Sunday, December 7, 2014

We are in the distance. written by Mina

We are in the distance
-Respond to W. B. Yeats’s poem "Hound Voice"


Written by Mina Cho



Like the unmanned aerial vehicle system to go to the Moon or Mars.
I wish the old mother would be in peace
In every day she could take the meals, food and drugs
By calling the phone to talk with
I could contact with the old friends by Kakao Talk.


Or I could call the true comrades in the world
By the Facebook Discussing about the endless and mystical old myth
Suddenly I was light sleeping.
In the night of the full moon
I can hear the wolf’s growling from a distance


The sound of the dragging dress of the Moon
While it goes for a walk.
And I hear the hounds voice around the village.
I would be a lonely hare on the deep mountain, watching down all scenes.
And I am grinning
By looking up the dark sky from a distance.

In the night of the full moon
The lonely hare is jumping out highly
Rhyming the sound of the wolf’s growling
The awakened hare is jumping out with its front feet excitedly
From the mountain top to the mountain top
From the faraway, I would tart myself up
To call out for the hunters and hounds
As I am starting to jump into
The silent and quirky mountain slopes
In my soul persistently.

The Songs for the Holy Grail by Mina to respond to WB Yeats's song, "Hound Voice"


In our age,computer is essential and helpful for us to contact with each other.
I have three computers one is laptop computer, new one, which I bought as I wrote and uploaded to the publisher to make e-book, "Searching for the Holy Grail." I think that the people would not read any novel like mine.
Even most of Yeats scholars would not send the feedback to me. A few people who research and meditation about Universe and New Age gave me the feedback. However, I have encouraged the religious scholars such as James Tabor, Barrie Wilson, Elaine Pagels, etc. Although I am alone on the mountain top as the most lonely thing so far. I just commemorate on my own time for the jumping hare in 2014. I would like to believe the prophecy for the Holy Grail, in my central belief and we have time a little more.
I translated my recent poem in English to respond WB Yeats's prophetic poem, "Hound Voice."
***

"We are in the distance"

-Respond to WB Yeats’s Hound Voice
Mina Cho


Like the unmanned aerial vehicle system to go to the Moon or Mars.
I wish the old mother would be in peace
In every day she could take the meals, food and drugs
By calling the phone to talk with I could contact with the old friends by Kakao Talk.
Or I could call the true comrades in the world By the Facebook Discussing about the endless and mystical old myth.
Suddenly I was light sleeping.
In the night of the full moon.
I can hear the wolf’s growling from a distance.
The sound of the dragging dress of the Moon
While it goes for a walk.
And I hear the hounds voice around the village.
I would be a lonely hare on the deep mountain, watching down all scenes.
And I am grinning By looking up the dark sky from a distance.


In the night of the full moon The lonely hare is jumping out highly
Rhyming the sound of the wolf’s growling
The awakened hare is jumping out with its front feet excitedly
From the mountain top to the mountain top
From the faraway, I would tart myself up
To call out for the hunters and hounds
As I am starting to jump into
The silent and quirky mountain slopes In my soul persistently.

***

"Hound Voice"
Written by W. B. Yeats


Because we love bare hills and stunted trees
And were the last to choose the settled ground,
Its boredom of the desk or of the spade, because
So many years companioned by a hound,
Our voices carry; and though slumber-bound,
Some few half wake and half renew their choice,
Give tongue, proclaim their hidden name -- 'hound voice.'



The women that I picked spoke sweet and low
And yet gave tongue. 'Hound voices' were they all.
We picked each other from afar and knew
What hour of terror comes to test the soul,
And in that terror's name obeyed the call,
And understood, what none have understood,
Those images that waken in the blood.
Some day we shall get up before the dawn
And find our ancient hounds before the door,
And wide awake know that the hunt is on;
Stumbling upon the blood-dark track once more,
Then stumbling to the kill beside the shore;
Then cleaning out and bandaging of wounds,
And chants of victory amid the encircling hounds.



We can see the scene of the Victory with finding the dead "hare" by the "Hunters" and "Hounds".
What are the symbols of the "Hare", "Hunters" and "Hounds"?
As the metaphsical song, the symbols are certainly Yeats's magical power.
I declared that Yeats was the great magician and Gnostic priest with the metaphyscal songs.
His unknown instructors told that "we have come to give you metaphors for poetry."
The unknown instructors are the Archangels I believe who was brought by Mother Sophia's will.



Sunday, October 26, 2014

W,B, Yeats and The Holy Grail


 This year is the horse year so it is very special for me to do the special thing.
I just remember the horse would be free as the right time comes.
The prophecy is written that the colt would be free from the persecution finally.
I think the secret of the Holy Grail would be open by the magician, prophet, W.B. Yeats as the one of the Round Table of the Knights, Parsifal.
I realized and understood that what his final mission for the Divine Feminine, Daughter Sophia in the world after being awakened. 
His poetic purpose is the one, searching for the Holy Grail, and left  his message to his descendants, the Knight Templars, the magicians as Rosicrucians, Gnostic Knights, and all sages in the world. 
I am the colt, and the hare to lead to the sages in the world as the Knights, and sages.
I also published my novel, Searching for the Holy Grail, written by Korean at first.
I  open the secret of the Divine Feminine, Daughter Sophia, the mystery of the Holy Grail.
Yeats is such a Knight Templar, Magician as the Round  Table of the Knight, Parsifal.
I published my thesis about the Holy Grail in Yeats's mystic and prophetic poetry like below. There is no Enemy but time!:








  W. B. Yeats  and  the Holy Grail

 

                                                                       

                                                                                  Mina Cho

 

I.

