10 10 105 https://filianicstudies.org/cms/files/original/8d6222e9615920be896cf09dd2988d41.pdf d44969e1649859babf451110ff6c6b21 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 (22pp.) Text Any textual data included in the document The Planetary Principles Tradition teaches that the created universe did not at the beginning consist of material things, but of perfect forms, or Divine ideas; we might also call them pure Essences. When our part of creation was no longer in perfect harmony with the Absolute, it could no longer exist as pure Essence, but had to be "expressed" though matter in order to remain in being. Thus everything we know consists of both essence and matter. Pure essence would be, for example, pure "flowerness", but not a flower. Pure matter, having no essence, would have no qualities of any sort – no size, no shape, no colour, no texture etc. Pure Essence can and does exist on the plane of Spirit, although we can in no way conceive of it in our present state. Matter is quite incapable of independent existence. But we must make it clear that matter in its true sense does not refer only to physical matter, but to everything below the level of pure Spirit. Thus it includes etheric, astral and mental matter, as well as many other forms of matter with which he have no contact on this plane. A thought is a piece of matter just as much as a table, or rather, they are both, like all things, a combination of matter and essence. Thus to those who say that pure Essence is not inconceivable because one can conceive of pure "flowerness" we must reply that the very conception itself is a piece of thought matter. However, because of the limited and largely erroneous concept which is usually designated by the word "matter" in modern usage, we will use henceforth the traditional term "materia". Essence and materia should not be conceived as "substances" or "things", but rather as the extreme two poles of manifest existence.* All manifest things occupy points on a sliding scale between them – thus a stone is closer to pure materia, a poem closer to essence, but only relatively speaking. Essence is the female, "spiritual" and creative or shaping pole; it is symbolised by the sphere, or in plane geometry by the circle. Materia is the male, "heavy" or "solid" pole; it is symbolised by the cube, or in plane geometry by the square. Again, essence is quality, materia quantity. We have said that everything below the level of pure Spirit has a material form, but there is one exception to this rule: psyche or soul. Soul is neither matter nor Spirit, but stands between the two. So also, soul stands between essence and matter as a third principle. In traditional symbolism, the three principles are termed Heaven, Earth and Maid. In the symbolism of the planetary principles, they are represented respectively by the circle, the cross and the crescent: [image of circle, image of cross, image of crescent] Heaven, Earth, Maid (Essence), (Materia), (Psyche) Etymologically, the word "Maid" is connected with "may", meaning the power to do something (hence "might" is both the past participle of "may" and also means power). Essentially, it means the potential of doing or not doing, ie the power of choice. Maid is "she who chooses", she who is what she is because of the choices she has made. As the mediating or reconciling Principle, the Daughter is perfect Maid. She descended to the level where She too had to choose between good and evil (Mythos III and IV). This is what is meant by the phrase "God became Maid", the phrase "God became flesh" is a materialistic parody of this, reflecting the limited perspective of the materia-dominated outlook. As we will see when we come to examine the male and femlae principles as expressed in the planetary symbolism, this error is intimately connected with the error of conceiving God as male. Within the microcosm of an individual Maid, the three principles may be sen as corresponding to Spirit, body and soul; but it must be remembered that "body" is not just the physical body (or "flesh"), but also the astral, etheric and mental bodies, and that Spirit is not as individual faculty but the point at which the individual remains united with the Absolute. From these three principles proceed the seven planetary principles, which consist of all the meaningful relationships between the primary principles, not [?] filtered through materia (although, of course, they must unite with materia in order to manifest at any level). These consist of Heaven and Maid standing alone – Materia, as we have said, is incapable of independent existence. They are represented not by planets proper, but by the two luminaries, the sun and moon: [astronomical symbol of sun, moon] Sun, Moon (Heaven, Essence), (Maid, Psyche) The remaining five planetary principles derive from the relationships of Heaven and Maid with Materia, and are akin to the five material elements; however, they should in no sense be confused with these elements, which are simpler and purer and strictly more "elementary". Indeed, viewed from a different perspective, thatof the Triad and Tetrad division of the planetary principles (which does not concern us here), certain of the principles correspond to different elements from those given below; however, from a Magical point of view, the kinships given are correct. The four corporeal elements consist of the relations of Heaven and Maid separately to Earth or materia; Heaven ruling Earth, Earth ruling Heaven, Maid ruling Earth, Earth ruling Maid: Planetary principle [signs of Venus, Mars, crescent over cross, cross over crescent] Venus, Mars, Jupiter, Saturn Elemental kinship [alchemical signs of water, fire, air, earth] Water, Fire, Air, Earth The seventh planetary principle combines Heaven, Maid and Earth: [astronomical sign of mercury, alchemical sign of ether] Mercury akin to Ether From the foregoing, it should be obvious that the heptad of planetary principles is fundamental, and that the recent "discovery" – or rather rediscovery – of three additional planets does not in any way alter this. The assumption that they do is founded firstly on the supposed superiority of the modern world to the ancient, which assumes that the matriarchal astrologers "left out" the additional planets because they were ignorant of them; whereas, in fact, they were perfectly well aware of their existence, as they are clearly depicted, for example, on several ancient Sumerian seals. Secondly, the assumption is founded on the supposition that the physical planets in some way "create" the principles, rather than merely symbolising them. Usually this assumption is merely tacit, although sometimes one hears talk of such mechanical monstrosities as "waves" or "rays" emanating from the planets. In a purely figurative sense, such images can be useful, but there are persons who intend this terminology to be taken quite literally, in which case it is mere fantasy born of a materialistic desire to reduce super-physical influences to a semblance of physical "science". Having asserted that the planets are only the symbols of the principles, however, it must be made clear that symbolism, when it is of a genuinely universal nature and not merely an artifical convention devised by individual minds, is a far more powerful thing than the materialistic mentality can possibly understand, and is, in deed, one of the bases of all traditional thought. The planets as such do not "affect" earthly events (although, again, there is no harm in saying that they do in a figurative sense, just as we speak of the sun rising, when in fact it does no such thing), but they are a part of the universal symbolic system of which human life is also a part, and since events in any part of the system are organically bound up with events in any other part, knowledge of one part can always be gained by observation of another, provided the correct symbolic interpretations are understood. Neiher do we mean to suggest that the extra-Saturnian planets are outside this system, for that is a manifest impossibility. Any event, from the movement of a planet to the flight of a bird or the fall of a card can, correctly interpreted, give information about any other event. That is the basis of all divination. Our concern here, however, is not with divination, but with the heptad of principles symbolised in the deepest sense by the seven planets for us in this phase of existence; although the seven principles are themselves universal and affect all material existence far beyond our solar system and beyond the plane of physical matter. They are, in fact, seven "rays" (using the image in a strictly figurative sense) which run throughout the universe from the highest point to the lowest, affecting every creature and phenomenon on every level of existence. At the head of the rays, far "above" the physical plane, stand the seven "planetary" Geniae [Janyati]. amd at their "lowest" point, far "below" the physical plane stand the seven daughters of Eresh-Kigal [Irkalla] who represent the extreme perversion of each of the principles. At every level between these two extreme points, each ray has both a beneficent and a maleficent aspect. We will now proceed to a brief examination of each of the principles, treating particularly their deeper significance in the spiritual pattern of the universe. Each ray is named after the Genia [Janya] governing it. [astronomical symbol of sun] Sun; ray of Theia [Raya]: The sun is, of course, the primary celestial symbol of the Mother, as well as representing pure Essence. The correspondence is a natural one since She is the Creator of the Essential world, and it is only through our turning from Her that we have descended into material existence. The name of the Genia [Janya] also expresses the connection with the Mother. In one sense this is the highest of the principles, but it can never manifest its full potential in any part of the material universe, since Essence cannot exist without Materia; and since the rays do not exist in the same form outside [?] the material universe. This principle always remains a secondary or potential state. In the same way the Mother can never be realised fully while the soul remains in imperfection, for "They can no longer look upon My brightness" (Mythos III, 5) – another obvious correspondence with the symbol of the sun. Because of its pre-lapsarian nature, this principle also governs the "Golden Age" of the western tradition (the symbolic metal of the ray is gold), or the Hindu Devpara Yuga. This is called "the time before the Fall", but refers not to the Cosmic Fall itself, but rather to a lesser fall within the span of the preent humanity. The Golden Age refers to the first and longest phase of the present cycle, of some 20,000 years, when human life was fully attuned to its inner principles, and therefore perfect of it skind. The Golden Age also refers to various lesser periods