Notes
Notes to Section One
1. Yeats wrote in 1928 that George had surprised him "on the afternoon of October 24th 1917, four days after my marriage, by attempting automatic writing" (VB 8), and he preserved a horoscope bearing that date and the hour 6.40 pm (see cover). Since the first Script we have discovered was dated 5 Nov, the records of the missing days are lost, destroyed or misplaced. The dates, times and places at the head of each sitting are usually George's, sometimes Yeats's. We have noted disagreements and occasionally attempted to explain. 2. These lines concerning the sun in moon and moon in sun contain the symbolic and astrological basis of V A and establish the psychological polarities of Yeats's theory of human personality. For further details consult CVA xii-xvii and MYV I 8-12. See the first fifteen lines of the AS of 6 Nov. 3. Thomas was the first and most important of several Controls and Guides who communicated through George as Medium. He belonged in 18, George's P. 4. We have been unable to identify Bolton. 5. The first of the Frustrators, Leo was a descendant or degenerate form of Leo Africanus. For details see Adams and Harper, pp3-20 and MYV I 8. For details see NB8, entries dtd 7, 14 and 18 Oct 21. 6. A stray scrap of paper in the Yeats Archives at Stony Brook refers to an Isabella of Ferrara. 7. The significance of this reference to the black and white horses in Plato's Phaedrus had been brought to Yeats's attention though a note from his friend W. T. Horton. The System itself was "said to develop" from Horton's note and a Script by Lady Edith Lyttelton. See CVA xii-xvii and MYVI10-12. 8. From this line to the end of the day's AS this exchange - of which only George's half is recorded - reveals her at her playful best. Both she and Yeats were aware that the four comers of the pyramid represented him and the three women foremost in his thought: Maud, Iseult and George. In a few days - if not already - they had become the cosmic tetrad in OJE, as we shall point out. The symbolic meaning of the pyramid of "4 comers four people" is somewhat clearer in the AS of 25 Nov. See Illustration 1. 9. Another reference to Horton and the Phaedrus myth. 10. Raymond Lully was best known for his extensive writings on alchemy. Yeats noted, on an erratum slip in The Green Helmet and Other Poems, that he had "put Raymond Lully's name in the room of the later Alchemist, Nicolas Flamel" (Wade, p. 96). 11. We have been unable to identify Daubry. 12. What George was referring to in Figaro is unclear. 13. Yeats escorted Iseult and Maud Gonne from Paris to London on 17 Sept. They were prevented from going to Ireland by the British government (L 632).
512 Notes 513
14. This offer was apparently a possible appointment to a professorship at Trinity College. 15. The word "telepathy" was coined by F. W. H. Myers, whose works Yeats knew and respected. "It is a mysterious link between conscious and subconscious minds" and must, according to Myers, "absolutely exist in the universe if the universe contains any unembodied intelligences at all" (EPS 376). 16. "The mantra", as defined by Madame Blavatsky, is "the rhythmically chanted prayer of the Hindus" (KT 70). 17. In their study for advancement through the grades in the GD the aspirants were required to "charge" the magical instruments used in ritualistic exercises (see YCD passim). 18. Filed with this day's Script is a six-page typescript headed "Script of G.H.L." [ie, Georgie Hyde-Lees]. These pages are a selection and con densation of what Yeats considered most important in AS of 8, 9 and 10 Nov. See MYV I 263-6. 19. The remainder of this introductory matter is George's effort to define the Evil Persona, for which Yeats found no use in VA. 20. These two Qs and As were the first to be numbered. Yeats is suggesting an investigation he had explored in the two essays of PASL: "Anima Hominis" and "Anima Mundi" (Myth 343-66). 21. Daily Self was replaced by Primary on 9 Nov. 22. Here as elsewhere in the AS "Medium" is a reference to George. 23. The square is apparently the symbol of the sesquiquadrate, an evil aspect, being a difference of 1350 in longitude. 24. A reference to three diagrams "for Iseult". 25. "Astral body" is a term "employed in theosophy to denote the link between the nervous system and the cosmic reservoir of energy" (EPS 16). 26. A reference to Mrs Patrick Campell, "a certain actress" who was one of the Examples for 19. 27. Percy Bysshe Shelley, an Example of 17, Yeats's P. 28. Memory dreams are contrasted to vision dreams throughout the AS. 29. Although Helen remained an archetypal ideal, she was shifted from 16 to 14, a less desirable P (see CVA 66-9, 71-5 and cf Myth 360). 30. The archetypal figure of 28, the Fool is described as "the natural man" and "The Child of God" (CVA 115). 31. Walter Savage Landor belongs in 17, though he was rejected, perhaps inadvertantly, as an example in VA. 32. The following lines represent the first thoughtful consideration of the Daimon, about whom much was to be written in the AS and VA. 33. The withered hand became the symbol of "Bricriu of the Sidhe" in DIE with which Yeats was soon to be preoccupied. See VP1543. 34. A further comment on Paris and Helen, identified in A2 above. 35. Henry ("Harold") Tudor Tucker, George's stepfather. When Yeats re corded the information about these three people in CF (T13x), he added three names with appropriate symbols: Iseult's, George's and his own. 36. After this line at the bottom of the page and upside down, George wrote: "Annales de psychiatrie July 1892. Oct: 1893". She was probably referring to Annales des sciences psychiques, a widely read monthly magazine founded in 1891 by Charles Richet, who was President of the SPR in 1905. Yeats read Richet's works and referred to the Annales in a significant note to "Sweden borg, Mediums, and the Desolate Places" (VBWI 324). Dated 14 Oct 14, this essay was not published until 1920. 514 Notes
37. The remainder of this dialogue is perhaps George's defensive argument against Yeats's love or infatuation for Maud. See Blake, p 149: "Without Contraries is no progression. Attraction and Repulsion, Reason and Energy, Love and Hate, are necessary to Human existence." Blake's theory of Contraries is basic to the philosophy of the AS and VA. 38. The following discussion apparently describes George's conception of her part in the AS. 39. At this point Yeats made a bold X in the margin, probably to remind himself of the significance of the material. 40. Another X is in the margin. 41. Another X is in the margin. The underlining (here printed as italics) was apparently made at the same time. 42. This is the first of numerous references to Freud scattered throughout the AS but especially in the early sittings when Yeats and George were worried about the psychological problems of Iseult Gonne. 43. We cannot identify this name. If a Control, it was present only one other time. See word at beginning of sitting on evening of 6 Nov. 44. When Yeats published OlE (being planned at this time) in Four Plays for Dancers (1921), he included a note which partially explains his thoughts about physical beauty:
Much that Robartes has written might be a commentary on Castiglione's saying that the physical beauty of woman is the spoil or monument of the victory of the soul, for physical beauty, only possible to subjective natures, is described as the result of emotional toil in past lives. (VP1566)
45. The following dialogue is another of the Yeatses' Freudian analyses of Iseult's complexes. "Subliminal" may have been borrowed from F. W. H. Myers. In a discussion of "the idea of a threshold . .. of consciousness" he wrote that "subliminal mean[s) 'beneath that of threshold'" (Myers, vol. 1, p14). 46. This may be a reference to translations from Bengali to French which Iseult attempted in 1914 or to a project which Yeats started her on in Aug 1916 (MYV 136). 47. This and the next two responses to unrecorded Qs probably allude to Yeats's relationship to Maud. 48. These two lines, slightly changed, are quoted in VB 233n. See also Mem 126 and Au 379. 49. George is recalling Yeats's first draft of the Autobiography, completed in late 1916 or early 1917: "I dreamed that I was lying on my back in a great stone trough in a great round house. I knew it was an initiation, and a wind was blowing over [me), I think from the feet up" (Mem 127). 50. George refers to the Celtic Mysteries, a religious order similar to the GD, which Yeats sought to establish at the turn of the century. The spear was one of the four sacred objects. See MYV 137 and Kalogera, passim.
