10 10 105 https://filianicstudies.org/cms/files/original/c270ed1ae7f742d5ffc81c05f2137185.pdf 68fcf68a84da1677a0ce9a62492f32bf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Madrian Literature Circle Description An account of the resource Documents issued by the Madrian Literature Circle between 1973 and 1982. Publisher An entity responsible for making the resource available Madrian Literature Circle Date A point or period of time associated with an event in the lifecycle of the resource 1973-1982 Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data loose leaf, typewritten (15pp.) Text Any textual data included in the document This was originally meant to be a dictionary, but became more like an encyclopedia. It contains much knowledge about non-physical existence that makes absorbing reading, though, unfortunately, it is not complete. Glossary of Madrian Terms A-C ABSOLUTE DEITY: The Dark Mother; the first Person of the TRINITY; the unknowable First Principle from Whom all else proceeds (see TRINITY). ABSOLUTE GOOD: The Goddess is Absolute Good (Catechism, 33). All other Good is movement towards the Absolute Good. Just as the North Pole is absolute north. When we say "north" we mean "towards the North Pole"; once we have reached it we can go no further north. From there, all directions are south. In exactly the same way, when we say "good", what we really mean is "towards the Goddess". All acts of kindness, prayer, beauty and all good things are steps towards the Goddess. All acts of evil are steps away from the Goddess. Ultimately, the only true test of whether an act is good or evil is to ask whether it is a step towards or away from She Who is Absolute Good. ACADEMICISM: See ENCYCLOPAEDISM. ACCIDENTALISM: See EXTERNAL THEORY OF EVENTS. ADVENT: The period leading up to the Nativity of Our Lady, beginning on the first new or full moon after 1st Astraea and lasting about a month. ALL GENIAE [Janyati], Day OF: 28th Astraea (See GENIA [Janya]). ALL HERAS [Helati], DAY OF: 9th Rosea (See HERA). ALTAR: There are two Altars: the Altar of Sacrifice and the Great Altar (of Communion). During a rite, the earthly Altar becomes one with the celestial Altar; and the Daughter, as Priestess of the World is the true Hierophant of every earthly Rite. (The 'altar' of a shrine is not a true Altar in the strict sense). ANDROMORPHISM: The process by which the image of the Goddess is transformed into a male form. It is a symtpom of religious decadence. In all religions, the original Creator is depicted as female. As they grow further from the Divine inspiration Andromorphosis sometimes takes place, particularly when the society becomes PATRIARCHAL. Sometimes andromorphism takes the form of an arbitrary change of gender, while the name used for Deity remains the same, as was the case with Ea in Syria, Siva in India and Atea in Polynesia. Sometimes by a gradual change. For example, in Greek mythology the original Creative Principle is Metis, the female intelligence. By the time of Orpheus She had been changed into the bisexual Metis-Phanes, both male and female. By Classical times, She had become the all-male Phanes. Yahweh (Jehovah), the Jewish god, was originally the Goddess Iahu. The dying and rising Saviour of humanity, known originally under many names: Persephone, Ishtar, Inanna, the hanged Artemis of Arcadia, etc. was transformed into male forms: Attis, Osiris, Christ, Tammuz, etc. Andromorphism is always marked by a weakening of the religious impulse, and bya more outward and social approach to religion, which often becomes a political instrument of the patriarchal state. (Andromorphism, andromorphosis, andromorphise. Andromorphism is a DISSONANCE). ANIMALISM: All the higher human impulses have their origin in the spiritual. Thus we love earthly BEAUTY because it is a faint reflection of the Divine; we are capable of love because the spark of Divine LOVE is within us. To evade this truth, MATERIALISM puts forward the theory that all human motivations are simply sophisticated forms of animal instincts. It is based on the belief that HUMAN BEINGS are not incarnate spirits, but simply animals, and is closely connected with PSEUDO-EVOLUTIONANISM and the CAVEMAN THEORY OF HISTORY. The most popular theory of animalism is a vulgarised version of the doctines of Sigmund Freud, which seeks to reduce almost all human motivations to the sexual instinct. This provides the foundation for the prevalent popular EROTOCENTRISM. See also CORPORALISM. ANTHROPOCENTIRSM: The reverse of THEACENTRISM. The religious view of life puts the Goddess at the very centre; thus giving both a realistic picture of human existence, and the key to a complete and well-rounded way of life. The FALSE SELF is constantly striving against the Theacentric life, and seeks to lead the soul into a way of life in which purely human aims and ideals are made central. Anthropocentirsm is the human centred life. But by a strange paradox, the human centred-life does not achieve the human aims which it sets out to achieve. We do not become happy by saying "let us be happy". We are most happy when we concentrate on something outside ourselves, whether a piece of work, another person, a game or a piece of music. Similarly, human beings cannot find satisfaction by deliberately seeking it, but only by turning outside themselves to the one Source of all true contentment. In some cases the anthropocentric view sees religion itself as a means to human social ends. This is particularly common where ANDROPMORPHISM has taken place. (ANTHROPOLOGY: See PRIMITIVISM). APPLE: The apple is a symbol of eternal life. It is associated with the element of earth and the FEAST OF DIVINE LIFE. If an apple is cut in half from the side, the seeds form a perfect five-pointed star. APROSOPISM: See COSMIC APROSOPISM. ARTEMID: Noun: a member of the Order of the Daughters of Artemis. Adjective: of or belonging to that Order. ARTEMIS, DAY OF: The fifth day after the New Moon. The second Natural Rite of the lunar month. ARTEMIS, FESTIVAL OF: 23rd Samhain [Vois]. The Festival of our Lady as Mother of Ekklesia and of the institution of COMMUNION. ASTRAL BODY: A subtle body co-existent with the physical body. It is through this body that we experience emotion. See also BODY. ASTRID: A member of the Order of the Silver Star. ATHENE: The GENIA [Janya] of wisdom, knowledge and intellect. ATHENE'S DAY: 7th Astraea. AURORA: The dawn OFFICE. AUTUMN: The third season, comprising Mala [Abolan], Samhain [Vois] and Hathor [Werdë]. See SEASONAL MYSTERIES. AVALA: The Paradise of the Daughter, to which those who have lived as good Madrians are received after death. The word Avala comes from the Indo-European root abol meaning APPLE, the symbol of Eternal Life, and is also cognate with "evening" (Cf the German, Abend). Traditionally, Avala lies "west of the sunset", and is the land of the golden apples of immortality. Avala is also the name of the evening OFFICE. B BEAUTY: Beauty is the perception of good through the senses. Perfect Union with the Goddess is a state of absolulte beauty, perceived not through the senses, but through the entire spiritual being of a purely spiritual creature. All earthly beauty is the reflection of that absolute beauty which was known by all souls before the beginning of time. It is the unconscious recognition of this reflection which fills our souls with happiness. All true art is a glimpse of Heaven. BODY: A body is a material vehicle which can sometimes be used by a soul at certain stages of her development. MATTER, as it affects us in this life, takes three forms: the physical, the emotional and the mental.* We have bodies operating on each of these planes of matter. The most obvious and familiar body is the PHYSICAL BODY. Interpenetrating the physical body is the ETHER BODY, or life body. This is a subtle and invisible substance which is necessary to the continued existence of all living things. All organisms, and all organs within the organism are preserved in their form and shape by the currents and movements of the ether body. As soon as the ether body is dissipated (shortly after death) the process of decomposition begins. Human beings have the ether body in common with both plants and animals, whereas minerals have only physical substance. Although the ether body is invisible to the naked eye, it can be seen by means of Kirlian photography. More sublte than either the physical or ether bodies is the ASTRAL BODY. This is the seat of conscious existence, and therefore of emotion. It is widely held that under certain circumstances this body can temporarily leave a living physical body (this phenomenon is known as astral projection). Human beings have the astral body in common with animals but not with plants. The MENTAL BODY is the seat of intelligence. Some commentators subdivide this into higher and lower mental bodies. Only animate creatures (ie creatures having anima, a soul) possess the mental body, which means that human beings do not have it in common with the majority of animals. It is often held that certain individual animals are animate and do possess the mental body. If this is so, it is not because they have "advanced", or "evolved" to that stage (a creature without a soul cannot "evolve" into a creature with a soul, for both the soul and intelligence are divine attributes and not products of "evolution"), but because an intelligent soul has become incarnate in that particular animal. It is also held that the MOIRA [werdë] of such a soul will frequently draw her to the company of human beings. See also INTELLIGENCE. BRAIN: The brain is the most highly sophisticated and sensitive mechanism known to maid. Like a radio receiver, it is able to pick up the messages of the EGO transmitted through the vibrations of the ASTRAL BODY, and translate them into physical actions. In HUMAN BEINGS, the brain is also used by the MENTAL BODY, and becomes the centre from which INTELLIGENCE operates in the physical organism. CATHOLIC: The word catholic means "universal", therefore Madrianism is the only truly catholic religion. In every nation and area of the world, the first and original Divine revelation was Madrian, and the first religion was a form of Madrianism. As one writer put it: "In all myth throughout the world, from the sun's rising beyond the farthest shores of Asia to its setting west of the farthest islands of the vast Pacific, the first Creator of all is a Goddess. Her names are as many and varied as the peoples whom She created and who worshipped Her as the First Principle." It is only later, with the decline of true religion, that ANDROMORPHISM set it, and religions grew apart from the universal catholic faith of all humanity. CATHOLIC (2): Noun; a Catholic Madrian. CATHOLIC MADRIANISM: HARMONIC Madrianism, whose essential tenets are stated in the Catechism of the Children of the Goddess and the Creed, and which is based upon the revelation of the eternal Truth of the Goddess in the sacred MYTHOS. CAVEMAN THEORY OF HISTORY, THE: This fallacy speings from the mistaken belief that the human SOUL and INTELLIGENCE are products of "evolution" (See PSEUDO-EVOLUTIONISM). It states that the earliest human societies were crude and uncivilised (thus, in modern usage, the word "primitive" is made to mean at once "early" and "barbaric"). According to this view, stone-age society is the type of the early human community. In point of fact, there have been "stone-age" societies in every age; as there are to this day in parts of Africa and Australia. And as far back as we can go, there have always been highly civilised societies. Western history opens with the great civilisations of the near east which are already very old. The belief that there must once have been a stage at which all people were uncivilised is unsupported by any evidence, and comes from the dogma of MATERIALISM that there is no God, and therefore She cannot have created intelligent creatures. We cannot know for sure whether the human body was created quickly (by specific creation) or slowly (by evolution), and it is not a matter of great importance. What we can and do know is: 1. That the human body is a vehicle for the temporary habitation of intelligent souls. 2. That as soon as an intelligent soul became incarnate in a human body, a HUMAN BEING was created which was every bit as intelligent and uncivilised [read: civilised?] as ourselves. If the human body was created slowly by evolution, there must, of course, have been a long period before it was fit for the use of intelligent souls. During this period it would have been a mere animal. An animal which could never in any number of millions of years have evolved a soul. For both soul and true intelligence are divine gifts, and not products of evolution or any other natural process. The body cannot grow a soul like an arm or leg; it can only receive a soul from without. Because they had descended from a higher place, the earliest human beings were probably the most rather than the least civilised. The co-called "primitive" tribes and societies in all ages are merely degenerate groups, as is shown by the fact that most of them have the remnants of a highly sophisticated mythology and system of metaphysical thought which they no longer understand. (See also PRIMITIVISM and PROGRESSIVISM) CHARISMA: (from Greek charis: grace, favour, gift) The gift of Grace conferred by the Goddess, particularly through Her SACRAMENTS. When we talk of charismative INITIATION either of an initiand or a PRIESTESS, we usually mean that a soul have been received by the Goddess without the mediation of a Sacrament; but Sacramental Initiation is in the strictest sense charismatic. COMMUNION: The central SACRAMENT of Madrianism, through which the SACRIFICE of the Daughter becomes actual in our lives. Through Her Sacrifice, we transcend the KEAR which cuts us off from the Mother, and gain real Communion with Deity. In the actual Communion, the bread is transformed into the spiritual body of the Daughter. This Sacrament has been performed in all ages, and imitations of it were invented by certain masculist religions, following the Eleusinian Communion, where Mother and Daughter were called by the names of Demeter and Persephone. It was instituted by the Daughter Herself (See The Mythos of the Divine Maid, VII, 16–23); this institution is especially celebrated at the FESTIVAL OF ARTEMIS, and also at the EXALTATION. CONSCIOUSNESS PRINCIPLE, THE: One of the central principles of the PROFANE world-view. This is in essence the belief that the conscious mind is capable of knowing all that there is to know. It involves valuing REASON above INTELLIGENCE, and is an important factor in producing INTELLECTUAL HUBRIS. The consciousness principle is not only a denial of MYSTERY, but also implies a complete MATERIALISM, since only material things can be fully understandable to incarnate creatures; but even according to the strictest materialism, it would be a surprising coincidence if the brain of one particular animal just happened to be capable of understanding all phenomena, even those which had nothing to do with its survival or even its environment. Human beings have an inbuilt feeling that they are capable of understanding all things. That is true. But when one denies all intuition, and all supee-rational truth — "the truth