1 10 105 https://filianicstudies.org/cms/files/original/41a06a6c9f4045911031609a49c1545f.pdf 9fc5b33bb835ce5235daad092cbf129c 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-leaf, typewritten, 4pp. 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 Why the Pursuit of Spirituality Is Not Selfish Description An account of the resource A treatise on the true nature of spiritual self-improvement. 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. 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/d93cdd31d1fd01cbf8f8ecdd7da376db.pdf ec87c3fc96e657bff4fcb4e224ed4052 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data magazine 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 When Women Ruled the World Description An account of the resource An article published in an Oxford student magazine recording the journalist's experience with past-life regression in a Moira session with Sister Angelina. Creator An entity primarily responsible for making the resource Helen Simpson Publisher An entity responsible for making the resource available ISIS magazine, issue 1679 Date A point or period of time associated with an event in the lifecycle of the resource published 2 March 1978 Format The file format, physical medium, or dimensions of the resource magazine Language A language of the resource English Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oxford, England Contributor An entity responsible for making contributions to the resource Donated by Joey III, from effects found in the vacated Burtonport house in the early 1990s. https://filianicstudies.org/cms/files/original/c001e09e95a1c35fc8a32a9f24361059.pdf 40839abbc5ef60f47e7c35073efa38a2 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 (5pp.) Text Any textual data included in the document VIVISECTION AND ABSOLUTE VALUES I should like to describe two pieces of specialised laboratory apparatus. The first is called the Blalock Press. Its purpose is to produce experimental shock in dogs by crushing the limbs without breaking the bones. The hind legs are clamped into the press which exerts a pressure of up to 5,000 pounds per square inch. After some hours the flesh is reduced to a pulp while the bones remain whole. One group of researchers crushed four hundred dogs by this method. Most died in extreme pain within five to twelve hours. None was given any sedation. The second machine is the Noble-Collip drum. It is designed to produce traumatic shock in guinea-pigs, hamsters and other small animals. They are placed in the drum with feet taped together, unanaesthetised; the drum is then turned by an electric motor. The interior is then fitted with small projections, so that at each revolution the animal is carried to the top of the drum and dropped. In one experiment, the animals were "drummed" to death, observations being taken at every hundred revolutions. Injuries included fractured skulls, bruised livers and engorgement of the bowels, lungs, kidneys and stomach. The term "to drum" in this sense has passed into the language of biomedical research. Each of these machines is an expensive and sophisticated piece of equipment. No department is likely to invest in one unless it is to be used extensively over a period of years. They are not the only devices of the sort, nor even the worst, but they do serve to indicate the nature of the cold matter-of-fact atrocities which are performed every day by scientists who in private life are, for the most part ordinary, kindly, respectable people. Nor is there any reason for such experiments to stop at animals. Most of us have heard accounts of the hideous medical experiments practised on human beings under the Nazi regime. What is usually comfortably overlooked is that the practitioners were not, for the most part, sadists, neither were they politically motivated. Most of them had held eminent medical positions long before the National Socialists came to power. They justified their conduct by exactly the same arguements as the vivisectionists; the suffering of a few experimental victims was far outweighed by the widespread relief of suffering which could be brought about by the medical discoveries which resulted. Logically the argument is incontestable. There is no reason to suppose it will not prevail in the future – particularly under political systems where the collective is valued above the individual. There is no reason to suppose it does not prevail at present in some places. The cozy myth that the Nazis were the only really wicked people to walk the earth (at least in our enlightened century!) is largely due to the fact that there were powerful vested interests in exposing the crimes of that regime, whereas in most cases the powerful interests lay on the side of keeping them hushed up. What guarantee can we have against a future of unparalleled cruelty? At the moment there are residual feelings of respect for the human being which prevent brutality from becoming public policy; but why should we expect them to last? There was a time when public opinion would have revolted against vivisection or the battery system, but it has been moulded into shape by propaganda and the bogus "authority" of science. There is no absolute morality. Any atrocity can be justified by sophisticated arguements [sic] and sentimental appeals to "the greater good". There is only one defence against evil, and that is an absolute standard which can state that evil is evil; not merely on the shifting grounds of human sentiment, but according to an eternal and Divine law. A society which sees nothing beyond the physical world will always be brutal. It can torture without compunction, because it fears no higher justice beyond this world. Because it sees nothing beyond this life it will scrabble in the slime of depraved cruelty in order to find ways of prolonging that life for a few more miserable years. Blind to all but the grosses physical effects, it does not see that the massive practice of cruelty (100,000 animals per week die in experiments in this country alone, 85% of which are conducted without anaesthetic at any stage) is releasing a spiritual poison which must pervade the psychic atmosphere at every level; and that the seed of cruetly, once sown, must sooner or later spawn a hideous harvest. Once we can see beyond this world, we can begin to face the hard realities of life: that human life, at the best of times, is short. That no human life is ever "saved", only prolonged a little; and that what happens to a person beyond this life is a direct result of the way she acts while she is in it. Once we realise this, we will know that it is not the length or quantity of life that is important, but the depth or