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Thread: Yeats and the Golden Dawn

  1. #1
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    Yeats and the Golden Dawn

    William Butler Yeats is widely considered to be one of the greatest poets of the twentieth century. He belonged to the Protestant, Anglo-Irish minority that had controlled the economic, political, social, and cultural life of Ireland since at least the end of the seventeenth century. Most members of this minority considered themselves English people who merely happened to have been born in Ireland, but Yeats was staunch in affirming his Irish nationality. Although he lived in London for fourteen years of his childhood (and kept a permanent home there during the first half of his adult life), Yeats maintained his cultural roots, featuring Irish legends and heroes in many of his poems and plays. He was equally firm in adhering to his self-image as an artist. This conviction led many to accuse him of elitism, but it also unquestionably contributed to his greatness. As fellow poet W. H. Auden noted in a 1948 Kenyon Review essay entitled "Yeats as an Example," Yeats accepted the modern necessity of having to make a lonely and deliberate "choice of the principles and presuppositions in terms of which [made] sense of his experience." Auden assigned Yeats the high praise of having written "some of the most beautiful poetry" of modern times....

    Eighteen eighty-five was an important year in Yeats's early adult life, marking the first publication, in the Dublin University Review, of his poetry and the beginning of his important interest in occultism. It was also the year that he met John O'Leary, a famous patriot who had returned to Ireland after totaling twenty years of imprisonment and exile for revolutionary nationalistic activities. O'Leary had a keen enthusiasm for Irish books, music, and ballads, and he encouraged young writers to adopt Irish subjects. Yeats, who had preferred more romantic settings and themes, soon took O'Leary's advice, producing many poems based on Irish legends, Irish folklore, and Irish ballads and songs.


    Gonne also shared Yeats's interest in occultism and spiritualism. Yeats had been a theosophist, but in 1890 he turned from its sweeping mystical insights and joined the Golden Dawn, a secret society that practiced ritual magic. The society offered instruction and initiation in a series of ten levels, the three highest of which were unattainable except by magi (who were thought to possess the secrets of supernatural wisdom and enjoy magically extended lives). Yeats was fascinated by the possibility of becoming a magus, and he became convinced that the mind was capable of perceiving past the limits of materialistic rationalism. Yeats remained an active member of the Golden Dawn for thirty-two years, becoming involved in its direction at the turn of the century and achieving the coveted sixth grade of membership in 1914, the same year that his future wife, Georgiana Hyde-Lees, also joined the society.

    Although Yeats's occult ambitions were a powerful force in his private thoughts, the Golden Dawn's emphasis on the supernatural clashed with his own need—as a poet—for interaction in the physical world, and thus in his public role he preferred to follow the example of John Keats, a Romantic poet who remained—in comparison with Romantics William Blake and Percy Bysshe Shelley—relatively close to the materials of life. Yeats avoided what he considered the obscurity of Blake, whose poetic images came from mystical visions rather than from the familiar physical world. Even so, Yeats's visionary and idealist interests were more closely aligned with those of Blake—and Shelley—than with those of Keats, and in the 1899 collection The Wind among the Reeds he featured several poems employing occult symbolism.

    Most of Yeats's poetry, however, used symbols from ordinary life and from familiar traditions, and much of his poetry in the 1890s continued to reflect his interest in Irish subjects. During this decade he also became increasingly interested in poetic techniques. He befriended English decadent poet Lionel Johnson, and in 1890 they helped found the Rhymers' Club, a group of London poets who met to read and discuss their poems. The Rhymers placed a very high value on subjectivity and craftsmanship and preferred sophisticated aestheticism to nationalism. The club's influence is reflected in the lush density of Yeats's poetry of the times, culminating in The Wind among the Reeds (1899). Although Yeats was soon to abandon that lush density, he remained permanently committed to the Rhymers' insistence that a poet should labor "at rhythm and cadence, at form and style"—as he reportedly told a Dublin audience in 1893.

    The turn of the century marked Yeats's increased interest in theatre, an interest influenced by his father, a famed artist and orator whose love of highly dramatic moments in literature certainly contributed to Yeats's lifelong interest in drama. In the summer of 1897 the author enjoyed his first stay at Coole Park, the County Galway estate of Lady Augusta Gregory. There he devised, with Lady Gregory and her neighbor Edward Martyn, plans for promoting an innovative, native Irish drama. In 1899 they staged the first of three annual productions in Dublin, including Yeats's "The Countess Kathleen," and in 1902 they supported a company of amateur Irish actors in staging both George Russell's Irish legend "Deirdre" and Yeats's "Cathleen ni Houlihan." The success of these productions led to the founding of the Irish National Theatre Society with Yeats as president. With a wealthy sponsor volunteering to pay for the renovation of Dublin's Abbey Theatre as a permanent home for the company, the theatre opened on December 27, 1904, and included plays by the company's three directors: Lady Gregory, John M. Synge (whose 1907 production "The Playboy of the Western World" would spark controversy with its savage comic depiction of Irish rural life), and Yeats, who was represented that night with "On Baile's Strand," the first of his several plays featuring heroic ancient Irish warrior Cuchulain.

    During the entire first decade of the twentieth century Yeats was extremely active in the management of the Abbey Theatre company, choosing plays, hiring and firing actors and managers, and arranging tours for the company. At this time he also wrote ten plays, and the simple, direct style of dialogue required for the stage became an important consideration in his poems as well. He abandoned the heavily elaborated style of The Wind among the Reeds in favor of conversational rhythms and radically simpler diction. This transformation in his poetic style can be traced in his first three collections of the twentieth century: In the Seven Woods (1903), The Green Helmet and Other Poems (1910), and Responsibilities (1914). Several poems in those collections use style as their subject. For example, in "A Coat," written in 1912, Yeats derided his 1890s poetic style, saying that he had once adorned his poems with a coat "covered with embroideries / Out of old mythologies." The poem concludes with a brash announcement: "There's more enterprise / In walking naked." This departure from a conventional nineteenth-century manner disappointed his contemporary readers, who preferred the pleasant musicality of such familiar poems as "The Lake Isle of Innisfree," which he wrote in 1890.