which cannot be spoken", because it is beyond language — believing mere reason to be the only faculty of understanding; then that truth becomes a falsehood: the falsehood that all knowledge can be reduced to conscious propositions which can be put into words. This falsehood must come into being whenever people fall into the materialistic error that HUMAN BEINGS are merely "rational animals", with no soul and no supra-rational faculty. In conformity with this error, the universe must be "flattened out" and "disinfected" of all super-rational truth. "Supernatural" facts must be explained away somehow, even by the most contrived and ridiculous hypotheses. Human behaviour must be reduced to "evolved" animal instincts and explainted in terms of pseudo-sciences such as economics and sociology. The consciousness principle also grossly oversimplifies all the facts of human life. At its most extreme form, believing that all human ills can be cured by some simple rational formula such as socialism or some new method of education; or forgetting that language is an indescribably subtle complex of nuance and connotation, formed over thousands of years, and believing that it can be replaced by artificial "rational" languages such as Esperanto. The consciousness principle has greatly assisted the forces of darkness by rendering many people incapable of understanding what MYTHOS is and why it is necessary to the human comprehension of Divine Truth. CORPORALISM: The belief that the body is the root and origin of human existence. This springs from the MATERIALISTIC belief that there is nothing beyond the physical, and the ANIMALISTIC belief that all human motivations are "evolved" instincts. It leads to a number of errors, especially: the error that the person ceases to exist when the body dies; and the error that a person "is" her body, rather than simply inhabiting it. It also leads to an excessive desire to "explain" human actions, feelings and beliefs in purely physical, social and economic terms, ignoring the moral and spiritual aspects of human existence. Ultimately, corporalism denies the freedom and individuality of the human being, treating her as a mere product of her environment. (Corporalism is closely linked to EROTOCENTRISM and EROTOLATRY). COSMIC APROSOPISM: Usually called simply Aprosopism. This is very prevalent, and makes a special appeal to the modern mentalist. Apart from strict atheistic materialism, it is certainly the most active factor in leading souls away from the Goddess in the world today. Aprosopism means literally faceless-ism, and put simply, it is the doctrine that God, or the universe, has no face. Of course, materialists believe that there is no overall Personality in the universe, and that all things are mere accident; and it is certainly true that aprosopism first made its appearance in the west when materialistic philosophy was becoming generally accepted. But aprosopism means not strict materialism, but a vague Theism which denies the Personality, the "face" of the Goddess. Thus the overwhelming personal experience of the Divine is avoided, and in its place is put a comfortable, "sensible" philosophy which leaves the ANTHROPOCENTRIC, fale-self-centred life intact. Typical aprosopistic 'gods' include such abstractions as "Universal Intelligence", "the Life-force", "the Great Spirit", "the Eternal Laws", "Cosmic Law". Laws are very popular in certain types of aprosopism; also every type of "Force" or "forces". Even terms such as "the Absolute", or ABSOLUTE GOOD, which, taken in the proper sense, are perfectly correct definitions of the Goddess, can be made into aprosopistic pseudo-deities. The most DISSONANT forms of Aprosopism deny also the Divine Unity, speaking of laws, rather than the Law, forces rather than the Force, spirits rather than the Spirit, etc. On a more sophisticated level, one often hears such statements as "I believe in an immanent God, but not a transcendent God", which is the metaphysical equivalent of saying "I believe in the front of this sheet of paper, but not in the back." Aprosopism is particularly insidious because it often takes Truths which in themselves are perfectly HARMONIC (especially when applied to ABSOLUTE DEITY, the Dark Mother), and misunderstands or misrepresents them in such a way that they appear to conflict with other truths of equal importance, thus creating DISSONANCE. In particular, such Truths as that God is unknowable, and that She is beyond being and unbeing are brought into an illusory conflict with almost all the other Truths of religion. This is helped by the CONSCIOUSNESS PRINCIPLE, which encourages the belief that unaided human reason is sufficient to discover Absolute Truth, and even to over-rule Divine revelation. The most harmful characteristic of aprosopism is that while it does not involce a conscious rejection of belief in God, it invariably ends by transferring that belief into the realm of abstract theory and rendering it void in all practical and personal respects. CREATURE: Any thing or living being created by the Goddess: that is to say, all things in existence other than the Goddess Herself. The term is more often used of living beings (including human beings) than of inanimate things. CROSS: The Cross of equal arms is the symbol of the season of MOURA, and of the death of our Lady. Based on the number FOUR, it represents MATTER. Not, in this case, physical matter, but the lowest depths of matter – the most complete separation from God – into which Her Daughter descended: thus, the Cross is the symbol of absolute DEATH – the death which no human soul can undergo, for no CREATURE can ever be absolutely separate from the Goddess: for complete separation from Her would be non-existence. The MYSTERY symbolised by the Cross is that the only Being ever to suffer complete separation from the Goddess was the Goddess Herself. CROSS OF RESURRECTION: Usually called RESURRECTION CROSS. A cross of equal arms with a circle superimposed upon it, each arm extending a little beyond the circumference of the circle. The circle, like the full moon, is a symbol of complete or Divine Perfection. Here, the cross represents not only the Divine Sacrifice, but also its glorious result – the extentsion of the light of the Daughter in all four directions of fallen matter, so that there is no place to which Her Love does not reach. Within itself, the Resurrection Cross contains the resolved paradox of Divine Perfection – the Cross eternally extending in all directions to infinity, the Circle already perfect and circumscribed. The union of Being and Becoming; the point which is at once infinity; the instant which is at once eternity. The Resurrection Cross is one of the central symbols of the Madrian faith, being both a sign of the absolute Perfection to [read: from] which we came and which we must return, and of the perfect SACRIFICE of God the Daughter which is the only means by which the soul may come again to that Perfection. CULT: Any systematic and regular practice of ritual worship other than COMMUNION. The term is usually applied to the CULT DOMESTIC, but can also designate for example, the regular devotino of an individual or a group to a particular Genia [Janya], perhaps centring around her shrine. CULT DOMESTIC: The whole religious life of a Madrian household, centring on a regular domestic Rite of Sacrifice. A Madrian household is defined as any group of Madrians who live together and all who are dear to them. The "priestess" of this Cult is the spiritual head of the household, who is usually the mother (although, of course, the household may not necessarily be a family). *cf Catechism, 53. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Glossary of Madrian Terms A-C Description An account of the resource A glossary of terms used by the Madrian communities. Source A related resource from which the described resource is derived Personal collection of David Kay. Publisher An entity responsible for making the resource available Madrian Literature Circle Date A point or period of time associated with an event in the lifecycle of the resource c. 1980 Language A language of the resource English Type The nature or genre of the resource Text Abolan Advent altar andromorphism apple aprosopism Artemis Astraea aurora autumn Avala beauty calendar Catholicism charisma Communion cross cult cult domestic Dark Mother Day of All Helati Day of All Janyati Day of Artemis decline of the ages Ekklesia evolution false self Festival of Artemis fora initiation intellect kear materialism mystery Mythos Nativity offices Order of the Daughters of Artemis patriarchy psychology rationalism Rite of Sacrifice Rosea sacraments sacrifice Sai Mati social criticism subtle anatomy thealogy Vois Werdë https://filianicstudies.org/cms/files/original/d1df834f56107d77bee91814c787d4d0.pdf c54a0349d0e9d67b5ab71c3deb8ba417 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Madrian Literature Circle Description An account of the resource Documents issued by the Madrian Literature Circle between 1973 and 1982. Publisher An entity responsible for making the resource available Madrian Literature Circle Date A point or period of time associated with an event in the lifecycle of the resource 1973-1982 Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data loose leaf, typewritten (29pp.) Text Any textual data included in the document <div style="text-align:left;">The Inner Meaning of Chess. Chess is one of the most ancient and universal games in the world. Variants of it are found throughout Europe, India and the far and middle east. The earliest surviving representations of the game have been found among the archaeological remains of matriarchal Crete. As with all facets of matriarchal civilisation, chess, for those who hold the key to its symbolism, is penetrated through at every level with profound spiritual and metaphysical truth. To one versed in its mysteries, playing the game exercised not only the rational ingenuity, but also far deeper levels of contemplation, and, approached with the correct themis [thamë] and customs, constituted a "minor ritual". The earliest form of the game involved the use of powers and the understanding of states of existence no longer accessible to modern humanity in its present state of decline. All surviving forms date from a period when the "consolidation" or "materialisation" of the human environment had taken place to the extent that organised physical conflict had become a factor in human affairs; and the symbolic structure of all variants of chess as we know it have their roots in the traditional form of the Amazon armies, and the pre-Amazon forces of the Cretan Empire which kept patriarchy at bay in Greece and the Aegean for many centuries. Nonetheless, beneath the immediate physical symbolism, the far deeper cosmic and spiritual truths are still manifested and continue to constitute the most important levels of meaning. Indeed, with such complexity, and on so many strata of interpretation, both microcosmic and macrocosmic, do these meanings operate, that in a short paper it is only possible to suggest some of the most fundamental principles involved; and what follows by no means pretents to be a comprehesive study of the subject. The Field of Action. The chessboard consists of a square made up of 8 x 8 smaller squares coloured alternately black and white. This pattern is a glyph or mandala of the manifest universe, and is known as the Square of Moira [Werdë], Moira being the "weaver" of fallen creation. Eight is the basic number of the chessboard, and eight is also the number of Themis [Thamë], the mother of Moira, and therefore closely associated with Moira herself. Eight is also the number of a spider's legs, and the spider is symbolic of Moira as spinner and waver (Arachne, the spider-sign of the thirteen month zodiac is an aspect of Moira). Again, eight is the number of the "rose of the winds" ✴ which symbolises both the eight principle directions of space and the eight cardinal junctures of the year (the solstices, equinoxes and cross quarter days). The four sides of the board correspond to the four corporeal elements; in some variants of the game, four players rather than two are involved, each having four pieces and four pawns arranged against one of the sides of the board, each "army" corresponding to one of the elements – it is from this that we derive the duplication of most of the pieces in the modern game* – however, we will restrict our consideration here to the two-sided game. The twenty-eight squares around the perimeter of the board correspond to the twenty-eight phases of the moon. This lunar month, comprising four weeks of severn days each, corresponds to all the basic permutations of the primary constituents of the manifest universe. Each day of the week is governed by one of the planetary principles, and each week of the month is governed by one of the four elements (for this latter see "Rhythm of Life", The Coming Age 5). Therefore the lunar month contains each of the planetary principles in combination with each of the corporeal elements. The number sixty four, the sum of all the squares on the board, is also a sub-multiple of the fundamental cycle number 25,920, which is the total number of years in a complete precession of the equinoxes. The fact that the chessboard "contains the whole universe" is symbolised by the various "grains of wheat" legends. In one of the matriarchal versions the mythical inventor of the game, upon presenting it to the Cretan Empress, was asked what she would take as her reward. She replied that she wanted nothing more than that one grain of weat should be placed upon the first square of her chessboard, two on the second, four on the third, eight on the fourth and so on. The total amounted to more wheat than could be found in the whole empire, for by the sixty fourth square it had reached 18,446,744,073,709,551,616 grains.** The cosmic symbolism of the chessboard is closely related to that of the I Ching. In this system, also matriarchal in origin, the whole of manifest existence is conceived under the aspect of sixty four hexagrams, which are often arranged graphically in the form of an 8 x 8 square. The hexagrams themselves are produced by the intercombinations of eight fundamental trigrams. The commonest pictoral representation of the system consists of a glyph showing the eight trigrams arranged in the form of the "Rose of the Winds" around a central yin-yang figure: [illustration in original] The flux of yin-yang can be seen as the impermanent and dualistic "play" of existence, through which the timeless and unchanging essence represented by the trigrams and hexagrams are made manifest on the material plane. On the chessboard this twofold flux is represented by the division of the squares into black and white. The white and the black respectively correspond to all the fundamental oppositions or complementarities which are the necessary condition of manifest existence: life and death, summer and winter, pleasure and pain, activity and rest, day and night, waking and sleep etc. All these have their fundamental prototype in the alternation between the manifestation of the universe itself and its reabsorption into the non-manifest. It should be noted here that there is no square at the centre of the chessboard. Its true centre is an infintesimal point which stands outside all the oppositions of being, and ultimately "beyond being and unbeing". This point corresponds to "The temple of the Heart" described in the Teachings: "The ignorant eye shall not see this Temple from without, for it is smaller than the seventh part of a seventh part of the seed of an apple, and the seventh part of a seventh part divided again until what part remains can be seen nor touched nor tasted. "The ignorant eye shall not see the Temple from within, for it is as vast as the manifest universe. "Beyond life, beyond death is the Temple, for it is the Temple of the spirit." In view of this symbolism and of the strategic importance of the centre of the board, the central point may be taken to represent on the macrocosmic level (as opposed on the one hand to the microcosmic or human level and on the other to the supra-cosmic or genia [janya] level, both of which are symbolised by the pieces) what the Ranya represents among the pieces.