Tag Archives: poets

Thoughts on “Initiation” by Rainer Maria Rilke

Whoever you are, go out into the evening,
leaving your room, of which you know each bit;
your house is the last before the infinite,
whoever you are.
Then with your eyes that wearily
scarce lift themselves from the worn-out door-stone
slowly you raise a shadowy black tree
and fix it on the sky: slender, alone.
And you have made the world (and it shall grow
and ripen as a word, unspoken, still).
When you have grasped its meaning with your will,
then tenderly your eyes will let it go…

(translation: C.F. MacIntyre)

It dawned on me that up to this point I have not shared my thoughts on any of Rilke’s poetry here, so I am amending that issue right now.

As I read and thought about this poem, two interpretations came to me. The first of these is that the reader is being beckoned to be initiated into the transcendent wonder of Nature. Rilke encourages the reader to leave the sterile and safe domicile and venture out into the wild, creative, and divine realm of the natural world.

The other interpretation I see is that Rilke is describing death as an initiation of sorts, marking the transition when the soul becomes one with the divine source. The house that he mentions is a symbol for the body, which houses the spirit and is the last residence of the soul “before the infinite.” The “worn-out door-stone” represents the tombstone, marking the transition from material to spiritual. Finally, the raising of the “shadowy black tree” that is being fixed in the sky implies that the soul is no longer rooted in this world, but is now being firmly planted in the divine realm.

I really enjoyed this poem a lot, and I will definitely be looking at more of Rilke’s work in upcoming posts. I hope you found this inspiring, and as always, feel free to share your thoughts in the Comments section.

Cheers!

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The Confessions of Aleister Crowley: Part 1 – Towards the Golden Dawn

Like many people, I am using my time in social distancing to catch up on reading, particularly books that have been on my shelves for years waiting to be read. This is one of those books which I picked up at a used bookstore over 15 years ago and never bothered to read. But curiosity finally got the best of me and I decided to read the first part.

For those who are unfamiliar with Aleister Crowley, he was born Edward Alexander Crowley on October 12, 1875 and died December 1, 1947. He was an “English occultist, ceremonial magician, poet, painter, novelist, and mountaineer. He founded the religion of Thelema, identifying himself as the prophet entrusted with guiding humanity into the Æon of Horus in the early 20th century.” He “gained widespread notoriety during his lifetime, being a recreational drug experimenter, bisexual and an individualist social critic. He has been called ‘the wickedest man in the world’ and labeled as a Satanist by the popular press. Crowley has remained a highly influential figure over Western esotericism and the counterculture.” (Source: Wikipedia)

The book is comprised of six parts, so I figured that I would share my thoughts after each part, as opposed to attempting to cover the nearly 1000 pages in a single post. The first part is entitled “Towards the Golden Dawn.”

The Hermetic Order of the Golden Dawn (Latin: Ordo Hermeticus Aurorae Aureae; or, more commonly, the Golden Dawn (Aurora Aurea)) was a secret society devoted to the study and practice of the occult, metaphysics, and paranormal activities during the late 19th and early 20th centuries. Known as a magical order, the Hermetic Order of the Golden Dawn was active in Great Britain and focused its practices on theurgy and spiritual development. Many present-day concepts of ritual and magic that are at the centre of contemporary traditions, such as Wicca and Thelema, were inspired by the Golden Dawn, which became one of the largest single influences on 20th-century Western occultism.

(Source: Wikipedia)

So the first part of Crowley’s autobiographical work focuses on his life leading up to and including his initiation into the Golden Dawn, where he interacted with individuals including MacGregor Mathers, Arthur Edward Waite, and William Butler Yeats. While much of this section focuses on Crowley’s early family relations, education, and his interests in chess and mountain climbing, he eventually begins to share his experiences and thoughts regarding magick and the occult. Crowley provides the following definition of Magick.

From the nature of things, therefore, life is a sacrament; in other words, all our acts are magical acts. Our spiritual consciousness acts through the will and its instruments upon material objects, in order to produce changes which will result in the establishment of the new conditions of consciousness which we wish. That is the definition of Magick. The obvious example of such an operation in its most symbolic and ceremonial form is the Mass. The will of the priest transmutes a wafer in such wise that it becomes charged with the divine substance in so active a form that its physical injection gives spiritual nourishment to the communicant. But all our actions fit this equation. A tailor with a toothache takes a portion of the wealth derived from the business to which he has consecrated himself, a symbol of his accumulated and stored energy, in order to have the tooth removed and so to recover the consciousness of physical well-being.