quality. Seeing life in its true perspective, we will give up the abject and cowardly dictum that "no price is too high for saving lives", and realise that dragging our souls into the mire of cruelty is one example of a price that is far too high. Life has a purpose; a spiritual purpose that lies far beyond this earthly life itself. The fanatical passion for preserving life for its own sake at whatever costs comes from forgetting this. And so long as it is forgotten, we can expect to live in a society which is ultimately prepared to perpetrate any kind of cruelty in the name of "practical" necessities of life, or even in the name of luxuries and pleasures which have become the only goal of profane life. It is true that cruelties have been perpetrated in the name of religion; but it is also true that religion has been degenerating into materialism for a great many centuries. The world's original religion was purely spiritual; God revealed Herself in feminine form and the whole way of life (for it was far more than just a "religion" in the limited modern sense) was imbued with the qualities of love and compassion for all creatures. With masculine religion and the supplanting of the old priestess-queens by warrior kings, the slide into materialism became inevitable, as did the orgy of cruelty which has dogged patriarchy from the Roman (often lit by human torches), through the Inquisition, to the present. Archeological records show matriarchal societies which lasted for thousands of years, vegetarian, ruled by priestess-queens and pervaded by the love and worship of God the Mother. Millenia passed without war or violence. Three things made this possible: divine love, a knowledge of immanent justice ("I can do no harm to another creature which will not rebound on my own head in the fullness of time"); and an understanding of absolute values, far beyond the slippery arguments of human convenience. For a Madrian, ancient or modern, there can be no quibbles about whether a particular factory farming technique is cruel or not: to treat animals in such a way is out of Harmony, against nature, "anathemis" [athamic]. Divine Law is absolute, and no human sophistries can weigh against it. This is the only guarantee against evil. Once morality becomes a merely relative matter, an atrocity is possible and most are probable. The immense prestige of the "science" which perpetrates these evils is directly due to the ignorance of the real nature of things. The ultimate truth about the material universe lies in its spiritual meaning and purpose. When we have lost this metaphysical knowledge we are all to[o] ready to take merely physical descriptions of the mechanics of the universe as a substitute for Absolute Truth. The scientist-materialist word-view in turn reinforces the error that the physical world is all there is, that there is no super-material justice, that life must be preserved at all costs, etc. It is a vicious circle. The only way to break it is by a return to the primordial Truth. 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 Vivisection and Absolute Values 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/a5181044d932914104d0f1fce989ce61.jpg 17be13ca6b7c180a9a19fc63d62f75ba 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 photograph 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 Two Young Women Reflecting Contemplation Description An account of the resource A photograph of two young women conversing in what looks like an art studio. Creator An entity primarily responsible for making the resource Unknown Publisher An entity responsible for making the resource available Unknown Date A point or period of time associated with an event in the lifecycle of the resource c. 1982 Contributor An entity responsible for making contributions to the resource Donated by Joey III, from effects found in the vacated Burtonport house in the early 1990s. Format The file format, physical medium, or dimensions of the resource photograph Type The nature or genre of the resource Still Image Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Burtonport, Ireland https://filianicstudies.org/cms/files/original/32d563701a27e72a2811368d7dc48fd6.pdf e5f28593015f952977ffe86fe6b67fcc 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 Three Paths into the Secret Garden Contrary to popular belief, it is not especially easy to make the Rosary. Of course, it is easy enough to say the prayers, but to maintain a right concentration upon the Mysteries – a perfect contemplation – requires rare qualities of pure attention and self-giving. To a great degree, these qualities can be developed by daily practice, and by pursuing Divine love and self-control in our lives. How easy we find it will depend on how far we have advanced in this life and those before it. Practice is important, because each devotion deepens and widens the channel to the Interior. Life is important, for not only are our lives reflected in our devotions, but a frequent recall of our love for the Divine and Her love for us in daily life will fill our minds with ideas and images, books and poems, pictures, snatches of sentences, thoughts and scenes, all of which are connected in our minds and feelings with our personal relationship with our Lady. All this jumble of loving fragments will be gathered together and poured helter-skelter into our contemplation, caught up in the rhythm and shape of the Rosary, and moulded and sculpted by it into the pattern and structure of the Eternal Mystery. But there is no need to worry if you find it hard at first. Your very dissatisfaction is a sign that you are conscious of your weakness, and are striving for higher things. When as a child I could not sleep, my mother would tell me that if I lay still I would at least have some rest. The same is true of the Rosary: even when we are unable to enter into the full experience, the very act of following this cosmic prayer-structure will bring powerful spiritual benefit. And, as in all prayer, it must be remembered that the conscious mind is not the whole of us. The Spirit of the Goddess may be working in us at a level deeper than we can know. Whenever we genuinely pray to the best of our ability, we may be assured that this is the case. But there are a number of ways in which we can begin to penetrate deeper into the Mysteries of the Rosary, and to increase our power to contemplate them. I would like to suggest three of these which I have found helpful. But first of all, we must take note of a very important fact: the five decades of the Rosary fall into two very distinct sections – the two Mother decades (the first decade and the last) and the three Daughter decades (the three