Notes to Section Two
1. There is a break in the AS from 12 to 20 Nov when the Yeatses were in London. From this time forward the AS is more carefully structured. The Qs, usually in Yeats's hand, are recorded and linked to the AS. See MYV 138-9. Notes 515
2. The following exchange (Qs 2-9) refers indirectly to Yeats (17), Iseult (14) and Maud (16). 3. See Sec 1, n25. 4. One of George's working notebooks contains numerous excerpts from the works of Pico della Mirandola. See MYV 141-2,273 n5, and cf VB 19-20. 5. Yeats was preoccupied throughout the AS with the idea of an Initiate or New Messiah who would appear at the end of the Christian era (c. 2100). 6. This is the beginning of Yeats's serious effort to relate the Cuchulain plays to stages of growth of his own soul. Cuchulain was placed with Nietzsche in 12. The "unwritten Vth play" is DIE. Since it is only the fourth play in the cycle, Yeats was probably including Dierdre. See MYV 142-3. 7. A reference to Mrs Eva Fowler, at whose country home near Sevenoaks Yeats observed the automatic writing of Elizabeth Radcliffe. (For details see Harper and Kelly, "Preliminary Examination of the Script of E[lizabeth] R[adcliffe]", YO 130-71.) Yeats continued to be puzzled by the "picture of 2 Pitchers". But some light is cast on it by an entry in CF. In a Card headed "Symbols" he noted: "Picture of [?Bernes] of Two Pitchers which fortold script". The remainder of the entry is a summary of a portion of a long unorganized sitting on 25 Apr 18 which suggests that Yeats conceived the two pitchers as symbolic of him and George: "Myrr[h] is medium, Frankincense you." The third holy object, representing the child they were planning, was missing: "Child ... one brought Myrrh & one Frankincense but the Gold was lacking where shall gold be found." The Card concludes with three provocative words: "preserve, renew, reborn" (S63). We have been unable to identify the picture. 8. Probably a reference to Horton, who strongly denounced Yeats's interest in psychical research and occultism. According to Yeats, in a note recorded in the CF (543), the System of V A was said (by the Controls presumably) to develop from a script of Lady Edith LyttIeton and a note from Horton warning Yeats about the perils of psychical research. See YH 59--63 and CVA xii-xvii. See also Sec 1, n7. 9. The essay is "Anima Hominis", in PASL (Myth 325--69). 10. Yeats may be recalling that he saw Mrs Campbell in Maurice Maeterlinck's The Blue Bird (L 544); he hoped to entice her into playing the role of Decima in The Player Queen. 11. Above the responses to Q16 Yeats wrote, probably after rereading, "? before- 28 or ugliness taken up in 2~26". 12. Yeats here turns to tentative explorations of the cyclical theory of history (see MYV I 44-5). "The Second Coming" embodies the basic concepts explored in the following dialogue for the first time in the AS. The cycle of 2000 years, later 2100 (CVA 178), remained a fundamental assumption of the System. 13. Unfortunately, Yeats failed to record his description. 14. Five of Swedenborg's books with numerous annotations and much under scoring are in Yeats's library (see DCYL 2036-401). For Yeats's opinion of Swedenborg as a spiritualist see VBWI 312-17. 15. Since the subject of Yeats's Qs is seminal to the justification of the AS, the loss of A19 is disappointing. 16. Both Cardinal Points and Elements are important symbols in DIE, as we shall point out. 17. Yeats rejected three Qs which George made no effort to answer:
3. Is butterfly symbolic of cleared subconsciousness. 516 Notes
4. Can one compare voluntary clearing with that between lives 5. Question 25 yesterday. [ie, From what comes destiny, through what machinery?] .
