a secluded area of the forest, where she can pick wild flowers, and kill her. She presents him with a box, in which Snow White's heart must be brought as proof. The Huntsman is reluctant to carry out such a deed, but, knowing the penalty for failure, takes Snow White deep into the forest. Just as he is about to stab the princess, he finds that he cannot bring himself to destroy such innocent beauty and, frantically warning Snow White of the Queen's vanity and jealousy, tells her to flee into the forest. He returns to the Queen, bringing in the box the heart of a pig to fool her.
Maleficent always relies on the Evil Queen to open the refrigerator in order to help get her spellbook since she has no knowledge on how to open it herself. However, comics released to promote the film include such scenes; the Witch locks up the Prince and tells him of her plans for Snow White, telling him that she will win his affections, while the Prince is defiant.
This behavior has led to the belief that moths are drawn to witchcraft, as witches are said to possess powers that can manipulate light and darkness. In some folktales, moths are even said to be familiars or companions of witches, assisting them in their magical practices. Furthermore, the appearance and physical characteristics of moths have also contributed to their association with witchcraft.
What Snow White and the Evil Queen Taught Me About Desire
I was six when I first sat down to watch Disney’s Snow White and the Seven Dwarfs. I was not impressed. Accustomed to the newer breed of Disney heroine—the Belles and Ariels, their animation sharper, their inner lives more vibrant—I had no concept of the film’s history, and found Snow White lacking. The girl had barely any personality, an insipid smile and no ability to learn from past mistakes. Was this supposed to be our heroine? Her greatest wish was to be “found” by a prince (who proved equally boring). And yet I started watching the film regularly, because—despite Snow White’s screen-time and her many housecleaning montages—Snow White was not really about Snow White. Snow White belonged to the Evil Queen.
I had many fears as a child, but none comes close to the absolute terror I felt toward Snow White’s stepmother. That streaming cloak and crisp white collar, those swooping brows and purple lids, the points of her crown gleaming, razor-sharp. I pictured her standing in her underground lair, raising storms. I thought she watched me through our mirrors. I worried she knew my thoughts, and that to even think I am frightened would summon her. At night when I struggled to sleep I would repeat to myself, “I love the Queen,” as if in supplication, the sort of fear that’s tantamount to worship. I rewound her again and again on VHS. Where Snow White was bland and prim, her foil was fascinating.
The Evil Queen wanted the most: the most beauty, the most power. She wanted it so badly that she’d change her shape, she’d maim, she’d kill. She understood desire, and embraced it. I, too, have always had insatiable desires. I, too, have what creature comforts I need to be healthy and happy, yet strive constantly for more. I know wanting so deep that it is paralytic, frightening. I’ve been born with so much, while others are born with so little, that it feels selfish to have this much desire, to even say the words I want. It seems like karmic poison. But even as it seems selfish to want so much, I wonder if it is really selfish not to?
The largest commonality I see among the unhappiest of my peers is the shame they feel about their dark desires. It’s easy to want the things you’re supposed to want, the things everyone wants: a 401k, career success, a partner who loves you. It’s harder to want things that are taboo, things that are gluttonous or cruel or self-seeking—two extra-large pizzas to be eaten alone in one sitting, time away from your child, sex with someone else’s partner. American Puritanism filtered through Disney’s lens in the 1930s tells us that the cure for such desire is cleaning house for working men, talking to bluebirds. It encourages denial, a revision of self that mirrors Disney’s overarching revision of the dark folk stories that inspired its films. Yet for all this advice, for all our self-help books and self-discipline and self-denial, we continue wanting. As modern adults, we are presented with two choices: tamp down our distasteful desires until we’re vacant-eyed Snow Whites, or fulfill them and suffer the Evil Queen’s consequences. But what if there’s a third choice: to acknowledge but not act, to give desires space and kindness without needing to fulfill them?
If there is a way out of the binary of desire—a choice other than ingénue or jezebel—it might be found through our relationship with fairy tales. Fairy tales are complicated, often nebulous things. You’d be hard pressed to find a standard definition for the term—like pornography, we know a fairy tale when we see it. My own first encounter with the genre (likely at far too young an age) was not the romanticized Disney, but a video recording of Stephen Sondheim and James Lapine’s Into the Woods, the Broadway muscial that owes more to the Brothers Grimm’s tales of stepsisters hacking at their feet to fit the glass slipper than mice sewing gowns for princesses. During Act One, the characters enter the woods to perform tasks that will help them get their wishes: a night at the prince’s ball, a pregnancy, lost beauty. Upon succeeding, they return to their village, where Act Two begins devoid of the usual trappings of “happily ever after.” Instead, the protagonists must face the literal music and acknowledge that their wishes have unforeseen impacts.
“ Desire is scary—it is bodily and subconscious and disregards both logic and law. ”
Into the Woods is a story about desire: how to figure out what you want, how to get it, how to grapple with its consequences. The play opens with the words “I wish” and quickly demonstrates the world has little sympathy for wishes. And yet “I wish . . .” is also the show’s closing line. It is these wishes, more than magical creatures or simplistic language, which define the fairy tale. A fairy tale is structured longing, a child’s first verbalization of that ache in her chest when she the gap between what is and what could be. It is desire that draws us to fairy tale characters, that propels their resonance beyond the archetypes. It is Snow White and the Seven Dwarfs’ treatment of desire that makes Snow White a cipher, while the Evil Queen seems real. The Queen is frightening not only because of her relentless vanity, her coldness and her sneering magic mirror. She is frightening because, in my heart of hearts, she’s who I’d rather be: someone who wants more for herself, rather than a passive princess.
