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Default The Arthurian Formula, by Gareth Knight


It has often been assumed that Margaret Lumley Brown was one of the principal instigators of that body of teaching known as The Arthurian Formula. However, recent research shows that although Margaret Lumley Brown was given the task of developing this material after Dion Fortune`s death in 1946, the earlier initiative rests with someone else, who met secretly with Dion Fortune in 1940. Confusion lies in the fact that esoteric reports and diaries of the time refer to people not by their names but by the initials of their archetypal function - and in the case of Margaret Lumley Brown and this other person these initials and even names were identical. Margaret Lumley Brown joined the Society in 1942, when Dion Fortune immediately admitted her as a resident at the Society`s headquarters. Whether this unusual act was one of kindness in difficult circumstances, or because her particular esoteric abilities were recognised by Dion Fortune, or whether it was a combination of both, we do not know. Apparently Margaret Lumley Brown undertook a certain amount of light domestic work and cooking but in April 1946 she was relieved of all of this and admitted to the more withdrawn centre of the Fraternity, just down the road, where Dion Fortune had previously lived. She was told to develop her powers of mediumship as fast as she could with a view to giving the Summer Solstice trance address in June to the Fraternity as a whole. It had been the custom for Dion Fortune to perform this quarterly function in the past. Margaret Lumley Brown was also given other esoteric tasks, one of which was to develop the Arthurian work that Dion Fortune had left behind. This she did, producing a number of lectures that she gave to other members of the Fraternity. Who then was the original instigator of it all, who turned up in August 1940 and worked privately with Dion Fortune without even senior members of the Fraternity being told about it? It does not take a great deal of detective work to make the identification. Her mundane name appears in some later work in 1942 that Dion Fortune conducted with some medical doctors in the field of esoteric healing. Her initials also appear in the earliest records we have of Dion Fortune`s experiments in mediumship, in 1921/3, under her previous name of Maiya Curtis-Webb. This explains why Dion Fortune looked up to this newcomer with considerable respect. Maiya Tranchell-Hayes had known her since she was a girl, and had been her mentor when she joined the Hermetic Order of the Golden Dawn in 1919. Maiya Tranchell-Hayes is reputed to have been a walking encyclopaedia of occult knowledge, of powerful charisma and high life style. Some people even saw in her a model for the character of the Sea Priestess in Dion Fortune`s later novels. Dion Fortune had not been greatly impressed with the level of operation in the Golden Dawn as she found it,

and eventually felt impelled to leave and to found her own group. Maiya Tranchell-Hayes, however, remained loyal to her original Golden Dawn affiliations. In Dion Fortune`s view the Golden Dawn of the 1920`s had fallen into the hands of "widows and greybeards." This failure to attract younger talent seems to have reached its natural conclusion by 1940, when we find it stated that the Order to which Maiya Tranchell-Hayes belonged is no longer operative. Its last senior member has died and she is the only one left. Israel Regardie, it should be said, also feeling that the glory had departed, and not wishing to see its knowledge sink without trace, had published most of its papers in America in 1937. However, revealing papers to the general public is not the same as continuing the higher practical work of the tradition. What comes across plainly in the records for 1940 is that an opportunity has arisen to graft the higher work on to that of the Fraternity that Dion Fortune had built up during the previous years. In the pre-war Fraternity of the Inner Light, only the Lesser Mysteries were being operated. In a statement of intent made in an accord between Dion Fortune and Maiya Tranchell-Hayes and their inner plane contacts, the desideratum for the future structure of the Society lay in three Lesser Mystery grades (for the study of esoteric psychology, magic, and mysticism respectively) plus two Greater Mystery Degrees devoted to Higher Self consciousness. This is exactly what was developed in the post war years up to 1960. The intensive work that followed saw the development of the Arthurian Formula, which provided the staple for Greater Mystery work within the Fraternity for most of the 1950`s, and the ripples from which in more recent years have extended out to a much larger circumference. As Maiya Tranchell Hayes saw it, Dion Fortune was in a position to provide the conditions she needed to carry on and develop the work to which she had devoted her life in the Golden Dawn. It would also seem that Dion Fortune looked upon her as at very least her equal in authority and ability. The two of them thus began to work together esoterically and, strange as it may seem, this fact was at first kept very secret. Even the most senior members of the Fraternity at that time were not informed about it until almost a year later. Maiya Tranchell Hayes attended ritual meetings of the Fraternity incognito, entering the lodge heavily veiled before the others arrived and departing after they had left. The work that they developed together had three main strands. One was an approach towards the Spiritualist movement for a possible united front in the hoped for new age after the war. Maiya Tranchell Hayes was useful here as a close friend of Charles Cammell, who had recently been appointed editor of the Spiritualist journal Light. Another was a resumption of work on Esoteric Therapeutics that had fallen somewhat into abeyance after the departure of Dion Fortune`s husband, a medical doctor, in the immediately pre-war years. (More detail on these initiatives will be found in the forthcoming Spiritualism and Occultism and Principles