 

W.B. Yeatss sacred mission of the magical skills in his  poetry is  to complete the mission of Arthurian Knight,  Parsifal, who touched the Holy Grail in his art works.  As a symbolist, Yeats  used many symbols in his magical skills such as Bible,  Cabbalah,  and tarot cards to search  for the lost goddess, the Divine Feminine, Sophia as the Holy Grail in western legend. Yeats is identified with the hero, Arthurian Knight as the role of the masculine principle, Jesus, who would awaken the Divine Feminine, Daughter Sophia. 

Although Yeats studied magic in Order of the Golden Dawn for 32 years as an Imperator in order of  Golden Dawn and Stella Matutina, his interests was only searching for the lost Goddess, Daughter Sophia as the Holy Grail in Christian Gnosticism.  Yeats’s art works are a sort of religious ritual to search for the Holy Grail, the lost Divine Feminine. His mystical songs show the long journey of searching for the Holy Grail. Yeats just was identified with himself as Red Hanrahan, who searches for the Holy Grail, Echtge, the Daughter of the silver hand. Yeats was also identified with the Arthurian Knight, Parsifal, who found the Holy Grail.  

   As the Arthurian knight, Yeats was questing for the Holy Grail using the various symbols such as the Immortal Rose,  hare, colt, cat, Jane, dancer, and lion from his early Rose poetry to last poetry. On the other hand, the Divine Masculine as the heroes who search for the Holy Grail, as an Arthurian Knights or Knight Templars are symbolized as Red Hanrahan, Aengus, Jack  and hunters.  

Yeats dedicated his lifetime to be a hero, Red Hanrahan-Parsifal to search for the lost

Divine Feminine, Daughter Sophia as the Holy Grail. The Divine Feminine is also identified with the  Philosophers Stone, and the 13 cone as the achievement of the Unity of Being.” Therefore, Yeats believed that Daughter Sophia as the Immortal Rose would be the real Creator and the hidden Savior as showed in Christian Gnosticism. In his poetry, Yeats prophesied not only Daughter Sophia’s sufferings but also her recovery as the knights and heroes at last find the Holy Grail through his all poetry. Yeats certainly prophesied that the Immortal Rose, Sophia would be found as the Holy Grail,  and then she would be the Great Judge, judging all souls after death as well as the Great Judgment Day. The Sphinx is a significant symbol of the Great Judge for the last Great Judgment Day.  

   As the great adept and magician, Yeats always tried to search for the feminine principle, Sophia, Binah in the world as the lost Holy Grail. Yeats dedicated to his lifetime to find the Holy Grail. Yeats  shows that Helen of Troy as the defeated and lost Sophia in his early Rose poetry. However, he shows that  Helen would be changed as Hebe as Heracles’ wife in Heaven in A Vision.  In short, Yeats  always  believed in Universal God as androgynous God by the conjunction of the masculine and the feminine principles.

 

 

 

II. Yeatss symbol for the Holy Grail

 

  1. The beginning of the Hunting time

 

Yeats's mystic and prophetic poetry is full of the symbols of the Divine Feminine Daughter Sophia for the New Age. First of all, Yeats promised that he would find the lost Holy Grail as a symbol of the colt in the world in “The fascination of what's difficult”. Yeats as an Arthurian Knight promised that if he could do “pull out the bolt” (CP  104) to touch the colt as a symbol of the Holy Grail. He thought the hidden Savior’s sacrifice on the rood of time as the 2000 years period of the gyre, shown in A Vision. Also there is the myth of Sophia in Christian Gnosticism:

As in the earlier Greek myth in which Hermes descends to rescue Persephone, the Virgin Mother Sophia, in response to her daughter’s call, sends her son to rescue his sister. Her son is Christ, the embodiment of her Light and Wisdom, who descends into the darkness of his parents’ furthest creation to awaken his sister to remembrance of her true nature.   (Baring 620)         

Hermes is identified with the Divine Masculine, Jesus, who sent the Knights and prophets to Daughter Sophia. Daughter Sophia was deep sleeping in the world, so she was lost. However, the heroes and knights tried to find her to awaken her. The last prophet of Sophia, Yeats realized that he should awaken the Divine Feminine, Sophia-Isis in the world as the New Age was coming near.  In the Christian Gnostic myth, the Universal God decided to create the world for  6000 years as the theory of the Gyres shows. Before Jesus Christ coming, in B.C. 2000 years period of gyre, there was the heroic age with the queen as Daughter Sophia like Helen of Troy.  However, after birth of Jesus, the Divine Feminine would be a fallen from the queen  as a common woman, like Jane or a dancer.  Jesus is “mourned over the shortness of time, and man's inadequacy to his fate” because Daughter Sophia-Isis should be suffered from the masculine Trinity age without Jesus-Horus. Jesus’s sacrifice on the rood is shortly shown to the hidden Daughter Sophia’s sacrifice in the world as oneness. However Daughter Sophia should be suffering in the world on the rood of the time during the 2000 years of the Pisces as Yeats sang “To the Rose upon the Rood of Time.”  Yeats is searching for the Rose on the Rood as the Holy Grail as Red Hanrahan-Parsifal. However, Yeats shows that Yeats could not meet with the Holy Grail in his lifetime because  Sophia could not come out in the world In his lifetime, yet. Yeats believes he is a sacred mission by Jesus to call the mystical and magical songs to awaken the Immortal Rose, Daughter Sophia’s deep sleeping in his lifetime. It is his purpose as Sophia’s priest and prophet. Yeats feels that it is a hero’s heavy burden as the role of masculine principle in “Peace”:

Ah, that Time could touch a form

That could show what Homer's age

Bred to be a hero's wage.