corresponding to "cycles within cycles". In any cycle, major or minor, the four ages correspond to each other in the ratio 6:3:2:1 so that the first age is four times as long as the last. The units in each case are cycles, so that each cycle is made of ten smaller cycles. The perfect attunement of the Golden Age is also the highest aim of life, and this is poetically expressed in the traditional dictum that the true work of an alchemist is "to separate the Philosophical Gold fromthe Black Dragon of Matter." The symbol of the sun also represents this achievement. In operation, the Theia [Raya] ray is the harmonious, expansive, perfectionist principle, it reflects the virtue of Light or energy as defined in The Crystal Tablet and is also associated with the virtue of generosity. [astronomical symbol of the moon] Moon; ray of Phoebe [Candrë]: the moon is the primary celestial symbol of the Daughter, Who in every sense is the Reconciler of Heaven and Earth. As perfect Maid, She stands between Essence and Materia at every level – that is to say, not only between the two principles in their strict philosophical sense, but also between the inward nature of everything and its outward manifestation: "I am between the ripple and the water; I am between the dancer and the dance; I am between the breathing and the breath; between the lightest word of greeting and the thought from which it flows." (Teachings of the Daughter) This is the highest principle in manifestation, and its symbolic colour, violet, is the highest colour of the spectrum. Its virtue, purity, or cimplicity, is said to contain all the other virtues. It governs the Silver Age, or Tetra Yuga. Astronomically, the moon is earth's satellite, but she does not orbit the earth in the manner of a satellite to its gravitational centre. The earth's pull on the moon is secondary to that of the sun, which is the common centre of attraction for both. This symbolises the position of psyche, divided between the pull of Spirit (sun) and matter (earth), and the continual chioce which is the defining characteristic of Maid. From the perspective of the present earth plane, the Phoebe [Candrë] Ray is particularly connected with the astral and other immediately super-physical spheres and the sphere of the moon is traditionally called "the first heaven". The ray governs contemplation and spiritual development. On a lower level, it governs divination and psychic faculties of all kinds. [astronomical symbol of Venus] Venus; Ray of Tethys [Sushuri]: This is the first of the principles which incorporates Materia, and is therefore fully manifest at every level. The first two rays, and particularly that of Phoebe [Candrë], while certainly present at every level, are never fully "naturalised" in the material world, and are constantly drawing all within their sphere of influence "upwards" and beyond it. The Tethys Ray exists as the life-principle throughout all nature, but, symbolising Spirit dominant over matterm it maintains right relations wherever its influence predominates. In all things, matter serves the spiritual Reality which is its source and essence. Since Essence is the female pole and Materia the male, this is symbolised in a society by a matriarchal order; and the symbol of Venus is traditionally taken as the feminine symbol. The virtue of this ray is love. At the highest level, this is the cosmic love defined in the Crystal Tablet. Love is the natural result of the Spirit-centred life: ...the greatest love is the love of the Goddess, and from this love all other loves flow." (C.T., 49). [modified astronomical symbol Mars, followed by standard symbol in brackets] Mars; Ray of Niké [Vikhë]: This symbol is the reverse of the Venus symbol, or rather, as close to an inversion of it as is possible, for, just as Materia cannot have independent existence, neither can matter fully dominate Spirit. For this reason, the cross (or arrow in some later forms) is placed at an angle of 45 degrees, rather than directly above the circle. In social terms, the inversion of right relations implied by this symbol is represented by a patriarchal order; and due to its inherent spiritual tendency, as well as to the magical vibrations set up by the invocatory symbols** of a male-dominated society, such as order is bound to lead by degrees to a materialistic state in which all spiritual truth is lost, and only matter (and eventually only the physical portion of that) is accepted as "real". Just as the Spirit-centred life leads naturally to love, so the matter centred life leads naturally to disharmony, conflict and strife, which are governed by this ray. It is the lowest of the principles, and its symbolic colour, red, is the lowest of the spectrum. Nevertheless it has its beneficent aspect, and the virtue of courage, which it governs, is necessary at every level of manifest existence. Mars governs the first Iron Age, of which we are now approaching the end in our present sub-cycle. This is the war-torn and materialistic Kali Yuga. There is a strong correspondence between Kali and certain phases of the Niké [Vikhë] Ray, since both represent the necessary destructive principle in manifestation; although Niké herself is a far more positive figure. The penultimate Bronze Age (Satya Yuga) is governed predominantly by Tethys [Sushuri], but also by Themis [Thamë], bronze being an alloy of copper and tin. [crescent over cross, followed by astronomical symbol of Jupiter in brackets] Jupiter; Ray of Themis [Thamë]: In its highest aspect, this principle symbolises the governance of the Daughter over the material world. The name Themis means "order", and the meaning of this is the divine harmony which pervades the universe in its perfect state. Themis is said to be the sister of Tethys [Sushuri]. Both manifest the third virtue of the Crystal Tablet, but whereas Tethys manifests Love in the most usual usage of the word, Themis manifests Love in the sense of harmony or order: "It is Love that holds the stars within their courses ... truly all the cycles of the times and the seasons; all the rhythms of the soul and of the mind and of the body: truly all these flow from the love of our Lady the Maid, that creation may not decompose, each several member flying away into black eternal chaos" (C.T. 34–5). If the full implication of Maid's choice at the Fall had been realised, then cut off from the creative principle of the Mother, cosmos would degenerate into mere formless chaos. This degenerative impulse is represented by the Snake (Cf. Creation II, 2 and 13). But the impulse was checked by the Goddess (II, 15–16), and a new order was established, enabling Maid to continue in existence in a lower sphere – ie the material universe. This new order is symbolised by the appearance of the rainbow, whose seven colours represent the seven principles. The principle of true order has so far been lost in Kali Yuga, that there is no word which adequately expresses it in any modern language. The Sanskrit term Dharma carries the correct sense, althought it has been mistranslated by western scholars and western-educated eastern ones alike. Themis [Thamë], used as an abstract noun is symbolically correct, though its full meaning must be gained through contemplation as well as explanation. Themis governs the customs, activities and the entire Active Life of a spiritually normal community, although to equate it with "law" in the profane sense, or even with morality, is completely to misunderstand it. On a lower level, the principle represents the dominance of the human soul over her material surroundings, and therefore success in enterprises of every sort. The two levels are connected, since ultimate success can only come from acting in accordance with the principle of themis [thamë]. [cross over crescent, followed by astronomical sign of Saturn in brackets] Saturn; Ray of Rhea [Rhavë]: The symbol implies the domination of the human soul by matter, and in its lower manifestations, this principle is often connected with restriction and frustrations of all kinds, it is a limiting influence manifesting inertia. On the other hand, it has positive effects in the sphere of stability and security. Law in the profane sense is governed by Rhea rather than Themis [Thamë]. However, the principle also has a far higher significance, indicated by its virtue, humility. This virtue is second only to the purity of the lunar principle, and is bound up with the mystery of sacrifice. The invocation to Rhea [Rhavë] in the Rite of Offering contains the following words "Pour into the chalice of this soul the virtue of humility ... for it is written that she who would find herself must first lose herself. Madria Rhea, lead this soul into the mystic heart of humility. In the Triad and Tetrad division of the planets, just as sun and moon are attributed to Mother and Daughter respectively, so Saturn is attributed to Absolute Deity, the Dark Mother. Saturn is the inverse of Jupiter, and in a certain sense represents the chaos or degenerative principle which is the reverse of themis [thamë]. But whatever exists on the lowest level applies by inverse analogy to the highest also. In her profoundest esoteric sense, Rhea [Rhavë] represents the mysterious Divine Principle of which the Snake is the maleficent parody. [astronomical sign of Mercury] Mercury; Ray of Metis [Mati]: This ray is pure Intellect. Intelligence also has its virtue, although it is usually called wisdom in deference to the complete misinterpretation which has been almost universally applied to the concept of intelligence in Kali Yuga. Intellect should not be confused with reason. The latter is a material function possessed ina certain degree by all animals, though more highly developed in maid. Intellect is a Divine function which comes "down" from Spirit rather than "up" from matter. Reason is based ont he distinction between subject and object, but the realisation of pure Intellect dissolves all barriers between the "knower" and the "known". The truths of Intellect can never be expressed in words, the formulas which attempt to express them are merely "supports" designed to assist each maid toward her own intellectual "realisation" which is the only means of knowledge. It goes without saying that Intellect is wholly inaccessible to materialistic logic, "science" or "common sense", and that the modern world is quite literally without intelligence, at least in its pure form. Sacred (or metaphysical) science and profane (or physical) sceince are like inverse images of one another. Rational theory is common to both, but the latter is wholly "downward"-directed, toward matter, basing its theories upon physical phenomena, checking them by physical experiments, and "consummating" them by application to physical technology. Sacred science, on the other hand, is based upon, and constantly referred back to the spiritual realisation of, pure Intellect, and its end or