of Esoteric Healing by Dion Fortune edited by Gareth Knight) The third strand was a series of scripts that came to be known as the Arthurian Formula. These formed a major element in the opening up of the Greater Mystery grades of the Fraternity between 1946 and 1960. During this period, senior members worked intensively upon the Arthurian archetypes, and even students of the Society's introductory Study Course, as I well remember, being one of them at the time, were required to read the whole of Sir Thomas Malory' s Le Morte d`Arthur as part of their preparation for membership, along with Jungian psychology. The Arthurian Formula, issued in cyclostyled form to senior members of the Fraternity, remained at the core of the Fraternity's work for some twenty years after its reception. From 1960 however, the work of the Society took a different turn, and moved away from Arthurian concerns. The Arthurian Formula faded into the background of forgotten things and languished as peripheral material in the Society's papers, a kind of vintage curiosity. Few knew of its existence who had not been originally issued with a copy, although by another happy chance I happened to have one, given me by the Warden, who was not ungenerous in feeding esoteric titbits to aspiring youngsters eager for information. It immediately had, and continued to exercise, a considerable fascination for me. Under the general remit that he had given me, and possibly others, to draw on Society material in published work should this seem to be in the public good, I determined that one day I would endeavour to give the Arthurian Formula a wider readership. It was an ambition that had to wait another twenty years however, long after I had left the Society in 1965. Although going my separate way, I retained cordial relations with those who ran the Society, and as a small publisher kept The Cosmic Doctrine in print for some years, and featured Dion Fortune related material in various magazines whenever I could. I was at first able to encourage Arthurian studies only indirectly. This first was the result of commissioning W.E.Butler to assist me in running what was then known as the Helios Course on the Practical Qabalah in 1964. He soon came to take on the lion's share of this, and gave the fifty odd lessons for which he was responsible a firm Arthurian basis. This initiative subsequently went its own way, as all successful initiatives should, and in 1973 was relaunched as the Servants of the Light, under new management, but retaining Ernest Butler as its first Director of Studies. My next opportunity came some years later, when I was in a position to commission the Arthurian scholar Geoffrey Ashe, who happens to live in Dion Fortune's old bungalow at Glastonbury, to compile A Guidebook to Arthurian Britain. This was published by Longmans in 1980, and has subsequently been updated and reissued by Gothic Image of Glastonbury. The first opportunity for me to develop the Arthurian material myself turned out to be via a public lecture platform rather than by the written word. I was invited to present a series of public workshops at Hawkwood

College from 1979 onward. The first was on The Tree of Life, the second on The Work of Dion Fortune, and the third, for the 1981 event, was Arthurian Archetypes in which I included material based upon the Arthurian Formula. If previous events in the series had proved popular, this one turned out to be a sensation. It was on this occasion that I introduced ritual techniques as well as directed visualisations to a public event; techniques that I had learned within the confines of the Lodge but which, it seemed to me, could usefully be adapted to situations in the outer world. What else do concepts like "the externalisation of the Hierarchy" signify? This was hardly a matter of giving away esoteric secrets as the most powerful event of the weekend's work was, at any rate on the surface, no more than a twilight recitation of the much anthologised Tennyson's Le Morte d`Arthur. However, the preliminary invocatory work upon the imaginations of all concerned over a couple of days, plus a little help from the inner, no doubt primed the pump. Added to which I was impressed to add a little spontaneous piece of my own at the end, with a view to deliberately calling upon the Arthurian archetypes. Perhaps I can best clarify this by citing my diary notes at the time. "The working was a mixture of two techniques. The beginning was completely set, being a dramatic recitation of the poem by Tennyson Le Morte d`Arthur. Having already performed two powerful and demanding workings in the same day I would have been content for the evening to remain a simple reading of the poem, by candlelight and the evocative aroma of incense, as a kind of re-enactment of the way that the old stories were once told. "However, I did have a half suppressed inkling that something more might be expected. This inkling had arisen on the Thursday previous when I had been packing my equipment for the weekend. Something suggested to me that I take a hunting horn. At the time I resisted this suggestion as there seemed only one purpose for using it, and I did not fancy the presumption of doing so, the responsibility or the possible consequences. However, I was quite firmly nudged to include it, so I did. "Much the same kind of inner debate took place minutes before I proceeded to the hall to deliver this particular working. In the end I took the horn in my lecturer's box file. "The poem tells in dramatic and graphic terms the scene of Arthur and the sole surviving Round Table knight, Bedivere, at the Lake after the Last Battle. The King is mortally wounded and commands Bedivere to cast Excalibur into the Lake. After twice failing to do so for plausible but specious reasons Bedivere finally does so. An arm rises from the Lake and takes the sword, and as if this were a signal, a barque with three mourning queens arrives to take the wounded King to the Isle of Avilion on the inner planes. "The poem makes the point that Bedivere now, as sole remaining knight, holds within himself the whole Round Table. The last words of the King are that Bedivere should pray for him. "It then became plain what I should do. I instructed all present to identify with the Round Table and to pray