(p. 125)

As a person who is very interested in the poetry of W. B. Yeats, I was curious to hear what Crowley had to say about him. I had heard that the two did not get along well, but Crowley arrogantly belittles Yeats’ work, implying that his poetry is superior to that of Yeats. I found the section to be entertaining, and chuckled inwardly to myself.

I had a set of paged proofs in my pocket one evening, when I went to call on W. B. Yeats. I had never thought much of his work; it seemed to me to lack virility. I have given an extended criticism of it in The Equinox (vol. I, no. ii, page 307). However, at the time I should have been glad to have a kindly word from an elder man. I showed him the proofs accordingly and he glanced at them. He forced himself to utter a few polite conventionalities, but I could see what the truth of the matter was.

I had by this time become fairly expert in clairvoyance, clairaudience and clairsentience. But it would have been a very dull person indeed who failed to recognize the black, bilious rage that shook him to the soul. I instance this as proof that Yeats was a genuine poet at heart, for a mere charlatan would have known that he had no cause to fear an authentic poet. What hurt him was the knowledge of his own incomparable inferiority.

(pp. 165 – 166)

Crowley makes a very interesting comment in regard to the practice and teaching of mystical arts.

I have always felt that since the occult sciences nourish so many charlatans, it should be one’s prime point of honour not to make money in any way connected with them. The amateur status above all!

(p. 181)

I also feel this way, and red flags always go up whenever I hear about rituals or speakers charging what are clearly excessive fees for services. I am happy to make donations to cover expenses and materials, or contribute in a way that is fair, but I generally choose not to pay for what seems to me a way for individuals to profit from doing “spiritual work.”

And this seems like a good segue into the last quote I wish to talk about.

Money-grubbing does its best to blaspheme and destroy nature. It is useless to oppose the baseness of humanity; if one touches pitch one runs the risk of being defiled. I am perfectly content to know that the vileness of civilization is rapidly destroying itself; that it stinks in my nostrils tells me that it is rotting and my consolation is in the words of Lord Dunsany. In the meantime, the water was to be wasted in producing wealth—the most dangerous of narcotic drugs. It creates a morbid craving—which it never satisfies after the first flush of intoxication.

(p. 188)

Crowley perfectly sums up how greed feeds upon itself, and how the insatiable lust for more wealth is fueling the environmental destruction of this planet. He was able to see this 100 years before it came to the forefront of the global consciousness. I don’t know if this supports Crowley’s that he is a prophet of this age, but clearly he was able to see inherent issues in humanity at a time when most people were oblivious to the threat that greed poses to our planet.

I’m going to take a short break from this book and read some other stuff, but I will return to it in the near future and share my thoughts on Part 2 when I finish that section. Thanks for stopping by, and keep challenging yourself.

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“To Jealousy” by Mary Robinson

A thousand torments wait on love;
The sigh, the tear, the anguish’d groan!
But he who never learnt to prove
A jealous pang, has nothing known.

For jealousy, supreme of wo,
Nursed by distorted fancy’s power,
Can round the heart bid misery grow,
Which darkens with the lingering hour;

While shadows, blanks to reason’s orb,
In dread succession haunt the brain;
And pangs, that every pang absorb,
In wild convulsive tumults reign.

At morn, at eve, the fever burns,
While phantoms tear the aching breast;
Day brings no calm, and night returns,
But marks no soothing hour of rest.

Not when the bosom’s wasted fires
Are all extinct, is anguish o’er;
For jealousy, which ne’er expires,
Can wound—when passion is no more.

Mary Robinson was an 18th century actress, poet, dramatist, and novelist whose work is associated with English Romanticism.

This poem works really well because it conveys powerful emotion and uses metaphor appropriately so that the poem is both evocative and accessible. And the topic is something so universal that any reader can relate to it.

Anyone who has ever been truly in love knows the pain of jealousy. Even when we know that our relationships are solid and there is no cause for jealousy, somehow, the phantom seems to creep into an unsuspecting brain. And this is why Ms. Robinson’s poem works so well. She incorporates the imagery of phantoms haunting the consciousness in silence and darkness, which is the perfect breeding ground for jealousy. When your fears are exposed to the light, jealousy often rapidly fades, but it thrives in the loneliness of the obsessive mind, feeding upon itself and gaining strength as the individual suffers in silence.

