Robert Cochrane, an English occultist (1931–1966), remains a captivating figure in the annals of Western esotericism, even decades after his death, shrouded in enigma. As the Magister of the Clan of Tubal Cain and a pivotal figure in the establishment of Cochranian Witchcraft, Cochrane was not one to shy away from voicing his critiques of Gerald Gardner (1884–1964) and the prevailing facets of the Wiccan movement. His influence persists in various contemporary magico-religious communities, ranging from the revived Clan to the 1734 tradition and the broader “Traditional Witchcraft” strand of Western esoteric thought. Although prevailing academic discourse situates Cochrane’s tradition within the broader scope of contemporary Paganism, akin to Gardner’s, this perspective has been met with contention. Notably, Shani Oates (1959–), Cochrane’s successor, posits that Cochranianism diverges from Pagan Craft, aligning more with a Luciferian and Gnostic spiritual trajectory. This episode will delve into the intricate nuances of this debate, drawing insights from historical documents and oral narratives.

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Throughout the twentieth century, numerous groups and individuals in Britain and North America began identifying their beliefs and practices as “witchcraft.” This term historically led to the persecution of many during the Early Modern period, accused of being agents of the Devil. The modern esotericists using this term aimed to associate their practices with those of the persecuted individuals from centuries past. Yet, there was no theological consensus among these modern practitioners. Their beliefs ranged from the atheistic views of Anton LaVey’s Satanic Witches to the monotheistic Goddess-worshipping stance of Zsuzsanna Budapest’s Dianic Witches. Their commonality was the use of rituals with magical intent and the term “witch.” (Doyle White, 2013)

This episode focuses on one modern-day witch, known by the pseudonym “Robert Cochrane,” whose real name was Roy Bowers. Born in West London, Cochrane, around 1961, was central to the formation of the Thames Valley Coven of Witches and the larger Clan of Tubal Cain. His leadership was influenced by the works of Charles Godfrey Leland, Margaret Alice Murray, and poet Robert Graves. Cochrane claimed his practices were part of an ancient hereditary tradition and publicised his views in various esoteric publications. He had a contentious relationship with other witchcraft traditions, particularly the Gardnerian tradition established by Gerald Gardner. Despite these rivalries, he corresponded with many Gardnerian followers and even welcomed some into his Clan. In 1966, following personal challenges and a divorce from his wife, Cochrane tragically took his own life in a Midsummer ritual.

Cochrane’s associates, Stannard and White, founded a Pagan group called The Regency. Evan John Jones, a Clan member, authored books influenced by Cochrane’s practices. Jones later initiated American occultists Ann and Dave Finnin, who established their branch in California. Cochrane’s teachings also influenced the “1734” witchcraft tradition founded by Joseph Wilson.

In the 1990s, the rise of “Traditional Witchcraft” within Western esotericism, largely in opposition to dominant Pagan Witchcraft trends, elevated Cochrane to a revered status. Many regard him as the “Father of Traditional Witchcraft,” noting his unparalleled influence over the last fifty years. Many modern covens and practitioners frequently reference his works as foundational to their practices. Recent times have seen a growth in both academic and independent studies on Cochrane and his known tradition, “Cochrane’s Craft.” However, the theological foundations of Cochrane’s Craft, especially the deities his Clan communicated with for magical power and knowledge, remain a complex area of study. Based on the existing literature, the academic consensus in Pagan Studies and Western esotericism suggests that Cochrane’s approach was a variation of the Pagan Witchcraft faith, showing similarities with Gardnerianism, Cardellianism, and Alexandrianism. This faith is commonly termed “Wicca,” a label that gained traction in the 1960s. Historical research by scholars like Ronald Hutton, Leo Ruickbie, and Chas S. Clifton, corroborated by accounts from Doreen Valiente and Evan John Jones, who knew Cochrane personally, presents “Cochranian Wicca” as a tradition that honours a Horned God and Goddess celebrates four seasonal festivals, and gathers in covens for ritualistic practices, mirroring other emerging Wiccan traditions of that period.

Recent critiques challenge the interpretation of Cochrane’s Craft as a Pagan Witchcraft tradition. Shani Oates, the current Maid of the Derbyshire Clan of Tubal Cain, posits it as a Luciferian-Gnostic path, an entirely different magico-religious spiritual tradition. Supported by figures like Stuart Inman of the 1734 tradition, there’s a call to delve deeper into understanding Cochrane’s Craft. The possibility is raised that Cochrane’s Craft might be a syncretic blend of Luciferian and Pagan ideas, a blend that has precedents in the contemporary Witchcraft movement.