for the King. One was quickly aware that a great Round Table had formed on the astral, within the room, seeming almost as solid as physical wood, extending to the very seats of all present. "I then took the horn and blew three long blasts. "As soon as I had done so it seemed as if, on the astral, great doors opened in the West, together with a waft of sea air, and even spray. A mighty figure of the King came through the doors, crowned, with short golden beard, robed, and with the great hilt of the sword Excalibur very prominent, impressive with its jewelled work, and in its mighty runed scabbard. "With the King came Guenevere, Lancelot, Gawain, Tristram and all the knights and ladies. Larger than life, they took up their positions about the Table Round. In the centre rose a column of incense smoke with astral rainbow colours manifesting the powers of the Grail, the Cauldron, Merlin and Nimué. "To my surprise, and I was seated in the East, the great throne of the King with the Queen`s beside it, built up in the West. "The power within the room was intensely strong, so much so that the small table altar with the two candles and incense burner upon it seemed to be wavering up and down as in a heat haze. "I decided to let these powers continue running overnight and therefore suggested that all present left quietly and independently in their own time." There was to be, however, a further piece of action, for an occultist of some ability and experience seated in the west, seemingly became overshadowed with the archetype of the King. When all had left she felt impelled to come to the central altar and there present a message from a source that plainly was not her own, in a quite uncharacteristically imperious manner: . "You have done well, priest. As a result of this work new doors will open for you. A door has been opened that will not again be shut. A lamp has been lit that has for too long been extinguished." This brings to mind that in magical work of any depth or significance, all is not over when the participants disperse, but currents and forces that have been set in motion, bound up into vortices, will have an effect upon inner and outer planes for some time to come. This may be felt in immediate personal terms, in dawning realisations, required actions and subliminal pressures. To quote once again from my notes at the time: "Who we mean when we say "the King" must be left to intellectual conjecture. Whoever the original Arthur was, however, whether fifth century Roman-Briton or the Titanic god Albion, the living experience of the contact was one of reality. Call him "redeemed archetype" if one wishes, the reality is the King lives! Long live the King! "Having arrived home, with the realisation that the contact had been with the King, I received a telephone call from one who had been present, to say that the following message had been received from an inner source and seemed important: "The sword is unsheathed and should be kept on the altar in that way. " Continued in part 2.