consummation is in spiritual progress. Neither one is in a position to contradict the other, since the refer to different orders of reality; but in terms of value-judgement, it is obvious that the higher may assess the lower, but not vice versa. The complete unity of the soul with Reality – the "knower" with the "known" – is symbolised in the combination of all three elements, Heaven, Earth and Maid in one symbol. Maid takes the topmost position since, from the human perspective, it is she who is the "subject" of the realisation – though, like all rational formulations, this is obviously inadequate, since the subject-object relation has in reality dissolved. This principle gives the key to the true meaning of esoteric doctrine. It is not that certain truths are "kept secret" as a matter of policy, but that until a particular soul has reached a certain level of intellectual development, she will not be able to "realise" the truths within herself, and the mere words will be worthless to her, even if they do not lead to harmful misinterpretations. At lower levels, Metis [Mati] governs the communicative principle in all its forms. The Geniae We must now consider briefly the Geniae [Janyati] which govern the seven principles. THe outward forms given here are charged with a powerful symbolism, although the Geniae may appear in visions under different forms. When we speak of, for example, the daughter of a Genia [Janya], we are not, of course, referring to a physical relationship, but to a Genia or other entity operating "below" her in the same sphere. Nevertheless, the image is not merely figurative, but symbolises the ineffable equivalent of a personal relationship as it exists in those who transcend the limits of personality. We will take them in their spectral order. Niké [Vikhë]: Usually seen as a warrior in a metal breastplate and short robe. Her head is wreathed with laurel and she has wings of an extremely wide span. She holds a sword, sometimes flaming. Traditionally she leads the forces of light in battle against the forces of darkness. Theia [Raya]: A mature maid of majestic appearance, surrounded by a golden radiance; often riding upon a lion or drawn in a golden chariot by lions. Sometimes winged, sometimes not, she breathes a spirit of joy and abundance. Metis [Mati]: Takes on many forms, but is often robed in yellow and seated cross-legged with palms facing outward in an attitude of Intellectual realisation and unbroken repose, like eastern representations of Tara. But at other times she becomes Nimwë, the enchantress and trickster. Her spirit animates the Ranya*** and all her unpredictable acts are made to lead the pupil to her own realisation; but theose who trust mere reason she leads in endless circles through the labyrinth of illusion until they shall see the folly of their ways. For matter is illusion and only the "single eye" of Intellect may penetrate it. Her principle daughter is Pallas Athene, the Genia [Janya] of wisdom and knowledge – in true science, based upn eternal Principles rather than on the contingent "facts" of the material realm. Tethys [Sushuri]: dressed in flowing robes, sometimes, though not always, green, often standing upon the waves or surrounded by sea. She is never winged, but is of overwhelming beauty. Her name means "disposer" or "orderer" [?]**** – a title of the Mother as Creatrix, and essentially, she is said to reflect Her creative activity upon the material plane. She is the sister of Themis [Thamë]. Themis [Thamë]: The allegorical figure of "justice" is a corruption of the image of Themis, and sometimes she does hold a pair of scales, but more usually a lyre or other musical instrument, symbolising harmony. Grace and rhythm are her keynotes, rather than severity. The element of balance enters through the strict measure that is required to maintain the precision of music or dance. All her actions, al her movements are in perfect proportion. She is the embodiment of "The universal music of Eternity". She is usually winged and often robed in blue. Her principal daughter is Moira [Werdë], Genia [Janya] of personal fate. Rhea [Rhavë]: may appear as an old woman carrying a scythe, or else as the Earth Mother, bearing a wooden staff, and surrounded by the half-light of deep forest. In each case she is a profoundly mysterious figure surrounded by an air of tremendous ancientness, stretching back beyond the very dawn of time. In both forms also, she is an awe-inspiring figure, but in the first there is also a deep but nameless feeling of dread associated with the vision. Phoebe [Candrë]: a priestess veiled and robed in violet and/or silvery white. She is of a semi-ethereal appearance, and very youthful, often appearing as a child-priestess like those of certain matriarchal societies. She may also appear as Artemis, Our Lady of the Wild Things, sometimes accompanied by a fawn. In each case she is surrounded by a spirit of wildness in the sense of absolute purity and simpliity "Let your souls be simple as the running deer, My children, and your hearts as little children filled with wonder" (Teachings). Her purity leads beyond the boundaries of the world. Ritual Correspondences The following tables give various forms which correspond symbolically to the seven principles, and which may therefore be used and/or visualised in ritual invocation and meditation in order to attune oneself to the appropriate ray and to set up a sympathetic vibration which will attract its influence: Table 1 Planet, Genia [Janya], colour, metal, keynote, tonic scale, Virtue Mars, Niké [Vikhë], red, iron, E, Me, courage Sun, Theia [Raya], orange, gold, C, Do, generosity Mercury, Metis [Mati], yellow, mercury, F, Fa, wisdom Venus, Tethys [Sushuri], green, copper, A, La, love Jupiter, Themis [Thamë], blue, tin, G, So, faith Saturn, Rhea [Rhavë], indigo, lead, B, Te, humility Moon, Phoebe [Candrë], violet, silver, D, Re, purity Table 2 Planet, gem, tree, creature, incense Mars, ruby, holly, wolf, benzoin, aloes, sulphur, tobacco Sun, diamond, birch, lion, saffron, myrrh, cloves, cinnamon Mercury, opal, hazel, ewe, mastic, mace, storax, nutmeg Venus, emerald, apple, dove, rose, amber, patchouli, sandlewood Jupiter, sapphire, oak, eagle, balm, nutmeg, cloves, cinnamon Saturn, onyx, alder, crow, civet, musk, aloes, brimstone Moon, crystal, willow, deer, frankincense, white sandlewood, jasmine, copal, eucalyptus *In the Hindu tradition, which is closely related to matriarchal root-philosophies which preceded it, the two poles are called Purusha and Prakriti. **The actions and customs of a social order are, of course, deeply symbolic, and their cumulative ritual force is effective, even if it is not intentional. ***A Ranya is one who has attained Intellectual realisation and guides her pupils to the same achievement. Other paths than that of pure Intellect also have their Ranyas. ****Cognate with Greek τιθέναι 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 Planetary Principles Subject The topic of the resource Janyati Description An account of the resource A detailed accounting of the metaphysical principles of janyatology, as well as of the nature, symbolism, and correspondences of the seven great Janyati. 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 decline of the ages intellect janyatology metaphysics Sai Candrë Sai Mati Sai Nimwë Sai Raya Sai Rhavë Sai Sushuri Sai Thamë Sai Vikhë Sai Werdë https://filianicstudies.org/cms/files/original/c55aab512c526402a1c2ddb7d30091d4.pdf 0c21454d66502a9eeb89fc04f2e59e38 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 Rosa Madriana Description An account of the resource Materials produced and/or used by Madria Olga and Rosa Madriana. Creator An entity primarily responsible for making the resource Rosa Madriana Publisher An entity responsible for making the resource available Rosa Madriana Date A point or period of time associated with an event in the lifecycle of the resource c. 1999 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-lead, 1 sheet 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 Procedure for Devotions Description An account of the resource Madria Olga's handwritten instructions for personal prayer. Creator An entity primarily responsible for making the resource Madria Olga Contributor An entity responsible for making contributions to the resource Donated by Joey III, a former correspondent of Madria Olga. Format The file format, physical medium, or dimensions of the resource loose-leaf, one sheet Language A language of the resource English Type The nature or genre of the resource Text https://filianicstudies.org/cms/files/original/1c0a08016a1921d83fd1ed887a5fe8af.pdf 1c105ffd860e7d0bc3edf69db28401ff 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 Saddle-stitched booklet, 33pp., typewritten. 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 Rite of Sacrifice Subject The topic of the resource Liturgy Description An account of the resource The 1977 edition of Lux Madriana's Rite of Sacrifice booklet, containing full text of the Rite with accompanying instructions and commentary, as well as appendices on domestic ritual and shrine construction. Creator An entity primarily responsible for making the resource Lux Madriana Source A related resource from which the described resource is derived Private collection of Sister Sophia Ruth, donated to her by Chrysothemis. Publisher An entity responsible for making the resource available Lux Madriana Date A point or period of time associated with an event in the lifecycle of the resource 1977 Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English Type The nature or genre of the resource Text https://filianicstudies.org/cms/files/original/d5913a294c5c6e570aff732bee9bad68.pdf 7ec1549d173bbce3106e7ce787747c0e 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 (26pp.) Text Any textual data included in the document [In Mr David Kay's handwriting]. The Road to the Future (The closing address, given by Sister Angelina, at the conference entitled "The Re-Emergence of the Goddess at Kensington, [London, Britain] Maia [April 18th - May 15th] 5080 [1979]) This conference has been very much like a kaleidoscope. In a kaleidoscope, many bright fragments of different sizes, shapes and colours come together to form a beautiful and harmonious whole. And this conference, too, has been a phantasmagoria of many different experiences, both artistic and intellectual, covering several different traditions, viewpoints, arts and crafts. But the things in the kaleidoscope would be nothing more than a meaningless jumble if it were not for the mirror (or more exactly, the arrangement of three mirrors) which impress symmetry, order and harmony upon what would otherwise be a mere meaningless chaos. At this conference, the unifying Principle has been the Goddess Herself; She Who is Three in One and One in Threes, and Who wrought order out of chaos at the dawn of time. And