18. The saint who voluntarily assumes the disease of others is sometimes referred to as a "sin-eater". 19. Yeats adopted these three terms from a tetrad in Blake but substituted Fall for "Stomach & Intestines" (Blake, p524). See also Ellis and Yeats, vol. I, p 347 and MYV I 47-8. 20. See n17 above. The butterfly and the eagle (sometimes replaced by the hawk) remain consistent symbols in Yeats. See "Tom O'Roughley" (P 141) and note on "Meditations in Time of Civil War" (P 599). See also MYV I 49-52. Both George and Iseult are symbolized by the butterfly, Yeats himself by the eagle, as he makes clear in the CF (S44): "Were George & I chosen for each other 'one needs material protection one emotional protection - the eagle & the butterfly."'. 21. Yeats refers to A2, after dinner, 21 Nov. From this time on he and George frequently use "knot" as a synonym for "complex". 22. This explanation is reminiscent of Blake's insistence that "Innocence dwells with Wisdom, but never with Ignorance" (Blake, p 380). Cf Yeats's lines in "A Prayer for My Daughter":
Considering that, all hatred driven hence, The soul recovers radical innocence .... (P 189)
23. In the following discussion (Qs 27-41) of knots, complexes, sequences, etc. Yeats had Iseult in mind. He and George had obviously been reading Freud (see Q36). 24. According to Madame Blavatsky, Karma is "The universal law of retribu tive justice": "we consider it the Ultimate Law of the Universe, the source, origin and fount of all other laws which exist throughout Nature. Karma is the unerring law which adjusts effect to cause, on the physical, mental and spiritual planes of being." The Theosophists "believed in destiny [or Karma], which from birth to death every man is weaving thread by thread around himself" (KT 198, 201 and 182). 25. For Q35 Yeats first wrote then marked through: "I injure a man in one life & in another life take his sense of injury away by a good action." 26. The distinction between fate and destiny is emphasized throughout the AS and VA: "by fate is understood that which comes from without, whereas the Mask is predestined, Destiny being that which comes to us from within" (eVA 15). 27. See nn17 and 20 above. 28. At the top of Yeats's first page George wrote:
Questions Nov 24 Evil persona Horoscope of Anti Contradiction at page X2 - X? Is the subconscious that which unites the conscious that which separates.
[See Qs 24-25 below] 29. Yeats suggested the significance of this observation by an X in the margin. Notes 517
30. This is the first of numerous attempts to fit the number 12 (related to the Signs of the Zodiac) into the System. 31. Apparently, Yeats and George had already discussed the concept of twenty-eight stages ("Phases" had not yet been chosen). 32. What follows is the first draft of the characteristics of the Will for the "Table of the Four Faculties" (eVA 30-3). As George's thinking rather than Yeats's, this list illustrates the unrecognized significance of her collaboration. Although they changed several of the terms (see eVA 14n), the meaning of the descriptive characteristics remained essentially unchanged in VA. In less than three weeks they had established the basis for the theories of human personality and history projected in the book (see MYV [ 53-4). 33. Another attempt to fit the Zodiac into the System. 34. George first wrote then marked through several words reminiscent of the rituals of the GD: "To call up spirits face quarter from whence he comes then for . .. " (our italics). 35. This reference to the "2S mansions" of the moon suggests that George may have recently read a passage about the mansions in Chaucer's "Franklin's Tale" which she copied out and preserved. She also copied out W. W. Skeat's note on the passage. See eVA, Notes, p 10. 36. Yeats was probably remembering Blake's description of "The Ancient Britons" in "A Descriptive Catalogue" (Blake, pp577-S). See also MYV [ 275, n25. 37. Cf "The last servile crescent" and "the first thin crescent" in "The Phases of the Moon" (P 166), which Yeats may have been planning or writing. 3S. The As suggest that the Yeatses had already chosen Hunchback, Saint and Fool as the typal Examples of Ps 26, 27 and 2S. 39. As 5-9 are summarized in the CF under "Sex" (S41-4lx). 40. Yeats marked through a significant phrase: "in each age". Cf A22. 41. That is, Elizabeth Radcliffe. See A26 below and n7 above. 42. Qs 23-29 are directly related to a puzzling discussion focused on a pyramid of "4 corners" representing "four people" in the AS of 5 Nov (see Sec 1, nS). Although Yeats observes that "I was my self one of the four", he is informed that "They are four exclusive of myself". If so, the four who represent "four stages of symbolic development" are almost certainly Maud, Iseult, George and Lady Gregory, the four typal women projected in OfE: Maud as Fand, Iseult as Eithne Inguba, George and Lady Gregory as a composite of Emer (see Sec 3, n17). Of the four, George "knows two slightly" (Maud and Iseult) and "one well" (Lady Gregory). For details of the development and meaning of Yeats's remarkable tetradic plan in OfE (finished 14 Jan IS), see MYV [ 147-53. 43. That is, the GD. 44. See Sec 1, nS, and n42 above. 45. See n42 above. 46. Yeats refers to a "dialogue in the manner of Landor" which he spoke of in unpub ltrs to John Quinn (29 Nov) and John Butler Yeats (30 Nov). This dialogue may represent the first fumbling effort of Yeats to organize his material in what is usually known as the R-A Dialogues, the last stage of which is represented in DMR. 47. See nn 30 and 33 above. 4S. This is the first reference to Yeats's attempt, ultimately abandoned, to find an emblem or symbol for each of the twenty-eight Ps. More than likely the idea came to him from the well-known emblems on the Tarot trumps, and he may have been influenced by the Table of Correspondences, especially 518 Notes