Four main sources inform the study of Cochrane and his tradition: Cochrane’s own writings from 1963 to 1966, the Stannard documents from 1961 to 1966, first-hand accounts by Doreen Valiente and Evan John Jones, and the beliefs and practices of modern covens in the Cochrane initiatory line. However, the latter source is viewed with caution due to potential evolutions in practice over time, reflecting the dynamic nature of religious traditions. In addition to these sources, second-hand comments from historians and esotericists such as Ronald Hutton provide additional insights, though some of their assumptions are contested.

Pagan Witchcraft and Luciferian Witchcraft are distinct magico-religious movements whose members identify as “witches.” While both have shared influences, they have unique theological cosmological perspectives and ritual practices. In the 1960s, both were broadly labelled as “witchcraft.” Pagan Witchcraft, or “Wicca”, is part of the broader contemporary Pagan movement. It developed between the 1930s and 1950s in Britain and later became a global phenomenon, mainly centred in the U.S. Initially influenced by the theories of Egyptologist Margaret Murray, which suggested a pre-Christian Witch-Cult, evidence suggests that Pagan Witchcraft had multiple independent beginnings. Prominent figures like Gerald Gardner played a significant role, with the Gardnerian tradition established by 1953. Pagan Witchcraft typically focuses on the duotheistic worship of a Horned God and a Goddess, marking seasonal sabbats and performing magico-religious rites either in groups or individually. Some of its structure was derived from Murray’s works and Charles Leland’s account of alleged Tuscan witchcraft titled “Aradia, or the Gospel of the Witches” (1899).

Luciferian Witchcraft focuses on the veneration of Lucifer, seen as a positive figure in human history, with the aim of attaining gnosis. Contrary to Satanism as practiced by groups like the Church of Satan, Luciferianism often views Lucifer outside a Christian context. Although Lucifer has influenced Pagan Craft, Luciferian Witchcraft is distinct, with many followers identifying their belief as Gnostic, unlike Pagan Witchcraft. The term “Luciferian” originated from the Inquisition, referring to Medieval heretics. “Luciferian Craft,” a precursor to “Luciferian Witchcraft,” was propagated by Michael Howard, a British Luciferian and editor of The Cauldron. Prominent figures in Luciferian Witchcraft include the Cultus Sabbati, Andrew D. Chumbley, and Michael D. Ford.

Historically, Luciferian elements have been tied to earlier magical practices, with accusations of Freemasons venerating Lucifer in 19th-century France. Some suggest Luciferian aspects existed in 19th-century British folk magic. The nature of Cochrane’s Craft is debated; if it aligns with Gardner or Charles Cardell, it could be categorised as “Wicca.” However, if its philosophy is Luciferian, it would be distinct from Pagan Witchcraft. Another view sees Cochranianism as a unique religious movement combining Pagan and Luciferian elements. This blending of traditions isn’t new, with Charles Leland’s “Aradia” in 1899 presenting a similar mix. Scholars debate the authenticity of “Aradia,” with some suggesting it’s a late 19th-century creation, while others believe it contains genuine folkloric elements.

Though he never published books during his lifetime, Robert Cochrane contributed significantly to writings that offer insights into his perspectives on the Craft. His writings can be categorised into published works appearing in magazines such as Psychic News, New Dimensions, and Pentagram, as well as in Justine Glass’s book “Witchcraft, the Sixth Sense – and Us” from 1965. Additionally, there’s unpublished material in his letters to individuals like Norman Gills, Joseph Bearwalker Wilson, and William G. Gray. However, these writings might only show what he chose to share outside his coven and might not reflect the wider beliefs of his coven members. Cochrane claimed hereditary ties to witchcraft, tracing his lineage back to the Early Modern witch hunts. Yet, this claim was later revealed as fictional by his widow.

Another intriguing claim was that his father was a part of “The Horsemen,” a group possibly linked to Luciferian ideas. This claim’s authenticity remains uncertain, with some family members negating any esoteric practices within their family. Cochrane’s theological and cosmological beliefs emerge in his writings, where he speaks of a singular divine entity, which he referred to using various names. He also believed in other deities, which he called “the Gods.” Cochrane’s pseudohistorical interpretations are evident in his interpretation of the carvings of the St. Duzec menhir in France, which he believed encapsulated Craft theology.