</div> <div style="text-align:left;"> Indeed, many examples of the transposition of symbols may be found within the game, and this in itself illustrates the truth that symbols are not static, but change according to the perspective from which they are examined, each part of a symbolic structure being a microcosm of the whole. Thus, on one level, the sixty four squares represent the archetypes or essences of pre-manifest creation, while the "play" of black and white upon them symbolises the flux of material existence through which they are made manifest. In this paradigm, we see the essence as "changeless, beyond the impermanent flux of time", and therefore, in a certain sense "static" rather than "dynamic"; while materia, or substance, is "active". From another perspective, however, the board as a whole represents materia or substance (literally, that which "stands under") and the pieces symbolise Essence or the archetypes. Here Essence is seen as the active, creative principle, while materia is simply the passive support of manifestation. From a third perspective, the board may be seen as a "web of tapestry", in which black and white bands are woven over and under one another, creating the effect of alternate squares; the white bands, representing Essence, are the warp, and the black bands, representing materia, the weft. In this paradigm, Essence and materia are equal on the passive/dynamic scale, but the qualitative superiority of Essence (if one may be permitted such a term) is expressed in the fact that its threads run vertically, while those of materia are horizontal. In other words, Essence descends from pure Spirit and is always radically connected to Her, whereas materia exists on various levels more or less distinct from Her, and is only connected with Her by virtue of its union with Essence. This is cognate with the symbolism of the spider's web, in which the concentric threads exist at different degrees of separation from the centre, representing the various levels of the descent of into matter while the radial threads, representing Essence, connect every level with the centre, just as Essence at every level of manifest existence participates directly in the Divine. The concept of the ranks of the chessboard as levels of proximity to the Divine is reflected in the symbolism of the eighth rank as spiritual Goal in the journey of a pawn. These three perspectives from which the interplay of Essence and materia may be seen reflected in chess correspond respectively to the microcosmic, the supracosmic and the macrocosmic levels. In the first the "flux" presents itself most immediately, just as the flux of material life is the most immediate experience of human existence. Essence, signified by the squares, is both veiled and revealed by the "play" of blackness and whiteness, just as spiritual reality is both veiled and revealed by the "shadows" of material existence (revealed because it is through their blackness and whiteness that they are made visible to us; veiled because it becomes impossible to perceive them in their pure essence, apart from their "accidental" blackness and whiteness). From this perspective the centre takes on a particular importance which is absent from the others. This is because of the volitional nature of the microcosmic or human perspective, centring upon the striving of the will for union with the Divine, Who is not only the unmanifest Centre of the manifest universe, but is also at the centre of the human microcosm: "within the innermost temple of your heart". The second perspective concentrates upon essence and upon the essential Archetypes in their highest aspects as Geniae [Janyati]. Each archetype is a Divine idea, and a Genia [Janya] is the direct expression of such an idea – the living emanation of a function of God Herself. Here the pieces represent the Geniae, while materia, represented by the board, is nothing more than the passive support of their activity. While the first perspective concentrates most immediately on the flux of matter, and the second on the activity of Essence, the third concentrates upon the interplay of the two in their creation of the macrocosm. In one respect the chessboard represents the universe in its grandeur, intricacy and relative perfection – The skilful craftmaidship of Madria Moira [Sai Werdë]; yet equally it is represented as a place of duality, conflict and confusion, reflecting the dark and terrifying aspect of Moira. This very ambiguity, inherent in fallen creation as a whole, is expressed through the alternation and equal presence of the two colours: "some call the chessboard black, some call it white". It is this ambiguity which creates the "field of action" for the conflict of good and evil, whether on the cosmic scale or within the human soul, which is represented by the game itself. The Pieces The chess pieces are derived in their present form from the classical structure of the Cretan and later Amazonian armies. In each case, the army had four main sections, corresponding to the four corporeal elements. In most cases, and in the modern version these were infantry, chariots, cavalry anda rchers; however, during the Cretan period, the chariots were sometimes replaced by ships, for Crete was a great naval power. During this period, chariots were either not used (being difficult to transport by sea) or were placed under the cavalry command. It would have been seen as madness to disrupt the symbolic function of the forces for any merely utilitarian reason. There was also a fifth section corresponding to the fifth element. This was an elite corps under the direct command of the Princess, called by various names at different times: The Silver Guard, the Blackribbons, the Iron Ring, etc. This corps was drawn from those members of the other four sections who were most advanced in the military and spiritual disciplines – for the martial arts of the matriarchal period, like all the arts and crafts, were never separate from metaphysical symbolism and constituted both an initiatory path and a system of spiritual and contemplative training. The five sections also correspond to the five estates or castes of late Cretan civilisation. Modern chess is essentially Amazon chess. The earlier Cretan forms were mostly four-handed variants, in which the four players grouped into two pairs of allies. This reflected the more complicated position of the late Cretan Empire, where diplomacy was as important as military strength, and Madrian-matriarchal civilisation was maintained by a complex policy of shifting alliances with surrounding semi-matriarchal and semi-patriarchal powers. It also had its roots in a far more ancient form of the game which belonged to a time when physical conflict had not yet entered into the possibilities of the world. The direction in which this game was played was one of "rotation" rather than "collision". Its symbolic model was not physical war, but a mode of action which, as the human decline proceeded, became too subtle for the minds of later ages to grasp. Its more complex form corresponded to a metaphysical understanding impossible to later generations except in the profoundest contemplative states. Cretan four-handed rotational chess was a degeneration from this. The later Amazon version simplified, but also purified the game, removing the residue of profundities which were no longer understood, and allowing it to become perfect on its own level. By a seeming paradox entailed in the laws governing the transposition of symbols, this purification actually allowed the deepest levels actually to re-enter the game for those few who could contemplate them since, being perfect on its own level, the simplified game, like all pure symbolic systems, contained all symbolic possibilities in microcosm; whereas the older system in its degenerated form had become a hybrid attempting to incorporate two symbolic systems at once, and therefore did not fully succeed in either. The four handed game did continue in some places, and inevitably continued in its degeneration, so that in many later versions a dice [sic] was added to the game which is an obvious travesty of its very nature. In the four-handed version each player had four pieces and four pawns. The pawns represented infantry and the other pieces were Chariot (or ship), Cavalier or Knight, Archer and Queen. The Amazons united each pair of allies into a single army placing them at opposite ends of the board so that each player had eight pawns, two chariots, two knights, two archers and also two queens. This latter was not so surprising as it may seem since every Amazon nation did, in fact, have two queens, known respectively as the Princess and the Ranya. The term Ranya is used by modern Madrians to mean a teacher or mistress in any capacity, though always on a spiritual basis. In earlier times the term also meant queen since the idea of a secular ruler was quite alien to matriarchal civilisation. The queen was the highest priestess in the country and she ruled in the name of God and as Her surrogate by virtue of her priesthood, for "human authority" is a contradiction in terms. As it says in the Teachings: "I am every princess and every mother, each priestess and each lady of the earth, and none has themis [thamë] (authority) save in Me." "Who rules in her own right is a tyrant, or yet in the right of other maids. There is but one themis [thamë] and the Truth alone is true."</div> <div style="text-align:left;"> The Ranya was a true priestess-queen in the old sense, whereas the Princess was a more "outward" leader and the overall commander of all the troops. Her existence was made necessary by the complete dependence of the Amazon nation upon its military competence for its very survival. Although both were of the rank of Queen and therefore technically equal the Princess had a personal duty of obedience to the Ranya. Their functions were analogous to the active and contemplative lives respectively – equally valid as alternatives but the latter "encompassing" and taking precedence over the former. The personal relationship was like that of a priestess to her ancilla. The pieces, then, are the pawn, the chariot (corresponding to the rook), the knight or horsemaid, the archer (corresponding to the bishop), the Princess (corresponding to the queen) and the Ranya (corresponding to the king). Incidentally, the name of the "bishop" in modern English usage has no religious significance but is purely accidental. The traditional shape of the piece simply resembled a bishop's mitre; in France the piece is called "le fou" because the same shape was there considered reminiscent of a fools' cap. The symbolism of the pieces may be understood either on the microcosmic or human level, or on the supra-cosmic or Genia [Janya] level. On the first level the Ranya corresponds to the heart or spirit while the other pieces relate to the various faculties of the soul. On the second level the pieces relate to the Geniae [Janyati], most particularly insofar as they represent the archetypal categories of being: primarily the five elements and secondarily the seven "planetary" principles. There is a minor transposition of symbols in the attribution of elements to the pieces since one may either attribute the five elements to the five major pieces or else use the old Cretan system under which the pawns represent earth and the chariot, knight, archer and princess the other four. Here the Ranya will symbolise the absolute standing beyond all manifestation. However, this latter can safely be ignored and we will confine ourself [sic] to the more usual system under which the Ranya corresponds to the fifth element which will then represent Spirit at whatever level the system is considered. A more important transposition takes place in the attribution of the seven "planetary" Genia [sic] [Janyati] to the five major pieces plus the two colours of the board. Here there are two distinct scales of attribution, the first relating to the "exoteric" or human point of view and the second to the "esoteric" perspective which sees the supra-cosmic principles, as it were, "objectively" rather than from the specific point of view of the soul's experience and quest. It is important to note that the "esteric" point of view is not in any sense "superior" to the "exoteric". The latter is, of course, more immediate and more simple; but anyone who succumbs to the prevalent view that she has risen above the level of exoteric religion because she believes herself to understand something of the esoteric dimension merely proves that she is far below the level of either. Esotericism and exotericism are in no sense opposed and neither can one under any circumstances "supersede" the other. They are in all cases wholly complementary. We will begin by giving the scales in their enitrety and examine their meaning as we deal with each piece in detail: --- Piece/Exoteric planetary scale/Esoteric planetary scale/Element Chariot/Themis [Thamë]/Rhea [Rhavë]/earth Knight/Tethys [Sushuri]/Tethys/water Archer/Metis [Mati]/Metis/air Princess/Niké [Vikhë]/Theia [Raya]/fire Ranya/Phoebe [Candrë]/Phoebe/spirit Black/Rhea/Niké White/Theia/Themis --- There are two ascending scales in which the four corporeal elements can be arranged, one terminating in air and the other in fire. The first moves from the most "materialised" state to the most subtle while the second [moves] from the "heaviest" to the most ascending, thus ending in fire which constantly strives to rise upward. It is this second scale which is used in the symbolism of the pieces since the volitional character of the human perspective lays stress upon the striving of the human soul for perfection, while from the supra-cosmic perspective the first scale represents the "static" character of the celestial Powers as a hierarchy ranged in order of proximity to the Centre, while the second represents its "dynamic" character which is that more in view in the symbolism of the pieces – although the two perspectives can never really be separated. The Ranya The Ranya, of course, is the most important piece on the board. She represents the Spirit, the Ctre, the supernal Sun. On both scales, however, she corresponds to the lunar Genia [Janya], Phoebe [Candrë], rather than to the solar Theia [Raya]. This is because Theia, being a principle within manifestation, cannot