the animals (including birds) and planets, one or more for each of the twenty-two cards. See MYV II 400-4. 49. That is, 7. 50. Keats was first placed in 12, then moved to 14; Lady Gregory in 24. 51. Shakespeare was placed in 20, Pound in 12. 52. The A to this was "no", though Whitman was placed in 6. 53. Lewis was placed in 9. He is identified in CF (P58). 54. George was placed in 18. 55. Shaw, placed in 21, had wit not genius. 56. There was no Example for 1 because "This is a supernatural incarnation" (CVA 116). 57. We have been unable to identify Egila. In Norse mythology, Egil or Egill was brother to Volund, the smith. 58. See n7 above. One Card in the File (S63) is also devoted to the picture of two pitchers, "which fortold script". 59. Another reference to the automatic writing of Elizabeth Radcliffe. See n7 above. 60. A reference to Yeats's friend George W. Russell (AE), who was placed in 25. Much later, on 24 Sept 18, he plays an important role in the myth of an Irish Avatar. 61. This Q and A represents an important admission about spiritual com munication. 62. See AS 3 Dec, Q27. Sean Gonne was Maud's son by Major John Mac Bride. 63. Stephens was placed in 16 but rejected as an Example in V A, perhaps because he was still alive. 64. See n48 above. 65. Yeats made a note on a blank page facing Q23. Locating N, E, Wand S (Full Moon), he placed % Moon between Sand W, then explained: "Anti at % power because % of moonlight. Light part of Moon = Anti". 66. George apparently considered the As to Qs 4 and 5 especially significant. She wrote two explanatory notes and made an illustrative diagram on a separate sheet: at 16 The almost predominant anti emerging from complete passivity. (The whole dark circle) receives the new white crescent of primary coming from ugliness (0) in the [?inner] circle of violence of primary. In 2 The white circle of primary must receive crescent of dark anti from beauty in the 1/2 circle of violence of anti. [diagram: illustrates second part of A5] 67. Although Yeats and George gave up the idea of assigning Cycle Signs to all Examples of the Ps, several signs were retained; and frequent reference is made throughout the AS, NBs and CF to Yeats's (Libra or 7) and George's (Scorpio or 8). The numbers were changed to 6 and 7 when Taurus rather than Aries was designated Cycle 1. See A30 below. 68. Why the complete cycle through the twelve signs of the Zodiac should begin at Taurus (no 2) rather than Aries (no 1) is never made clear. Cf n67. 69. For "The Daimollic Man" of 17 (Yeats's P), the Mask comes from 3, the Creative Mind from 13 (CVA 75). 70. A reference to the important concept of Dreaming Back (see CVA 226-31). 71. See n68 above. Notes 519
72. That is, 23 and 20. Dickens was not retained as an Example of 20. 73. See n63 above. The "two new ones" were Beardsley and Blake. See A33 below. 74. Much impressed by the racial theories inherent in Qs 4-7, Yeats sum- marized them in CF (Clx). 75. That is, at 23. 76. Ultimately placed at 22. 77. There are no Examples for 5 in VA and no journalists at 11. The "one at 21" may be H. G. Wells. 78. There are no Examples of soldiers at 6; Napoleon is the Example at 20. 79. Keats is a strange choice for 12, the P of the hero and the forerunner; ultimately he was shifted to 14, one before beauty. Keats is among the most often discussed poets in the AS. 80. Yeats suggests in Q25 and Q28 the basis for his well-known lines about Keats in "Ego Dominus Tuus" (P 161-2). 81. Shelley was placed in 17. 82. Only Blake was retained for 16. 83. George may have been thinking of the path of the serpent in the Cabalistic Tree of Life. 84. Shifting (soon changed to plural) is an important concept in the AS. Less important in VA, it is the title of a section in Book IV, "The Gates of Pluto", where Yeats attempts to describe the state: At the end of the Return . .. , the Spirit is freed from pleasure and pain and is ready to enter the Shiftings where it is freed from Good and Evil, and in this state which is a state of intellect, it lives through a life which is said to be in all things opposite to that lived through in the world, and dreamed through in the Return. (eVA 229) 85. Another reference to emblems (n48 above). Yeats asked first for meanings of ''beasts & birds". After dinner he asked for an A to Q41, then crossed the words out. 86. See n84 above. 87. See n48 and 85 above. 88. See n84 above. 89. The first reference to Michael Robartes, the mythical author of the documents upon which the book about the AS was to be based. See especially the Introduction, eVA xv-xxiii. The first drafts of the book were in the form of a dialogue between Robartes and Owen Aherne. See n46 above. 90. Qs 14-22 are concerned with Dreaming Back. See n70 above. 91. That is, Iseult's Cycle is 7 (Libra) and Maud's is 5 (Leo) (later 6 and 4). 92. Thomas suggests that Keats failed to establish a proper balance of Anti thetical and Primary. 93. A reference to "Anima Mundi" (dated 9 May 17) in PASL (Myth 34~6). The observation that the term is too vague is recorded verbatim in CF (A9). 94. Cf"Anima Mundi": "The soul cannot have much knowledge till it has shaken off the habit of time and of place" (Myth 358). See also eVA 231-2. 95. Yeats was unable to find a symbolic function for the number ten in the System. "This and the following Table", he admitted in a note, "are divided into ten divisions because they were given me in this form, and I have not sufficient confidence in my knowledge to turn them into the more convenient twelve-fold divisions" (eVA 34n). Cf Sec 3, n214. 520 Notes
96. This discussion of "living backward" is the basis of Yeats's theory of Dreaming Back (CVA 226-31 and 236-7), which is important not only in VA but also in many poems, plays and essays. See especially "Shepherd and Goatherd", II, 107-12 (P 145). 97. "Planes" was a seminal word and concept to Theosophists. See KT 88-93 for a discussion of the "seven planes of being". 98. Dulac was rejected as an Example. 99. George, as usual, is insistent that observers should not be present at the sittings. 100. Placed here in 24, Olivia Shakespear was shifted to 20 but rejected as an Example. 101. Iseult is the subject of discussion (see L 633-4). The reference to "identity papers" suggests that Yeats planned to seek permission from the British government for Iseult and Maud to return to Ireland.