In the original Brothers Grimm tale, the Evil Queen was made to dance on hot coals at Snow White’s wedding not because she had wild desires, but because she made wild decisions. Just because we want doesn’t mean “we deserve,” nor “we should have,” nor “we will have.” More often than not nothing will (or should) come of the vocalization of desire other than the catharsis of acknowledging the feeling. A child doesn’t think that by saying “I want to be a princess” she’ll become one. And fairy tales don’t tell children to stop wanting—only to be careful.
As we get older, we come to recognize the moralistic elements of the fairy tales we’re told as children, the other side of the coin: Little Red Ridinghood warns that bad things happen when we stray from the path. Beauty and the Beast, when originally told in French salons, was a directive to young brides to submit to arranged marriages. Hansel and Gretel proves that indulging our hungers leaves us vulnerable to the world’s evils. While we celebrate the act of wanting, we are warned of the consequences. And therein lies the unexpected nuance: We tell fairy tales to imagine ourselves otherwise and escape from our existence, while simultaneously using them to draw reality’s boundaries and make meaning of experience.
It is certainly simpler to read fairytales as either just escapism, or just a set of antiquated instructions. It is easier to say, “the Queen is bad, this thing you want is bad” or “Snow White is good, this thing you want is good” than to tackle the innate feeling of longing. Desire is scary—it is bodily and subconscious and disregards both logic and law. We can’t want ourselves into wanting anymore than we can wish our eyes a different color or our bank accounts full. And we can’t—despite directives to pray or pretend otherwise—want ourselves out of what we do want. We talk about desire in terms of what it provokes us to do: overeat, cheat, steal, abandon, poison, kill. But though unruly, the desire itself is not dangerous—the feeling itself, its recognition, is not something to fear. We simply must do as children do and learn to distinguish between the imaginary and the real, facing ourselves without shame.
At six years old I was a difficult child: prone to dramatic tantrums, diagnosed with ADHD, a biter. My emotions were intense and overwhelming. I felt everything fully. I needed a compatriot, an example, an Evil Queen to show me that I was not alone. I needed to see that my desire, while frightening, was also a source of untapped strength. It made me interesting, eventually made me a writer. As an adult, my fantasies are more tangible: more money, more acclaim, a life not tethered to a toddler. I have a vision of a parallel self—not a mother, sovereign over her own time, author of multiple bestselling novels. I do not chastise myself for imagining, for wanting. I inhale, I exhale; I acknowledge, I release. For I know it is only when we give ourselves the space to imagine the world that we desire, when we hold it simultaneously in mind with the world that exists, that we come face to face with our own power.
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In her witch disguise, the Queen's physical appearance changes from that of a youthfully beautiful queen with an unfeeling look on her face to that of an ugly, old peddler vividly displaying emotions. She has long, tangled white hair, thick eyebrows, green eyes and dark rings around her eyes. Her nose becomes long and crooked with a large wart, and she only has one visible tooth on her bottom jaw. Her hands are gnarled and have pointed, dirty fingernails. She dons a black, cowled robe that retains the hanging sleeves of her gown. She also seems to wear gray slippers.
The eerie and mysterious patterns on their wings, as well as their nocturnal nature, have led many to view them as symbols of the supernatural. Some cultures believe that the colors and patterns on a moth's wings hold significant meaning, representing different aspects of magic and witchcraft. In addition, the symbolism of transformation associated with moths has also contributed to the perception of witchcraft. Moths undergo a remarkable transformation from a humble caterpillar to a beautiful and ethereal creature. This metamorphosis has been linked to the transformative powers of witches, who are thought to possess the ability to shape-shift or change their form at will. While these associations between moths and witchcraft may seem purely mystical, it is important to note that they are rooted in cultural beliefs and folklore rather than scientific evidence. Moths are fascinating creatures with unique behaviors and adaptations, and their connection to witchcraft adds another layer of intrigue to their already captivating nature. In conclusion, the witchcraft of moths is a topic that has long fascinated scholars and enthusiasts alike. The perceived connection between moths and the supernatural is rooted in their nocturnal behavior, their attraction to light, their physical characteristics, and the symbolism of transformation. Whether or not these associations hold any truth, they have certainly added to the mysterious allure of these enchanting insects..
Reviews for "Creating protective amulets with moth symbolism"
1. Stephanie - 2 stars - I was really excited to read "Witchcraft of Moths" based on the intriguing title and beautiful cover art, but unfortunately, it fell short of my expectations. The plot felt disjointed and lacked a cohesive structure, making it difficult to follow the story. Additionally, the characters were underdeveloped and lacked depth, making it hard to connect with them on any level. While the idea of witchcraft and moths had potential, it was not executed well in this book. Overall, I found it to be a disappointing read.
2. Michael - 1 star - I couldn't even finish "Witchcraft of Moths" because it was just so dull and unengaging. The pacing was incredibly slow, and the writing style did not hook me in any way. The plot lacked excitement and the characters were forgettable. The book seemed to drag on without any clear direction or purpose, and I ultimately lost interest. I had high hopes for this novel, but I was sorely disappointed.
3. Lisa - 2 stars - "Witchcraft of Moths" had a promising premise but failed to deliver a compelling story. The writing felt repetitive and lacked originality, with predictable plot twists and a lackluster resolution. The characters felt flat and lacked depth, making it hard to care about their fates. The pacing was also inconsistent, dragging in some parts and rushing through others. Overall, I found this book to be a disappointing read that didn't live up to its potential.