THE ARTHURIAN FORMULA (Part 2) by Gareth Knight © copyright From The Inner Light: The Journal of the Society of the Inner Light - Winter Solstice 1998 It became immediately apparent to me that the implication of this was that the forces of the King were abroad in the land and that all who had been present should be informed of the matter. I accordingly made arrangements for those who had been present to be so informed. Until this had been achieved I was under intense subliminal pressure - the neck and shoulders tense as if carrying a great yoke. As the word spread so this condition eased." Another report of the time by one of those present, which is almost in itself in the category of a "received communication", gives a good idea as to what may be meant when we talk about Arthurian archetypes, and the consequences and responsibilities associated with them. "The rite still goes on. The working at Hawkwood was only the beginning. The working of the rite now goes on in our daily lives. "In the King meet the deepest roots of the earth of Logres, roots that go back to the beginning of the race and the beginning of the land, with highest Christian and Pagan aspirations. The sword lies drawn upon the altar of the earth of Britain to achieve once more the land of Logres under the King. The sword was brought back from the sea by the King and is the direct, naked magical power of the King working as in earth. "The King serves under Christ. He is the greatest servant of all. His return means a great revolutionary stride forward in the spiritual destiny of these islands. All the healing power of the old kings is concentrated in Arthur. He has returned to heal the land of Britain in its time of need, and his rule will be conducted at the Round Table. He seems to say that the destiny of Logres is that of spiritual leadership of Europe. Britain is the islands to the north, which were considered of old to be Holy Islands. The myths of Joseph of Arimathea, Atlantis and the possibility that the Lord Himself, as a child, came to these lands, lies deep within the racial consciousness, as well as the pagan mythology of the matter of Britain. "The King seems to say that we may not yet realise the power at our disposal with the sword lying on the altar, but it will be made clear. I saw the sword lying north to south across Britain with its hilt east to west. It became a Rose Cross. The King now seems to be dwelling within the atmosphere of the earth of Britain. He says: "Deep, deep rooted is the power I bring. High, high is the aspiration for the achievement of Logres. Great is the responsibility of those who are chosen. " Wherever we go the power of the Sword is with us. We take it with us. "This achievement of Logres will not be realised without conflict. The present disturbances (written 1981. Ed) are the natural result of a great input of power into the racial unconsciousness by the return of the King. It is like the first stages of an initiation, which can be painful, but which lead to a greater personal

realisation and peace. So it is with the land of Britain, with this great power surging through it and throwing up injustice and resentments that have been suppressed too long. The troubles will pass and these isles will once again take up their rightful destiny as one of the great spiritual centres of the earth. Britain will be transformed into Logres under Arthur. At first I thought that the archetype of Arthur would be viewed as an amalgam of all the noble aspirations of the people of Britain. But I now feel that we are the body of Arthur, or at least his arm, which wields the sword. "After the achieving of Logres there will be a further transformation as the Grail is achieved and the whole earth is taken up into God as the New Jerusalem." This report was from John Matthews, who since those days has gone on to become a leading authority upon the Arthurian tradition and the Grail, with many books to his credit, and along with Caitlin Matthews has founded Hallowquest, an organisation with an international workshop and lecture programme, which still meets annually at Hawkwood. As to the regally delivered announcement about new doors opening as a consequence of this work, I was very soon after commissioned to write a book upon the Arthurian legend, which was published two years later, in 1983, as The Secret Tradition in Arthurian Legend. In this I was able to fulfil my long held ambition to put as much as I could of the original Arthurian Formula into the public domain. This I acknowledged in the Preface, and dedicated the book "to the memory of Violet Mary Firth, true flower of the Earth of Avalon, who blaized the trail in this Quest, and to the company of Hawkood who followed it." A similar tribute to Margaret Lumley Brown came in the dedication of the following volume The Rose Cross and the Goddess (called in an American revised edition Evoking the Goddess - which was culled from later workshops in the series, based upon the Mysteries of Isis and the l7th century Rosicrucian tradition. Eventually the public workshops suffered from their own success and became over-crowded and a little too hot to handle on a public basis, but by then I had developed a private group to carry on the work with trained and tested personal students. There are limits to how far the powers of the lodge can be externalised. The Arthurian work is, however, multifaceted, and public and private work upon it goes on in various directions, as indeed it always has. The torch is passed along from one generation to another. Thus this work that I did in the 1980's was directly inspired by the work of the higher grades of the Society of the Inner Light in the 1950's, which was based in turn upon what Dion Fortune and Maiya Tranchell Hayes had been putting together in the 1940' s, whose roots are plainly to be seen in Dion Fortune' s contacts at Glastonbury in the 1920' s and Guild work in London in the 1930' s. In latter years I have also found this line of work to be of particular interest in France, where I have lectured and given guided visualisations to selected groups. As part and parcel of this The Secret Tradition in Arthurian Legend is now available in the French language and the