'Were not all her life but storm,

Would not painters paint a form

                      . . . .

Ah, but peace that comes at length,

Came when Time had touched her form. (CP 103)

 

 As a hidden and real Savior, Sophia should be wandering in the world during the 2000 years of the Masculine trinity age. Yeats knows that  it would not come to the right time in his lifetime for the Immortal Rose, hare, Helen of Troy, so he could not touch the Holy Grail, until “Time touched her form” as God’s Will. Only his role is to dedicate to his lifetime for prophecy to wake her deep sleeping in the future as an artist, such as poet or painters as “The Cap and Bells” shows. As a visionary, Parsifal-Red Hanrahan, Yeats prophesied that he would be wandered to find the Holy Grail:   

 

And I myself created Hanrahan

And drove him drunk or sober through the dawn

From somewhere in the neighbouring cottages.

Caught by an old man's juggleries

He stumbled, tumbled, fumbled to and fro

And had but broken knees for hire

And horrible splendor of desire;

I thought it all out twenty years ago:  (CP 220)

 

As the fire, the masculine principle, the good fellows are identified with “ Michael Robartes and his friends”  in A Vision.  Also the “old man” like “ancient ruffin” symbolizes  Jesus, the archetypal image of the masculine principle.  Just like Red Hanrahan and Aengus, Yeats alluded to the masculine principle, heroes to search for the Holy Grail, the feminine principle such as “Huddon, Duddon and Daniel O'Leary” in A Vision. They are represented to the Gnostic heroes’  heavy burden to search for the Immortal Rose, Helen of Troy, Eternal Beauty, Echtge, as a symbol of  Daughter Sophia in the world during the last 2000 years period of the androcentric period of gyre.  The heroes are searching for the Divine Feminine, Sophia as the Holy Grail in western culture. Yeats described  his mission as a prophet and poet for Daughter Sophia, the Holy Grail  in his autobiographical novel The Speckled Bird:

One morning, for instance, the man who went to Bayreuth called to say that he was convinced that Michael was doing some great magical work, that he was going to establish the mysteries again, for he had seen the knight out of Parsifal  holding the Grail Cup and in a dream the knight’s face had suddenly changed to Michael’s. (SB II 32)

Yeats  is identified with himself as the Arthurian knight, Parsifal, who touched  the Holy Grail.  Yeats stated about hero’s sufferings that “Since Adam's fall but needs much laboring. / There have been lovers who thought love should be / So much compounded of high courtesy"(CP  89) during the androcentric age. Although Yeats is identified with Parsifal as one of the Arthurian Knights, it is not a simple knight or magician. Yeats would be a priest as well as prophet. Yeats chooses that “A Packet for Ezra Pound”, which symbolizes as the masculine principle for Sophia, the Immortal Rose in the world in A Vision. Sophia as Helen of Troy was lost her throne as Universal Divinity, so Yeats thought that the artists supported the Divine Feminine instead of priests: I always feel, Yeats wrote to Sturge Moore, ‘that my work is not drama but the ritual of a lost faith.” (Ellmann 179)  Yeats always thought that he was the priest for the lost God:

The arts are, I believe, about to take upon their shoulders the burdens that have fallen from the shoulders of priest, and to lead us back upon our journey by filling our thoughts with the essences of things, and not with things.”(E&I 193)

As a Sophia’s hero like Trojan heroes, Yeats alluded to the defeated queen as Helen of Troy  and the defeated men and soldiers. His Christian Gnostic poems represented the early Christian tragedy and shows the tragic heroes such as 'Donnel, O'Neills, Emmet, mock Parnell as a symbol of Gnostic heroes for Daughter Sophia:

GRANDFATHER sang it under the gallows:
" Hear, gentlemen, ladies, and all mankind:
Money is good and a girl might be better.
But good strong blows are delights to the mind.”

            . . . .

 Fail, and that history turns into rubbish,

All that great past to a trouble of fools;

Those that come after shall mock at O'Donnell,

Mock at the memory of both O'Neills,

Mock Emmet, mock Parnell,

All the renown that fell. (CP 320-322)

 

Yeats- Red Hanrahan shows the magical power from Jesus as “old man’s Juggleries,” who sent him to rescue the Divine Feminine.  In his youth, Yeats was identified with Red Hanrahan, who was wandering to search for the Holy Grail, from the song  “Red Hanrahan’s  Song about Ireland” (1904). Therefore, the theme of searching for the   Holy Grail was his long term goal as his poetic theme.  Sophia as the lost Holy Grail is symbolized as the hare in Red Hanrahan’s mind eyes.” Actually in Yeats’s early Rose poetry, he described that  the  fallen Sophia, the Immortal Rose , “red Rose, proud Rose, sad Rose” (CP  35). 