from the dawn of time, seven divine Principles have flowed from the heart of the Goddess, like seven streams, from the one fountain; on earth they are reflected in the seven colours of the rainbow, the seven sacred planets, the seven ancient metals, the seven notes of the musical scale and a hundred other sacred sevens. And one of those Principles is Order. In Madrian tradition we call her by the name of Themis. The seasons come and pass in their appointed rhythm; and for those who can see beyond the outward show, a sacred dance is being performed, a ritual drama enacted before our eyes. Each flower, each tree, each snowflake and each crystal develops in perfect accordance with a divine pattern so intricate and is perfect that it is at once more beautiful than any work of art and more complex than the American space programme. And it is this same law, this same pattern, this same themis, to which in any normal society, all the activities of maid are attuned (and maid, of course, embraces man). All of her arts, all her crafts, the way she builds her house, the way she tills the soil, the way she weaves her clothes: none of these things is done haphazardly or at random, any more than a crystal is formed at random. Neither is it done simply in the quickest, cheapest or most efficient way, as it is in an abnormal society like our own. It is done according to a ritual pattern laid down from time immemorial. Why is this so? I think those present who have some understanding of the principles of magic (I think they are a majority) will readily understand why. For they will know that a properly conducted ritual is not simply a game, but something that has a very defina[i]te effect. Imagine, then, the force of a ritual performed not just by a handful of people in a room or a forest for an hour or so, perhaps once in a month; but performed by an entire society for most of the waking life of all its members, over a period of thousands upon thousands of years. And remember that when we speak of a society here, we are not referring to a town or a village, or even to a country, but to the whole world, for the religion of the Goddess was the faith of every part of the globe up until a few thousand years ago. And what was the purpose of this ritual? It was not, for the most part, to attain any material goal, but to bind every soul to She Who has created her; to God Herself. Beyond that its purpose was the same as the rhythm of the seasons, and every natural pattern: to show forth the divine drama; to unite every creature in the dance of the love of the Goddess. For love and harmony and order are one. I would like to read you some words from the book of the Crystal Tablet:* [33] " It is Love that holds the drop of dew penda[e]nt upon a blade of grass, neither flowing forth in watery profusion, but swelling within the unseen urn of its brief harmony. [34] " It is Love that holds the stars within their courses, and all the worlds of the immeasurable cosmos within the harmony of the celestial music. [35] " Truly, all the cycles of the times and the seasons; all the rhythms of the soul and of the mind and of the body: truly, all these flow from the love of our Lady, the Maid, that creation may not decompose, each several member flying away into black eternal chaos." It has been said that the function of a conference is not so much to answer questions as to ask them. And one question before all others has implicitly been asked by the whole of this conference. Not only by the things that have been said and done, but by the very fact that it has taken place at all. That question, put in its simplest form, is: where are we going? Where lies the road to the future? For this conference is more than just an isolated event; it is a symptom. It is a symptom of a very real change that is taking place in the thinking and feeling of many of the most sensitive people in our time; a symptom of a subtle but very defina[i]te shift in the spiritual aethyr which surrounds and interpenetrates our physical world. A conference of adult maids and men meeting together in the fourth quarter of the twentieth century to discuss the Goddess. Of course, it happened last year in California, but then California is California. Anything can happen in California. But in Kensington? [London, Britain] Ten years ago it would have been impossible. Five years ago it would have been wildly improbable. Today it has happened. In its way it is a landmark, and it is defina[i]tely part of a pattern. I would like to relate a few incidents which make clear the nature of that pattern. A little over three years ago, I was part of a group of traditional Madrians living partly near Oxford and partly around the Kentish Coast. The members of this group were thinking and talking about taking the unprecedented step of bringing their religion out into the open, and giving those who had not been brought up in traditional Madrian homes the opportunity of becoming a part of the religion of the Goddess. It is difficult to appreciate what a tremendous step this was if you have never experienced the life of the traditional Madrian community. The beliefs and customs of the faith have been passed down from mother to children for centuries in the strictest secrecy. The whole life of the community is governed by traditional ritual and custom. To do anything which breaks with tradition is something almost unheard of. Now please don't misunderstand me; I am not criticising this attitude in the smallest degree. I know only too well that the value and power of tradition is something infinitely deeper and more mysterious then the profane world can possibly understand. But we believed not only that this was not so much a break with tradition as a return to a deeper and more ancient tradition. After all, the religion of the Goddess has not always been secret by any means. For most of the history of the human race it has been not only open, but the universal religion of the whole world. Also, we believed that what we were doing was in accordance with a new pattern which was about to emerge in the course of human history. That is why we called our magazine The Coming Age. In fact, subsequent events only too neatly served to confirm the pattern. Traditional Madrians have very little contact with the mass-media, so I don't think any of us at that time were aware that a book by Elizabeth Gould Davis entitled The First Sex was sweeping through the women's liberation movement in America and creating radical changes in the thinking of many maids and men who had not previously thought of themselves as feminists. Or that the paperback edition was already beginning to make an impact in this country. [Penguin Books, London UK (1973)]. This book marshal[l]s a vast array of evidence, arch[a]eological, anthropological and historical, to establish three facts beyond reasonable doubt: firstly that human civilisation, in the form of civilised and cultured communities had been in existence for tens of thousands of years before the rise of the patriarchal cultures of the last four or five millen[n]ia; secondly, that these older civilisations were matriarchal - that maids were the heads of households and priestess - queens, rather than warrior kings, the heads of state; thirdly, that almost without exception, all these matriarchal civilisations, in China, in Europe, in the Middle East, in India, in the Americas, worshipped a supreme God, and that She was invariably depicted as female. Of course, this was very far from being new. Apart from Madrian traditions, people had been saying this for over a century, from J. J. Bachofen to Robert Graves (in fact Elizabeth was a close friend of Robert Graves). And the information has always been there in the ancient writers, such as Herodotus, for those who cared to read it. She certainly added some more up-to-date evidence to clinch the case - such as the findings of the Catal Huyuk excavation of the early sixties. But the real importance of the [book] was its impact. For years the facts about matriarchy had been told, but nobody had listened. Now it seemed that they were emerging from the category of forgotten facts, known by the few and ignored by the many. Matriarchy was an idea whose time was coming. In the next few years, of course, we witnessed a tremendous upsurge of interest in matriarchy and the religion of the Goddess. A number of books were published and organisations founded within a short time of each other, all of which were the result of long thought and preparation. To a large extent, this conference is a result of those years of activity. The fascinating thing is that for several years a number of different people, with no contact between them, were all working and thinking along the same lines at the same time. It is beyond the bounds of coincidence. Something important was happening. After centuries of suppression, the world's first religion was preparing to break in again upon the consciousness of the world. I am not saying that everyone involved in this large and rather amorphous movement was aware of what was going on. Probably not. But the movement was far greater than the sum total of individuals who made it up. We are living in one of those rare moments in history when Eternity touches time, and where the seeds of deep and mysterious changes take route [root] in the soil of human destiny. The essence of these changes was neatly summed up by the writer and journalist Stewart Farrar: *2 "...the readmission of the Goddess to Her proper place in the minds of men and women is probably the most significant relig[i]ous development of modern times. I will risk a prophecy, because I profoundly believe that it will prove to be true: that over the coming centuries (or even decades), it will be at Her shrines, increasingly and predominantly, that the mass of humanity will worship." If this [this] is true, why is it true? I think the answer takes us back to the question of themis, order or harmony. I don't think anyone can be unaware today that man (and I use the word advisedly) is flouting the laws of nature to a degree which puts the entire future of the human race in doubt. Natural resources are wantonly wasted; the environment is polluted; nightmarish weapons are created. On a more subtle but no less important leva[e]l, the spiritual environment is being equally polluted. Polluted by making the majority of people do work which has no spiritual meaning, unlike the traditional crafts. By undermining the faith in spiritual and supernatural realities by a shallow and vulgar materialistic pseudo-philosophy incalculated compulsorily by the education system and semi-compulsorily by the mass-media. A friend of mine is an avid reader of children's comics. One of the current stories, set a few decades in the future, depicts a time when there are no more trees or grass, when the parks are stocked with plastic replicas of plants. Where the