Notes to Section Three
1. The Yeatses were in London from 8 to 20 Dec most likely. On the 20th Yeats wrote to Sir William Barrett apologizing "for not staying in town for your dinner party. We had finished the work that brought us to London, and were lingering on without aim" (unpub Itr dated 20 Dec 17). Some part of that work may have been a seance to converse with the spirit of Sir Hugh Lane about the possibility of a lost or misplaced codicil to his will. See MYV I 74-5 and 276, n2. 2. That is, Bricriu of the withered arm in OlE. 3. That is, "The Woman of the Sidhe herself" in At the Hawk's Well. 4. Yeats summarized these thoughts on a blank page facing Qs 1-10. 5. An early draft of the "Table of the Four Faculties" had six columns, dividing both Genius (changed to Creative Mind) and Mask into Good and Evil. See VNB2 29-31 and MYV I 276-7, n5. 6. The following discussion (Qs 12-45) of the Mask is the most extensive in the AS. Focusing on the literary image of Landor (Q18) and especially of Dante (Q20) (from whom the title of "Ego Dominus Tuus" came), Yeats and George established a definition of the Mask seminal to the System and to Yeats's creative work henceforth. Yeats summarized the dialogue of 21 Dec in CF (F13) and George tightened the definition on 16 Jan 18 (AS), recording it verbatim in VNB1 51. See the final version in CVA 18. 7. See "Ego Dominus Tuus", II 70-9 (P 162). It was first published in Poetry (Chicago) (Oct 1917). Ille, who speaks for Yeats, describes "the mysterious one" as "my double" and "my anti-self'. 8. Cf CVA 19: "The Mask before Phase 15 is described as 'a revelation' because through it the being obtains knowledge of itself ... ; while after Phase 15 it is a 'concealment' for the being grows incoherent." 9. "True" and "False" were the terms ultimately adopted (CVA 30-3). 10. The "new play" is OlE. Yeats is trying to relate the Cuchulain plays to stages in the growth of the soul, his in particular. 11. That is, one before beauty (14) and three after (18). Yeats clarified this ambiguous comment in a note on a blank page facing Qs 2-13:
Present play reaction from Hawks Well Bailes Strand reaction from G Helmet Notes 521
12. A reference to Cuchulain's offer to sacrifice his own head in order to restore order between himself, Laegaire and Conall and between their wives and servants. 13. Yeats first wrote then marked through: "Can you give me a modern illustration of 'present play'." George perhaps did not want to respond to such a Q about a play in which she was a character (Emer). 14. George is here establishing a rather unusual distinction between destiny and fate which runs throughout the AS. Action is linked to destiny and destiny to free will, whereas, in contrast, passivity ("enforced") is linked to fate and fate to determinism ("love" is fated). Destiny is Anti, fate Primary (see MYV 182-3). 15. That is, 18, George's P. 16. This intriguing attempt to relate the Ps of the Moon to stages of "my own life" was not attempted for anyone but Christ, whose stages were traced from nativity to crucifixion. See AS 2 Jan 18 and n73 below. 17. The three women are principals in OlE and in Yeats's life: Emer (George) is race; Eithe Ingube (Iseult) is passion; Fand, the Woman of the Sidhe (Maud), is love. 18. A reference to Emer's climactic decision to renounce Cuchulain's love in order to release him from Fand's power. 19. That is, 12, the heroic P. 20. That is, all three (George, Iseult and Maud, the three women in the play) are "one nature but divided". See MYV I 152. 21. It is significant that George failed or refused to answer Qs 15 and 16. 22. That is, 12. 23. The LF is patterned on the Flaming Sword of the GD rituals. The descending path of the LF follows a zig-zag pattern, the points of which are marked by phasal numbers representing characters in the play and in Yeats's life (see MYV I 84-6). George made sketches of Yeats's Flash and her own on 5 Jan 18 (As 17 and 23), and Yeats recorded them in CF (L7). 24. Fighting the Waves (performed on 13 Aug 29) is the title of a prose version of OlE (see VPl 528f£). 25. On a blank page facing Qs 29-39 Yeats noted:
Race = peace of ideal Beauty = danger
26. That is Eithne (Iseult) represents danger, Emer (George) peace, and Fand (Maud) both. 27. By 2 June 18, in a list of phasal Examples, Tennyson had been shifted to 14 and Rossetti to 17; the others were unchanged. Only Goethe and Dante were selected for VA. 28. Myers's posthumously published book Human Personality and Its Survival after Death (1903) was well known to Yeats. Myers was a founding member (in 1882) of the SPR and President (in 1900). Shifted to 22 by 2 June 18, he was not selected for VA. See Sec 1, n45. 29. Nevertheless, he was shifted to 14. 30. Villon remained at 18 in the list of 2 June 18. In VA, Book III, he is placed in "the 13th Phase as man" (eVA 200-1), but was not selected as an Example. 31. Ultimately selected were Whitman for 6 and Borrow, Dumas, Carlyle and Macpherson for 7. 522 Notes
32. That is, Emer and the wives of Laegaire and Conall. 33. If recorded, Yeats's "statement of psychology" was not preserved. 34. In Qs 15-21 Yeats is attempting to establish a doctrine of the Mask:
1) it is not a revelation but a protection from the sordidness of the world; 2) before 15 it is ideal objectivized and influenced by beauty, after it is ideal subjectivized and influenced by wisdom; 3) "shrinking from world" makes Mask before 15, "shrinking from self" after 15.
Cf n6 above. 35. Both were shifted to 25. 36. That is, 26 and 28 may be skipped. 37. A reference to Anne Hyde, a mythical ancestor about whom much would be written later. See Sec 5, nl, and NB7, entry dtd 8 Oct 21. 38. As Calvary was first conceived, both Judas and Peter were to be characters. 39. It is appropriate that George's first Control should belong to her P. 40. No further mention is made of Anne's P. 41. An important observation about the limitation on help to be expected from the Instructors. 42. The first reference to an important Control. 43. This and the next five lines refer to Anne Hyde. See n37 above. 44. Fand in DIE is at 15, Maud at 16. 45. The three birds are the three women in Yeats's thought at this time: George, Iseult and Maud. 46. The remainder of this dialogue, except the last four lines, is concerned with the problems of Iseult, who was scheduled to arrive at Ashdown Cottage on 23 Dec. She was there "for a few days" over Christmas (ltr from Ann Saddlemyer dtd 5 Aug 88). 47. Possibly Isabella of Ferrara. See Sec 1, n6. 48. Although Yeats continued to "use funnell as a symbol", he abandoned the theory of eight stages suggested above. 49. A reference to a third codicil in Hugh Lane's will. A nephew of Lady Gregory and an art collector, Lane went down on the Lusitania (7 May 15) without having witnesses to a codicil of his will giving his art collection to Dublin. See Yeats's "The Clairvoyant Search for Hugh Lane's Will" in Lady Gregory, Sir Hugh Lane, pp. 209-15. For further details consult MYV, 93-4. 50. That is, Mrs Ruth Shine, Lady Gregory's sister. 51. That is, Lady Gregory. 52. Filed with this day's AS are two extra pages, one with a horoscope for 16 Oct 1892 (George's birthday, actually the 17th) and one with the following puzzling comments about the family the Yeatses were planning