 

  1. The various symbols as the Holy Grail

 

Yeats alluded to the sacrifice of the Divine Feminine as a sad Rose in his early Rose poetry. However, Yeats gradually should develop to the Sophia’s sacrifice as a hidden Savior and the lost Holy Grail by using the paradoxical symbol of the animals such as a dead hare:

One had a lovely face,
And two or three had charm,
But charm and face were in vain
Because the mountain grass
Cannot but keep the form
Where the mountain hare has lain
. (CP 168)

 

Then suddenly my heart is wrung
By her distracted air
And I remember wildness lost                              
And after, swept from there,
Am set down standing in the wood
At the death of the hare.    (CP  251)

  The death of the hare is a symbol of Sophia in the world, lost Holy Grail so the heroes as Arthurian Knights should search for it. As a Parsifal, Yeats might know where is the Holy Grail in his vision, because he wrote the dead hare is “in the wood.”

    The Sacred cup manifests a desire that Parsival should remain possessor of the ‘Greal’, and only change his name into that Prester John . . .  Parsival and the Templars settle in India. After the disappearance of the Greal in the West, King Arthur and the Knights of the Round Table, losing the ‘Central object’, or the ‘Rose’ (Rosicrucianism) of the Table, go on a scattered  (Knight-errant or romantic) championship in search of it. They travel over the world- but in vain. They cannot find the ‘Greal’. For it is forever hidden in the far ‘East’, or in the land of the ‘sun’. (Jennings 422)      

  Yeats always was interested in East, Asia, and turn to the Asia, because he thought that the Holy Grail would be in Asia as Parsival might settle in India and “hidden in the far ‘East’, or in the land of the ‘sun’.” The Holy Grail as the Rose often symbolized as not only the Helen of Troy as the defeated King, fallen Sophia, but also as hare, cat, and colt.  About his symbolism, Yeats wrote that he would think “holy symbols” (Au  254):

    I did not think this philosophy would be altogether pagan, for it was plain that its symbols must be selected from all those things that had moved men most during many, mainly Christian, centuries. (Au 254)

With searching and finding process of the Holy Grail, Yeats expected that  Helen in tragic doom would be changed into Hebe as the New Age come near in Aquarius in A Vision.  Or as a symbol of the animals, dead hare, cat, and colt would be changed into lion, Sphinx such as “The Second Coming” and “The Double Vision of Michael Robartes” as the right time comes. Yeats also showed that the response of the Divine Feminine at the end of the masculine Trinity age, by two opposite groups such as the Magi and the  Dolls:

 In their stiff, painted clothes, the pale unsatisfied ones

Appear and disappear in the blue depth of the sky

With all their ancient faces like rain-beaten stones,

And all their helms of silver hovering side by side,

And all their eyes still fixed, hoping to find once more,

Being by Calvary's turbulence unsatisfied,

The uncontrollable mystery on the bestial floor. (CP  141)

 

 DOLL in the doll-makers house

Looks at the cradle and balls:

That is an insult to us.

              . . . .

The man and the woman bring

Hither to our disgrace,

A noisy and filthy thing. (CP  141-2)

 

During the last 2000 years of Pisces, it was the androcentric age by the Sophian enemy, Yaldabaoth controls the world as Christian Gnosticism shows (MacDomat 120-1) . Therefore, there have been “ Knave and dolt” to slander and ingratitude for the fallen Sophia in the world.  At the end of the androcentric age in Pisces the fallen Sophia would be awakened from the deep sleeping  as the new baby, the dolls. The Nativity would be watched by both the Magi as the sages, Knight Templars  and the Dolls as the blind and the followers of the great enemy. The dolls hate and slander the baby as the Knave and the dolt showed. Yeats as the tragic hero, the Arthurian knight, Parsifal, should be staying in the world until the sleeping queen was awakened by the jester-Red Hanrahan’s awakening songs for the sleeping queen. He believed in his sacred mission, which would be the most hard thing. Yeats believed that it just would be started after his death because the Holy Grail could not touch in his lifetime. Like the Magi, Yeats also could see the vision on the Meru as the Daimon about the new baby, Sophia by the androgynous God, Father and Mother as the symbol of the doll maker and his wife. He and all sages would chant Sophia’s victory as the symbol of the Sphinx, Sophia-Isis, the Holy Grail such as” Against Unworthy Praise”, “The Second Coming”, and “The Double Vision of Michael Robartes”. Yeats believed and prophesied that the Holy Grail as the Helen would come to the world as the right time comes as the running hare, the kill to hunting time as s symbol of the meeting all sages in the world in“Hound Voice.” In “Hound voice” Yeats symbolizes Daughter Sophia at the hunting time as the running hare. The great enemy’s followers, as black magicians are blind like the dolls, and they complain and slander the new baby’s presence in the world. However, Daughter Sophia would be in Meru with the sages included Yeats-Red Hanrahan in thirteenth Cone:

 

 

But here's a haughtier text,

The labyrinth of her days

That her own strangeness perplexed;

And how what her dreaming gave

Earned slander, ingratitude,

From self-same dolt and knave;

Aye, and worse wrong than these.