Italian. By a quirk of the economics of the publishing industry it is, ironically, no longer published in Britain, but English language publication has been taken up in America by Weisers, who also have a stake in Watkins occult bookshop in London, so copies of the work should remain available in its country of origin. In all of this, what gives me particular pleasure is that the Arthurian Formula has now been reproduced in its original form, and made available as a booklet, if only for limited circulation, by the Society of the Inner Light, from whence it first originated. It may therefore be appropriate if I take the opportunity, in welcoming this long delayed resurrection, to make a few remarks about its content. It may be new to many readers but it has been a familiar source of information and inspiration to me for something like forty years, and so my long matured reflections may prove of some value. I have taken some of its recommendations very much to heart. For instance, it says in the opening words of its Foreword: "There is no waste of time in considering the bearing of scholarship upon the study of the Mysteries in general and, in particular, the Arthurian Legends of which the Grail forms a part." In this respect I have taken it at its word, and have spent seven years, since early retirement afforded me the time, studying French at the University of London, with a particular eye to the medieval period. Much of the original material of "the Matter of Britain" happens, for historical reasons, to be written in Old French. This is the language of the first Arthurian romancier, Chrétien de Troyes, and of the prose and poetry of the originals drawn upon by our 15th century translator of genius, Sir Thomas Malory. Even so, this is little more than scratching the surface, for like a great range of mountains, scaling one height only reveals yet more. Thus medieval Arabic, the Occitan language of Southern France, and ancient Welsh and even Persian, would also have their part to play in a deeper analysis of sources. However, as the Arthurian Formula makes plain, at root we have to go back to lost Atlantis, and there are no written sources or language schools that can be of much help to us there. Atlantis was, of course, always a keen interest of Margaret Lumley Brown, and as we described in Pythoness, the Life and Work of Margaret Lumley Brown (Sun Chalice, 2000), she closely followed the adventures of Colonel Fawcett in his attempts to discover evidence of this civilisation in South America, encouraged in his quest by Rider Haggard. We know that she had written to him in the first instance as a result of dreams or visions she had had that seemed to be of Atlantean origin. There is a persistance to this legend, despite scientific doubts of its validity. It is to be found in the deeper teachers of esoteric lore, including H.P.Blavatsky and Rudolf Steiner. Dion Fortune also devotes a chapter to the subject in her early book on Glastonbury Avalon of the Heart, so she too was inclined toward the legend long before she met Margaret Lumley Brown. Furthermore, the mediation records in the Society' s archives, most of which have

been issued to members as study papers, demonstrate a strong and constant commitment by inner plane teachers to the existence and importance of the ancient civilisations of legend. Much of the appeal of some of Tolkien`s works, particularly those relating to The Silmarillion, stem, to my mind, from unconscious memories of these legendary times, as I have analysed to some degree in The Magical World of the Inklings and The Magical World of J.R.R.Tolkien.. In the beginning of Part 3 of the Arthurian Formula, these ancient origins are staunchly proclaimed:. "First of all disabuse your minds of ' historicity' . The Tradition is that the Legend is a Mystery Tale brought over from Atlantis - a tale which exists in many forms and many lands but which has such a strongly developed British form that we are justified in counting it among the esoteric Mysteries of these Islands." Hence in writing The Secret Tradition in Arthurian Legend I found no alternative but to nail my colours to the mast and declare in the Foreword that "Much of this material relates to the 'Atlantean' tradition and takes its validity for granted....Those who choose not to believe it may find much of this book of questionable validity but I fear I have come far enough along the road of occult research to realise that there comes a time when it is too limiting to try to write within the framework of assumptions imposed by the current intellectual establishment." This stuck in the craw of one or two more conventional reviewers but this was only to be expected. Not, I should say, that I do not respect genuine scholarship. I simply count myself fortunate that I am not dependent on making a living from it. I am thus at liberty to believe and write what I choose, trusting to intuition as much as to intellect, and also to the information provided by communicators and mediators whom I have come to trust. Not of course that any mediated material can be guaranteed as error free. Thus there are one or two errors of fact that appear both in the Arthurian Formula and in my taking of information from it for my book. One of these is a certain misunderstanding of the difference between "troubadours" and "trouvéres". In the Arthurian Formula we get the impression that the latter are "esoteric" equivalents of the former. In fact it is generally agreed that the difference is rather one of geography and language: troubadours coming from the south and speaking Occitan, and trouvéres coming, a little later, from the north and speaking Old French. However, there is a certain split in their function as the troubadours tended to write the love lyric, in praise of the lady, whilst the trouvéres introduced the more narrative element of Arthurian story. In this respect trouvéres might be regarded as potentially more esoteric in content, as purveyors of the ancient esoteric legends. However the troubadour' s devotion to the lady, by extension becomes a worship of the divine feminine, which may be regarded as equally esoteric, but after another manner. There was also considerable variation between the knowledge, technique and aims of the many individuals concerned,