entire landscape is nothing more than an endless concrete ant-heap broken by a few pseudo-parks. The vision is a horrifying one; but one has only to pause for a moment to see it is no more horrifying, and probably rather less so, than our own cities - and, indeed our industrialised agriculture - would seem to a visitor from a natural society. In that world the people revolt; and in this world too the first signs of revolt are manifesting themselves. On the physical level through ecological, self-sufficiency and similar movements. On the spiritual level by a widespread movement toward exploring spiritual realities. I do not think the return to the Goddess is a part of this movement, I think it is the very heart of it. Everything that is wrong with this world springs from a rupture in the divine order, in the natural themis of human life. And that rupture is not new; it started a very long time ago. It started when the first warrior king usurped the throne of the first priestess-queen, and when the worship of the female God of love and harmony was overthrown by the idolatry of the male god of wrath and war. The real disease of the modern world is not physical but spiritual, as Theodore Koszak has put it: "What, after all, is the ecological crisis which now captures so much belated attention but the inevitable extro[a]version of a blighted p[s]yche? Like inside, like outside. In the eleventh hour, the very physical environment suddenly looms up before us as the outward mirror of our inner condition, for many the first discerna[i]ble symptom of advanced disease within." *3 If we want to cure the disease, we cannot simply concentrate upon the external symptoms, we must get down to the spiritual roots. The fundamental problem is disorder. Matriarchy used to be called chrysothemis: "the golden order", because the Goddess, as we have seen, is the very principle of order, and the order of society which She has ordained is necessarily the perfect order. When we look at the world without the Goddess we see chaos. Because to look at the world without the Goddess is like looking through a kaleidoscope without the mirrors. We see a jumble of physical facts which have neither beauty nor transcenda[e]nt meaning. This is the materialist view of the world, and it cannot do anything except produce a world which lacks beauty and meaning. It has to produce ugly cities and despoil nature because it cannot understand beauty. It has to create spiritually useless work, because it does not know the spiritual meaning of the world. All it can see is a chaotic jumble of physical "things", and all it can ask is "how can we get as much out of them as possible". Even the animals are treated as "things". We all know about the way hens and calves are treated on factory farms. I won't go into the sort of torture they practice in vivisection laboratories, because we have just eaten. This sort of thing is inevitable, and it will get worse, so long as society continues to turn its back on the Goddess. Everything that is good, everything that is humane, everything that is beautiful in the modern world is what we call a legacy; a fund of spiritual capital left over from the time when the whole world worshipped the Goddess. And that capital is running out rapidly. There is only one possible solution, and that is to turn back to the Source, the single Fountainhead of grace, Who is the Goddess. If we do not do that, then all the ecological, political and other measures taken to ease the situation will be like so much straw stuffed into the cracks in a bursting dam. Every action and every thought is a ritual. And when we see matter without Spirit, the world without the Goddess, the fragments without their unifying Principle; and when we act out this vision as if it were true, which is what the whole of modern society is all about; then things really start becoming disconnected fragments; the world starts to fall apart, both the outer world of the environment, and the inner world of our own souls. The ancient arts and crafts and all the ancient wisdom was a sort of white magic devoted to unifying the world with God and with itself. Modern industry and all the false teachings of modern materialism are a sort of black magic, which has the effect of breaking up and fragmenting the world. I have said that the spiritual capital which we have borrowed from our matriarchal past is rapidly running out. One very good example of this concerns Tibet. Tibet was perhaps the last country of any size upon this earth whose whole way of life was based around spiritual principles. This was largely due to the fact that although on the surface she had been patriarchalised, she retained to a very large extent her matriarchal heritage. The Goddess, under the name of Tara, was the most powerful religious influence in the country. To quote from Dr. Beyar's The Cult of Tara: *4 "Tara is the principle superhuman being in Tibet who might be called divine without further qualification. She is prayed to by millions. Her help in adversity is divine. "...It does not help much to search for "causes" to explain this trust in Tara and her eternity... She was real, she was divine. Tara was, had always been, and still is the almighty support of her devotees who address her. In fact she is mightier than Buddhas and Bodhisattvas... To understand something of her cult is to understand something of the mainstay of Tibetan culture." In the country regions of Tibet, a more or less matriarchal structure existed right up until the turn of the century. Savage Landor, who travelled there reported that: "The Tibetan woman is far superior to the man, never shy; while the men ran away or hid from foreigners, the women always received them with dignity, speaking fluently."*5 "In that country, the women are the mistress of the house, the men live in dependency upon them, show them great respect, and treat them with such affection and submissiveness that nothing is undertaken without their consent." *6 As well as a general level of spiritual advancement unparalleled by any other nation in this century, Tibet was also renowned for her respect for nature and compassion toward the animal realm. Of course, the ancient priestess - queens had not reigned for many years and a male dominated Buddhism was the official religion. Very slowly, a decadence was [was] setting in deeper and deeper. But still the ritual power of that country and its way of life was a profound force for good in the world; helping to hold at bay the forces of the final disintegration. Now that country has been ravaged and its traditions demolished by the military force of a China enflamed by Western materialist ideology. We should not be surprised at this, for all traditional teaching, in contradiction to the modern creed of "progress", teaches that each succeeding age within the historical cycle will be darker than the one before it. At the beginning of the last and darkest age, Kali Yuga, or the Age of Iron, which began some 5,000 years ago, first matriarchy was slowly undermined, and the religion of the Goddess corrupted by alien cults and practices, then the ancient faith was supplanted by new invented cults. Each of these new religions contained something of the ancient truth, but slowly, as the age progressed, that truth became more and more diluted and corrupted. New cults sprang up as old ones decayed, each containing less of the truth to begin with and succumbing more quickly to corruption. Now we stand at the end of the age, when ignorance, or blindness to spiritual Reality reaches its point of greatest extension, and when Truth is at its lowest ebb. Yet when the dark age ends, it must be followed by a new Golden Age - a renewal of the chrysothemis, the Golden Order; and the seeds of this new order must already be present in the final stages of the dark age. Whenever I am asked what is the difference between a world ordered in harmony and one which has broken away from it - I mean the really practical difference, I always have to go back to the traditional Madrian communities for an illustration. Of course, these communities cannot be anything like the Golden Order, for this is the Iron Age, but they certainly do give a picture of the difference between a people who see the kaleidoscope with the mirror and a people who see it without. And in many ways the difference is even greater than one might have thought. Many people in the modern world find Madrian ideas and doctrines very difficult to understand until they have become used to them. For their part, the members of traditional Madrian communities find the modern world almost impossible to understand. And when they do get to the bottom of a modern way of looking at something, the answer is often more puzzling than the question. Having explained a modern notion, the answer often comes in the form: "I see... really... well, I wonder whatever possesses then to think [think] that." The difference is, of course, that the modern world sees things - anything, from grass to carpentry, from seals to stars, from myths to maths, in terms of physical facts, while the traditional view sees them in terms of the spiritual cause which underlies them. We may use an image to understand this. Imagine a big, old-fashioned cartwheel. The hub represents Spirit, from which all the manifest universe pours fo[u]rth. The spokes shine forth from the hub like rays from the sun. The spokes may be taken to represent either all the different souls, or all the different things in the world. The rim of the cartwheel is the physical plane where your particular spoke touches the rim that is your body, where your particular spoke touches the hub, that is your Spirit or the Spirit. We can say either, because it is the point where "you" stop being an individual sepe[a[rate ego, and become one with the essence of all things , it is the state of oneness achieved by the heras or saints: subjectively, it can be called enlightenment; objectively, it can be called the Absolute. Both are true, because it is both subjective and objective simultaneously. It is at once the top of your individual spoke, and the centre of the wheel. It is described by Yeats: There all the barrel-hoops are knit, There all the serpent-tails are bit, There all the figures converge in one, There all the planets drop in the sun. *7 Most of us, of course, is neither body nor spirit, but soul. And we exist at once, at least potentially, on countless intermediate leva[e]ls of being between matter and spirit. You will notice by the way, that the hub is often compared to the sun. That is because the sun symbolises the Mother, Who is pure Spirit; while the moon symbolises the Daughter, who is perfect Soul, and who has broken away from the hub in order to lead us back to it. As the original doctrine became corrupted, this was misunderstood, and the Goddess was thought of as being either the moon only (as in the