Yet she, singing upon her road,

Half lion, half child, is at peace. (CP 104)

 

We can see Daughter Sophia in "half lion half child", which is from key 8 of Tarot as the Divine feminine:

 

The Serpent energy is definitely one of the most primeval archetypes and in all ancient cultures was intimately connected with the mysterious or divine feminine. In shamanic and matriarchal cultures, it is a symbol of wisdom. . . .  This reflects the fact that it is the Holy Spirit of God (Ruach Elohim, which in Hebrew is feminine and belongs to the sphere of Binah) that mourns for us like a faithful  mother.    (Compton 188)

 

The symbol of the half lion and half child is related to the Sphinx  in "The Second Coming." There are Sophian songs for the New Age as the Holy Grail in the four different poems such as “Against Unworthy Praise”, “The Magi”, “The Dolls”, and “The Second Coming”.  In these songs, Yeats-Parsifal emphasized the symbol of the Sphinx or the new baby to show the appearance of the Holy Grail, Daughter Sophia in the last generation. In the middle poetry, there are described to the heroes as the Magi or the knaves and dolts from the Sophia’s enemy, Yaldabaoth as the Dolls. The baby is crying, as "how what her dreaming gave", then the dolls slander, "noisy and filthy thing." As a prophet, Yeats prophesied that the fallen Sophia would be taken the test and trials as the slandering and ingratitude in her last reincarnation with many poems. However, she would be in the thirteenth Cone, Kundalini, symbolized as "half lion, half child" as the right time comes. Then the Magi as Daimons watch the Sphinx as the Holy Grail on Mt. Meru like the woman standing on the mountain in the Tarot Key 8, “Mountains always represent causation, and are the abode of the gods in every my th. . . . The mountain is  the superiornature.” (Case 94-5) It means that she recovered her glory as the great Judge symbolized as Sphinx in "The Second Coming" as the Magi watch it. Yeats's vision in a poem like “The Magi” is related to the other poem, “The Dolls”. In “The Doll”, the doll maker and his wife made the baby, but the dolls are made by only the doll maker. It means that the dolls by the doll maker would be from the androcentric god, Father. However, the baby is from the androgynous God as the doll maker and his wife. Yeats alluded to the androgynous God and the fallen Sophia as the baby in his mystic poem "The Dolls". Therefore, the Dolls are related to and compared to the Magi, who have been awakened with their mind eyes. On the other hand, the Dolls, who hated the returning of the Daughter Sophia after awakening as a symbol of the new baby, symbolizes as the black magicians or  the followers of Sophian Enemy, Yaldabaoth in Christian Gnosticism. The Magi as  the Daimons and white magicians could wait for the Great Judgment Day in the New Age:” Being by Calvary's turbulence unsatisfied, / The uncontrollable mystery on the bestial floor.” (CP  141)

With the symbol of the Sphinx, Yeats showed that the hidden Savior Sophia would be recovered by the right time coming. The “Bestial floor” as symbol of Sophia-Isis’s recovery as the right time comes, after passing the Pisces, shows the great power of Sphinx, cat and lion. For the Sophia-Isis, Yeats used the symbol of animals such as Cat, Hare, Colt, Lion and Fish in his poetry.  In the dark age, Yeats-Red Hanrahan was searching for the Holy Grail in his lifetime. However, as the new age comes, Yeats-Red Hanrahan shows the great dignity of the Sophia more than any other age during the masculine Trinity age with the symbol of the hare and the cat:

 

    I slept on my three-legged stool by the fire,

    The speckled cat slept on my knee;

    We never thought to enquire

    Where the brown hare might be,

    And whether the door were shut.

    Who knows how she drank the wind

    Stretched up on two legs from the mat,

    Before she had settled her mind

    To drum with her heel and to leap?

    Had I but awakened from sleep

    And called her name, she had heard.

    It may be, and had not stirred,

   That now, it may be, has found

   The horn's sweet note and the tooth of the hound.  (CP 191 )

 

Yeats-Red Hanrahan shows Knight Parsifal’s searching purpose, although he is sleeping. It is not the hunting time for searching for the Holy Grail yet, so the brown hare would not be running  yet. As a visionary, Yeats-Red Hanrahan dreams the scene of finding Holy Grail as a symbol of the hunting time and he also feels the hero’s heavy burden to praise the Immortal Rose as the lost Holy Grail; “But pray to God that He ease/ My great responsiblities?” (CP 191). Yeats-Red Hanrahan certainly feels the Sophia’s presence as the hare around his area, although he could not see it clearly yet. The Holy Grail, the hare is  in his house, although he could not touched it yet. The cat symbolizes as the wisdom from the Divine Feminine. Yeats thought that he already got “the speckled cat” as Sophia’s Wisdom and secrets. However, he could not touch the hare yet as the Holy Grail and he could know that it cannot touch until the God’s horn blowing as the right time comes. Yeats believes that the Holy Grail is not far beyond to touch  as the hare in somewhere of his house.   As a Knight Parsifal, Yeats believes he is waiting for the hunting time while he protects the cat and hare as the Holy Grail, as Jesus did.  Yeats always believes that the right time would be come as the “horn’s sweet note” by God, which is for Sophia-Isis  to be awakened and to start  hunting. Therefore, he and other knights as the hunters and hounds or magi, could not find the Holy Grail in his lifetime yet. Yeats declared that “there is no enemy but time” for Sophia’s recovery.  As a Knight Templar or Arthurian Knight, Yeats-Parsifal is staying and sleeping at his home now, so he is not prepare for finding the Holy Grail yet. The knight, hunter is sleeping beside fire.  However, in his dream, he thought that the hunting time, “That now, it may be, has found /  The horn's sweet note and the tooth of the hound.” In A Vision Yeats described the magician Merlin also is sleeping:  

The tomb remained open, for Ninian asked that she and Merlin might return to the cavern and spend their night near those dead lovers, but before night came merlin grew sad and fell asleep, and she and her attendants took him "by head and foot" and laid him "in the tomb and replaced the stone", for Merlin had taught her the magic words, and "from that hour none beheld Merlin dead or alive". (AVB  286)