so all were not as esoteric or divinely inspired as we moderns may tend to think. Although in these l2th and l3th century studies we are only dealing with a halfway house, a study of the period in some detail does bring its rewards. This is in line with another statement in the Arthurian Formula immediately after the paragraph just quoted: "Like all esoteric Mysteries, the Legend develops with the souls it trains and is not intended to be static either in psychology or in geography. Its 'countries' and 'events' are those of the soul itself..." It follows that it can therefore be very rewarding, if we take the trouble, to view this country of the soul through l2th century as well as 20th century eyes. The material obviously meant a great deal to them, so much so as to suggest that by some law of cycles, astrological or otherwise, the conditions of their society struck a powerful resonance with the legendary Atlantean times. The particular interest that we have in it today likewise suggests that echoes of this resonance are potentially applicable to us. The power of the stories remains very potent. This is sometimes revealed by synchronicities when working with them. Thus in conducting a visualisation in New York upon the storm scene in Yvain, or the Lady of the Fountain the sky blackened over and a freak storm ensued at the same time. More recently at a conference in Lampeter when I spoke of Eleanor of Aquitaine and her Courts of Love, and how they had been sparked off by Henry II' s affair with Rosamund Clifford, a large colour picture of both ladies appeared on the front page of The Guardian that morning. It is of course not very often that l2th century ladies feature on the front pages of 20th century newspapers, but was sparked on this occasion by the controversial sale of a pre-Raphaelite painting. The trouble with synchronicities is that, like corn circles, they seem to occur at complete random unpredictability. They also seem, in themselves, of little consequence, apart perhaps from indication that parallel events to the outer celebration are taking place upon the inner planes. This is the difference, I suppose, between "contacted" and non-contacted esoteric work. Eleanor and Rosamund are of course not characters in Arthurian legend but historical personalities about whom a certain historical and romantic charisma has developed relating to this lore. This is another facet of the tradition that has been borne in upon me with continued and increasing force. It manifests in a fascination with a particular period of Crusader studies, relating to the 3rd Crusade, in which Eleanor of Aquitaine' s favourite son, Richard Coeur de Lion, was directly involved, together with her grandson Henry II of Champagne, whose mother, Eleanor's daughter, was Marie, the patroness of Chrétien de Troyes. Henry II of Champagne became ruler of the Crusader Kingdom of Jerusalem, a short lived rival to the heirs of the family of Lusignan, who founded a royal dynasty in Cyprus and claimed descent from the world of Faery. This idea of being descended from the faery Melusine, together with the belief that

Jerusalem was centre of the world, may seem bizarre to worldly modern eyes, but that which is universally believed in any epoch pertains to the real in some degree, and we find a strange world of reflections and tricks of circumstance between the worlds of history and legend in those times. Another family closely in the background were the Counts of Flanders, who had sent pilgrims to the Holy Land for four generations, and one of whom, Philip of Alsace, reputedly gave Chrétien de Troyes the manuscript from which he garnered the Story of the Grail. Crudely exploited, much of this kind of material may legitimately be regarded as "glamour". Correctly understood, these mythopoeic elements that surround certain figures and events in history, giving them an archetypal resonance, are the working material of the Mysteries. The difference between the two needs to be carefully evaluated, for much the same also occurs in fiction of a symbolic or esoteric nature - not least in the novels of Dion Fortune. In the later novels, as in the Arthurian Formula, we find an Atlantean strand, and statements and assumptions are sometimes made as to sexual psychology and morals that may need some qualification. We should therefore think it possible that powerful Atlantean contacts may not always have all the answers to 20th century living that they may think they possess. Although on the other hand they may be bearers of important forgotten or neglected truths that need consideration for healing the ills of current society. All this goes to show that the prime virtues of any Mystery tradition are the exercise of Discretion and Discrimination. While we may smile condescendingly on those who seek certainty in belief in an infallible Pope, or cluck our tongues at fundamentalists who seek certainty in an infallible Book, we should beware the beam in our own eye that may assume infallibility in esoteric teacher, tradition or script. We have, on the esoteric quest, to consider all things, and seeking the still small voice of the spirit, hold fast to that which is good. That said, over the space of the forty years I have known it, I have found the Arthurian Formula to be a constant challenge and stimulus that has led me by many fascinating ways in service to others and fulfilment for myself. As with that other important text in our tradition, The Cosmic Doctrine, its purpose is to train the mind as much as to inform it. So regarded, it can open doors in the mind that "will not again be shut", and rekindle a lamp within the soul "that has for too long been extinguished".

"if you don't know how to think, you'll always be a one legged man in an ass kicking contest".

Shane Parrish
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