There is not a lot that I feel needs to be explained here. The symbolism and metaphors are clear, and the emotion expressed is obvious. I hope you enjoyed the poem, and if you are currently harboring feelings of jealousy, get them out in the open, otherwise they will consume you.

Thanks for stopping by.

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Occult Symbolism in “The Song of Wandering Aengus” by William Butler Yeats

Painting by Dante Gabriel Rossetti

I went out to the hazel wood,
Because a fire was in my head,
And cut and peeled a hazel wand,
And hooked a berry to a thread;
And when white moths were on the wing,
And moth-like stars were flickering out,
I dropped the berry in a stream
And caught a little silver trout.

When I had laid it on the floor
I went to blow the fire a-flame,
But something rustled on the floor,
And someone called me by my name:
It had become a glimmering girl
With apple blossom in her hair
Who called me by my name and ran
And faded through the brightening air.

Though I am old with wandering
Through hollow lands and hilly lands,
I will find out where she has gone,
And kiss her lips and take her hands;
And walk among long dappled grass,
And pluck till time and times are done
The silver apples of the moon,
The golden apples of the sun.

There is a lot of mystical symbolism woven into this poem, so it seems that the best way to approach it is to start by looking at the overarching symbolism, and then narrow down and focus on each of the three stanzas.

One must assume that the structure of the poem is symbolic. Three is a mystical number and correlates to the Trinity; mind-body-spirit; Triple Goddess; birth-life-death; just to point out a few. Yeats would certainly have been aware of the importance of the number three when he was composing this poem. Now, something else that we need to keep in mind is that the poem also makes references to the four magical elements: earth, air, fire, and water. So because the poem is structured in three parts and incorporates the four elements, we can assume that Yeats’ intention was that the poem work as a magical invocation of sorts.

Let us examine each stanza more closely.

At the beginning of the first stanza, the wanderer describes himself entering a hazel wood. Hazel is considered to be “the tree of wisdom and learning” for Celts and Druids, and “adds its strength to the bright fire burning.” It was considered ideal for enlisting the aid of fairies; gaining knowledge, wisdom, and poetic inspiration; and for “for making all purpose magickal wands.” (Source) So the fire in his head is either a burning for knowledge, poetic inspiration, or communication with the fairy realm (or possibly all three). He then creates a wand from a piece of hazel wood. It is important to note that Yeats chooses the word “wand” as opposed to “rod.” Based on the rhyme scheme, he could have used either word, so it is clear he wanted to emphasize the fact that a wand is a mystical tool.

The next thing to point out in the first stanza is the imagery of the moth. The moth is a symbol of transformation, and foreshadows an upcoming transformation within the poem.

At the end of the first stanza, the wanderer recounts drawing a silver trout from the stream. The stream represents the subconscious mind of the speaker, so he has used the wand, thread, and berry to draw something from the deeper recesses of the psyche.

The second stanza is one of transformation, hinted at by the moth in the previous stanza. The fish, which is associated with water (element 1) is placed onto the earth (element 2) as fire is stoked (element 3) and then transforms into a fairy who disappears into the air (element 4). There is almost a sense of alchemy here, transformative magick initiated through the use of elements. What is important to note is that the trout does not transform on its own. It is pulled from the water, into the air, placed on the earth, beside a flame. The wanderer appears to have had intent to initiate this metamorphosis.

In the final stanza, we hear from the wanderer in his present state. The first two stanzas were memories. Here he is old and seems to be nearing the end of his journey. What is key to this stanza are the last two lines. The goal of the wanderer is to reconnect with the fairy and then take of two apples: a silver apple associated with the Moon and a golden apple associated with the Sun. Yeats seems to be drawing on Judeo-Christian symbolism, of the fruit of the Tree of Knowledge and also from the Tree of Life, respectively. But also, there is Celtic and alchemical symbolism associated with the image of the apples.

In Celtic legends apples appear as the fruit of the Otherworld. More specifically, they are associated with the mythical Avalon, the ‘Island of Apples’. The otherworldly apple tree was also said to have been the source of the Silver Bough. In Norse tradition the tree bearing the golden apples of immortality was protected by the goddess Idun, whence they were stolen by Loki. The gods began to age, but they recovered the apples just before they were overcome by senility and death. In alchemy, when the alchemist is represented eating an apple at the end of the Great Work, he enjoys the fruit of immortality.