represent the supra-manifest absolute. Theia is a reflection of the sun-principle on the lower planes of being (including, of course, many planes far higher than our own), but not the supernal Sun Herself. Among the seven planetary Geniae [Janyati], it is Phoebe who is the highest just as the lunar colour, violet, is the highest of the seven spectral colours. As priestess and "mistress of the path beyond the world", it is she who leads most directly to the union of the soul with the Spirit. Just as it is the Daughter (Whose symbolism is essentially lunar) Who bears the light of the Mother into the fallen cosmos so the lunar ray of Phoebe (reflecting the light of the sun) bears the Divine Light upon the cosmic field of the chessboard. Nevertheless, the highest symbolism of the Ranya is essentially solar, for she is the Spirit, the Centre, the one thing needful. One's own Ranya is the Spiritual essence, the indwelling Spirit as opposed to the egoic soul; the Self as opposed to the self. She is the quintessential "divine spark" which must be protected against the assaults and temptations of material existence (represented by the various "powers" of the opposing army) until it be kindled into an all-consuming flame. The opposing Ranya admits once again of a dual interpretation. On the one hand she is the very antithesis of Spirit, antigod. In this aspect she corresponds rather to the Snake of Creation than Irkalla; for Irkalla, as commander of the dark hosts, corresponds rather to the opposing Princess. Furthermore, as we shall see later, it is the primal fall, the initial turning from the Light (after which the supernal Sun was "too bright for us to look upon") which is entailed in the negative or maleficent aspect of the symbolism of the Ranya. On a higher level, she representes the Spirit Herself as the Grail; the goal of the Quest; the single object toward Whose attainment all the powers of the soul (one's own pieces) are directed. It may be said that, viewed supra-cosmically, as a celestial Power, the Ranya is the lunar Phoebe [Candrë], while viewed microcosmically as a "part" of the human being, she is the immanent Spirit; but in this case, the "part" is infinitely greater than the whole, for the Spirit in a maid far transcends both her individuality and the human state as such, for the immanent "human" spirit is not other than the transcendent Spirit Herself. The Princess Historically the supreme power and mobility of the Princess corresponds to the fact that she commanded the elite Silver Guard. Traditionally, also, she was versed in the art of archery and surveyed the battle from a chariot; thus her powers combined those of the Archer and the Chariot. Exoterically she represents Niké [Vikhë], commander of the armed hosts of heaven (or as the opponent, Irkalla, commander of the hosts of Hell). On a more esoteric level she is Theia [Raya], the outpouring of the Divine energy upon the fields of manifest creation. Theia is the expansive principle and the power of the Princess is supremely expansive, her lines of potential movement raying out in all the eight directions of the cosmos in the form of the Rose of the Winds. It will be noted that the Princess "actualises" the "potential" inherent in the Ranya. While the Ranya can take one step in each direction the Princess can extend the movement to the very limits of the cosmos. The Ranya symbolises the Principle underlying all manifestation, while the Princess represents the outward manifestation itself. The respectively "static" and "active" nature of the two pieces correspond to the dictum that "earth moves, but Heaven is still." As we have already noted, Theia [Raya], whilst a solar principle, is not the supernal Sun; and while on one level the Princess reflects the solar-expansive principle of Theia, on a profounder level, and in relation to the solarity of the Ranya, her symbolism is essentially lunar. She is the Daughter-principle who translates the Principle "activity" of the solar Mother-principle onto the level of outward manifestation. Hence the obedience of the princess to the ranya historically. Microcosmically, the Princess corresponds to the soul as opposed to the Spirit. Strictly speaking, she is the soul as Perfect Servant whose will is one with the will of our Lady (this is signified by her "moving at will" which we will discuss in relation to the pawn). She is thus the higher soul or psychopneuma present in each of us as a potency but fully realised only in the hera. But the Ranya and the Princess can be taken to represent the Spirit-soul duality at all levels. In their station together at the centre of the other powers at the beginning of the game they represent the heart in its pscychic-Spiritual duality at the centre of the being (See the "Heart and the Moon Axe", The Coming Age 10). The same symbolism is implicit in the historical custom by which the Ranya would ride with the Princess in her chariot to survey the field before a battle and in the legend that Inanna entered the chariot of an Amazon princess to speak with her on the eve of a great battle, a legend whose form and essential teaching have been patriarchalised and largely preserved in the Bhagavad Gita. The Archer, the Knight and the Chariot Microcosmically these three pieces correspond to the three vehicles of the soul; the mental, emotional and physical bodies and also to the three paths to perfection: the path of Light or Intellect [vyamati], the path of Love or will [vyasucri] and the path of works [vyathamë]. Archery is a supremely contemplative discipline and one which has an obvious connection with the "mental" element of air. ["]The Amazon archer must give herself up wholly to the universal Spirit, must become one with the shaft and with the target."[***] This is precisely equivalent to the realisation of pure Intellect, for while reason proceeds "up" from matter Intellect proceeds "down" from Spirit and its realisation is a unitive knowledge in which the "knower" and the "known" are one. Supra-cosmically the Archer corresponds to Matis [Mati], the Genia [Janya] of Intellect. The art of chivalry (cavalry) had its birth in late matriarchal times. Unlike the art of archert its perfection depends upon the perfect harmony of two wills: that of the horsemaid and that of the horse. This harmony is analogous to the harmony of Spirit and soul, of maid and God. It is therefore analogous to the devotional or love path. The love path is also the path of will: the assertion of the true will of the Self over the wayward desires of the self. Modern profane life drops the reins of this essential self-control thinking that this constitutes freedom but, in fact, when the soul succumbs merely to the animal motivations of avoiding pain and seeking pleasure she is just as surely a slave as any donkey manipulated by stick and carrot. Instead of having a will of her own, she becomes the passive plaything of external influences, biological drives and psycho-physiological reactions. The material body and the lower part of the soul (psychedemas), insofar as she is tied up with it, is an animal which, if free will is to have any meaning, must be tamed and disciplined. This taming of the soul is precisely analogous to the handling of a horse, and the language of horsemaidship is often used in traditional spiritual treatises. There is a profound ritual connection between horsemaidship and the devotional path, and the Amazon knights were often said to be the most gentle and courteous of all the Amazon soldiers. Supra-cosmically, the Knight corresponds to Tethys [Sushuri], the Genia [Janya] of love. The Chariot is the “heaviest” or most consolidated of the pieces, it corresponds to the physical body and its lines of movement lie always at right angles to one another forming the upright cross of matter. It is appropriately represented often as a quadriga or four horse chariot, the Ranya and Princess within the chariot represent the heart within the body. Its path is the path of works; of craft and agriculture, of the life of the household, all performed accordingly to the traditional themis [thamë] and ritual symbolism by which every action within a themis society is bound to the Absolute. From the human point of view which takes into account the other states of being the Chariot corresponds to Rhea [Rhavë] in her lower aspect as the principle of restriction, since physical matter (from the earthly perspective) represents a lower limit and a maximum of consolidation and restriction. This duality also corresponds to the fact that the Active Life of a themis society comprises the correct spiritual path for the majority but would be an intolerable restriction for a contemplative mystic. It is obvious that the three paths are three distinct ways to the Goddess. But it is equally obvious that even in the most extreme cases no one of them can be completely divorced from the others. In practice most people would be following the Active Life, the path of works; but devotional practice plays an important part in the life of every religious person (and the irreligious person is nothing more than a freakish anomaly of the late patriarchal era), and the ritual symbolism of the crafts and arts is essentially an Intellectual symbolism, and it is the desire and duty of every maid to progress as far into the Intellectual comprehension of her craft as she is able. So the three paths correspond equally to the three essential powers of the soul: will, intellect and action; and the Knight, Archer and Chariot respectively symbolise these powers. Negative powers We have briefly mentioned the negative or maleficent aspects of some of the pieces; it is now necessary to go into these more systematically. The opposing pieces generally represent the inversions or perversions of the principles represented by one's own forces. These may be regarded either as demonic forces or as "inward enemies". The Ranya, representing Spirit in her positive aspect, represents negatively the primal sin of turning away from the Light. She is the rejection of the Self by the self, the rabid egoity which desires at all costs to preserve its separateness from the Spirit. It can be called the sin of pride, but it is not pride in the most usual sense but in the promethean pride of the soul in its self-assertion against the Spirit. Having been cast into the flux of matter by this turning from the Spirit the constant round of material existence is kept in motion by the three poisons of the soul which bind her to the iron wheel of moira [werdë]. The first is ignorance, the inversion of the Metis [Mati] principle, symbolised by the Archer. Having turned from it, the soul forgets the Truth. She is blinded by the veil of matter and cannot see the eternal world that lies about her. Because of this she does not know how to free herself from the ceaseless flux of material existence. She does not even know that she can be freed. This ignorance is the precondition of worldly materialism which, by blindly treating this physical existence as the only reality, acts in ways which forge chains of moira; part good and part bad, but all binding the soul to the worlds of matter which must ultimately be worlds of dissatisfaction and suffering, because she is really seeking in the world that fulfillment and completion which can only be found beyond the world. The other two posons are the two great dynamic forces which drive the wheel of Moira [Werdë]: attraction and repulsion, represented by the Knight (Tethys [Sushuri]) and the Princess (Niké [Vikhë]) respectively, the principles of concord and discord, Venus and Mars. These are the stick and carrot of our blind donkey, the pursuit of pleasure and the avoidance of pain, which keep up the ceaseless round of activity directed to no purpose beyond the world of matter. Finally, the Chariot represents what may be called the force of gravity. The Scriptures tell us that there can be no standing still upon the path. If we are not moving upward we will inevitably slip downward. If we waste the precious opportunity of our present human life pursuing merely transient aims we will not find ourselves "back where we started", we will fall to a lower state of being. An ancient myth tells how some of the earliest of fallen souls, being not yet far, quickly found their way back to Heaven and urged their sisters on the earth (who were still radiant and half-celestial beings) to follow them. But the earthly maids wished neither to move up nor down but only to rest a little time on the earth before following their sisters. But inevitably they sunk deeper and deeper into matter and quickly found that they were unable to free themselves without the most immense effort. This law of gravitation operates on various levels from the individual human soul to the progressive decline into consolidation and increasingly gross material states that take place in both human society and the cosmic environment itself throughout the course of the historical cycle. In the human microcosm this principle may be seen as the sin of sloth or inertia provided that it is understood that there are forms of sloth far deeper and incalculably more harmful than mere physical laziness. For example, modern sicoety can be very energetic in the shouting of slogans or the amassing of facts providing it can avoid the real effort of intellectual activity; very energetic in the ceaseless production of consumer goods, providing it can avoid the spiritual effort entailed in the traditional crafts; very energetic in preaching a shallow and sentimental "social gospel", whether secular or pseudo-religious, provided it can avoid the real emotional discipline of the path of will, in which the true love of God entails the only possible true love of all Her creatures. The Pawn The Pawn is the ordinary Amazon foot soldier, with her solar sword in her right hand and her lunar shield or pelta (sometimes made in the shape of a five day old moon) in her left, representing he microcosmic duality. Yet, despite her intrinsic axial and microcosmic nature, she is the fallen egoic soul or psychedemas. Her potency is far more limited than that of the celestial Powers, and it is limited both quantitively, in that she can only move the shortest possible distance, and qualitively, in that she can only move in one direction. It will be noted that the Ranya shares the same quantitive disability while qualitively she is omnipotent: this indicates that while she is the Principle of all potential manifestation she is herself not manifest. The Ranya contains all qualitative “directions” or possibilities within herself but does not enter into their manifest extensions. The dual restriction of the pawn represents all the various qualitative and quantitative limitations inherent in the various states of being separate from the Spirit. The dual bondage of space and time forms a paradigm of these limitations from the earthly point of view; time symbolising quality and space symbolising quantity. The journey of the pawn is analogous to the quest of the soul. She moves upward through the seven ranks (representing the seven spheres) encountering various obstructions and dangers on the path. When she reaches the final sphere and casts off the limitations of her fallen, egoic nature and becomes a Princess which, as we have seen, represents