Merlin seems like a symbol of the Masculine principle, Jesus as a Son, who can order to the Arthurian Knights to find the Holy Grail, but he is also sleeping during the androcentric age.  Yeats alluded to the Merlin-Knight’s sacrifice as the Masculine principle for the Divine Feminine, Sophia. The masculine principle, heroes should dedicate to their lives for Sophia as the sleeping queen, Helen of Troy.   Like Helen of Troy, Merlin’s beloved, Ninian, who is the image of femme fatale, so she betrayed Merlin as Helen of Troy betrayed the Trojan heroes. Yeats emphasized the magician Merlin as a symbol of Jesus, who led King Arthur and Knights to search for the Holy Grail. King Arthurian knights have been looking for the Holy Grail since Jesus sacrificed his life to support Daughter Sophia. Yeats as one of the Arthurian Knights, Parsifal who expects the hunting time is come soon as “ The horn's sweet note”  standing for the Trumpet  Sound as searching for the Holy Grail for the New Age. Yeats emphasized many times about the hunting time coming at last and the hunters and hounds found the Holy Grail, the Kill, “the brown hare” finally in his one of the last poems “Hound Voice.”  That is, “The chants of victory amid the encircling hounds” is shown to the last androcentric age is ending thoroughly and the New Age is come by the finding the Holy Grail as the Divine Feminine’s returning. Hunters are the masculine principle as heroes and sages in the end of the androcentric age. On the other hand, the hounds are the women as the sages. In A Vision Yeats shows the chosen men, who are living in the last androcentric age to support the Divine Feminine as the role of the masculine principle:

 

Huddon, Duddon and Daniel O'Leary

Delighted me as a child.

I put three persons in their place

That despair and keep the pace

And love wench Wisdom's cruel face.  (AVB  32)

Yeats believed there were many heroes who protected Sophia’s thoughts and myth to show the hidden Savior during the androcentric age as his ancestors. He thought that he was a descendant to keep the hidden Goddess, Sophia in the world as he wrote he is “a child.” The historical heroes like three  magi of Nativity  are “Huddon, Duddon and Daniel O'Leary.” The all heroes and sages would prepare for the hunting time as the time for finding the Holy Grail, which symbolized as the kill, hare:

Some day we shall get up before the dawn

And find our ancient hounds before the door,

And wide awake know that the hunt is on;

Stumbling upon the blood-dark track once more,

Then stumbling to the kill beside the shore;

Then cleaning out and bandaging of wounds,

And chants of victory amid the encircling hounds. (CP  385)

 

Yeats prophesied that the Immortal Rose’s glory and power would return from his early Rose poems. Following the law of gyres, the masculine and the feminine principles are triumph or sacrifice in turn as two opposite elements.  Before the 2000 years, Jesus started to the “new Great Year.” (AVB 243)  However, it was not an androgynous god’s year. After 2000 years of the Pisces, the masculine Trinity age was ending as the Aquarius is beginning. When the New Age comes as the androgynous God’s age, finally the fallen Sophia would be recovered her glory and power to return to the Heaven. Yeats thought that there was no balance of the masculine and the feminine principles at all during the last 2000 years of Pisces. As the Sophia’s prophet, Yeats would emphasize  the androgynous God’s age will be starting after the last 2000 years of the masculine Trinity age with Sophia’s  ascension. In his vision, Sophia in New Age is shown to the three elements such as Sphinx, Buddha and a girl in “The Double Vision of Michael Robartes”: 

On the grey rock of Cashel I suddenly saw
A Sphinx with woman breast and lion paw,
A Buddha, hand at rest,
Hand lifted up that blest;

And right between these two a girl at play
That, it may be, had danced her life away,
For now being dead it seemed
That she of dancing dreamed. (CP   192-3)

Yeats can watch the Divine Feminine as the Magi watched on the Mt. Meru as On the grey rock of Cashel. Therefore, Yeats-Michael Robartes achieved  at the 13 Cone, the Great Work as a Daimon. The three elements of Sophia are balanced of two opposites of the Masculine and the Feminine principles, so the girl as a dancer is a symbol of “Unity of Being”, “Philosopher’s stone” and the Holy Grail, which Yeats-Red Hanrahan pursued in his lifetime. It is related to the girl in “The Song of Wandering Aengus” with the balanced to the golden apples and the silver apples as the symbols of two opposites such as the masculine and feminine principles. The Kill, the dead hare, would be caught by the hunters and hounds. However, it is just a paradoxical symbol of the finding the Holy Grail, Sophia in the world by the all sages finally as the right time comes for the New Age. The Daughter Sophia as the symbol of the Holy Grail would be the great Judge to all souls in the Great Judgment Day. Yeats prophesied that the heroes as sages and Knights can chant the victory to the recovery of the New Age by the Universal and androgynous God’s will.  However, Yeats realized that he could not meet with the dead hare, Sophia-Isis in his lifetime because the time is not come yet in his age. Yeats-Red Hanrahan prophesied Sophia’s doom as the hare and her glory and power returning as the last of the Pisces end. Yeats also there would be enemy’s followers as “knave and dolt” as the dolls hate the new baby in “The Dolls.”  Yeats alluded to the finding the Holy Grail in the future with many symbolical songs included “Hound Voice.” The hunting song is the culmination of his poetic theme for the Holy Grail.