(Source)

So the ancient wanderer in Yeats’ poem is one who is seeking knowledge and immortality, through the aid of otherworldly entities, represented by the “glimmering girl / With apple blossom in her hair.” And he is drawing on all the occult knowledge and tools available to him in order to attain his goal.

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“Sonnet 37: As a decrepit father takes delight” by William Shakespeare

Painting by Domenico Ghirlandaio

As a decrepit father takes delight
To see his active child do deeds of youth,
So I, made lame by fortune’s dearest spite,
Take all my comfort of thy worth and truth;
For whether beauty, birth, or wealth, or wit,
Or any of these all, or all, or more,
Entitled in thy parts do crowned sit,
I make my love engrafted to this store:
So then I am not lame, poor, nor despised,
Whilst that this shadow doth such substance give
That I in thy abundance am sufficed
And by a part of all thy glory live.
Look, what is best, that best I wish in thee:
This wish I have; then ten times happy me!

In this sonnet, Shakespeare is comparing the adoration he feels toward the fair youth to the love an aging father feels toward his children. As a father who has passed middle age, it is this feeling to which I relate.

When I look at my kids, or talk with them on the phone, I catch aspects of myself reflected in them. As a parent, I have tried to impart only the better parts of myself, but I also see my shortcomings. I guess it’s a package deal. We try to share our experiences, strengths, and hopes, but inadvertently, we also share our fears, flaws, and sufferings. Essentially, we share our lives.

When I see my children happy, the feeling of joy that wells within me is something that is beyond my normal happiness. It is like a geyser of euphoria erupting from my soul. Conversely, when I see my children sad or in pain, the anguish I feel knows no depth. I suspect any parent reading this can relate.

These uncertain times are making me appreciate what is truly important in my life, the relationships to people I love. I hope you enjoyed this post, and I hope you and your family are all safe and healthy.

Many blessings.

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Quote from “Monstress: Issue 26”

I’ve been reading this comic from its inception, and it is magnificent, both the visual artwork and the word craft. While I don’t post on each installment, this issue includes a quote I feel is important to share.

You have heard me say this before, but it bears repeating: always be aware, kits, of the silences in history… of those stories that even the poets do not tell.

In our digital age, facts and history are subject to suspicion, and even outright denial. As such, we run the risk of inserting silences into our histories, of losing critical information which could help future generations navigate difficulties which they must inevitably face. Additionally, there are some stories that are painful to tell, but the telling of those stories is important. If we let the stories die out, because we are complacent or afraid, then we are complicit in the decimation of history.

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Thoughts on “Beauty” by Charles Baudelaire

I am fair, O mortals! like a dream carved in stone,
And my breast where each one in turn has bruised himself
Is made to inspire in the poet a love
As eternal and silent as matter.

On a throne in the sky, a mysterious sphinx,
I join a heart of snow to the whiteness of swans;
I hate movement for it displaces lines,
And never do I weep and never do I laugh.

Poets, before my grandiose poses,
Which I seem to assume from the proudest statues,
Will consume their lives in austere study;

For I have, to enchant those submissive lovers,
Pure mirrors that make all things more beautiful:
My eyes, my large, wide eyes of eternal brightness!

(Translation by William Aggeler)

In this poem, Baudelaire explores the ideal of physical beauty manifest in the female form. The opening stanza conjures an image of sculpted beauty, which I suspect may be an allusion to the Venus di Milo. The beauty of the ideal physical form is an inspiration to other artists, and in Baudelaire’s case, poets in particular. But as the poem progresses through the next three stanzas, a darker image emerges.

As a society, we tend to place physical beauty upon a pedestal, on “a throne in the sky.” The problem is that this ideal is really not attainable, and those who appear to attain that level of physical perfection do so at a great cost. They essentially become statues, hardened on the inside and unable to express human emotion, never weeping and never laughing because that might affect the outward appearance.

While most of the poem seems to be a warning to individuals seeking to attain physical perfection, the last stanza also issues a warning to those who worship physical beauty. The woman whose eyes are as mirrors is letting the enchanted lover of beauty know that his soul is a reflection of her stark, cold inner self. By seeking inspiration from the external, the poet and artist end up compromising their deeper artistic wellspring, hence drying up their true emotions and becoming like stone.

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