Yes I know - No if you have a child that will be correct The link is strong but I am not a doctor The link is strong enough without That horary hard & bad Your March horary Your march horary did not result at once in marriage
53. Baudelaire was used as an Example of 13. Notes 523
54. Schopenhauer was placed in Pll, Cycle 7, but not selected as an Example. 55. Since there is no human life at 1 and 15, descriptions are irrelevant or impossible (eVA 69 and 116). 56. That is, Mrs Patrick Campbell and Maurice Maeterlinck. See Sec 2, nlO. 57. For what was ultimately written about the Saint (27), see eVA 113-4. 58. In a note at the top of the AS for 1 Jan 18, George wrote:
Read Feb 16 1919 X = codified Question 50 contd. Feb 16 1919
59. Though Pound was placed in 12 for a time, Nietzsche is the lone phasal Example in VA; Zarathustra was rejected for 18, perhaps because he seemed out of place with Goethe and Arnold, the Examples selected. 60. As the Multiple Man of 26, the Hunchback is opposite the Heroic Man of 12. 61. Much of the dialogue of Qs 4-14 is concerned with descriptions and relationships of the Four Faculties in several Ps: for example, the Mask for 17 is from 3 and the Creative Mind from 13. 62. The second or inner circle is the circle of civilization, the outer that of the individual. Apparently, Yeats was planning to order his discoveries in at least two dialogues at this point (see L 635). 63. For a somewhat different assignment of Ps to the "Four Types of Wisdom" cf eVA 34, VNBI 8 and VNB2 44. 64. See VNBI 35. 65. Qs 24-26 are summarized in the CF (C23). See also VNBI 25 and 35, and MYVI96-7. 66. In Blake's brief essay on "The Ancient Britons" in "A Descriptive Catalogue", he represents "the three general classes of men ... by the most Beautiful, the most Strong, and the most Ugly". This threefold man was originally "one man, who was fourfold", and "the form of the fourth was like the Son of God" (Blake, pp.577-8). Camlan (not Camdan) was Salisbury, the scene of "the last Battle that Arthur fought" (Ibid., p. 560). See MYV 197 and 278, n21. Yeats was excited to discover that his System corresponded "in a sense ... but not in detail". 67. There is no other reference to Hegel and one other to Kant (5 Dec 19) in the AS. See VNBI 8. 68. In Qs 35-40 Yeats and George are trying to understand why "we 2 [are] necessary to this work". Yeats's P is 17, its Creative Mind from 13, its Mask from 3; George's P is 18, its Creative Mind from 12, its Mask from 4. One of George's notebook entries headed "Wisdom of Two" is helpful: "in case of WY & GY the combination of 17 & 18 & 13 &12 = forms of truth combination of 3 & 4 = forms of innocence" (VNBI 9). Cf eVA 75 and 79. See also 4 Jan, Q19. 69. Yeats is probably recalling his unsuccessful attempt at the turn of the century to engage Maud in his effort to revive the Celtic Mysteries. For details consult YCD 164-5, n19. See also Sec 1, n50. 70. George summarized A5 in VNBI 9: "Sex & emotion must be alike (in harmony) mind & soul unlike in tendency or nature." 71. On 4 Jan Yeats informed Lady Gregory that "George wired to say we could not go to Ireland at present" (L 643). 72. George noted at the top of this page that this day's AS had been "Read Feb 19.1919". We will suggest the significance of this reading at that point. 524 Notes
73. Because Christ was a symbolic man representing a cycle of history, Yeats sought to correlate critical periods in his life to phasal numbers. See n16 above, and CF (C23). 74. The Yeatses believed that they had been divinely chosen to produce the next Great Initiate or New Messiah. Much will be written on the subject in the coming months. 75. A reference to the scourging of Christ by the Roman soldiers before the crucifixion. See Matthew 27:26f and especially Mark 15:15. 76. See n55 above (cf eVA 116). 77. Maud was placed as near to beauty (15) as possible. Blake, Beardsley (shifted to 13), Stephens and Cervantes were also placed in 16. Note that Maud is the only female Example of this P. Helen of Troy, originally in 16, was shifted to 14, perhaps because Maud was to have no rivals. 78. See eVA 66 and 71 for False Creative Mind of 14 and 16. 79. A descriptive phrase from Horace's Odes (Book II no. 14) meaning "pleasing wife" is here applied to Lady Gregory, who was not named as an Example of 24 in VA but was in VB, published after her death. 80. The concept of Cycles was abandoned. Apparently Yeats found it too difficult to match the twelve Cycles to the twenty-eight Ps. Note that Landor and Keats were in 7 (Libra), Yeats's Cycle; Pound was placed in 12, but rejected in the galley proofs of VA. Likewise, Landor was omitted but included in VB. For details aboutthe Cycles see MYV I 279, n34. Yeats recorded the matched names and Cycles suggested in Qs 40-7 in CF (C37). 81. These descriptive characteristics of Good and Bad Masks and those for Evil Genius (changed to Creative Mind) should be compared to the terms finally selected for the "Table of the Four Faculties" (CVA 30-3). 82. For Cycles see n80 above. The following names represent Yeats's most serious effort to find outstanding Examples for most of the Ps (always omitting 1 and 15). With few exceptions these names appear in the list of 2 June 18, but many of them were not selected for VA. Conspicuously absent are Milton, Homer, Chaucer, Virgil and Michelangelo. 83. The names in parentheses were presumably supplied by George rather than the Control. 84. The numbering of Qs 9-18 is hopelessly confused. Q9 was not recorded; As 10 and 11 match Qs 9 and 10; A12 matches no Q; As 13 and 14 do not place Carlyle and Macpherson, who belong in P7; A15, which should be "no", is not recorded; A16 must be a response to an unrecorded Q; since Myers and Swedenborg belong in P22 (ie, East), Q17 is a logical response to A16; Q18, also about P22, is an understandable outgrowth of Q17; George's inability to remember the A to Q18 is also understandable (see 2 Jan, A2). 85. Probably a reference to Christ's exorcism of an "unclean spirit" in Mark 5:9: "And he asked him, What is thy name? And he answered, saying, My name is Legion: for we are many." Cf also Luke 8:30. 86. "The Idiot of Dostoieffsky perhaps" is the only Example for 8 (but see eVA 51). Verlaine (Q21), not right for 8, was not selected for 13. 87. Whitman was selected, Tolstoy rejected. 88. "An unnamed artist" for 9 was Wyndham Lewis, named in a manuscript. 89. No Examples were selected for 2. 90. Most of the names in Qs 2-18 are included in the list of 2 June 18, but only Napoleon (shifted to 20) and Parnell (10) were selected. The As to Qs 2-4 are confused, perhaps because of the change from P5 to 4 for Defoe, who Notes 525