 

  1. The Glory of the Holy Grail

 

Yeats tried to show the recovery of the Divine Feminine with the cat. The symbol of cat is Daughter Sophia’s power in the last days as the returning of Sophia’s glory and power:

 

Does Minnaloushe know that his pupils

Will pass from change to change,

And that from round to crescent,

From crescent to round they range?

Minnaloushe creeps through the grass

Alone, important and wise,

And lifts to the changing moon

His changing eyes.   (CP 188)

 

Empty eyeballs knew
That knowledge increases unreality, that
Mirror on mirror mirrored is all the show.
When gong and conch declare the hour to bless
Grimalkin crawls to Buddha's emptiness.  (CP  375 )

 

The Moon is the symbol of the Divine Feminine, Mother Sophia as Mother of Gods. On the other hand, the cat, Minnaloushe is a symbol of Daughter Sophia in the world but no longer being sacrifice, but it is  a symbol of the Sophia as the Great Judge.  The cat, Grimalkin is changed into the Great Judge from the victim and the sacrifice, as the dead hare, the colt, or Helen of Troy. The cat, Grimalkin is in a victory  as the blessed and returned her glory and power. The Grimalkin crawls to  Buddha's emptiness, which is a symbol as Asia in the East. On the other hand, the Sphinx symbolizes as the West.  It shows the Holy Grail as the Daughter Sophia would be from Asia. Yeats as the visionary like the Magi on Mt. Meru can see the Holy Grail in their mind eyes. The Holy Grail is the girl  between Sphinx as the western countries and Buddha as the East or Asia. Yeats alluded to the Holy Grail would be from Asia as “unreckonable race” not from the West.  However, in  “The Second Coming”, the great Judge would be the Sphinx as the symbol of the west:

   

A shape with lion body and the head of a man,

A gaze blank and pitiless as the sun,

Is moving its slow thighs, while all about it

Reel shadows of the indignant desert birds.

. . . .

  The darkness drops again but now I know
  That twenty centuries of stony sleep
  Were vexed to nightmare by a rocking cradle,
  And what rough beast, its hour come round at last,
  Slouches towards Bethlehem to be born? (CP 211)

Yeats prophesied  the Holy Grail would be found as the right time comes. It is achieved “Unity of Being” as Sophia’s glory and power in 13 Cone in A Vision:  As the Thirteenth Cone, Sophia symbolizes as “Philosopher’s Stone”, “Unity of Being”, and eternal life.  “A shape with lion body and the head of a man” is the form of  the Sphinx as a symbol of Sophia-Isis, the Holy Grail and Thirteenth Cone. In the Second Coming, the Great judge is Sophia-Isis as Daughter Sophia in the world after being suffered from the great enemy’s persecution during  the last 2000 years period of androcentric age.

   However, the moon system in A Vision  shows the Divine Feminine would come for the Universal God as the decided time comes followed the law of gyres. The dancer in “The Double Vision of Michael Robartes” is a symbol of Daughter Sophia, who is a symbol of Sphinx in “The Second Coming.” In A Vision, Yeats described that the civilizations and the souls are changed by the principles of gyres in the twenty-eight lunar phases. The moon is a symbol of the Divine Feminine, Mother Sophia. Yeats has his own vision for the New Savior, as we see “The Second Coming,” so he might be proud of the young man, Ezra’s vision about the Second Coming. However, Yeats’s “The Second Coming” is much deeper  and mystic symbols than Ezra’s “The Return.”  

The 13 Cone is  shown to the Goddess’s number as Sophia-Isis, so Yeats emphasizes the number 13 in A Vision  to show  to “Unity of Being“. Yeats emphasizes the 13 Cone, which symbolizes as the Divine Feminine, Sophia. Yeats expected that he could not find the Beauty until the right time comes, so God allows  to  search for the dead hare as a symbol of Daughter Sophia.  Yeats has his own vision for the New Savior, as we see “The Second Coming”. He might be proud of the young man, Ezra’s vision about the Second Coming. However, Yeats’s “The Second Coming” is much deeper and mystic symbols than Ezra’s “The Return.”

Gods of that wingèd shoe!
With them the silver hounds
Sniffing the trace of air!

Yeats agreed with Ezra Pound’s vision showing the Second Coming as Sophia. “The silver hound” is related to the hounds in Yeats’s “Hound Voice.” And “Gods of that wingèd shoe!”
is related to the Hebe’s golden shoes rather than her wandering feet in the world to work as Creator:

The “It is  thirteen Cone or cycle witch is in every man and called by every man his freedom.” 13 Cone is completed by the Knight-Heracles as the Masculine principle finds the Holy Grail, Sophia-Hebe, the Feminine Principle.      The Unity of the masculine and the feminine principle is the summation of A Vision by the unknown instructors.  Heracles is identified with the archetypal image of the Masculine, Son, Jesus:

And Heracles the mighty I saw when these went by;

His  image indeed : for himself mid the gods that never die

Sits glad at the feet, and Hebe fair-ankled there doth hold,

The daughter of Zeus the mighty and Hera shod with gold.   (AVB 226)

Yeats shows Hebe’s gold shoes  symbolize Daughter Sophia in Heaven. Sophia in the world as the creator symbolized as the wandering feet:

 

Bow down, archangels, in your dim abode:

Before you were, or any hearts to beat,

Weary and kind one lingered by His seat;

He made the world to be a grassy road

Before her wandering feet. (CP 41 )

 

 

Of night and light and the half light,
I would spread the cloths under your feet; (CP 81)

 

That nobody looks; her feet
Practise a tinker shuffle
Picked up on a street. (CP 381)
 