    Simplification was only the first of several major stylistic changes. In "Yeats as an Example?" an essay in Preoccupations: Selected Prose 1968-1978, the prominent Irish poet Seamus Heaney commended Yeats for continually altering and refining his poetic craftsmanship. "He is, indeed, the ideal example for a poet approaching middle age," Heaney declared. "He reminds you that revision and slog-work are what you may have to undergo if you seek the satisfaction of finish; he bothers you with the suggestion that if you have managed to do one kind of poem in your own way, you should cast off that way and face into another area of your experience until you have learned a new voice to say that area properly."

    Eventually, Yeats began experimenting as a playwright; in 1916, for instance, he adopted a deliberately esoteric, nonrealistic dramatic style based on Japanese Noh plays, a theatrical form to which he had been introduced by poet Ezra Pound. These plays were described by Yeats as "plays for dancers."

    While Yeats fulfilled his duties as president of the Abbey Theatre group for the first fifteen years of the twentieth century, his nationalistic fervor, however, was less evident. Maud Gonne, with whom he had shared his Irish enthusiasms, had moved to Paris with her husband, exiled Irish revolutionary John MacBride, and the author was left without her important encouragement. But in 1916 he once again became a staunch exponent of the nationalist cause, inspired by the Easter Rising, an unsuccessful, six-day armed rebellion of Irish republicans against the British in Dublin. MacBride, who was now separated from Gonne, participated in the rebellion and was executed afterward. Yeats reacted by writing "Easter, 1916," an eloquent expression of his complex feelings of shock, romantic admiration, and a more realistic appraisal.

    cont'd
    Last edited by R_Baird; 11-25-2015 at 09:00 PM.

  2. #2
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    The above is entirely from an excellent source I will provide a link to. I have edited a paragraph or two.

    " The Easter Rising contributed to Yeats's eventual decision to reside in Ireland rather than England, and his marriage to Georgie Hyde-Lees in 1917 further strengthened that resolve. Earlier, in an introductory verse to Responsibilities, he had asked his ancestors' pardon for not yet having married to continue his Irish lineage: "Although I have come close on forty-nine, / I have no child, I have nothing but a book." Once married, however, Yeats traveled with his bride to Thoor Ballylee, a medieval stone tower where the couple periodically resided. With marriage came another period of exploration into complex and esoteric subjects for Yeats. He had long been fascinated by the contrast between a person's internal and external selves—between the true person and those aspects that the person chooses to present as a representation of the self. Yeats had first mentioned the value of masks in 1910 in a simple poem, "The Mask," where a woman reminds her lover that his interest in her depends on her guise and not on her hidden, inner self. Yeats gave eloquent expression to this idea of the mask in a group of essays, Per Amica Silentia Lunae (1918): "I think all happiness depends on the energy to assume the mask of some other life, on a re-birth as something not one's self." This notion can be found in a wide variety of Yeats's poems.

    Yeats also continued to explore mysticism. Only four days after the wedding, his bride began what would be a lengthy experiment with the psychic phenomenon called automatic writing, in which her hand and pen presumably served as unconscious instruments for the spirit world to send information. Yeats and his wife held more than four hundred sessions of automatic writing, producing nearly four thousand pages that Yeats avidly and patiently studied and organized. From these sessions Yeats formulated theories about life and history. He believed that certain patterns existed, the most important being what he called gyres, interpenetrating cones representing mixtures of opposites of both a personal and historical nature. He contended that gyres were initiated by the divine impregnation of a mortal woman—first, the rape of Leda by Zeus; later, the immaculate conception of Mary. Yeats found that within each two-thousand-year era, emblematic moments occurred at the midpoints of the thousand-year halves. At these moments of balance, he believed, a civilization could achieve special excellence, and Yeats cited as examples the splendor of Athens at 500 B.C., Byzantium at A.D. 500, and the Italian Renaissance at A.D. 1500.

    Yeats further likened these historical cycles to the twenty-eight day lunar cycle, contending that physical existence grows steadily until it reaches a maximum at the full moon (phase fifteen), which Yeats described as perfect beauty. In the remaining half of the cycle, physical existence gradually falls away, until it disappears completely at the new moon, whereupon the cycle begins again. Applying this pattern both to historical eras and to individuals' lives, Yeats observed that a person completes the phases as he advances from birth to maturity and declines toward death. Yeats further elaborated the scheme by assigning particular phases to specific types of personality, so that although each person passes through phases two through fourteen and sixteen through twenty-eight during a lifetime, one phase provides an overall characterization of the individual's entire life. Yeats published his intricate and not completely systematic theories of personality and history in A Vision (1925; substantially revised in 1937), and some of the symbolic patterns (gyres, moon phases) with which he organized these theories provide important background to many of the poems and plays he wrote during the second half of his career.

    During these years of Yeats's esoterica Ireland was rife with internal strife. In 1921 bitter controversies erupted within the new Irish Free State over the partition of Northern Ireland and over the wording of a formal oath of allegiance to the British Crown. These issues led to an Irish civil war, which lasted from June, 1922, to May, 1923. In this conflict Yeats emphatically sided with the new Irish government. He accepted a six-year appointment to the senate of the Irish Free State in December, 1922, a time when rebels were kidnapping government figures and burning their homes. In Dublin, where Yeats had assumed permanent residence in 1922 (after maintaining a home for thirty years in London), the government even posted armed sentries at his door. As senator, Yeats considered himself a representative of order amid the chaotic new nation's slow progress toward stability. He was now the "sixty-year-old smiling public man" of his poem "Among School Children," which he wrote after touring an Irish elementary school. But he was also a world renowned artist of impressive stature, having received the Nobel Prize for Literature in 1923.