the perfected soul, the soul in her true nature as the perfect servant or hera. The final rank is the rank of the Geniae [Janyati] or celestial Powers, for the perfected soul returns to her true, unfallen Genia-nature. The fact that from the beginning of the game the rank of the Geniae is not only ahead of her but also behind her signifies that she has fallen from this condition and that her forward movement is also a return to the state from which she has come. As a Princess she is now a mover-at-will; having reached the seventh sphere of Phoebe [Candrë], the "path beyond the world", she may leave the world or enter it as she chooses, even as the hera may return or not return. Her perfect freedom of movement is characteristic of the perfect servant of She "Whose service is perfect freedom". As it says in the Crystal Tablet: "If the soul live in Light, no thing shall be impossible to her, for her will shall become one with the will of our Lady." (C.T. 29). At the commencement of the game, each pawn stands in front of one of the pieces and "belongs" to it. Even when it moves onto another file in the process of capturing a piece or another pawn it continues to be designated "Knight's pawn" or "Princess's pawn", according to the file on which it began. This designation is inalienable to the pawn in question. Each pawn is in the "ray" of one of the celestial powers. Each individual is unique in virtue not of her current earthly existence but of her celestial origins. The multiplicity of pawns on the chessboard is analogous to the multiplicity of souls in the world. Looked at along the "horizontal" rank, which, as we have seen, corresponds to the material and quantitative dimension, all the pawns appear identical and undifferentiated. It is only by considering them in relation to the "vertical files", which correspond to the essential and qualitiative dimension, that we are able to see the inherent and unique character of each soul. That is why it is only in a society which has lost all vision of the qualitative dimension that the demagogic conceptions of "equality" and "democracy" can arise, and human individuals be reduced to mere numerical units; statistics or wholly interchangeable "cogs" in the industrial machine. On another level, this same "horizontalist" tendency gives rise to a scientism which seeks to reduce all phenomena to "explanations" based upon undifferentiated and non-qualitative matter. The Game Finally, we must give some brief consideration to the overall structure of the game. Its primary symbolism, of course, is that of battle: the archetypal struggle between the forces of light and darkness, of black and white. The most exoteric interpretation of this interprets white as the divine solar Light (here represented by Theia) and black as the evil darkness represented by the negative aspect of Rhea [Rhavë], while the Princess as Niké [Vikhë] leads the hosts of Light in the combat. This is a fully valid interpretation although it should be remembered that each player, from her own point of view, fights on the side of Heaven; therefore, from the point of view of "black", the darkness corresponds to the divine humility of Rhea, while the white pieces represent the promethean pride of the negative solar principle which is the first cause of the Fall and therefore the very essence of evil. In either case, the elementary conflict of good and evil fits in perfectly with the historical background of the battle for the preservation of the Faith against the encroaching patriarchal forces of darkness whose distortions of the Divinely revealed mythic forms and way of life carried within them the seeds of the total destruction of all spirituality, the darkness of blind materialism and the promethean pride of atheistic "humanism". On another level, as we have seen, black and white correspond to matter and Essence respectively. Now these two are not in any sense opposed but on all levels of existence below pure Spirit are the complementary constituents of being. Provided these two are in balance a state of harmony or themis [thamë] prevails. But, as we have seen, there is a tendency both in human thought and in the cosmic environment itself towards an excessive "consolidation"; a disproportionate and disharmonious (anathemis [athamë]) predominance of the material and quantitative pole over the Essential and qualitative. This tendency is manifested on the earthly and social plane by the institution of patriarchy which, by its inbuilt symbolic nature, tends inevitably towards materialism, quantitativism or "horizontalism". The central conflict of chess can, therefore, also be seen as that of order or concord, represented by Themis [Thamë], with discord or chaos represented by the negative aspect of Niké [Vikhë] and her planetary influence of Mars. In the symbolic language of the planetary signs the cross represents matter and the circle Spirit. The sign of Niké, therefore, is almost diametrically opposed to that of Tethys [Sushuri]. The latter [read: former] represents the full comination of matter over Spirit. This domination can never, in the nature of things, become complete, but in setting the cross at an angle of forty-five degrees above the circle matter is shown as surmounting Spirit as far as that is possible. It is no coincidence that the symbol of Niké is used to this day for the male principle and that of Tethys for the female. However, it is not the symbol of Tethys which is here set in opposition to that of Niké but the symbol of Themis. Tethys, corresponding to the Knight, symbolises the complete submission to the Divine entailed in the path of will, whereas Themis represents the divine order and harmony, whether in the human soul or in a normal theacentric matriarchal society (it may be noted here that there is a close connection between Tethys and Themis. Tethys is said to be the sister of Themis and her name, cognate with the Greek tithenai, means Disposer or Orderer). This perspective clarifies the truth that the aim of war is peace; for peace is nothing other than the restoration of order or harmony in place of disorder and chaos. War in itself is a disorder but one which exercises a balancing function against the initial disorder, thus restoring harmony. This is only true if the war is fought on a purely spiritual basis without hatred and wishing only to restore harmony both to the enemy and to the order as a whole; and if all the arts of war, like all themis [thamë] crafts, are treated primarily as spiritual disciplines. Even so, it remains true that the very possibility of war represents a considerable degeneration in the earthly order which is why war did not appear until very late in the historical cycle after the passing of the matriarchal ages proper. It should be remembered, however, that the "outward" historical interpretation of the war is very far from being the most important. The true war is the "inner war"; that waged against the forces of darkness and disorder within one's own being. We have already examined the nature of the "negative Powers" against which this war is fought. Here it may be noted that, as with the exterior war, the aim of the interior war is peace in the sense of the restoration of harmony or order. It should also be noted that fallen creation at every level necessarily entails a measure of disorder whether or not it is great enough to manifest itself in exterior warfare in one form or another and that the only way to achieve true harmony is by passing along the flux of multiplicity and fragmentation which is the manifest order and coming to rest in the perfect peace of the Spirit, who is at once the Centre of one's own being and the Centre of all the manifest cosmos. That is why the game of chess centres always upon the quest for the Ranya. Just as the chessboard is based upon the Square of Moira [Werdë], so the game itself manifests in microcosm the moraic [werdic] laws of existence. At each move the player has the freedom to choose among the various possibilities of action. But whichever course she chooses will entail an inexorable chain of consequences which will determine the possibilities open to her as the game progresses. Nothing occurs by chance but all takes place in accordance with rigorous laws. The player will maintain her freedom of choice and attain her objectives only by understanding and acting in accordance with these laws. If she acts without understanding she will find herself bound ever more tightly upon Moira's iron wheel, until her relatively unlimited freedom at the beginning of the game has dwindled to a position bounded in anc enclosed on every side by the results of past mistakes which have been only too well exploited by the cunning of the "evil one". We have attempted to give some indication of the complexity of the spiritual symbolism of the game of chess. It will be seen that many points might have been expanded at much greater length and it may be understood that, in principle, an entire and adequate exposition of metaphysical and religious philosophy could be based upon an exegesis of the game. This is in accordance with the principle that every fully adequate symbolism is a microcosm in which the entire macrocosm can be "read", and that every major activity that is truly in themis [thamë] constitutes just such an adequate symbolism. A child belonging to an ancient matriarchal weaving community is reported to have said, "There are two meanings to everything and three meanings to most things and if you knew all there is to know about weaving you'd know everything in the world – and beyond it."[****] This statement is certainly in accordance with the traditional matriarchal understanding of every art and craft. The tools, the methods of working, the traditional forms, patterns and images created, all contribute toward a symbolism which contains principally "all there is to know", and which can be interpreted on a multiplicity of levels from the simplest to the most profound. These crafts, constituting an entire way of life rather than merely a game, contained, beyond their symbolism an effective ritual structure which made them not only a "teaching" but a plenary means to realisation, an "initiatory path". This aspect we have obviously not touched upon here; but we hope to have shown, within the relatively compact structure of a game, the principles upon which the vital symbolism of the Active Life, or the way of works, are based. </div> <div style="text-align:left;"> *See illustration at end of paper **Sufficient to cover the whole of the British Isles to a uniform depth of thirty eight feet. ***The Moira Handbook, p. 26 ****The Coming Age, No. 8, p. 9. </div> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Inner Meaning of Chess Subject The topic of the resource chess, matriarchal history, metaphysics, janyatology Description An account of the resource An article detailing the metaphysical principles behind the game of chess, in light of comparisons between the game's rules and pieces and the functioning and organization of Amazon armies. Source A related resource from which the described resource is derived Personal collection of David Kay. Publisher An entity responsible for making the resource available Madrian Literature Circle Date A point or period of time associated with an event in the lifecycle of the resource c. 1980 Language A language of the resource English Type The nature or genre of the resource Text archery chess craft decline of the ages Grail horsemaidship janyatology matriarchal history metaphyics patriarchy ranya reign of quantity Rose of the Winds Sai Candrë Sai Mati Sai Raya Sai Rhavë Sai Sushuri Sai Thamë Sai Vikhë Sai Werdë Square of Werdë three paths vyamati vyasucri vyathamë war https://filianicstudies.org/cms/files/original/1757c2d2a8e5d2f0ad2273bbe852f88b.pdf 7d58bf157f10c07ba6fdb3b05e9a34ec Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Madrian Literature Circle Description An account of the resource Documents issued by the Madrian Literature Circle between 1973 and 1982. Publisher An entity responsible for making the resource available Madrian Literature Circle Date A point or period of time associated with an event in the lifecycle of the resource 1973-1982 Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data loose leaf, typewritten (16pp.) Text Any textual data included in the document Madrian Literature Circle: The Beauty and the Beast Debate The three articles reproduced here represent a debate conducted in the pages of the New-Age magazine Aquarian Arrow. It began with a feature in that magazine entitled "Women on Crowley on Women", including a passage by the notorious occultist Aleister Crowley (who liked to refer to himself as "The Great Beast" of the Christian Book of Revelation, "whose number was 666"), expounding his views on maids. This was accompanied by comments from a number of maids working in the occult field. The whole piece was then sent to Lux Madriana by the editors, with an invitation to comment upon it. Sister Angelina responded with the article "Beauty and the Beast" which was published in the following issue. This drew a response from an anonymous contributor writing under the nom de plume of "Robert". His piece, "Lux Madriana and the Solar Logos", sets out in a clear and serious way many of the fundamental errors and confusions of the New-Age movement in general and of the modern pseudo-matriarchal school in particular. The refutation of these errors involves, indirectly, the refutation of the whole modern world-view. Obviously an entire book could be devoted to the subject; but in a witty and concise article, "Marie Antoinetter and the Reine Soleil", Sister Angelina tackles all the fundamental issues. This piece should be read carefully more than once, for it will make many things fall into place which may previously have seemed obscure. <div style="text-align:left;"> --- NOTE: Crowley's argument, briefly, was to reject all sexual morality as a "superstition" and to declare that woman should realise herself as a primarily sexual being, whose "archetype" is the Great Whore. Beauty and the Beast Superstition presupposes ignorance. For a superstition is literally something which "stands over"; a disembodied remnant of a philosophical structure which, rent from its context and idolised for its own sake, is devoid of content. A hundred years from now, when the primordial forests are slowly reclaiming these islands, there will no doubt be many who will set up steering wheels or spools of computer tape on piles of stones and bow down before them. That will be superstition. Our descendents will have a vague memory of the "power" attaching to these objects, but the context in which alone that power could be actualised will have been lost in the mists of ignorance. In precisely the same way, the sexual "morality" prevalent in Crowley's time (and, to an extent, today) was and is superstition. Certain taboos and mores inherited from the past were regarded with a superstitious awe; a quasi-noumenous "power" was recognized as attaching to them. Just like the steering wheel, these mores had once been part of an integrated system, and it was in their relation to the system alone that their "power" had any validity. The relations between the sexes are the reflection on the material plane of certain