Although Yeats focused on the symbol of the Divine Feminine, Sophia using the symbol of the Moon,  he also tried to symbolize the masculine principle as the supporter to awaken the Divine Feminine in the masculine Trinity age. In his short stories and poetry, he described his role as the masculine principle, such as Red Hanrahan, Aengus, Cuchulain, and Trojan heroes.  As the masculine principle,  Yeats encouraged Ezra, his young friend, to support Sophia as the masculine principle. Yeats introduced Ezra’s poem “The Return” and he praised the poem comparing to his belief about the Second Coming  in the future.  Yeats showed that the masculine principle, hero should dedicate to their lives for Sophia, the feminine principle to make balance of the masculine and the feminine principle of the androgynous God as the real universal God.   It is also achieved “Unity of Being” as the heroes find the lost goddess, Daughter Sophia in the world.  In the androcentric age, Daughter Sophia could not find anywhere, although the heroes tried to find it as the Holy Grail. Daughter Sophia is identified with Helen of Troy in Yeats’s poetry. The heroes in the androcentric age would be identified with the Trojan heroes, who were all defeated and killed by the enemy. Also they are identified with the knights Templar such as the last grand master,   Jacques de Molay, (CP 231)  because the “Templars are  the successors of the knights of the Round Table” (Jennings 421) as the successors  of the Arthurian Knights. However, Yeats finally showed that  Daughter Sophia’s returning and glory as described Hebe with the golden shoes in the New Age as Golden Age.

Shall we follow the image of Heracles that walks through the darkness bow in hand, or mount to that other Heracles, man, not image, he that has for his bride Hebe, 'The Daughter of Zeus the mighty and Hera shod with gold' ?   (AVB  302)

 For the hero, Yeats identified with Heracles who is in the Heaven by finding the Holy Grail, Hebe- hare.  Yeats alluded to the title of the first part, “A Packet for Ezra Pound,” and the next part is also “Stories of Michael Robartes and his friends” symbolized the Masculine principle, who could support the Feminine principle as the lost goddess during the last 2000 years period of masculine gyre. In the first two parts Yeats alluded to the masculine principle,   the hero who was chosen. And the other third part is for the Divine Feminine, as the title is “The Phases of the Moon” which is the symbol of the Divine Feminine.  The 13 Cone is the symbol of the “Unity of Being” as the Holy Grail, Sophia.

 

   III.

 

Yeats dreamed the Ideal world as a magician to make a New Age by searching for the Holy Grail.  Yeats was interested in the Holy Grail, to achieve “Unity of Being” and Great Work to be a Daimon. Yeats realized that he could be a Daimon as he dedicated to his life in Magical skills and religious ritual for the lost Goddess, Sophia-Isis. However, he could not meet with the Immortal Rose, the lost Holy Grail in his lifetime, because he lived in the androcentric age in Pisces yet. He believed in the New Age and the hidden Savior is Sophia-Isis, as the sister and wife of the Son, Jesus Christ. However, the real Savior is hidden and lost as the fallen Sophia, so he created his poetic character, Red Hanrahan as the Arthurian Knight, Parsifal, who searched for the Holy Grail and at last find it. Yeats created the image of the lost Goddess, Sophia-Isis from his early Rose poetry to last poetry. Yeats used symbols of the Immortal Rose, the Divine Feminine as the Immortal Rose, Helen of Troy and a girl in his early poetry, but he used various animal symbols In the middle poetry such as hare, colt, cat, and lion to show to the returning of Sophia-Isis in the New Age. Especially, the Sphinx is the culmination of the poetic theme as the returning of the Sophia as the Divine Feminine for the New Age after 2000 years of the androcentric age. The Sphinx is the symbol of the 13 Cone and Hebe in Heaven as shows in A Vision.           

 

Works Cited   

 

Baring, Anne and Cashford, Jules. The Myth of the Goddess: Evolution of an Image. London : Penguin Books Ltd., 1991.

Case, Paul Foster. Wisdom of Tarot : The Golden Dawn Tarot Series 1. Boston : The Rosicrucian Order of the Golden Dawn, 2009.  

 Compton,Madonna.  Archetypes on the Tree of Life: The Tarot as Pathwork. Minnesota: Llewellyn Publications, 1991.   

Ellmann, Richard. The identity of Yeats. New York: Oxford University Press, - Faber paper covered editions. 1983.   

Jennings, Hargrave. The Rosicrucians: their Rites and Mysteries.  London:  George Routlddge & Sons; New York: E.P. Dutton & co. 1907.

MacDermot, Violet tr. The Fall of Sophia: A Gnostic Text On The

      Redemption Of Universal Consciousness. Herndon: Lindisfarne

      Books, 2001.  

Yeats, William Butler. Autobiographies London: Macmillan, 1970.

       (Abbreviated as AU)

 

 _____________________. A Vision. London: Macmillan, 1973.

      (Abbreviated as  AVB.)

_____________________. The Collected Poems of W. B. Yeats. (1865-

      1895). London: Macmillian, 1976. (Abbreviated as CP )

_____________________. Essays and Introductions. London: Macmillan,

      1973. (Abbreviated as E&I)

_____________________. O’Donnell, W.H. ed. The Speckled Bird. Dublin:

      Mcmlxxiii 1974.  (Abbreviated as SB)

 

Key  Words:  Holy Grail, Hunting, Hound, Hare, Sophia, Sphinx, Dolls, Magi, Arthurian Knight.