    Yeats's poems and plays produced during his senate term and beyond are, at once, local and general, personal and public, Irish and universal. At night the poet could "sweat with terror" (a phrase in his poem "Nineteen Hundred and Nineteen") because of the surrounding violence, but he could also generalize those terrifying realities by linking them with events in the rest of the world and with all of history. The energy of the poems written in response to these disturbing times gave astonishing power to his collection The Tower (1928), which is often considered his best single book, though The Wild Swans at Coole (1917; enlarged edition, 1919), Michael Robartes and the Dancer (1921), The Tower, The Winding Stair (1929); enlarged edition, 1933), and Words for Music Perhaps and Other Poems (1932), also possess considerable merit.

    cont'd
    Last edited by R_Baird; 11-25-2015 at 09:02 PM.

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    Another important element of poems in both these collections and other volumes is Yeats's keen awareness of old age. Even his romantic poems from the late 1890s often mention gray hair and weariness, though those poems were written while he was still a young man. But when Yeats was nearly sixty, his health began to fail and he was faced with real, rather than imaginary, "bodily decrepitude" (a phrase from "After Long Silence") and nearness to death. Nevertheless, despite the author's often keen awareness of his physical decline, the last fifteen years of his life were marked by extraordinary vitality and an appetite for life. He continued to write plays, including "Sophocles' 'King Oedipus'" and "Sophocles' 'Oedipus at Colonus'" (translations performed with masks in 1926 and 1927) and "The Words upon the Window Pane" (1934), a full-length work about spiritualism and the eighteenth-century Irish writer Jonathan Swift {Who is most important to my studies and who used Green Languages and influenced many Hibernians including Thomas Carlyle.}. In 1929, as an expression of gaiety after recovering from a serious illness, he also wrote a series of brash, vigorous poems narrated by a fictitious old peasant woman, "Crazy Jane." His pose as "The Wild Old Wicked Man" (the title of one of his poems) and his poetical revitalization was reflected in the title of his 1938 volume New Poems.

    As Yeats aged, he saw Ireland change in ways that angered him. The Anglo-Irish Protestant minority no longer controlled Irish society and culture, and with Lady Gregory's death in 1932 and the consequent abandonment of the Coole Park estate, Yeats felt detached from the brilliant achievements of the eighteenth-century Anglo-Irish tradition. According to Yeats's unblushingly antidemocratic view, the greatness of Anglo-Irishmen such as Jonathan Swift, philosopher George Berkeley {There are many words in these quotes - all have deep meaning.}, and statesman Edmund Burke, contrasted sharply with the undistinguished commonness of contemporary Irish society, which seemed preoccupied with the interests of merchants and peasants. He stated his unpopular opinions in late plays such as Purgatory (1938) and the essays of On the Boiler (1939).

    But Yeats offset his frequently brazen manner with the personal conflicts expressed in his last poems. He faced death with a courage that was founded partly on his vague hope for reincarnation and partly on his admiration for the bold heroism that he perceived in Ireland in both ancient times and the eighteenth century. In proud moods he could speak in the stern voice of his famous epitaph, written within six months of his death, which concludes his poem "Under Ben Bulben": "Cast a cold eye / On life, on death. / Horseman, pass by!" But the bold sureness of those lines is complicated by the error-stricken cry that "distracts my thought" at the end of another late poem, "The Man and the Echo," and also by the poignantly frivolous lust for life in the last lines of "Politics," the poem that he wanted to close Last Poems: "But O that I were young again / And held her in my arms."

    Throughout his last years, Yeats's creative imagination remained very much his own, isolated to a remarkable degree from the successive fashions of modern poetry despite his extensive contacts with other poets. Literary modernism held no inherent attraction for him except perhaps in its general association with youthful vigor. He admired a wide range of traditional English poetry and drama, and he simply was unconcerned that, during the last two decades of his life, his preference for using rhyme and strict stanza forms would set him apart from the vogue of modern poetry. Yeats's allegiance to poetic tradition did not extend, however, to what he considered an often obscure, overly learned use of literary and cultural traditions by T. S. Eliot and Pound. Yeats deplored the tremendous enthusiasm among younger poets for Eliot's The Waste Land, published in 1922. Disdaining Eliot's flat rhythms and cold, dry mood, Yeats wanted all art to be full of energy. He felt that the literary traditions furnishing Eliot with so many allusions and quotations should only be included in a poem if those traditions had so excited the individual poet's imagination that they could become poetic ingredients of the sort Yeats described in "The Tower": "Poet's imaginings / And memories of love, / Memories of the words of women, / All those things whereof / Man makes a superhuman / Mirror-resembling dream."

    Yeats wanted poetry to engage the full complexity of life, but only insofar as the individual poet's imagination had direct access to experience or thought and only insofar as those materials were transformed by the energy of artistic articulation. He was, from first to last, a poet who tried to transform the local concerns of his own life by embodying them in the resonantly universal language of his poems. His brilliant rhetorical accomplishments, strengthened by his considerable powers of rhythm and poetic phrase, have earned wide praise from readers and, especially, from fellow poets, including W. H. Auden (who praised Yeats as the savior of English lyric poetry), Stephen Spender, Theodore Roethke, and Philip Larkin. It is not likely that time will diminish his achievements.


    Career


    Writer. Cofounder of Irish Literary Theatre. Senator of the Irish Free State, 1923-29. {And most important perhaps - head of the Hermetic Order of the Golden Dawn.}