is not named in the list of 2 June. Meredith should have been 20 Cycle 6 (A4) and Cervantes 16 Cycle 6 as the correction was made in A4a. Why Fish and George did "not want to" place Jane Austen, also absent from the list of 2 June, is not clear. 91. The people attached to these numbers are significant in this discussion of collaboration: Yeats (17), Lady Gregory (24), Pound and Cuchulain (12), and George (18), whose Creative Mind was from 12 and Mask from 4. Her Cycle sign was Scorpio. See n68 above. 92. Her P was never established. See 5 Jan, A18. She had died on 29 Apr 17. 93. That is, Pound (12) and Lady Gregory (24). See A41 and Q44 below. 94. The Creative Mind of 18 (George's P) is from 12. 95. The As to 51-3 are provocative. Speaking for George, Fish asserts that she has sacrificed "all & self for an idea or perhaps an ideal"; for the ideal she has had the "courage to sacrifice others". Although Fish cannot explain, he promised to do so later, and he suggests that her courage "is connected with 2nd circle" - ie, presumably, the cosmic circle of civilization. 96. Wisely, no doubt, George declined to comment. 97. Yeats first wrote then marked through: "Can you explain creative power G[enius] of 16 17 & 18 to show nature of colaboration." These are the phasal numbers of Maud, Yeats and George. 98. Nietzsche was the only Example selected for 12, but Pound, Virgil and Cuchulain (Yeats's surrogate) belong there. 99. The remainder of this dialogue, esp Qs 9-16, is indirectly about Yeats and George. 100. That is, Unity of Being, which was to become an important concept in the AS, is made possible for 17 through its Mask from 3. 101. Marked through but answered. 102. No further use was found for these divisions. 103. Marked through but answered. 104. Marked through but answered. 105. The Good and Bad characteristics in the list below should be compared to those in the "Table of the Four Faculties" (CVA 31-3). 106. For the use of Qs 7-9 see the "Table of the Four Faculties" and the characteristics of 17 (VCA 31-3 and 75). 107. Note that the following list includes harmonious Ps for all except 1,15 and 28. Especially interesting are Iseult's (14), Maud's (16), Yeats's (17) and George's (18). 108. Note that the LF descends from Yeats's P to Maud's to Iseult's to George's to Florence Farr's (shifted later), also Pound's and Cuchulain's. Yeats recorded this and the Flash in A23 in the CF (L7). See nn 23 and 92 above. 109. That is, Lady Gregory's P. 110. As usual, when George did not care to answer, she simply drew a line across the page. The person at 25 was not identified, and the Examples in VA are not revealing: Newman, Luther, Calvin, George Herbert and George Russell. Loyola also belongs in 25. 111. Yeats too avoided recording an embarrassing name. If Mabel Dickinson, the mistress he rejected in 1913, belongs in the vacant space, most of the women who had played significant roles in his life had been identified or suggested in one brief span of the AS. 112. When Yeats made diagrams of his and George's LFs for the CF (L7), he drew three arrows from 17 and the two unidentified angles below it on George's Flash and identified them as "the 3 birds". Almost certainly the birds are Iseult (14), Maud (16) and Lady Gregory (24), though the third 526 Notes
might be Olivia Shakespear (20) or Florence Farr (12, but shifted later). In the context of OlE George herself is the third. See MYV 1116-17. 113. That is, Wyndham Lewis, whose deformity was a short neck and a bullet head. 114. That is, Fand, Maud's surrogate. Only in art could she occupy a P at which "there's no human life". 115. Yeats was regularly warned throughout the AS about accepting too many outside engagements. 116. Yeats is thinking of his training in the GD. Cf eVA x-xi and see MYV i 118. 117. Yeats had written about the Leanhaun Shee many years before: see "Irish Fairies, Ghosts, Witches, etc.," in UP 1 136. This article first appeared in the Theosophical magazine Lucifer (15 Jan 89). The promised sequel never appeared. See also MYV I 119. Note the Communicator's limitation. 118. That is, OlE. 119. Here, as in the reference to the Leanhaun Shee, Yeats has Maud in mind. Much of the remainder of this complex dialogue is concerned indirectly with the "meaning" and relationship of three characters in OlE: Cuchu lain (Yeats), Fand (Maud) and Emer (George). See MYV 1119-23. 120. Blake was placed in 16, Verlaine and Baudelaire in 13; Mallarme and Symons were not placed, but Yeats suggests in V A that Symons belonged in 18 or "still later" (eVA 81 and Notes, p. 23). 121. Yeats refers to Horton's desolation at the loss of his girl friend, Audrey Locke (d. 19 June 16). As a spirit, she "overshadowed" the living Horton. Yeats was strongly attracted to Miss Locke and evidently perceived a parallel between his frustrated love for Maud and Horton's unconsummated love for Miss Locke (see YH 47-8). Horton is not named in VA, but his Platonic love for Miss Locke is twice referred to (eVA x and 253). See also LWBY II 563. 122. See n24 above. 123. See n121 above. 124. Apparently, Yeats is attempting to link such "unconscious bringers" of the divine as Maud to the Irish fairies. 125. An indirect reference to Maud as Fand at 15. Yeats may be recalling the dream visions by means of which he and Maud "consummated" the "mystic marriage" of 1908 (see LWBY I 202). 126. George first wrote "Yes" in bold letters, then marked through it. Originally placed in 14 with Wordsworth in the list of 2 June 18, Rossetti was moved to 17. 127. Yeats was working on OlE. The fourth member of his tetradic cast was of course Cuchulain, whose Element was earth. 128. Qs 4-6 refer to Eithne Inguba. The imagistic description of her with bird and shell suggested to Yeats the theme and basic symbols of the First Musician's lyric celebrating Iseult's fragile beauty (see VPl 529-32). 129. The equation is now falling into place: Fand (Maud) is represented by air and intellect; Emer (George) by fire and emotion; Eithne (Iseult) by water and desire; Cuchulain (Yeats) by earth and instinct. Note that Qs 7-24 are devoted primarily to the characteristics of Fand (Woman of the Sidhe) and her relationship to Cuchulain, who is not named. AlO may represent George's opinion of Maud. 130. Yeats summarized Qs 15-16 on a blank page. 131. Yeats summarized Q and A24 on a blank page. Yeats and George are Antithetical after 15, represented as love (fire) and instinct (earth). Notes 527
132. Knowing that Yeats was talking about Maud and herself, George refused to answer. 133. The subject of the following dialogue (Qs 2-10) is sexual contact; the principals are Yeats and his three birds. What George meant by "race" is not clear, though Yeats tried twice to define the term in CF:
(1) "intuition is race" (A4x); (2) "Instinctive automatism preserves the race element. The Mask from 1 to 8 seperates ego from race" (A5).