transcendent Realities. Realities which existed long before the manifestation of physical creatures endowed with biological gender and which will exist long after they have passed away. Marriage is a ritual "actualisation" of the reflection. That is what it was created for, and that is how it has been understood in every civilisation that has not lost sight of the Absolute. The more conventional of Crowley's contemporaries were superstitious because they worshipped marriage while they did not have the vaguest idea of what marriage is. Crowley (along with the whole contemporary avant garde, whom he merely echoes in rather more fustian prose) is not superstitious; but he is equally ignorant. He does not worship marriage, but he has no more idea of what marriage is. He disposes from the beginning of the idea that he might have any metaphysical understanding: "This Nibbana-idea is the coward – "mother's boy" idea; one ought to take a dip in the Tao, no more." To make a statement like this is simply to say "I am not a metaphysician", just as to declare that 2+2=5 is to say "I am not a mathematician"". The wisdom of the saints and sages is replaced by the crass "dynamism" of Herbert Spencer projected onto the Absolute. "Why do men insist on the innocence of women?" he asks, and comes up with a series of answers on teh same level of profundity as the nineteenth-century dictum that "myths are primitive attempts to explain natural phenomena". He sees woman as nothing more than a sex-object, and proceeds to project this sex-object onto his own sentimental equivalent of the metaphysical plane in the form of an Archetypal Whore. Always the same fundamental error – an error that can only arise in a materialist environment, but which in that environment will always vitiate any spirituality which lacks metaphysical principles. The projection of the relative onto the Absolute. The belief that "as below, so above". What, then, is marriage? For herein lies the answer to the whole problem. Marriage is the ritual actualisation of the fire-kiss. The transformation of the dragon by the sun-maiden. Beauty and the Beast, the Frog Prince and hundred similar folk-motifs are allegories of the archetypal marriage. The maid is (nay, not represents, for, by the power of the Rite, she is) the Spirit, the supernal Sun. The man is the soul ensnared in matter, who is consumed, destroyed and reborn in Her kiss. No mortal maid is God; yet in the power of the Rite, while she does not become the Reality, the Reality becomes Her. The all-consuming fire-kiss is re-enacted in every "consummation" of the marriage; and the ritual extends not only to this, but to every action of marital life. That is why a man must obey his wife. In many of the matriarchal civilisations which have dominated the world for the vast majority of human history, a maid was allowed up to four husbands: the four men representing the four material elements and the maid the quinta essentia. This is not the practice among contemporary Madrians, but it expresses a vital truth about the real nature of marriage. Patriarchal marriage partly inverted and partly misinterpreted the truth. It was perversion, it was heresy, but it was not yet ignorance. Yet the seeds of ignorance lie at the very heart of patriarchy. For every act is a ritual and every ritual has a magical effect. In ritually turning from the feminine principle to the masculine principle – from the sun-maiden to the unregenerate dragon – civilisation turned from the qualitative to the quantitative; from pure metaphysical Intellect to earthbound reason; from transcendent Truth to transient "facts". When the first warrior king usurped the throne of the first priestess-queen, the advent of Freud, Marx and Darwin became an inevitability. So did that of Crowley. In rejecting the fire-kiss of the sun-maiden, patriarchal civilisation also rejected Intelligence in its pure form. For the Kiss operates on many levels, from the simple marriage to the consummation of the perfected hera (saint) in God Herself. Without the Kiss of pure transcendent Intellect (which is not other than the supernal Sun Herself), the dragon of earthbound reason cannot be raised up out of the mire of matter. Instead is will become ever more "materialist", until it grows into the hydra-headed monster of modern techno-bureaucratic scientism. Crowley sought to react against this monster; but having no access to metaphysical principles, his thinking could not be radically different (in the strict sense of that much-abused term) from that which it opposed. he could not have been other than he was. 666, and never been Kissed. Sister Angelina This article is the first of three published by Aquarian Arrow. Lux Madriana and the Solar Logos I am a Thelemite, and hold no brief for Crowley's attitude to women nor his writings on sex. But when Sister Angelina accuses Crowley of metaphysical ignorance, this is really the pot calling the kettle black. For in none of his writings has Crowley ever displayed such a crass misunderstanding of the "underlying realities" behind traditional metaphysical attributions of some elements to women, and others to men, as Sister Angelina did in her article. There may well have cultures in the past in which women personified the Sun and men the Earth, just as the Moon is masculine and the Sun feminine in the German language. But these have been a minority, among matriarchal just as much as among patriarchal cultures. Women have been associated with Earth and Matter long before the days of patriarchal monotheism. This was not the result of men seeking to debase women, because the Earth and Matter were not until recently regarded as "base". In pantheist cultures, Matter and Spirit are but two different aspects of the same divine Reality underlying all Life. Women have been associated with the Earth, because they bear and bring forth children in the same manner in which the Earth brings forth crops. That is why the word "matter" (in Latin materia) has the same linguistic roots as the word "mother" (in Latin mater). Matter is seen as the mother-stuff from which all physical sentient life is made. Women have also been associated with the Moon, because of the close parallel between their twenty-eight day menstrual cycles and lunar months. That is why in matriarchal fertility cultures, the calendar was divided into thirteen lunar months, and each month into four seven-day weeks representing one of the quarters, and why the number thirteen was sacred. It is also at night, especially when the Moon shines and is near Full Moon, that men and women are most under the influence of their feelings and emotions, especially the feeling of Love. This is also associated more closely with women than with men, because of their primary role in rearing children and in protecting them in infancy. The Moon influences also the sea's tides: hence a link between the Moon and the sea, and by extension between women and the element of Water, which also plays an important role through rain in preserving the fertility of the soil. These are the "underlying Realities" behind traditional metaphysical attributions of Earth and Water as feminine elements. The Sun, on the other hand, is associated with the element of Fire: not unnaturally, since the Sun is itself a huge ball of fiery thermo-nuclear explosions and chemical reactions. Fire is itself an aggressive and destructive element, capable of reducing fertile jungles to ashes. The Sun too is essentially destructive when it is not balanced by Water in a landscape: it turns vast pasts of the tropics to deserts, and its solar flares were the main agent of evolution on Earth before the arrival of Man, usually by causing climatic changes that wiped out whole species unable to adapt, for example, the dinosaurs. The male sex has traditionally been the more aggressive of the two, not just in human cultures, but in most mammal species as well. Hence it is natural to attribute the aggressive elements of Fire and the Sun to men. Humanity alone of all animal species has been able to domesticate Fire, and to turn its destructive prooperties to creative use, in the smelting of metals and the fashioning of tools. But these in turn have been used as means of aggression against the environment, of destroying an existing landscape as the first step to fashioning it in a new form. This creative use of the destructive power of Fire, and of the tools made with it, requires the ability for mental conceptualisation of patters different from the existing ones. This conceptual ability, usually attributed to the element of Air, tends to be more highly developed in that statistical myth the "average man" than in the "average woman", although differences between individuals are of course much greater than between the sexes. Hence the attribution of the elements of Air and Fire, Conceptualisation (Logos) and the Destructive and Creative Will to men. Life on Earth is the result of a delicate balance between all these elements. Pure Conceptualisation and Destructive-Creative Will unbalanced by the conservative forces of Form and Love produce the fiery furnace of the Sun, in whose chemical processes millions of new shapes and colours are forever being created, but endure for less than a microsecond, because the conservative force of Matter is absent to hold them and give them form. But pure Matter and Form, unfertilised by thte energy of the Sun mediated by an atmosphere of Air and Water, produces the unchanging surface of the Moon. The Earth is intermediate between these two extremes, though closer to the Moon, and thus we have the marvellous balance of Life, ever-changing but also renewing itself, and in which individual life-forms last long enough both as species and as individuals, to establish an identity and to experience that identity. The ancient pantheistic cultures recognised that Life on Earth is the product of a sacred marriage between the Sun and the Earth mediated by the Moon, of the elements of Fire and Matter, mediated by Air and Water. The sacred marriage of men and women was indeed a paradigm of this. But it was not unregenerate Man being spiritualised by the Sun-maiden. It was Man's fiery aggression and airy speculative intellect being "earthed" and made productive by Woman, by disciplining it into the world of Form. This is still true in practice today, though in the absence of an understood ritual to sanctify it, participants in the process are mostly unaware of it on the conscious level. Men on their own either form armies, that are embodiments of the Destructive-Creative Will, the element of Fire; or congregate into monasteries, universities, or research laboratories, to pursue speculative and conceptual thought for its own sake, the element of Air. It is the women who domesticate the warriors, and bring the speculators down to reality, by asking practical questions such as: "How are your children and I going to survive this war?" or "What good will this wonderful utopia do to ordinary people?" Men are the idealists, women the materialists. But when a great statesman, writer or architect actually achieves something enduring, it is frequently because he had one or more women behind him, encouraging him to give form to some of his many abstract concepts. Solar monotheism originated with the Aryan tribes of the Caucasus, as an attempt to become more efficient at war and conquest by worshipping the spirit of fiery aggression to the exclusion of the gentler loving elements of Earth and Water. That is why they forbade the priestess-dominated fertility cults: they made the tribes "soft" and tolerant, and less effective in war. Solar monotheism also made these warrior tribes less efficient at the Goddess-ruled arts of agriculture, but this did not matter since they could conquer agricultural Goddess-worshipping peoples and force them to feed them. This was the logic behind the solar monotheism of the Aryans and Persians, and later of the Jews under Moses and the Prophets. This could work as long as solar monotheism was the religion only of an upper caste of rulers and warriors, and the lower classes were allowed to retain their religious beliefs with the Earth. But when the Christian Church in its zeal hunted down the witches of the villages, and made the ordinary country people be as solar monotheist as the aristocracy and town inhabitants, the path was set for the society we have today. This is not so much "materialist" in the true metaphysical sense – would that it were! – as obsessionally creative of useless artefacts from which derive no real enjoyment other than the pride of having made them. In doing so, we destroy the much more beautiful and essential environment in which we live, and display the mutual fear and distrust (or at least our rulers do) that is the sign of people alienated from their roots. Sister Angelina claims to deplore this society as much as I do. But she and her fellow Madrians appear to think that all that is needed to redress the balance is to put women at the top of a religious-political edifice that still worships the Solar Logos to the exclusion of Matter, by making the Sun a "Her" instead of a "Him". Instead of turning to the great Earth Mother Goddess of antiquity – to Isis, Ishtar, Astarte, Cybele or Kwan-Yin – the Madrians worship Jehovah-in-drag. Jehovah is a real God – i.e. aspect of the Ultimate Reality – who generally answers the prayers of those that worship Him/Her exclusively, by refashioning their souls in His/Her image of ruthless Destructive-Creative Will. He gave the Jews the will to conquer Palestine on at least three occasions in as many millenia, and the Protestant Puritans the will to conquer and settle North America, South Africa and Australasia, as well as to found countless business empires. Judging by the tone of her interventions at the recent conference on "The Re-emergence of the Goddess" in April 1979, Jehovah has already given Sister Angelina that steely conviction of alone possessing the Truth that I normally associate with Jewish and Christian Fundamentalists. In time Jehovah will help the Madrians to get themselves accepted as equals by men in the rat-race to the top of executive boardrooms, or to become tomorrow's Mrs Gandhis, Golda Meirs and Margaret Thatchers (which is all that some feminists are interested in). But I doubt whether Jehovah can teach the Madrians how to make their kisses initiatory to a higher level of consciousness either to their partners or to themselves, for that is not in that God's gift. To achieve self-transcendence in a Sacred Marriage, the two partners must approach it in a spirit of recognising the divine in their partners that can complement the divine in themselves, and then surrender to them, rahter than look down on them as rather base creatures "ensnared in matter" whom one is trying to lift up. What good would it do humanity to have more Golda Meirs and Mrs Gandhis? Israel was no less intransigently aggressive under Mrs Meir than under earlier and later male Prime Ministers, and India a great deal more oppressed under Mrs Gandhi than before or since. Western civilisation has now worshipped the Solar Destructive-Creative Will exclusively for so long that it is in grave danger of blowing itself and the whole of life on Earth up with its overstocked arsenal of artificial suns, the