    Bibliography

    ◦Mosada: A Dramatic Poem (first published in Dublin University Review, March, 1885), Sealy, Bryers & Walker, 1886.
    ◦The Wanderings of Oisin and Other Poems, Kegan Paul, Trench & Company, 1889.
    ◦John Sherman [and] Dhoya (fiction), Cassell Publishing Company, 1891.
    ◦The Countess Kathleen and Various Legends and Lyrics (poetry and plays; includes The Countess Kathleen, play first produced in Dublin at Antient Concert Rooms, May 8, 1899), Roberts Brothers, 1892, title play revised and published separately as The Countess Kathleen, T. Fischer Unwin, 1912.
    ◦The Celtic Twilight (nonfiction), Lawrence & Bullen, 1893, Macmillan, 1894 , revised and enlarged edition, A. H. Bullen, 1902.
    ◦The Land of Heart's Desire (play; first produced in London at Avenue Theatre, March 29, 1894), Stone & Kimball, 1894.
    ◦Poems, T. Fisher Unwin, 1895, revised editions, 1899, 1901, 1912, 1927.
    ◦The Table of the Law [and] The Adoration of the Magi (fiction), privately printed, 1897, Elkin Mathews, 1904.
    ◦The Secret Rose (short stories), illustrations by father, John Butler Yeats, Dodd, Mead, 1897.
    ◦The Wind among the Reeds (poetry), John Lane/Bodley Head, 1899.
    ◦The Shadowy Waters (play; first produced in Dublin at Molesworth Hall, January 14, 1904), Hodder & Stoughton, 1900, Dodd, Mead, 1901.
    ◦1899 to 1900, first edition, 1900, reprinted, F. Cass, 1970.
    ◦1901 to 1908, seven volumes, first edition, 1901, reprinted, F. Cass, 1970.
    ◦Cathleen ni Houlihan (one-act play; first produced in Dublin at St. Teresa's Hall April 2, 1902), A. H. Bullen, 1902.
    ◦Where There Is Nothing (five-act play; first produced in London at Royal Court Theatre, June 26, 1904), John Lane, 1902, revised (with Lady Gregory) as The Unicorn from the Stars (first produced in Dublin at Abbey Theatre, November 21, 1907 ) in The Unicorn from the Stars and Other Plays, Macmillan, 1908, new edition published as Where There Is Nothing [and] The Unicorn from the Stars, Catholic University Press, 1987.
    ◦On Baile's Strand (play; first produced in Dublin at Abbey Theatre, December 27, 1904), Dun Emer Press, 1903.
    ◦In the Seven Woods: Being Poems Chiefly of the Irish Heroic Age, Macmillan, 1903.
    ◦The Hour Glass: A Morality (play; first produced in Dublin at Molesworth Hall, March 14, 1903, revised version produced in Dublin at Abbey Theatre, November 21, 1912), Heinemann, 1903, expanded editon, edited by Catherine Phillips, Cornell University Press, 1994.
    ◦Ideas of Good and Evil (nonfiction), Macmillan, 1903.
    ◦The Hour Glass and Other Plays (includes The Hour Glass: A Morality and The Pot of Broth, first produced in Dublin at Antient Concert Rooms, October 30, 1902), Macmillan, 1904.
    ◦The King's Threshold (play; first produced in Dublin at Molesworth Hall, October 8, 1903, revised version produced in Dublin at Abbey Theatre, October 13, 1913), John Quinn, 1904.
    ◦The King's Threshold [and] On Baile's Strand (plays), A. H. Bullen, 1904.
    ◦The Hour-Glass and Other Plays, first edition, 1904 , reprinted, Roth, 1976.
    ◦Stories of Red Hanrahan (short stories), Dun Emer Press, 1905.
    ◦Poems, 1899-1905, A. H. Bullen (London), 1906.
    ◦The Poetical Works of William B. Yeats, two volumes, Macmillan, 1906, revised edition, 1912.
    ◦Deirdre (play; first produced in Dublin at Abbey Theatre, November 24, 1906), A. H. Bullen, 1907.
    ◦Discoveries: A Volume of Essays, Dun Emer Press, 1907.
    ◦The Golden Helmet (play; first produced in Dublin at Abbey Theatre, March 19, 1908), John Quinn, 1908, revised as The Green Helmet (produced in Dublin at Abbey Theatre, February 10, 1910), published in The Green Helmet and Other Poems (also see below).
    ......
    .....
    ◦The Bounty of Sweden (nonfiction), Cuala Press, 1925.
    A Vision: An Explanation of Life Founded upon the Writings of Giraldus and upon Certain Doctrine Attributed to Kusta Ben Luka, T. Werner Laurie, 1925, revised edition published as A Vision, Macmillan (London), 1937, Macmillan (New York, NY), 1938, published as A Critical Edition of "Yeats's A Vision" (1925), edited by George Mills Harper and Walter Kelly Hood, Macmillan, 1978."

    They continue listing his many contributions.
    Last edited by R_Baird; 11-29-2015 at 07:08 AM.

  4. #4
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    Thus I am honored to be among the bards like Yeats for reasons of my name as well as my interests in the so-called occult. 'Oc' is 'not' so we are not a cult. The following good site authors do not mention William Blake and Swift are alchemists, but it is stupid to put that label on others when you know people hate alchemists or fear them and governments still proscribe Druidic knowledge which became a contributor to alchemy. The extent of lies told about Druidic knowledge is best seen here under the heading Ogham and Aymara.

    http://www.poetryfoundation.org/bio/...m-butler-yeats

    The writings of Israel Regardie are important to any Hermetic but for such people to challenge his admission he was a fool to say there was no transmutation of metals or matter is a real and major ego issue. They have not studied enough perhaps and thus I should give them slack just as I do those who seek definitions for alchemy in web searches. Maybe this is why actual dedicated hermeticists or alchemists like myself have often retired to a forest or cave. Here is a review of Regardie's book The Philosopher's Stone. The author is correct about alchemy for the soul or ego, but alchemy is a far more vast and encompassing knowledge than just centering one's self. It seeks to manifest reality and bring a new world into being by fulfilling Divine Providential Purposes akin to what gods may aspire to, in layman-speak. I know RIGHT THOUGHT = RIGHT ACTION is just one of three Magian Laws and yet I also know it will take me all of this lifetime to fully comprehend. I do not think Regardie or his mentor Crowley ever understood or did as much as I have done, in reference to this one law. But I admit full well they are more adept in the other laws, by far.

    "Lyam Thomas Christopher

    Oct 22, 2012 Lyam Thomas Christopher rated it 5 of 5 stars

    Regardie introduces the last printing of this book as though it had been written from a less evolved perspective. I question that. I believe that Regardie got talked into working with literal laboratory-style alchemy as though the metaphorical alchemical view were more or less mistaken. And it puzzles me that a man of such insight could be duped into thinking the philospher's stone is a literal object, produced through metalurgical means. I don't mean to say that metalurgical aclchemy is of no use, but I do mean to say that a literal laboratory with athanors and distillers is not necessary for the kind of alchemy that transforms the soul."
    The art of creating a cult is not even close to new, It was not new when Greece was a powerful force in a little part of the world we have been told was the whole of the world. Just trot out some half-known truths and history to people who don't know them. Add a pinch of secrecy and tell them they are 'chosen'; maybe get a song or mantra and a few mandalas from long ago to make a logo and letterhead with - voila! Some people will fool-owe you to the 'end of days'.