Let’s now examine the writings of two influential British esotericists, Doreen Valiente and Evan John Jones, who were members of the Clan during the 1960s. Valiente, known as the “Mother of Modern Witchcraft,” began her journey in witchcraft in 1952 through correspondence with Gerald Gardner. After significant contributions to the Gardnerian tradition, she distanced herself from Gardner in 1957. She later met Robert Cochrane and became deeply interested in his tradition, joining his Clan. However, by 1965, due to disagreements, she left the Clan. After Cochrane’s death, she maintained contact with other Clan members but shifted her focus to other practices.

Valiente’s book, “The Rebirth of Witchcraft” (1989), offers an in-depth account of the Clan’s practices. She describes the Clan’s rituals and beliefs, highlighting their worship of the Goddess and the God, their observance of the Sabbats and Esbats, and Cochrane’s particular emphasis on the “Old One” as the Lord of Death. She presents Cochrane’s Clan as theologically similar to the Gardnerian Craft, with no indications of it being Luciferian.

Evan John Jones, another former Clan member, lived a relatively private life post-Cochrane and authored “Witchcraft: A Tradition Renewed” in 1990. Valiente wrote the introduction to this book, mentioning that it deals with a more ancient form of witchcraft than Gardnerianism. Jones clarifies that the book isn’t about a family tradition but a combination of his experiences with Cochrane and Valiente and his own ideas. As such, the book does not reflect Cochrane’s original beliefs but uses them as a foundation.

In 1982, an American couple, Ann and Dave Finnin, travelled to England to gather information about Cochrane. They had previously been involved in the Craft and founded their own coven, The Roebuck, in California. In England, they met William “Bill” Gray, a friend of Cochrane, who introduced them to Evan John Jones. Jones taught them about the Clan’s practices and later initiated Ann into the Clan, who then initiated Dave. The Finnins believed the Cochranian tradition they learned was Pagan, not Luciferian or Gnostic.

They also associated the name Lucet from Cochrane’s writings with mythological figures from the British Isles’ medieval mythologies, such as the Irish Lugh Samildanach and the Welsh Lleu. In the mid-1990s, Jones collaborated with Michael Howard, a Luciferian and editor of The Cauldron, to publish several articles and anthologies about the Clan. Jones later introduced Howard to Shani Oates, who became a prominent figure in the British Craft community. Oates claimed that Cochranianism was Luciferian and Gnostic, differentiating it from Paganism.

As evidenced in his writings, Cochrane’s theology suggests belief in a pantheistic or panentheistic Godhead and a path of mysticism. He also acknowledged multiple deities, with a notable triad of the God, Goddess, and Horn Child. However, there’s uncertainty regarding the prominence of Lucifer in his theology, and more analysis is needed on certain evidence. The Stannard documents, which cover the theology of Cochrane’s early coven, emphasise the Goddess (Diana) and a lesser focus on the God (sometimes identified as Pan). This structure is comparable to other Pagan Witch practices of the era, such as Gardner’s, suggesting early Cochranianism might be a subset of Wiccan tradition.

Doreen Valiente and Evan John Jones both compared Cochrane’s Clan to Gardnerian Wicca, emphasising a belief in the God, Goddess, and Horn Child as aspects of a higher Godhead. Jones did not associate Luciferian elements with Cochrane’s Craft from 1966 to 1998, presenting it as similar to Wiccan traditions. It’s unclear if Jones hid Luciferian elements or only began to perceive them as such in the late 1990s.

Historically, Luciferian elements in Cochranian Witchcraft are traced back to the early twenty-first century, associated with Shani Oates’ Clan practices. Oates suggests these elements were passed down from Jones. While Oates views Cochrane’s Craft as Luciferian-Gnostic, Ann Finnin, leading a different Clan, sees it as an explicitly Pagan tradition, similar to Wicca. The theological differences within Cochrane’s Craft now are quite pronounced.

Given that most evidence points to Cochrane’s 1960s Craft as being primarily Pagan, Oates’s assertion of Cochrane’s Gnostic and Luciferian path remains possible but not definitively proven. Cochrane may have privately adhered to a Luciferian theology without making it explicit in the Clan’s broader theology. The early coven’s influence from the book “Aradia” indicates Cochrane’s awareness of Lucifer as a potential deity in witchcraft. This suggests a coexistence of Luciferian and Pagan elements within the coven.

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REFERENCE

Doyle White, E. 2013. An Elusive Roebuck. Luciferianism and Paganism in Robert Cochrane’s Witchcraft. Correspondences: Journal for the Study of Esotericism. 1(1), pp.75–101. https://correspondencesjournal.com/ojs/ojs/index.php/home/article/download/5/5

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