Graeco-Roman west), or the Sun only (as in Japan). To return to our wheel. If the spokes are considered as "things" rather than souls, the point at which the spoke touches the hub [is] the point at which a "thing" is emanated fro[m] the Goddess as a divine Idea. The point at which the spoke touches the rim is the point at which the Idea crystallises in physical matter to form a physical object. The real essence or inner nature of the soul lies in the physical body. And like the soul, the "thing" is manifested at countless different leva[e]ls between matter and Spirit. That is why traditional peoples say that the symbolic nature of a thing is more real than its physical nature. The symbolic nature is manifested at every leva[e]l, right the way up to the hub, while the physical object only exists only at the rim. The rose, as a physical flower, exists only in the physical world, but the complex and uniquely beautiful expression of love, and of union with God the Mother, which is the inner essence of rose-ness exists at every leva[e]l of being. It exists at leva[e]ls where the experiences of redness, softness, sharpness and perfume have no meaning, but each of these qualities will have its precise equivalent, and those equivalents will be gathered together to represent at that leva[e]l the unique and universal archetype of the rose. [Full article: Symbolism: The Wheel and the Chariot, page 18, 19, 20, issue 11 The Coming Age]. Now the historical decline, from the beginning of the Golden Age to the end of the Iron Age, may be seen as a centrifugal movement from the hub of the wheel out towards the rim. Of course, we can never quite reach the rim, for if we did, we would not see things and people at all, we would see nothing but sheer undifferentiated matter. In a sense, modern science is pushing toward this final goal when it seeks to explain everything in terms of pure quality, ignoring all their qualitative aspects, and to reduce everything to numbers. So is modern industry when it treats all people as mere numerical units, interchangeable button-pushers. In fact everything that is specifically modern is a sort of black alchemy, seeking to transmute all the remaining gold which we have inherited from our matriarchal past into iron, so that we may reach the iron hoop at the rim of the wheel. But we can never quite reach it. Or rather, we can only touch it for one brief instant of total and absolute chaos, the momentary hiatus in which the wheel stops turning, before it reverses direction, and the Golden Age is restored. Chaos is the precise word to describe this moment, for the hub, being perfect unity, is also perfect harmony, while the rim, being the point where the spokes reach their greatest separation, is absolute discord. Similarly, the axle-point at the centre of the wheel remains still. This is absolute Deity, beyond all manifestation, the Dark Mother. The hub revolves slowly, throwing out her rays into manifestation. The spokes move more and more rapidly as they approach the rim, corresponding to the acceleration of the historical cycle as it reaches its end-point, the ever more rapid rise and fall of empires, ideas and religions, and finally the frenetic "pace of life" of the modern world, its passion for speed and change above all things. And the acceleration itself accelerates, for as the speed increases, the centrifugal pull becomes stronger. [The following is published in one page on page 15, issue 11 The Coming Age]. Now, the whole difference between the traditional and the modern way of thinking is that the traditional order or themis looks toward the centre for the meaning of all things, while the modern mentality has been conditioned to look towards the rim. And this affects everything that each of them says, does and thinks. I say the modern mind has been conditioned, because it is not natural to look toward matter for explanations of things. When a child asks why there is a moon, she is not really satisfied with an explanation of what the moon is, in terms of physical matter. But if she goes on asking why, she will be met with something like "it just is, that's all. There isn't any why." Now to answer the child's question what, or why, is the moon, by saying that it is a piece of rock floating in space, is a bit like answering the question "why do you look so sad", by going into a long rigmarole about the chemicals in your brain and electrical impulses and so forth. In a sense it is true, but it only describes the mechanics of the thing, and doesn't really answer the question. The essential moon like the essential rose, is something far beyond its physical manifestation on this plane. And it is this essential moon that the child is instinctively after. Hammering this instinct out of her, killing her natural intuition of the spiritual nature of things: this is what is known as education. Now when we move from the modern world, whose whole life is directed toward the rim into a traditional Madrian community, it is like stepping into another world or into another time-period. The whole of life takes on the character of a dance. There is a space and elegance about every activity which, in a way, is the exact opposite of what we call "natural behaviour". For the aim of life is not to express the outward, egoic self but to express the true Self, which is the spiritual Centre of every maid. Every individual is unique, that is why there are different arts, different crafts, different vocations; but the uniqueness of the individual is expressed through the pattern of the dance. It is not a question of everyone being very "spiritual" all the time - it is just a different way of looking at life. In many ways, the expression of emotion is freerer [freer]. The members of the communities are quicker to laughter and to tears; they are able to throw themselves heart and soul into a festival in a way that few modern people can manage. The reason for this is that people are less self-conscious. In the modern world, people are afraid of taking anything too seriously. In Madrian communities, people are aware of being surrouned by eternal Realities. The symbol really is the thing it symbolises, on its own level. We do not say "the cartwheel is a symbol of the cosmos", we speak of "the cosmos in the likeness of a cartwheel"; and the sacred craft of the wheelwright is, in a sense more real than the untraditional mind can comprehend, a re-creation of the world - or, more exactly, a participation in the continuous creation of the world. These are deep and complex doctrines, and there is not time to go into there her; in any case, they cannot really be understood without being experienced. But they do give a key to the life of Madrian communities today, and the seeds of the new order which is emerging from the present chaos. The head of the household is obeyed because she is, on her own level, the surrogate of the Goddess. The household revolves about her as the planets revolve about the sun, or the Geniae revolve about the Goddess. All levels of reality are brought together. In this age, of course, even the best community can be only a shadow of what things were and will be in the Golden Age. Materialism is not merely an attitude of mind; it corresponds to a very real "hardening" or consolidation of the material environment that has been taking place over the last centuries of the iron age. The world has become in many ways a less "magical" place. The ancient writers are often thought of as naive and credulous for believing strange and wonderful tales, and even reporting such events. It is not considered that the very conditions of the terrestrial environment may have undergone changes, and that what is impossible today may not have been so many centuries ago. And since we are speaking only of the degeneration that has taken place within the latter half of the Iron Age, it will be seen that the possibilities open in the Golden Age will be immeasurably greater. There are two possibilities before each of us. Either we lend our weight to the downward spiral, or else we help to sow the seeds of the future. If we choose the latter, the road will not be easy. We must re-think everything that we have been taught by the profane world; we must learn from the primordial tradition a Reality which lies far deeper than the "facts" of the profane world. We must not condition our children to see the pieces without the kaleidoscope. If spiritual truth is true then it affects everything. If one teaches atheist physics, history and geography, there is no point in adding a little "religious" education. Our whole view of the world must be restructured in the light of the Spirit, looking toward the hub and not the rim. It will not be easy, and we cannot do it by ourselves. But if we turn to the Goddess in love, she will show us the way; for "it is love that holds the stars within their courses". All the physical, moral, intellectual and organisational efforts that we make toward the future; not one of them can be separated from the devotional love of the Goddess. Without that love, they will all be as nothing. With it the "impossible" will become a reality. This conference is drawing to a close. Soon we will be going out into the world; and much of what has been said today may begin to seem "unreal". The things we hold dear, the world does not understand, and our minds are in danger of being swamped by the sheer dead weight of its dreary materialist "common sense". Let us remember, then, that the things we have been speaking of are very much hard realities. They have dominated the world for countless thousands of years, compared to which, the reign of the modern materialist mentality is no more than a fleeting moment. And it is fleeting. Already it is passing from us. Already the technological society is beginning to crumble under its own weight, like a weed that has outgrown its strength. All that dull, smug world out there; where will it be in a hundred years from now? Do not forget either that the signs of the times are manifesting themselves not only in a negative sense, but in a positive one as well. This conference has been one symptom of the gradual but deli[be]rate process by which the consciousness of the Goddess is returning to the surface. Things will continue to move slowly for a little time yet. But it has been said, and there can be no question that it has been said truly: there is nothing in the world so powerful as an idea whose time has come. Notes *1 The Crystal Tablet, 33-35 *2 Sut Anubis, Vol. 1, No. 1, p. 6 *3 T Roszak, Where the Wasteland Ends, Garden City, New York, 1973, p. XVII *4 S Beyar, The Cult of Tara, University of California Press, introduction *5 Helen Diner, Mothers and Amazons, Anchor Brooks, New York, 1973, p. 133 *6 Ibid p. 134 *7 W. B. Yeats, Supernatural Songs, No. IV (from A Full Moon in March) 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 Road to the Future Description An account of the resource The closing address of the Kensington "The Re-Emergence of the Goddess" conference (1979), delivered by Sr. Angelina. 