    "It is impossible to understand what is happening in America and the world today without fully comprehending the beliefs, organizational structure, and power of these occult secret societies like the Golden Dawn. The dynamics of these secret societies can only be understood within the context of a multi-dimensional world, along with the power, forces, and entities that come from what has been termed the Fourth Dimension, invisible realm, or what some call the spiritual world.

    Crowley called himself the “Great Beast 666,” who is the Antichrist in the Book of Revelation. The women he selected to be used sexually he called “Scarlett Women,” which is a direct reference to Babylon the Great Harlot in Revelation. Crowley was deliberately mocking the God of the Bible, not because he did not believe in God, but because he believed Lucifer was God and that is who Crowley chose to serve. When America was established Sir Francis Bacon was the head of the occult society known as the Rosicrucians. Bacon planned for America to be the “New Atlantis” and the head of the New World Order and wrote about this in the 1600s. It is alleged that Benjamin Franklin was a Rosicrucian and a Satanist, and that he participated in satanic orgies and rituals, such as the Hell Fire Club’s in England and France. There exists a secret destiny for America and Franklin played a key role in it. Franklin was also a member of the Order of the Quest and apparently supported Sir Francis Bacon’s secret plan for America to be the New Atlantis. The United States was intended to be an Illuminati Utopia and the Illuminati, as well as the Golden Dawn stemmed from the Rosicrucians."
    http://www.newswithviews.com/McGuire/paul170.htm
    Last edited by R_Baird; 11-25-2015 at 09:07 PM.

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    For the many among us who do not know Freemasonry is part of a hierarchy dedicated to rising to the level of the Magi or alchemists I provide this.

    "HERMETIC ORDER OF THE GOLDEN DAWN



    Hallo! Me again: SALLY DAVIS, biographer of Henry George Norris, now working on something very different.



    Below is a list of all the people who were initiated into the Order of the Golden Dawn at its temples in London, Bradford and Edinburgh between 1888 (the year it began) and 1901. There were also temples in Paris and Weston-super-Mare, but I’ve decided to leave their initiates out.

    The list of names is based on the data R A Gilbert put in his book The Golden Dawn Companion , published by The Aquarian Press in 1986. Gilbert had inherited the Golden Dawn’s Membership Roll and he transcribed all the signatures written on it, for his book. I used the book and the original Members’ Roll, to make my list; correcting some wrong spellings and adding in one person who was on the Members’ Roll but not in the book - I guess Gilbert must just have overlooked her, amongst so many names.

    For the last three years I’ve been working on biographies of the Golden Dawn members in the list below, using the web and libraries in London. For most members, I haven’t found out anything much. For the rest, I’m gradually compiling little (and some not so little) biographies of them and they’ll go up on this website in due course.

    Two important points about what I’ve been doing:

    1) Those of you who want to find out about the Golden Dawn’s magic: these biographies are not for you. I’m no magician and I’ve concentrated on the members’ other lives - their day job, if you like - birth, family/relationships, work/income, death.
    2) Some of the people on the list have had biographies done already, on paper and/or on the web: Allan Bennett; Aleister Crowley; Florence Farr; Maud Gonne; Annie Horniman; Minna Bergson Mathers; Samuel Mathers; W B Yeats. It seemed a bit superfluous to do much work on them.

    As at end September 2013 I’ve finished all the people about whom I found out nothing or very little; and have reached the end of surnames beginning ‘D’ for the people I’ve discovered a bit more about. If you’re in a desperate hurry to find out more about anyone on the list, you can email me and I’ll try to help:


    Gilbert’s papers, including the Members’ Roll, are now in the archives at the Museum of Freemasonry. A big thank you from me to the archivist and volunteers there, for the help they are still giving me. Here is a message from them, because they would love more people to visit the Museum to work on the Golden Dawn archives:

    For anyone wishing to explore the membership or development of the Golden Dawn, archives relating to the Order and its successor bodies are available at the Library and Museum of Freemasonry - all resources have been catalogued with full descriptions for each document [reference: GBR 1991 GD] - see details for these records on the on-line catalogue at:
    http://www.freemasonry.london.museum/catalogue.php"

    http://pws.prserv.net/Roger_Wright/GD/
    Last edited by R_Baird; 11-29-2015 at 07:13 AM.

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    There are adepts outside of what is called alchemy who have achieved great things in these areas and there are alchemists before Socrates and Aristotle, or Da Vinci and Newton; who all true experts know were alchemists. For any author or journalist who would produce a TV documentary on the subject and not even interview a hermeticist (much less an alchemist) it is obvious their intent is not to educate. So when you see Time/Life videos doing that kind of show I hope you know you are being fed lies. In February, 1925 Yeats wrote this in Capri.

    "The End of the Cycle {AKA Fin de Siecle in early Scientology as borrowed from the French members of the Golden Dawn.}

    A Vision A

    In the first edition of A Vision the section 'Dove or Swan' contains a relatively long passage on the relationship of the gyres to the contemporary period and the near future (AV A 210-215), which was omitted in the second edition. It is given here for reference, with the page breaks indicated. The first sentence given here (in italics) is the last on AV B 300, and the text continues from there.

    Having bruised their hands upon that limit men, for the first time since the seventeenth century, see the world as an object of contemplation, not as something to be remade, and some few, meeting the limit in their special study, even doubt if there is any common experience, that is to say doubt the possibility of science.

    It is said that at Phase 8 there is always civil war, and at Phase 22 always war, and as this war is always a defeat for those who have conquered, we have repeated the wars of Alexander.

