The Call of Isis
13. Stones and Stars.
our small Temple of Isis my two small nieces, aged fourteen and ten,
were waiting to dance. Alexander began
the enacted scene by playing Schumann on the
small Dutch organ. Bernard waited to play the dulcimer that he had made
At each stage of the story a different
instrument was to take over. Owen had his flute to play at the climax. I
the story for the girls to act. The younger
dark girl, Rosalind, began dancing in the first scene. She was playing
of a fairy, a few inches high, an elemental
spirit in charge of a very tiny patch of grasses, daisies, buttercups
At first she enjoyed herself. Then, I
explained in my narration, she got bored. In her discontent she showed
in mime that
she wanted to do something a great deal more
interesting than looking after a patch of earth with its plants.
the organ gave way to the dulcimer. The older
fair girl, Helena, appeared on the platform by the statue of Isis
their brother Finn. Her style of dancing was
different from that of Rosalind. Rosalind danced thoughtfully, working
movement with her mind and executing it with
precision. She seemed to know intuitively movements that looked like
Egyptian ritual. Helena, on the other hand,
danced with the style of a classical Greek dancer. Her movements were
balanced, like those depicted in a Tanagra
vase. Both had learnt European Ballet, but recently had been studying
movements of Egyptian, Classical and Oriental
styles. We were all of us experimenting. Bernard composed his own
style. Owen's flute playing was Spanish
sounding, also composed by himself.
The part Helena had to play
that of a Goddess appearing to the fairy that
belonged to the same evolving devic kingdom as herself. She played the
with elegant humour, one of those devis born
rather than made! She had no self-consciousness at standing with her
the altar, a living embodiment of the statue.
She offered to show the little girl a greater sphere of
So off the two of them went - to the world of
animals and men. This sphere was represented in the temple by two small
chapels, one containing pictures of various
creatures, including Dürer's hare and a Chelsea china lamb: the other
containing small images of Buddha and a
wooden Venus carved by Finn.
However, though first attracted by
of guiding animals and humanity on their
evolutionary path, the fairy soon became bored by her rôle of Guardian
She aspired to the stars.
time for Owen's flute playing to take over. The Devi indicated that to
accomplish this, the fairy had to go back to
her patch of earth. There, amidst the wild flowers and grasses, she was
a little circle of small white stones. This
seemed easy enough. To the high sound of the flute, Rosalind made
creating a stone circle. She was then told to
stand in the middle of it - shut her eyes, and turn three times round.
Now the Devi took her by the hand and led her up the three steps to the platform in which stood the altar.
She then was told to open her eyes.
now explained that the circle had become a great spiral of stars: the
shone as star dust; and the patch of earth
had been transformed into the great void of space. And through the
the unearthly song of the great Gods and
Goddesses, the Star Angels.
But this was too much for the little
Overcome by this vastness, she begged, hands
clasped, to be allowed to go home to her patch of earth. This the Devi
with a downward movement of her hand ... Now
the sound of the flute gave place to the gentler dulcimer. Helena guided
down the three steps. As the fairy reached
the expanse of flowery carpet, the dulcimer was lost in the familiar
of the organ. The little fairy found herself
once more in the centre of her circle of little white stones. Hastily,
them. She was glad to return to her task of
looking after her few plants and little bit of earth.
we performed this drama, I let it end there.
But later I added one final piece. Helena, as she bade farewell before
up the three steps, explained that if ever
the fairy wanted another trip to the stars, she had only to make a
circle of white
stones, stand in the middle, shut her eyes
and turn round three times ...
For those who have had mystical
however overpowering this may have been at
the time, will one day, some time, wish to touch a greater level of
again. And why not? It is our goal.
our Temple my aim in producing these mystery dramas was to create
that taught the laws of expanding
consciousness. These dramas were not ritual magic in the practical
sense: they were not
intended to produce effects on the physical
environment. Rather were they to affect the minds and feelings of those
part, in group participation. For what is
life as we know it but a group dreaming? Our waking lives have all the
of a dream. Dreams are fleeting and disappear
with the coming of day. But our waking activities end when we fall
this waking fantasy of day-time has the
effect of involving us totally in the story we call 'life'. Yet when we
this 'total' identification is completely
forgotten! How transient then is our waking existence! Also, when we
the art, we can change the pattern of our
physical lives as we have learnt to re-create our dreams.