H-bombs. If we are to prevent this, then it is desperately urgent for us to restore the ancient Earth Mother Goddess to Her temples, put more faith into the preserving power of Love and Fertility than into the sterile Capitalist and Socialist abstract utopias. It is because we all know deep down within ourselves that women are so much closer in intuitive empathy to the Earth spirit that alone can save us that male resistance to the women's struggle is crumbling in the West, and many men would indeed gladly put up with a period of matriarchy. But it would have to be a matriarchy of the intuitive as well as of intellectual women, the sensual and loving ones more than the politicians and administrators. Fortunately, important elements in the Feminist Movement recognise this better than Lux Madriana. For perceptive and sensitive contributions to the resurgence of Mother Goddess worship, and a historically more accurate description of the matriarchal past, read Merlin Stone's Paradise Papers, Carol Ochs's Behind the Sex of God and Anne Kent Rush's Moon, Moon. Robert This article is the second of three published by Aquarian Arrow. Marie Antoinette and the Reine Soleil To begin at the end of Robert's article: yes, there is a form of matriarchalism very different from that of Madrianism. It is preached (with variations) by Merlin Stone, Robert Graves and others. It consists, broadly, in accepting the old patriarchal sky-father/earth-mother doctrine, but inverting their hierarchical order, so that the earth-mother and her cthonic values are exalted above the "rationality" of the sky-father. Madrians have always maintained that such a minor cosmetic operation could never alter the real patriarchal essence of the doctrine; and if proof were needed, Robert's delightfully chauvinist article (behind every Great Statesman is a Good Woman, etc.) surely supplies it. Actually, the whole situation is the result of a metaphysical confusion so excruciatingly entangled that one is reminded more than anything else of a kitten that has managed to get itself trussed like a chicken in its own ball of wool. And this confusion, in turn, derives from the sheer blackness [word unclear] of metaphysical ignorance which characterises (and indeed practically constitutes) the post-Renaissance mentality. In view of this, it is scarcely surprising that Robert is able to accuse me of metaphysical ignorance. I have heard a topologist facetiously but not inaccurately described as "someone who can't tell the difference between a teacup and a doughnut". Robert's reaction to true metaphysics in akin to that of the bumpkin who bursts out: "Topology's supposed to be the science of shapes ain't it? Well any idiot can tell the difference between a teacup and doughnut. Them blamed professors must be daft!" This is not so much a personal criticism of Robert as a general crticism of modern ignorance as a whole. But a little real metaphysics can quickly dispel the ignorance and get the kitten out of the cats'-cradle. But what is real metaphyics? It is the primordial Philosophy not devised by any human mind, but passed down (traditio) from mother to daughter since the primordial time, the Golden Age "when earth touched Heaven". In its original form, this Philosophy was matriarchal, as was the social order. The social order was matriarchal because the primordial Philosophy was matriarchal. Earth followed the law of Heaven. Yet even as humanity descended away from the Golden Age, through the Silver and Bronze Ages, into the Iron Age itself (which began some 5,000 years ago), and in this final Age, patriarchy slowly took over from matriarchy, the primordial Philosophy continued to be taught. It was taught by Plato and Plotinus, by Shankara and Shakyamuni the Buddha; indeed, every Iron Age civliisation has possessed its own more or less scaled-down version of the primordial Philosophy. Or rather, that was true up until the last 300 years. And although each version speaks a slightly different spiritual "language", each is saying the same things. Metaphysics is not a matter of personal opinion; it is as precise as a mathematical equation. The essence of Robert's confusion is as follows: he equates the sky-father/earth-mother duality with two other dualities, namely Spirit/matter and rationalism/emotionalism. Now in the first place thesee two dualities are not only not equivalent, they have no common measure whatever; and in the second place, he has completely misconceived both of them. He state calmly that the majority of matriarchal as well as patriarchal cultures have regarded women as earth/matter as opposed to sun/spirit. Yet even Merlin Stone has pointed out that the sun was female in Japan, India, Canaan, Anatolia, Aravia, Australia and among the Eskimos (The Paradise Papers, p. 18) and one could easily add others to the list. In fact the male sun is purely a patriarchal Indo-Aryan invention. The same author points out that far from being exclusively an earth-goddess, Her most frequent title from the earliest times has been Queen of Heaven (perhaps Robert should scratch the book off his list). The reason he gives for this supposed matriarchal equation of maid with matter is that matter was then given its due worship for its own innate virtues. This is an interesting argument, but it has one fatal flaw. However amazing it may seem to the modern mind, the concept of matter as a physical stuff possessing certain innate qualities was wholly unknown up until 400 years ago. All form, all qualities, according to the primordial Philosophy, are Archetypes, or Divine Ideas, belonging to Spirit. Matter is simply the wax upon which the seal of forms and qualities is impressed. This means that pure matter, untouched by Spirit, would have no qualities whatever: no size, no weight, no shape, neither hardness nor softness, hear nor coldness nor colour. Obviously, it is in no sense physical. The equation of nature with matter implied in Robert's article rests upon the post-Cartesian concept of matter. Applied to ancient civilisations, whether matriarchal or patriarchal, it is pure anachronism. When we speak of modern "materialism", we are using the term loosely, for what is in question is not true matter, but the modern fantasy of "physical matter", which very phrase is a contradiction in terms. This is not to say that all ordinary people in the ancient world possessed a clear philosophical concept of matter, but they certainly did not possess the unnatural notion of "physical matter" which has been inculcated into the modern mind via the compulsory "education" system and the mass-media. Matter, then, is a "crystal mirror", a tabula rasa ready to accept whatever image Spirit shall impress upon it. The combination of matter and Spirit is nature (whether physical or non-physical). The patriarchs knew precisely what they were doing in equating maid with matter, thus making her the purely passive support of man's activity (behind every Great Statesman is a Good Woman). The matriarchal perspective is not simply the reverse of this, for the man in the marriage rite is not "man" being saved by "maid", he is soul being saved by Spirit; the maid is just as much soul as the man; but she is enacting a ritual role. The ritual is certainly real, and not just an "act". But not on the most obvious level. If that were so it would mean that every wife was God! This is subtle stuff, I know, and it cannot be mae any clearer by tossing it about in a polemical arena. All I can say is, contemplate [word unclear] it if you want to and don't if you don't. Any true understanding well be supra-verbal. Which brings us to rationalism. It has become a New-Age truism that the Christian west is overbalanced on the side of solar intellect; and like most New-Age truisms, it is not true. Of the two paths, bhakti marga and jnana marga; the path of Love, will, or emotion and the path of Light or solar Intellect, Christianity has always erred on the side of the former. If one were to look for a culture which has erred on the other side, Buddhism would be an obvious example. What the New-Age critics have in mind is actually the rationalism of the Christian west. But rationalism and solar Intellect are two entirely different things. Intellect not only perceives, but is one with, the Spiritual Archetypes. It is not an individual faculty at all, but rather the point at which the individual soul touches the trans-personal Centre. Viewed subjectively, it is Enlightenment; viewed objectively, it is the Absolute; nor is it other than pure Love (which, from our earthly point of view, is lunar), since the distinction between the two is an illusion which appears only when seen from "below". Rationalism, on the other hand, is the ignorant reaction of the individual mental faculty, through its agent the brain, upon the contingent things of the physical world as transmitted via the senses. Ignorant because it is, by definition, unaware of the Spiritual Archetypes which are the real essence of all physical phenomena. Sentimentalism or emotionalism is a similarly ignorant reaction to the same phenomena by the passional faculty. Far from being in any way opposed, rationalism and sentimentalism are two sides of the same coin. The west is rationalist because it is sentimentalist. The two are inseparable. But just as Love and Intellect, seen in their true persepctive, are seen to be one, so their inferior parodies, sentimentalism and rationalism, being cut of from unitive Reality, present the illusion of being eternally separate. Every modernist reaction against rationalism inevitably takes the form of a mere appeal to emotional reactions as opposed to mental ones: thus its sole effect is to give the wheel of Samsara another turn. Robert's underlying thesis is simply another essay in the long history of such barren sentimentalist reactions. One must sympathise with the desire to react against rationalism. But nothing is achieved by running continually from the right hand of Moira into her left. Since deserting the revealed symbolic structure of the matriarchal Philosophy, patriarchal metaphysics has always been balancing on a tightrope. With Christianity, it finally fell victim to its own meddling with the primordial Doctrine. Due to its dogma of the male sun, it mistook the Christ (who is actually a masculinised version of the lunder Daughter, as opposed to the solar Mother) for the Solar Logos; thus depriving itself of any authentic representative of the solar Principle. The two greatest exponents of solar Intellect in Christianity were Origen and Meister Eckhardt. Both were declared heretics. Lacking the "backbone" of Intellect, the love-path of Christianity declined into a samsaric sentimentality, which eventually gave rise, at the time of Aquinas, to an equally samsaric rationalism, which was the inverse parody of the missing Intellectuality. This rationalism developed slowly, still dressed in metaphysical garments, until the Renaissance, when it broke loose and initiated the wild downward spiral which has led us to the modern world; creating on the way such topsy-turvy notions as "physical matter", and all the confusions which they have generated. These confusions have proved particularly effective in neutralising all intellectual resistance to the downward movement. What is the answer to this impulse? How shall we cleave a path between the Scylla of rationalism and the Charybdis of sentimentalism? The Madrian answer is very straightforward: we must return to the primordial matriachal Philosophy, devotion and way of life. This does not mean reconstructing [word unclear] a "matriarchalism" from a handful of archaeological bones tied together by modern speculations (which will inevitably by rationalist, sentimentalist, or – more likely – both). That will leave us right back where we started. We must go to the living matriarchal tradition, as it has been preserved down the ages in this country and elsewhere. The tradition we call Madrian. And this means not only accepting a Philosophy – although the path of Light is indispensable; nor simply opening our hearts to the adoration of God in the form in which She has revealed Herself to humanity from the dawn of time – although the path of Love is also indispensable. It also means treading the third path, which called the path of Works, or of themis [thamë]. This entails governing our entire way of lief in accordance with divine Harmony. It means rejecting all secular political systems which are not directed by the one lawful Princess of Earth. It means rejecting all industrial systems which are geared to merely "making goods", instead of practising the ancient sacred crafts which are not merely utilitarian, but also a path of meditation. It means rejecting commercialism and the cash nexus, whether in its capitalist or socialist forms. In short, it means rejecting the whole edifice of modern human-centred culture, and returning to a God-centred matriarchy. This is the most extraordinary part of Robert's article. He might have accused us of being wild anarchists bent on tearing down all the "achievements" of "progress". He might have called us Amazon reactionaries intractably opposed to the liberal-democratic ideals of late patriarchy. Either accusation would have some semblance of plausibililty. The more impish among us might have been sorely tempted to reply: "Yop, that's about the size of it." But instead, he chooses to accuse us of wanting to join "the ratrace to the top of executive boardrooms, or to become tomorrow's Indira Gandhis, Golda Meirs and Margaret Thatchers" – we, who do not even accept any secular or patriarchal government as legal! It is rather like accusing Mary Whitehouse of being a pornographer, or Archbishop Lefèbvre of being a Protestant. The good primate no doubt has his detractors. Some of them, perhaps, say some very nasty things about him. It is even conceivable that some of those things may be true. But if anyone is going about accusing him of being a Protestant, we may be forgiven for thinking that person does not have the remotest idea of what he is talking about. Actually, Madrianism, while it is unashamedly matriarchal both in its doctrine and in its social institutions, has nothing to do with denigrating men, or with regarding them as in any sense "base". It is a simple, traditional way of life, based on authority, love and devotion. It puts God (both in Her solar and Her lunar aspects) at the centre not only of its Sundays, but of its stories, its songs, its work and its life. It is lived by men and maids, in that mutual love and respect which one finds only in a God-centred hierarchy. I do not deny that there are many self-styled matriarchalists (most of whom have never seen the inside of a matriarchal household) who, filled with the urban ideologies of the Iron Age, despise our way of life and all that it stands for. But I cannot help but thinking that theirs is the fastidious contempt of a Marie Antoinette, dressed up with crook and smock, upon meeting a real-life shepherdess. Sister Angelina This article is the third of three published by Aquarian Arrow</div> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Beauty and the Beast Debate Subject The topic of the resource Aleister Crowley, sex, femininity, New Age, marriage, role of men, matriarchy, decline of the ages, Solar