    I discover already the first phase--Phase 23--of the last quarter in certain friends of mine, and in writers, poets and sculptors admired by those friends, who have a form of strong love and hate hitherto unknown in the arts. It is with them a matter of conscience to live in their own exact instant of time, and they defend their conscience like theologians. They are all absorbed in some technical research to the entire exclusion of the personal dream. It is as though the forms in the stone or in their reverie began to move with an energy which is not that of the human mind. Very often these forms are mechanical, are as it were the mathematical forms that sustain the physical primary--I think of the work of Mr Wyndham Lewis, his powerful "cacophony of sardine tins," and of those marble eggs, or objects of burnished steel too drawn up or tapered out to be called eggs, of M. Brancussi [sic], who has gone further than Mr Wyndham Lewis from recognisable subject matter and so from personality; of sculptors who would certainly be rejected as impure by a true sectary of this moment, the Scandinavian Milles, Mestrovi? perhaps, masters of a geometrical pattern or rhythm which seems to impose itself wholly from beyond the mind, the artist "standing outside himself." I compare them to sculpture or painting where now the artist now the model imposes his personality. I think especially of the art of the 21st Phase which was at times so anarchic, Rodin creating his powerful art out of the fragments of those Gates of Hell that he had found himself unable to hold together--images out of a personal dream, "the hell of Baudelaire not of Dante," he had said to Symons. I find at this 23rd Phase which is it is said the first where there is hatred of the abstract, where the intellect turns upon itself, Mr Ezra Pound, Mr Eliot, Mr Joyce, Signor Pirandello, who either eliminate from metaphor the poet's phantasy and substitute a strangeness discovered by historical or contemporary research or who break up the logical processes of thought by flooding them with associated ideas or words that seem to drift into the mind by chance; or who set side by side as in "Henry IV," "The Waste Land," "Ulysses," the physical primary--a lunatic among his keepers, a man fishing behind a gas works, the vulgarity of a single Dublin day prolonged through 700 pages--and the spiritual primary, delirium, the Fisher King, Ulysses' wandering. It is as though myth and fact, united until the exhaustion of the Renaissance, have fallen so far apart that man understands for the first time the rigidity of fact, and calls up, by that very recognition, myth--the Mask--which now but gropes its way out of the mind's dark but will shortly pursue and terrify. In practical life one expects the same technical inspiration, the doing of this or that not because one would, or should, but because one can, consequent licence, and with those "out of phase" anarchic violence with no sanction in general principles. If there is a violent revolution, and it is the last phase where political revolution is possible, the dish will be made from what is found in the pantry and the cook will not open her book. There may be greater ability that hitherto for men will be set free from old restraint, but the old intellectual hierarchy gone they will thwart and jostle one another. One tries to discover the nature of the 24th Phase which will offer peace--perhaps by some generally accepted political or religious action, perhaps by some more profound generalisation--calling up before the mind those who speak its thoughts in the language of our earlier time. Peguy in his Joan of Arc trilogy displays the national and religious tradition of the French poor, as he, a man perhaps of the 24th phase, would have it, and Claudel in his "L'Otage" the religious and secular hierarchies perceived as history. I foresee a time when the majority of men will so accept an historical tradition that they will quarrel, not as to who can impose his personality upon others but as to who can best embody the common aim, when all personality will seem an impurity--"sentimentality," "sullenness," "egotism"--something that revolts not morals alone but good taste.


    cont'd But I sincerely hope every reader reads his quoted section in this post more than once and knows the importance of books like Ulysses.
    Last edited by R_Baird; 11-29-2015 at 07:21 AM.

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    There will be no longer great intellect for a ceaseless activity will be required of all; and where rights are swallowed up in duties, and solitude is difficult, creation except among avowedly archaistic and unpopular groups will grow impossible. Phase 25 may arise, as the code wears out from repetition, to give new motives for obedience, or out of some scientific discovery which seems to contrast, a merely historical acquiescence, with an enthusiastic acceptance of the general will conceived as a present energy--"Sibyll [sic] what would you?" "I would die." Then with the last gyre must come a desire to be ruled or rather, seeing that desire is all but dead, an adoration of force spiritual or physical, and society as mechanical force be complete at last.
    Constrained, arraigned, baffled, bent and unbent

    By those wire-jointed jaws and limbs of wood
    Themselves obedient,

    Knowing not evil or good.


    A decadence will descend, by perpetual moral improvement, upon a community which may seem like some woman of New York or Paris who has renounced her rouge pot to lose her figure and grow coars of skin and dull of brain, feeding her calves and babies somewhere on the edge of the wilderness. The decadence of the Greco-Roman world with its violent soldiers and its mahogany dark young athletes was as great, but that suggested the bubbles of life turned into marbles, whereas what awaits us, being democratic and primary, may suggest bubbles in a frozen pond--mathematical Babylonian starlight.

    When the new era comes bringing its stream of irrational force it will, as did Christianity, find its philosophy already impressed upon the minority who have, true to phase, turned away at the last gyre from the Physical Primary. And it must awake into life, not Dürer's, nor Blake's, nor Milton's human form divine--nor yet Nietzsche's superman, nor Patmore's catholic, boasting "a tongue that's dead"--the brood of the Sistine Chapel--but organic groups, covens of physical or intellectual kin melted out of the frozen mass. I imagine new races, as it were, seeking domination, a world resembling but for its immensity that of the Greek tribes--each with its own Daimon or ancestral hero--the brood of Leda, War and Love; history grown symbolic, the biography changed into myth. Above all I imagine everywhere the opposites, no mere alternation between nothing and something like the Christian brute and ascetic, but true opposites, each living the other's death, dying the other's life.