central decades). These two groups are very different in character. The Mother decades deal more with ideas and realities (the dependence of all things on the Mother for existence – the complete union of self with Her.) The Daughter decades deal more with Divine Events (the Events of the Nativity, Passion and Resurrection.) It is not always best to use the same methods for each; the Daughter decades, for instance, lend themselves much better to the eidetic method than do the Mother decades. The Eidetic Path This is good for keeping the mind fixed, particularly during the Daughter decades. The method is to select one particular image for each bead, so that the mind moves rapidly over a set path. It is a good elementary method, because each image will touch off numerous reactions in the unconscious spiritual memory, while the conscious mind is prevented from wandering. One cannot use the method fully for the first decade, but one can take guiding images from verses 1 – 7 of the Creation, chapter I. For the beads of the Daughter decades, I would suggest the following images from the Mythos: Nativity Decade: 1, the conception upon the waters. 2, the journey and entry into the cavern. 3, the appearance of the Star. 4, the coming of the children of the earth. 5, the appearance and address of the Genia [Janya]. 6, the silence before dawn. 7, the voice from the cavern and the rejoicing of the daughters of Heaven. 8, 9, 10, the adoration of the Mother and Child. Passion Decade: 1 – 7, the seven gates of Hell. 8, the binding of Her hands and the beating. 9, the death. 10, the hanging upon the pillar. (It is important to try to understand the particular sinking dread associated with the seven gates.) OR: 1, the descent into Hell. 2, the questions of the Dark Queen. 3, the binding of Her hands. 4, the beating and humiliation. 5, the kneeling before the Dark Queen. 6, the death. 7, 8, the body upon the pillar. 9, the desolation of the world. 10, the sorrow of the Mother. Resurrection Decade: 1, the shattering of the gate of Hell. 2, the taking down of the body. 3, the sprinkling of water. 4, the awakening of the Daughter. 5, the leading of the souls out of Hell. [6+7 not mentioned in original ms.] 8, the greeting of the children of earth. 9, the ascent into Heaven. 10, the crowning of the Queen of Heaven. The method cannot be used for the final decade, but one may make the Pentacle on oneself after the Eternity and use the Rose-and-Pentacle meditation described in Appendix 1 of the Catechism. The Contemplative Path This involves an intellectual fixing upon the Mysteries themselves. A deep and thoughtful consideration of what they mean, what they are, and of one's own relationship to them. For example, in the second decade, one might fix upon the image of Mother and Child, and let the mind play upon the Truth that though They are two Persons, yet They are one and the same. This is not always an easy method, but it can be a very rewarding one. (Incidentally, it is a good idea to keep a record of any thoughts which strike you as important.) The Emotional Path In this method we attempt to realise the Mysteries through emotion. Again, the Daughter decades provide the most directly accessible material for this, but the final decade can become the most emotionally significant of all as it becomes more fully understood. Both the Mother decades call forth an emotion of wonder or glory, which is a little harder to achieve than those of the Daughter decades. The emotional pattern of the Rosary is absolutely symmetrical, moving from wonder to joy (Nativity), to sorrow (Passion), to joy again (Resurrection), to wonder again. But the wonder and joy of the first half are different from those of the second half. It is hard to describe the subtle shades of emotion, but these are brought out naturally by the consideration of the different Mysteries. In the first half they are fresh and bright, like the new moon. In the second, they are full and glorious, like the full moon. In this method, one must throw aside the normal social restraints upon emotion, and allow oneself to feel fully the emotions of the Daughter decades, letting it come through in the tone of the voice and the attitude and movements of the body. In practice, of course, every meditation will contain something of all three methods. Nor do these three exhaust the possibilities of the Rosary. The Mother Decades In what has been said, it may have seemed that the Mother decades are somewhat apart from the rest of the Rosary. But in fact they make a perfect and indispensable entry to and consummation of the Mysteries of the Daughter. In the first decade, we shift our perception from the everyday acceptance of our material surroundings, and remind ourselves of their original nature as Divine Ideas and their perpetual dependence on the continuing creative Act of the Mother for their very existence. In this decade, I sometimes look at the ground on which I rest, and recall that this very place was once part of the roaring seas of primordial Chaos; that it is created by a deliberate Act of the Divine Will which sustains it in every moment. With this realisation of the Absolute, it is far easier to realise the Absolute nature of the events of the Mythos. In the final decade, the emotional and mental experience built up by the Daughter decades – the joy of Nativity, the sorrow and apprehension of the Passion, the exultant happiness of the Resurrection – come to a climax in the Fire of the Rose. Suddenly we are asked to give ourselves; to offer ourselves completely to our Mother, keeping nothing back, to become consumed in the fire of Her love. The whole meaning of all the decades is suddenly concentrated into one utterly personal demand. It is the ultimate demand of religion – the ultimate sacrifice and the ultimate ecstasy. Of course one will not experience this on every occasion but even in the most earthbound recital of the final decade, the fullness of this experience lies folded like a rose within the bud. * 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 Three Paths into the Secret Garden Subject The topic of the resource rosary, meditation Description An account of the resource Instructions and suggestions for performing the Westrenne rosary according to the Madrian technique. 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 Absolute meditation Mythos Passion Resurrection rosary vyamati vyasucri 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 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/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/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/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