is one snag here. We can only change our
nightmares to beautiful dreams through the aid of greater consciousness,
awareness of the day.
vantage point of an active physical brain and the use of will, we can
our dreams and trances. But what greater mind
can possibly organize this dream of physical existence, and mould it
to our heart's desire? Must we be forever
like leaves in the wind, pushed about by circumstances, passive in our
is only by awakening into a more universal
consciousness that we can truly create our
earth lives into meaningful pattern, part of a greater design.
and deaf, though we think we see and hear, we
make false moves and blur our own true ends. And how indeed can we even
that there is a grand design and any relevant
part for ourselves within it, unless we can transcend identifications
Understanding the relationship of past, present and future, we may develop the ability of seeing
causes and their effects, forming one related pattern worked through the web of time.
are the language
that help the finite human consciousness to
have glimpses of a greater reality. For everything on a lower level is a
for some higher reality. So grasses, trees
and rivers, and everything that exists on this level, form living
symbols of their
own transcendent reality in a higher sphere.
One's personality is a shorthand of one's true self; sometimes a poor
translation. We are like actors wearing a
mask that typifies what we wish to be in this life's projected drama.
in order to go higher, we first have to sink lower. Or, if you like, we
have to limit our consciousness still further
in order to expand into cosmic awareness.
Because if we can through Myth, Ritual or Mystery identify with the play
itself, we can then see for ourselves that
this life also is an illustration of a transcendent reality.
organ, dulcimer and flute, with meaningful
symbols, with incense and candles, we make a temple that makes sense of
apparently meaningless environment in which
we have our physical being. Here in the temple, at any rate, is order,
blind chance. There are no accidents, no
irrelevancies in church or temple. The sanctified circle typifies a
Bread and wine, paintings, stained-glass,
colours for altar frontals, images, are put in a temple with specific
The intention is to express a chosen
spiritual reality. So a cup represents the Grael; living water: a sword,
of spiritual fire; a wand; the creative mind.
Two stones, one rough and one smooth, are symbolic of earth. Pestle and
hammer and knife, are no mere tools, but have
a specialised meaning.
Each note of music used in a Ritual
down its great meaning, and works upon the
being of those taking part in a Mystery. Every word has its archetypal
from higher spheres: so in a temple are no
meaningless words. For words are translations of the speech of angels.
this. Tablets marked with sigils are a means
of communication with beings of brighter worlds: and every dance
gesture produce their appropriate effect in
the world of causes. For the world of causes produces effects, and so
to its own echo.
In the intensely
meaningful world of the Temple or Church, half-way between physical and
reality, the aspirant learns to recognise
affinities and correspondences through the language of symbols. First
and then through enacted mystery dramas, the
neophyte finds his own consciousness beginning to respond. And in this
learns safely to expand into greater levels
of awareness, without becoming unbalanced. Every movement in a Ritual
about balance: and the flow of 'Vril' is
channelled through in its appropriate traditional way, without
the practitioner's mind.
And this is
why it can be very dangerous to use hallucinogenic drugs. Admittedly
the use of these can induce mystical
experience without work and discipline. But those who, as it were, climb
fence into the hidden garden, and steal the
apples from the forbidden Tree, may suffer terrible retribution. True,
and often do, have the vision of Deity and
the knowledge of the existence of Cosmic Consciousness. The unfortunate
unwisely demanded to see Zeus not as man, but
as God; and so was burnt. So may the unwary aspirant who takes drugs
his etheric double.
To put too great a
charge of electricity through wires means a fuse. A fuse may be
But how does one repair the damaged etheric
body when it has been struck by the lightning of Zeus? The Gods do not
the golden apples of the sun through jealousy
or selfishness. Only when the aspirant has a psychic and physical
can he safely be initiated into wider
consciousness. For instance, a telepathic dog, suddenly at the receiving
end of the
mind of a human Professor, would undoubtedly
We must then approach the Temple of the Zodiac with
It is not enough to have self-sacrificing
love. We need that handmaid to wisdom, common-sense. Sure of our
the moon at our feet protecting our steps, we
may attempt at last our ascent to the stars. And to do this, we must
about ourselves. Are we ready for cosmic
consciousness? Our further step is to find out. We need to face the
effects of previous
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presented on this site as it appears in the 1975 edit