    It is said that the primary impulse "creates the event" but that the antithetical "follows it" and by this I understand that the Second Fountain will arise after a long preparation and as it were out of the very heart of human knowledge, and seem when it comes no interruption but a climax. It is possible that the ever increasing separation from the community as a whole of the cultivated classes, their increasing certainty, and that falling in two of the human mind which I have seen in certain works of art is preparation. During the period said to commence in 1927, with the 11th gyre, must arise a form of philosophy, which will become religious and ethical in the 12th gyre and be in all things opposite of that vast plaster Herculean image, final primary thought. It will be concrete in expression, establish itself by immediate experience, seek no general agreement, make little of God or any exterior unity, and it will call that good which a man can contemplate himself as doing always and no other man doing at all. It will make a cardinal truth of man's immortality that its virtue may not lack sanction, and of the soul's re-embodiment that it may restore to virtue that long preparation none can give and hold death an interruption. The supreme experience, Plotinus' ecstasy, ecstasy of the Saint, will recede, for men--finding it difficult--substituted dogma and idol, abstractions of all sorts, things beyond experience; and men may be long content with those more trivial supernatural benedictions as when Athena took Achilles by his yellow hair. Men will no longer separate the idea of God from that of human genius, human productivity in all its forms.



    Unlike Christianity which had for its first Roman teachers cobblers and weavers, this thought must find expression among those that are most subtle, most rich in memory; that Gainsborough face floats up; among the learned--every sort of learning--among the rich--every sort of riches--and the best of those that express it will be given power, less because of that they promise than of that they seem and are. This much can be thought because it is the reversal of what we know, but those kindreds once formed must obey irrational force and so create hitherto unknown experience, or that which is incredible.

    Though it cannot interrupt the intellectual stream--being born from it and moving within it--it may grow a fanaticism and a terror, and at first outsetting oppress the ignorant--even the innocent--as Christianity oppressed the wise, seeing that the day is far off when the two halves of man can define each its own unity in the other as in a mirror, Sun in Moon, Moon in Sun, and so escape out of the Wheel." (1)

    When he says 'the Christian brute and ascetic' is he making reference to the family of stoic philosophers or Bruttii including the Admiral who accompanied Julius Caesar when they met the Keltic fleet and invaded what is called Britain today after them? This same family includes another Brutus we learned about from another Hermetic named Shakespeare. That family was still standing up for Keltic egalitarianism when it killed Julius Caesar or when Rome was founded. Did he know the history of the Milesian Stuarts from before the various influxes to the Emerald Isles as they returned many millennia after leaving due to glacial effects? There is so much code in this prose and poetry. The sun and moon surely make a wheel and this ancient knowledge probably pre-exists the coming of white men through whatever adept mutation or happenstance that allowed it. I implore the reader to spend a lot of time with this one sentence--"This much can be thought because it is the reversal of what we know, but those kindreds once formed must obey irrational force and so create hitherto unknown experience, or that which is incredible."
    Last edited by R_Baird; 11-29-2015 at 07:25 AM.

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    There is a great deal more about this Hermetic Order than meets the eye. It was the personal coven of the Rothschilds. You did not have to be a member to attend the general meetings nor practice the rituals of the leaders. The influence of it includes many Fabians and a massive amount of the societal influence it generated lasted well past it's zenith and eventual demise, or fin de siecle. There were inner sanctum courses for those who did not desire to be what is known as a 'solitary' in many of the crafts or majik.

    George Bernard Shaw is included in the people who fell under it's sway as we see in this book. https://books.google.ca/books?id=pN0...awn%22&f=false I draw Gertrude Stein's Charmed Circle in Paris into this same ethos and rise of philosophical and creative interest.

    It is within this cadre of magicians or adepts that I think we might find the sorcerers who succeeded in putting visions in the minds or dreams of people like Cecil Rhodes and Hitler. I have reported on this in other threads included in the forum Seers and Prophets.

    London School of Economics


    George Bernard Shaw and his mistress Florence Farr of the Hermetic Order of the Golden Dawn (the more 'charmed' circle) are of paramount interest to my research. When I see Shaw being supportive of the communist effort and yet perhaps not fully aware of the corporate nature of Bolshevism - I wonder. Especially so - when I see him operating with the Merovingian Bertrand Russell and being a founder of the London School of Economics. But the reader might have to read my books on the Physiocrats and the Hegelian Dialectic to get a fuller picture of these issues.

    "LSE has a glorious history. Our founders Beatrice and Sidney Webb, George Bernard Shaw, and Graham Wallas worked with thinkers like Bertrand Russell to create an institution which could study human society, seek to understand and then improve it. Many social science subjects originated at LSE or were developed here. We can look at our past and see men and women who engaged with society and left a lasting contribution to the world we live in." (1)
    There is no area of culture or media that is not used by social engineers and sophisticated manipulators. This is totally OK as far as I am concerned. I have no difficulty with the homogenization of culture as long as appreciation for ethnic art is maintained and it seems this can happen alongside that homogenization. But there is a larger ethical component to these efforts which are not exposed. The Black Ops programs that utilize all culture or fund the prevailing paradigm are serious matters of concern for me. But hey, what the heck - I am just a paranoid nutcase eh? If one looks deep into the history of the Saxons they will find this is a decidedly not 'new' World Order. Here is someone beating a Francophone tune that has to do with the google-izing force of Americanization or the New World Order proclaimed on the US dollar bill.

    "Jeanneney voiced his fear of what that meant for the representation of France and Europe. Here are some excerpts from the letter published in Le Monde:

    'The real issue is elsewhere. And it is immense. It is confirmation of the risk of a crushing American domination in the definition of how future generations conceive the world.'

    '[T]heir criteria for selection will be profoundly marked by the Anglo-Saxon outlook.'"

    Thomas Carlyle understood the need for a paternalistic benefactor or hero and he also knew there were few ethical people who rose to such heights. His protégé John Ruskin has influenced the world in many ways I think Carlyle and his Hibernian influenced Illuminati (study Goethe and William of Hesse please) might not have agreed with. However, I am more than a little aware of the Hegelian Dialectic or 'play both ends against the middle' program. You might wonder if this all makes any sense at all. It really does not. You might think I am the one who makes no sense. I assure you I know what I am talking about but it cannot be conveyed in one book or even two. Here is some more to chew on. It includes the Rothschild backed Cecil Rhodes and leads to many modern Rhodes or Bilderberg 'front' men like Bill Clinton and his CIA Director Woolsey who properly says the War on Terror is WWIV. All these wars were planned by the likes of Rothschild and Albert Pike as the 19th Century came to a close. Do not overlook Professor Oppenheim during the founding of the House of Rothschild and the Bavarian Illuminati - his kin include a good friend of mine John Oppenheimer.