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 1979 Language A language of the resource English Type The nature or genre of the resource Text https://filianicstudies.org/cms/files/original/861ed979e73488242c59a01225f09dff.pdf 668e60d24aa1a27e4e03668c101ff981 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 Rosa Madriana Description An account of the resource Materials produced and/or used by Madria Olga and Rosa Madriana. Creator An entity primarily responsible for making the resource Rosa Madriana Publisher An entity responsible for making the resource available Rosa Madriana Date A point or period of time associated with an event in the lifecycle of the resource c. 1999 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 3pp. loose-leaf, handwritten 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 Rosary Subject The topic of the resource The Rosary Description An account of the resource Madria Olga's handwritten instructions for performance of the Rosary, including the text of the Silver Star and Eternity prayers. Creator An entity primarily responsible for making the resource Madria Olga Source A related resource from which the described resource is derived Personal collection of Georgia Cobb. Date A point or period of time associated with an event in the lifecycle of the resource n.d. Contributor An entity responsible for making contributions to the resource Donated by Sister Sophia Ruth. Format The file format, physical medium, or dimensions of the resource loose-leaf paper Language A language of the resource English Type The nature or genre of the resource Text https://filianicstudies.org/cms/files/original/11ef0134c5f53fb6d3b256953a10e8e2.pdf 94c589b76af18d4a1e53a6164aa2a8c2 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 Rosa Madriana Description An account of the resource Materials produced and/or used by Madria Olga and Rosa Madriana. Creator An entity primarily responsible for making the resource Rosa Madriana Publisher An entity responsible for making the resource available Rosa Madriana Date A point or period of time associated with an event in the lifecycle of the resource c. 1999 Language A language of the resource English Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data diagram 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 Sacred Year : Wheel Perpetual of Ekklesia Madriana Description An account of the resource A diagram of the ritual year as kept by Rosa/Ekklesia Madriana. Creator An entity primarily responsible for making the resource Madria Olga Publisher An entity responsible for making the resource available Rosa Madriana Date A point or period of time associated with an event in the lifecycle of the resource c. 1999 Contributor An entity responsible for making contributions to the resource Donated by Joey McEvoy III, who received it from Madria Olga. Format The file format, physical medium, or dimensions of the resource diagram on paper Language A language of the resource English Type The nature or genre of the resource Still Image https://filianicstudies.org/cms/files/original/f5b976feaa80faab5b419fcfaeb4b11b.pdf ca7df1a73009173d572fdd8056d7d7d3 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 (2pp.) Text Any textual data included in the document THE SONGS OF THE WOOD-MAIDEN In those days when the Goddess was worshipped across the face of all the earth, there was a maid who lived alone in a hut of sprouting willows in the deep woods. And there she tended the wild beasts and healed their wounds with her herbal potions and gentle care. She especially loved those animals that had lost their mothers, and said that the Goddess had made her their protector. All the beasts and birds of the wood were without fear in her company, and there were those who claimed to have heard her talk and sing to the beasts in a strange language unlike any of the tongues of the earth. Her gay and carefree spirit won her many friends from the nearby city, who often brought her gifts and stayed to eat with her and hear her singing. For her voice was a rare wonder in those days, sweet and clear. And one day towards the middle of summer, several of these friends were gathered at the Wood-Maiden's home. And they called on her to sing their favourite song, which told of her childhood. And so she sang of her early life in the city and of her mother's death which had stricken her dumb and filled her with terror so that she ran blindly into the woods. She sang of her ceaseless weeping and of her prayers to our Lady, and of how the Goddess had led her to a young fawn whimpering beside its mother's corpse, so that she forgot her own sorrow in comforting and caring for the little one. And finally she told how our Lady had restored her voice and increased its beauty so that never a day passed when she failed to raise it in songs of praise and thanks to Her. And after this her friends spoke of fears of famine in the city. The uninhabited grassland and forest further inland had suffered badly from the drought so that the birds had flown toward the city to look for food. Usually the people did not mind the birds taking some of the grain, but this time they feared that the fields would be stripped. "And what is being planned?" asked the Wood-Maiden. But her friends were silent, and she guessed that there were some urging that the birds should be destroyed. This so worried the Wood-Maiden that she went into the city to find out if it was true that they would kill our Lady's creatures. And she found the people so stricken with fear that they saw no other course. So she prayed to the Goddess for guidance. Then she went into the fields, black with birds, and began to sing in a high and piercing tone so that the birds flocked to her, and the people covered their ears. For the space of three hours the maid sang, and then the birds rose in a flock and flew toward the mountains. The Wood-Maiden told the people that the birds were going to a safe place. But she would say no more, and ran away to the woods as soon as she could, for the found the thanks of the people embarrassing. About a year after this, some of the maiden's friends visited her in great distress. Some ambassadors had come from another city, famed for its philosophers, who had laughed at the people's devotions to the Goddess. For, they said, She did not care for earthly creatures who were beneath Her contempt. And they said that She had a consort and a son whom She loved greatly, but She did not love the people, nor consider them Her children. And the maid's friends told her that the people believed this and had abandoned all their devotion. The Wood-Maiden thought it at first mere foolishness, but the more she thought about it, the more she thought it wrong and wicked. "But it is nonsense!" she cried, "for She created us and is our Mother, and no mother would neglect any of her children. We have only to look at this beautiful world to know it is a gift from Her. And She loves us all equally, as a perfect mother will not favour any of her children. Even we know that it is wrong, although we sometimes do it." And the maid went once more into the city and said these things. But the people would not hear her arguments, thinking the philosophers must know better than a simple maid from the woods. And she was perplexed. And as she was leaving, she saw a child throwing stones at a dog that he had tethered to a tree. She took hold of the child and shook him, saying: "How can you do that to one of our Lady's creatures?" But he said: "If She doesn't care about us because we're lower than Her, why should we care about animals?" And he ran away. The Wood-Maiden wept, and took refuge in the temple, which was now quite cold and empty, praying for the Goddess' aid. She rose next morning very early with joy in her heart, for the Goddess had spoken to her in a dream. She sang softly and thrillingly until the city was filled with her singing. Some of the older people stirred restlessly, but on the children woke, and were compelled to run to her. She told them that she would take them to a beautiful garden, and bade the older children fetch the babies. When the people awoke to find their children missing, they were frantic with worry. And it was not until the next day that the Wood-Maiden returned to the city. They begged her to tell them where their children were, but she refused, saying only that they were safe and happy. She told them they were not fit to raise children if they could tell them nonsense that made them cruel and wicked. After much persuasion she seemed to relent, and said she would return some of the children, but only those who were favourites and worthy of love. But the people protested, saying they loved all their children and wanted them all back, even those who were naughty and rebellious. And the Wood-Maiden laughed and said: "And can you not see that your Mother in Heaven loves you all? And that She has not picked out two of Her creatures to be with while she neglects the others? Believe that and I will return your children." And the people thought and saw that the maid was right after all, and this was not only because they missed their children but rather because their own hearts had been saddened to think the Goddess did not love them; and they now realised that it was a foolish notion. So the Wood-Maiden brought back the children, who were happy and excited and talked of the beautiful country they had visited. And some thought the Wood-Maiden must have sent the birds there because there had been so many. And about this time the ambassadors came again and said the philosophers had changed their minds and discovered why the Goddess loves us. But the people only laughed at them. And they never listened to philosophers again, but only to their own hearts. * First published in The Coming Age No. 3. 