Intellect, rationalism, sentimentalism, feminism, Christianity, metaphysics Description An account of the resource A reproduction of letters exchanged between Sr. Angelina and "Robert" in the pages of Aquarian Arrow, offering competing analyses of Aleister Crowley's views on the nature and archetype of woman. Creator An entity primarily responsible for making the resource Sr. Angelina Source A related resource from which the described resource is derived Personal collection of David Kay. Publisher An entity responsible for making the resource available Madrian Literature Circle Date A point or period of time associated with an event in the lifecycle of the resource c. 1980 Language A language of the resource English Type The nature or genre of the resource Text Christianity decline of the ages femininity marriage men metaphysics New Age sex social criticism Solar Intellect https://filianicstudies.org/cms/files/original/5c7c8f2eaa38306bb6f2b86af57ec49d.pdf 00087a3ccc85fcebd4fb6b9fa1fb005d https://filianicstudies.org/cms/files/original/f3452e05086669b0728ad19495ea0339.pdf bf4652f496861faa0f07cdb975966e4b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Madrian Literature Circle Description An account of the resource Documents issued by the Madrian Literature Circle between 1973 and 1982. Publisher An entity responsible for making the resource available Madrian Literature Circle Date A point or period of time associated with an event in the lifecycle of the resource 1973-1982 Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data loose leaf, handwritten (4pp.) Text Any textual data included in the document Anima: Jung and the Female Soul One of the most valuable contributions Jung has made to the understanding of psychology is the discovery of the anima. Broadly speaking, Jung defined the anima as the female personality existing in the unconscious of every man. Nevertheless, Jung made two fundamental mistakes in this description, both of which may be directly attributed to the materialist and masculist environment in which it was formulated. The first of these was to see the anima as merely the function of the mind, inferior to the rational consciousness; the second was to recognize its existence only in men. The word chosen to denote the idea is particularly appropriate and revealing. Anima is the Latin word for soul; as in most languages, it is a feminine noun. The Romans pictured the soul as a bird and always referred to it as 'she'. The fact is that the anima is not a function of the mind. It is the soul itself. The soul is a spiritual rather than a material entity, and as such is regarded by the materialists as a mere abstraction without reality. When the soul is properly considered, however, it is clear that it is more, not less real than the body and the mind. It has lived from before the beginning of time – they have not; it will live forever – they will not; it has been perfect and will once again be perfect – they by their very nature are imperfect. The human soul, like all other spiritual creatures, is female because it is a reflection of the Divine – the Goddess. It is female because it is the very nature of spiritual things to be female,* for the feminine principle is the principle of the dominance of spirit over matter. Jung and his followers come close to this truth regarding the anima in men as the root of spiritual aspiration and all creative expression. The transcendence of material existence is the aim and function of the soul. The crude interpretation of the anima in material (and often sexual) terms, together with the fundamental unbalance of a male-dominated society, has led to attempts to see women as embodiments of the anima. Thus the masculist may regard women as incomprehensible, uncontrollable, irrational (in the lowest sense), creative (in the sense of bearing children only) and so on. And this has done great harm to many women. When the woman is seen as anima, her own anima, her soul is denied: she is said to be tied to the body; her spiritual aspirations are blunted; her creative nature frustrated; her view of herself is severely circumscribed. The Jungians say that while men have anima, women have animus (a latent male personality); but as we will see, this is neither an equivalent nor an adequate substitute. It is important to remember that in masculist society, the male is taken as the norm – (as, for example, the word 'man' is used to refer to all humanity; the individual/citizen/child is 'he') – and this is true in psychology as in all other areas of life. Psychology as applied to women has been a secondary study, and has usually consisted of second-rate deductions and inferences from findings about male psychology. The over-emphasis in masculist society on sexual matters has led to the idea that psychic processes in men and women must be opposite and complementary. Thus Jung has described the animus in women as complementary to the anima in men. However, as with the Oedipus complex, the anima is potentially stronger in women than in men, as they are closer to the archetypally female form of creative and spiritual energy. The animus is not a mere figment of the Jungian imagination, however, although it is not a permanent feature of human psychology. It is the personification of the masculist values thrust on women throughout their lives in a masculist culture. These male-oriented values, which are fundamentally incompatible with the woman's inner psychic nature, group themselves together in a distinct and alien bloc in the mind which may appear to be a separate personality. This is then represented in dreams and other psychic experiences by the figure of a man which may be called the animus. Dreams of rape suffered by some women may represent the violation of her natural psychic processes by the masculist values forced upon her. The difficulties and imbalances caused by the undervaluing and misinterpretation of the anima affect both women and men quite radically. They are connected with the general undervaluing of the spiritual in an atmosphere increasingly dominated by a masculist philosophy. Yet the soul, which reflects the Goddess, is our most precious possession; it is the part of us which is most truly ourselves. The development of the soul towards its original perfection is one aim of life. *"female" here refers to the universal female principle which operates in women and men, though generally more strongly in women, not to biological femaleness. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Anima: Jung and the Female Soul Subject The topic of the resource Jung, Psychology, Anima Description An account of the resource An article critiquing Carl Jung's description of the anima from a matriarchal perspective. Source A related resource from which the described resource is derived Personal collection of David Kay. Publisher An entity responsible for making the resource available Madrian Literature Circle Date A point or period of time associated with an event in the lifecycle of the resource c. 1980 Language A language of the resource English Type The nature or genre of the resource Text anima femininity Jung masculism psychology social criticism https://filianicstudies.org/cms/files/original/608a472425d33b0226a525a72926ec87.pdf 8e72c692f533c919152566223899eca7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Coming Age Description An account of the resource The official magazine of Lux Madriana from 1975 to 1982. Date A point or period of time associated with an event in the lifecycle of the resource 1975–1982 Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oxford, England Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data magazine, 23pp. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Coming Age, Issue 20 Description An account of the resource Contents: Wenver's Hunt [poem], Many Religions, The Art of Telling Tales, Scenes from a Madrian Childhood Part 3: Mayamijai, The Power of Choice, The Coming Season, The Wonderful Beanstalk [story], The Downward Path: The Decline of Religion, Strength through Serenity: The Nature of Femininity, Symbolism: The Bridge of Dread, Light in the Darkness: Our Lady in the Patriarchal Religions Source A related resource from which the described resource is derived Personal collection of David Kay. Publisher An entity responsible for making the resource available Lux Madriana Language A language of the resource English Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Todmorden, England Date A point or period of time associated with an event in the lifecycle of the resource Autumn 1981 https://filianicstudies.org/cms/files/original/f6f1786b1e21e955747618f46d3279d3.pdf d1929f8f9a3783dd8e29015b15ac2b75 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Coming Age Description An account of the resource The official magazine of Lux Madriana from 1975 to 1982. Date A point or period of time associated with an event in the lifecycle of the resource 1975–1982 Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oxford, England Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data magazine, 23pp. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Coming Age, Issue 18 Description An account of the resource Contents: The Rhennisleague Song [poem], Children's Games, Entropy: The Disintegration of the Social Fabric, Matriarchal History: Haiela Cantre, The Mainspring of Matriarchy, The Coming Season, The Magic Ship [story], Chains of 'Freedom', The Great Lie, Symbolism: The Fora, The Philosophy of Fun Source A related resource from which the described resource is derived Personal collection of David Kay. Publisher An entity responsible for making the resource available Lux Madriana Language A language of the resource English Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oxford, England Date A point or period of time associated with an event in the lifecycle of the resource Easter Spring 1981 https://filianicstudies.org/cms/files/original/3513a0b4ed88bd53da07cb9e3f6f47db.pdf fd1224bfec2d38da63c10044dca313f0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Coming Age Description An account of the resource The official magazine of Lux Madriana from 1975 to 1982. Date A point or period of time associated with an event in the lifecycle of the resource 1975–1982 Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oxford, England Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data magazine, 23pp. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Coming Age, Issue 17 Description An account of the resource Contents: The Morrow Song & O List Ye [poems], A Rhennish Nativity, The Trojan Horse: Television Tool of Tyrants, The Realm of the Real: The Truth of Art and the Art of Truth, The Fire in the Hearth, The Coming Season, Fireside Tales [stories], Scepticism and Gullibility, The Fountain of Life: The Care of the Young Soul, Symbolism: The Gates of Heaven, Hail! Holy Hestia Publisher An entity responsible for making the resource available Lux Madriana Language A language of the resource English Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oxford, England Source A related resource from which the described resource is derived Personal collection of David Kay. Date A point or period of time associated with an event in the lifecycle of the resource Winter & Moura 1980 https://filianicstudies.org/cms/files/original/5723a502c51de732bfb00a1c0d2a5ded.pdf 87d482c353538a14950b29b4900f4e52 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Coming Age Description An account of the resource The official magazine of Lux Madriana from 1975 to 1982. Date A point or period of time associated with an event in the lifecycle of the resource 1975–1982 Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oxford, England Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data magazine, 23pp. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Coming Age, Issue 16 Description An account of the resource Contents: Avala & She Hath Riven [poems], Nursery Rhymes: The Inner Meaning, The Dangerous Idea: Women's Liberation as Ultimate Stage of Patriarchy, The Cycle of the Seasons, Spiritual Parentage and the Primacy of Matriarchy, The Coming Season, Symbolism: The City and the Garden, The Huntress and the Bride, The Brown Bull of Norroway [story], Book Reviews, The Huntress Publisher An entity responsible for making the resource available Lux Madriana Language A language of the resource English Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oxford, England Source A related resource from which the described resource is derived Personal collection of David Kay. Date A point or period of time associated with an event in the lifecycle of the resource Autumn 1980 https://filianicstudies.org/cms/files/original/a75a4da19693fccc498919cf2a42b86d.pdf cc84df9de95f1f0632f5a17e7cfee40a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Coming Age Description An account of the resource The official magazine of Lux Madriana from 1975 to 1982. Date A point or period of time associated with an event in the lifecycle of the resource 1975–1982 Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oxford, England Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data magazine, 23pp. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Coming Age, Issue 15 Description An account of the resource Contents: March On [poem], The Three Eternal Truths: The Triple-Declamation of the Amazons, A Man's Place: Some Common Questions Answered, Discovering the Goddess, The Art of Adoration, The Coming Season, The Great Crusade: The Holy March of the Western Amazons, Book Reviews, Shearwind and the Urchin [story], Symbolism: The Holy City Publisher An entity responsible for making the resource available Lux Madriana Language A language of the resource English Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oxford, England Source A related resource from which the described resource is derived Personal collection of David Kay. Date A point or period of time associated with an event in the lifecycle of the resource Summer 1980 https://filianicstudies.org/cms/files/original/6deb5148f96d0c05ae8508b91b5beb01.pdf 5ecca0fe778cf95caff33ca20d838f22 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Coming Age Description An account of the resource The official magazine of Lux Madriana from 1975 to 1982. Date A point or period of time associated with an event in the lifecycle of the resource 1975–1982 Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oxford, England Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data magazine, 23pp. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Coming Age, Issue 14 Description An account of the resource Contents: Sain Sovereign! [poem], Flowers in the Light of Sacred Science, Work in Progress, Scenes from a Madrian Childhood Part 2: My Father, Inanna: Valiant and Victorious, Childhood Youth and Maturity: A Study in Decadence, The Coming Season, The Water of Life [story], Language and Progress, Anarchy or Order?, Symbolism: The Grail and the Chalice, The New Year Publisher An entity responsible for making the resource available Lux Madriana Source A related resource from which the described resource is derived Personal collection of David Kay. Date A point or period of time associated with an event in the lifecycle of the resource Easter Spring 1980