    "That "simple desire" had been firmly implanted in Rhodes' bosom at Oxford by John Ruskin. Ensconced as the first Slade Professor of Fine Arts at Oxford in 1870, Ruskin's influence reached to all corners of the earth and is still widely felt, though seldom recognized, today. 'He hit Oxford like an earthquake,' wrote historian Carroll Quigley, 'not so much because he talked about fine arts, but because he talked also about the empire and England's downtrodden masses, and above all because he talked about all three of these things as moral issues.' Tolstoy regarded him as one of the greatest minds of any time or nation. Gandhi carried his message to India. G.B. Shaw and his Fabian Socialist confreres popularized Ruskin's thought worldwide." (2)

    I greatly admire Annie Besant too. She started India as much as Gandhi did. She was one of the very few women to be a Mason and her Fabian influences are many.
    Last edited by R_Baird; 11-29-2015 at 07:32 AM.

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    In reading about Mathers and his wife in the above posts and links you will find a Barrett whose work from 1801 they were translating or updating. You might know about a WWII anti-Hitler psychic squad which included Aleister Crowley, Dion Fortune and Ian Fleming of James Bond fame. Fleming has recently been a subject of interest on the History Channel as they dealt with the Dieppe Raid under the direction of Lord Mountbatten to attempt to capture the Enigma machine and documents. Canadians who gave their lives in this raid and Canadians in general may never know the full truth of what went on at Camp X under the watchful eye of the regiment I was an officer in years later. The mini-series on Fleming that followed the one on the Dieppe Raid showed us a little truth but it is what happened in the usages of this Psychic squad you MUST be concerned about. These TV shows are SOOOO lame! Those usages include what Colonel Edward Mandell House did as he wove his spell over the USA for most of the early part of the 20th C.. He ran Woodrow Wilson; but you likely have no idea what 'ran' or 'alters' means.

    Anywho I mentioned a Barrett above and I wonder if he was the forbear of David Barrett who I quoted in some articles. He came to one of my research groups a decade ago to correct what I said about what he said in his book (linked below). In that discourse he had to agree I was on the right track but he could not more fully explain - he said because he was a signator to the Official Secrets Act. I had said he took over the role Crowley had in MI6 or 5. There are those in Scientology who say L. Ron was a member of this squad - and they could be more correct than they know. He was not a member as far as I can see from years of research due to my younger brother's almost lifelong semi-existence having been RAN by them. It involves his children signing billion year soulful contracts and other heinous crap which should cause society to outlaw religions started by esotericists - that IS every religion as I have absolutely proven!

    So how are these Scientologists more correct than they know? Read the thread Scientology and the Afterlife. What it comes down to is Hubbard is Crowley (Perdurabo) a soul continuance (Read De-Materialization thread) including Levi who is also mentioned in the reading above. Another mention above is John Dee whose scryrer named Edward Kelley was the same soul as Crowley - according to Crowley it also includes, Cagliostro and Paschal Beverly Randolph (Yes related to the First US President of the Continental Congress) of the Rosicrucian Council of Three (see threads here). I may also have told some of the story of an Anderson of THE Masonic family who made Anderson's Constitutions, who wanted to marry me. Her sister killed her mother who tried to capture her body through use of the rituals of soul continuation which Hubbard/Crowley engaged in and which left the body of Crowley for a coroner to open up and find all organs in a mess but no incision had been made. The body unfortunately was cremated - perhaps so no secrets might be known (See official Secrets Act above). That Anderson sister got off with no sentence of guilt for time served in the trial where they heard what had transpired and saw the little green books detailing the rituals. You can also read some of these things alluded to in the accounts of L. Ron Hubbard, Jr. as he speaks about soul-cracking.

    The Atlas of Secret Societies: David Barrett ... - Amazon.ca

    www.amazon.ca › ... › Freemasonry

    Throughout history secret societies have exerted a powerful hidden influence on our culture, politics and spirituality. Step into the shadowy world of secret ...
    Last edited by R_Baird; 11-29-2015 at 07:38 AM.

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    A useful and informative guide.

    http://www.branchcollective.org/?ps_...dawn-1888-1901

    More Masonic feeder groups leading where - you should ask. These Druids are not who you are looking for - sound familiar? They are not Druids and neither is the Society or Order of Bairds, Ovates and Druids in London. You might also note another name or two you will recognize - Soc Ros en Anglia - it could be this group is a reformation of an earlier group which Robert the Bruce founded to continue Templarism as they came to fight beside him at Bannockburn after the King of France slow-roasted their leader Jacques de Molay. Robert the Bruce was their man in charge of Northern American trade and his bastard son who he gave a Barony to ran the Oak Island bank. That man's progeny continued to operate the bank until many centuries later at the Battle of Culloden. Thus ended the Royal or Noble branch of my family - the Bairds. The Jacobins and Jacobites and their support of Bonnie Prince Charlie requires many books and loads of research to even begin to grasp how it leads to political controls and Hegelian subterfuges setting their members up for all manner of conflicts.

    Thus you will find Ben Franklin in London with an earlier Golden Dawn type of group called the Hellfire Club. It included the honorable head of British Treasury Sir Francis Dashwood. Their rituals are a lot like Bohemian Grove druids today. Yep - Skull and Bones and the Obscene Ritual but not shape-shifting reptoids or aliens at all. That is mind-fogging fake-out covers to make any who come near without approval into dupes or apparent idiots.

    http://www.angelfire.com/weird2/obscure2/druid.html

    Merlin is the closest we will easily come to seeing what a Druid was, and film cannot capture all, while trying to entertain.

    There is a lot to be learned from the likes of Merlin. But who is behind the veil of legend and myth? What matter is there in that question? If one learns cannot one discard what is deceit? So goes the internal dialogue of ego when faced with the acquisition of power.


    http://en.wikiquote.org/wiki/Excalibur_(film)
    Last edited by R_Baird; 01-07-2016 at 09:45 AM.

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