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 Songs of the Wood-Maiden 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 https://filianicstudies.org/cms/files/original/59a818e5dd2ed566af684a0882754cc3.pdf 972b0ff8a24a1810db2fbb07978b489b 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 (3pp.) Text Any textual data included in the document The Story of Hera Pellegrina Many years ago, when the fair land of Italia lay under the hand of priests of a false god, who, being more confident of their worldly power were yet more barbarous in their ways than they now are – in that time, be it said, there lived a maid who surpassed all the children of her village in beauty of body and soul. Now the mother of this maid had it in mind that she should become a nun – which is to say a votary, not consecrated by sacred rites to our dear Lady, but bound to the servitude of the false god. This maid had read but little, and the books of that time contained nothing but the falsehoods of the priests; but a guiltless heart is always the surest guide, and in her heart she knew that what her mother wanted was not good. But when she said this, her mother replied: "If you will not become a nun, you must marry the man I choose." "Oh, no," replied the maid, "for I must find my way, and then I shall be loyal and obedient. But first I must seek my true path." At this, her mother flew at her and beat her. But the maid spoke bravely through her tears, and said: "If you treat me so ill, I shall flee to the forests, and dwell among my sisters, the beasts of the wood." And her mother became frightened, and decided to try another method; for she knew of an old woman noted for her wisdom and power of persuasion. "This maid," she thought, "will be able to change the heart of my daughter." And so she sent for her to become the governess and attendant of her daughter, and the woman, being poor, agreed. The daughter and the governess became the firmest friends, and neither one spoke of the nunnery even once. Instead, the governess taught her to love the forest and its creatures, which was for her an easy lesson; she taught her the names and the uses of the herbs, and how to heal the ills of both body and soul, and a hundred other arts that seem sheer miracle to the uninitiated. And all this time, the mother grew more impatient. Now it happened that the maid was in the habit of lying awake at night to listen to the song of the nightingales, and at these times she had often heard her governess in the next room arise and go out on to the great balcony. And one night she decided to follow her. When she arrived, she saw the older woman kneeling beneath the great midsummer moon, speaking words in a low voice that she had not heard before. And she was filled with a great wonder, though she knew not why, and could not move from that spot. Thus, when the governess had finished her prayers, she turned around and saw the maid. She was not angry, but said simply: "So, you are here. I have expected you. I knew that our Lady would bring you when you were ready." "Mean you Maria?" asked the child. "She is called by many names, and that is one of them. But those who call Her by it know Her least!" A thrill passed through the soul of the girl, for she realised that her true path lay before her. With trembling voice, she asked: "And who, then, know Her most?" "I could tell you much," said the older woman, "but these are wicked times, and you would be in constant danger of a cruel death." "For Her sake I shall fear nothing," said the girl. The older woman made the Pentacle upon herself in thanks. "I had hoped you would speak thus," she said. "I have taught you all the arts of a priestess in this land, excepting the most important of them all – the art of loving the Goddess. What I have already taught you, no priest would believe, for though they prate endlessly of their gods and their devils, they have no true belief in anything beyond the material. But now you must work as you have not worked before; for my time on this earth grows short, and there must be one to take my place." In the weeks that followed, the maid learnt truths that had been known since the dawn of time – the Truth of the Goddess. And she became consecrated to Her as Her priestess. But her mother became seized with impatience, and expelled the old woman from the house, and locked her daughter in a tower room with nowhere to sleep save the bare stone floor, and neither food nor drink. "There shall you stay," she cried, "until you are ready to become a nun." But the young priestess said to herself: "Here shall I have silence and time to fast and pray, and when I am ready, my Lady shall release me." And for three days she prayed without ceasing. And on the third night, her mother came to berate her and left, forgetting in her rage to lock the door. And the girl left the house in the hour before dawn. And donning a pilgrim's robe, she travelled about the country, preaching and teaching the religion of the one Goddess. The people adored her and were converted in their hundreds, and they called her la bella pellegrina – the beautiful pilgrim. And many travelled miles that they might fall on their knees and worship her, but she would say: "Not I, but She who is greater; not matter, but spirit; not mortality, but Life eternal." But at last her mother found her and had her arrested, and asked in an evil temper whether she would become a nun, and she replied: "That cannot be, for I belong to the one true Goddess, and I have died to the world and all its false gods, and so too will you, if you have wisdom to know the Truth when you have heard it." But the mother gave her up to the priests to put her to torture and death, as they did to all who would not agree with them or who left their religion. The people were seized with pity and anger and would have stormed the house where she was held, but it was guarded by many soldiers, and she was watched night and day. But they prayed as she had taught them, and she prayed also, and on the morning of the day that she was to be tortured and killed, a great wind arose in the heavens, a wind such as had not been seen before, and it overthrew the house so that not one stone was left standing upon another, and all were thrown into terror and confusion. But Hera Pellegrina walked away with calm dignity, and was taken by her people into the forests; and never again did the profane lay hands on her, but she lived to a great age teaching the Truth of the Goddess and guiding the faithful both in body and soul. But ill luck followed all who tried to rebuild the great house that had been destroyed, and in the end the priests grudgingly gave it over to the people as common land, and on it the affairs of all who loved the Goddess prospered as though a charm were upon them. And this land was ever called La Casa al Vento – The House of the Wind. * First published in The Coming Age No. 1 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 Story of Hera Pellegrina 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 https://filianicstudies.org/cms/files/original/6acbe111c6d770f9d4d5d2ad7f444103.pdf 3d83c2a78f6e707196b858aac111e8ab 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 2pp., loose-leaf, typewritten 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 Symbol of Venus Subject The topic of the resource Symbolism Description An account of the resource Donna Chrysothemis' "Symbol of Venus" article from TCA 1 as later circulated by the Madrian Literature Circle. Creator An entity primarily responsible for making the resource Donna Chrysothemis Source A related resource from which the described resource is derived Private collection of Mr. David Kay. Publisher An entity responsible for making the resource available Lux Madriana Date A point or period of time associated with an event in the lifecycle of the resource c. 1980 Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English Type The nature or genre of the resource Text https://filianicstudies.org/cms/files/original/9aa3ad13cd7de40b9b9face13e759b31.pdf 81961df09930265c5b0cd1596cae36a2 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 (2pp.) Text Any textual data included in the document Thoughts on Our Lady She is more beautiful than a starry night, with the bright sparks peeping out of a blue heaven. She is more beautiful than a rainbow, appearing out of a grey, cloudy sky. She is like unto the snow, lying crisp and fresh and pure upon the virgin fields; like the fiery heat of a summer's afternoon; like the first snowdrop of spring and the last rose of autumn. She is the setting of the sun in a blaze of pink glory, and like unto its dawning. She is the rising of the moon, and like unto its setting. She is every colour of the spectrum; from rich, deep red to the palest violet. She is the cool light of silver, and the glorious blaze of gold. She is the depth of copper and the heaviness of lead. She is the supple sleekness of a cat, and the nobility and grace of a stag. She is like to every creature – from the stealthiness of a lion to the swiftness of a cheetah, from the brilliance of a bird-of-paradise to the strength of an eagle. All pleasures in these creatures are pleasures in Her, for She is the source of their beauty, all beauty. She is everything that makes a place into a home; She is everything that makes a dwelling place a refuge. For She is our true home, our only home; and anywhere that we call home in this place is but a faint reminder of Her. Every blazing fire we sit around, telling stories and roasting chestnuts, the comfort and happiness we feel, all is but a faint and dimmed reflection of Her. She is HOME. She is warmth and comfort, a haven after the horrors and terrors of the night, the dark night that we have journeyed through to come home. She is Love, the safety and security we feel when in the arms of one we love. She is belonging, because we belong with Her, we belong to Her. And She has kept our places by the fire safe for us to return to, for She is like unto the mother whose daughter has run away from home. Every night she lights the fire in her daughter's room in case she should return that night, and never locks the door so she may always enter. She never lets another child sit in her place, for she is always praying that her daughter will return. To come to us, She suffered home-sickness that we shall never know, a loneliness of soul too great for us to contemplate. For She is home to us, and we must always feel not quite right in this world because it is not our home. How much more is She Her own home! Yet gladly She tore Herself apart, that we might come back to Her. That the door may always be open, She has vowed not to return until the last child of earth has come back home. The agony of loneliness, the aching heart, these things She knows to the ultimate degree. Yet She bears them willingly – She did not have to suffer. She broke the Law to save us, and the Law is Herself. She has paid the price for us. And we are tired of this place, this world. It has promised us happiness, and given us misery. It has offered a handful of promises in exchange for our heavenly birth-right, and the promises have turned to dust in our hands. It tells us to wait, that next week, next month, next year, it will have found a way to happiness for us all. And yet....we know how to find happiness, how to find home, how to find that all-consuming love in which to rejoice. Shall we listen longer, then, to the cries of the world? No, because we are children who have run from our Mother, we are tired and lonely, and we are going home at last. 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 Thoughts on Our Lady Description An account of the resource A poetic account of the nature of our Mother God. 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 Daughter devotional literature Passion