134. Before "sexual contact" (Q19 above) George had represented "race", after "love": after contact with Yeats, she replaced Maud, who "is at peace", etc. 135. The AS contains many references to and numerous diagrams of the two concentric circles, the outer presenting the ego or individual, the inner civilization. Very little is made of the "spiritual contests of man". 136. Upon rereading sometime later, Yeats or George made an X beside A12 and the sign of Leo beside A14, which was crossed out: "South should be moral North physical - the contest is [?going] from the opposite point to that at which the ego is." But see "Four Contests", eVA 34, which suggests that South (15) is Physical, North (1) is Moral. 137. If Yeats is assigning phasal numbers to the Cuchulain plays in chronological order (as A27 suggests), he is confusing because he had been informed earlier that 12 is the P of "present play" (ie, DIE). Note, however, that 18, 12, 14, and 16 are the Ps of Emer (George), Cuchulain (Yeats), Eithne (Iseult) and Fand (Maud). 138. "Aspect" is concerned with the relationship of one planet to another; "radix" is the root of the horoscope. Yeats and George were amateur astrologers. When he wanted an important horoscope cast, he usually went to some professional or occasionally to his uncle George Pollexfen. 139. As 28-37 are marked through witp a large X, but no reason is given. 140. Another reference to the dead Hugh Lane. See n49 above. 141. Qs 38-40 are indirect references to the relationship of Yeats and Maud. Note the guarded responses. 142. Another reference to Bricriu of the Sid he, "Maker of discord among gods and men" (VPl 543). See n2 above. 143. The Mask of 12 is from 26 (P of the Hunchback), the Creative Mind (or Genius) from 18. According to an early draft of the "Table of the Four Faculties" (VNB2 31) the Evil Mask of 26 is "lack of lure", and the Evil Genius is "mutilation". For details see MYV I 127-8. 144. That is, Emer and Fand. 145. The Guide is pointing out that if Baile's Strand is at 18 and DIE at 12, "full beauty" (15) will come "halfway in time between". George made a large X in the margin beside the first sentence in A54 and wrote: "Correction to S". 146. Some woman, "not any bird" (ie, not Maud), whose first initial is M, is probably a reference to Mabel Dickinson, the mistress who made a "violent scene" when Yeats terminated their liaison on 6 June 13 (unpub account in MGNB). See n111 above. 147. See As 16 and 22, 7 Jan, after dinner. "Human wisdom" is a response to the Guide's promise "to fill later" the blank between the sixth and seventh "days of week". 148. On a blank page facing Qs 16-25 Yeats made a diagram of three concentric circles. The second or middle is divided into seven numbered parts 528 Notes
identified by signs of planets and described by the following: "Human Action", "Holy Ghost Individual Will", "Human Emotion", "Christ & Spiritual Love", "Holy Ghost Moral Will", "Human Wisdom", and "Christ & Human Love". The seven divisions are divided into equal quarters identified by the four key Ps: 1, 8, 15 and 22. The third or inner circle is divided into twelve equal parts, unidentified but obviously related to the Signs of the Zodiac. 149. In the following dialogue (Qs 17-23) George appears to be warning Yeats not to place too much faith in seances and to express her own scepticism about the role of the medium in psychical experimentation. She preferred to have Yeats call her "Interpreter" rather than "Medium". Not easily de terred, Yeats asked (Q25) if there are not special or "high communicators". 150. A21 is recorded almost verbatim in the CF (S74). 151. Yeats marked through this Q, but George answered it. 152. Arthur Symons was a member of the Rhymers' Club and a close friend of Yeats, to whom he dedicated The Symbolist Movement in Literature (1899). In 1908 Symons suffered a severe mental breakdown from which he never fully recovered. See n120 above. 153. See account in a letter to William Sharp tentatively dated Aug 1896 (L 266). The vision came to Yeats when he and Symons were visiting Edward Martyn at Tullyra Castle in the west of Ireland. This vision and subse quent events and people related to it made a tremendous impression on Yeats. For details see MYV I 130-3; 280-1, nn 60-75. Yeats identified the people and interpreted his vision in "A Biographical Fragment" (Criterion, vol I, no. 4 [Jy 1923] pp.315-21), which was incorporated into "The Stirring of the Bones" in the 1926 edition of Au (456-62). Much about the vision and the four women was recorded in CF (S73-73x). 154. That is, William Sharp (d. 12 Dec 05), who also wrote under the pseudonym of Fiona Macleod. For his story about an archer vision see The Works of Fiona Macleod (1910) vol. III, pp.104-22. 155. That is, Iseult, Maud, George and Olivia. 156. See Mem 100-1. 157. The "child in order" (GD) was the daughter of one of MacGregor Mathers' pupils. See MYV 1133-5. 158. For Yeats's interpretation of Qs 8-18, first recorded in "A Biographical Fragment", see Au 371-6 and Notes 576-9. See also n153 above. 159. When Yeats quoted A25, slightly revised, in VA (232), he omitted "irritation", perhaps because he was quoting from CF (S76), in which he had inadvertently left the word out. 160. As Associate Member of the SPR (1913-28) Yeats was well informed about its many studies of lying and deceit by mediums or by spirits through mediums. 161. Yeats had learned from F. W. H. Myers that "discarnate spirits ... act sometimes to amuse themselves as well as to please and inform us". "There is", he added, "a good deal of evidence of tricky, playful interference" (quoted in MYV I 136). 162. Yeats was pleased with this definition, recording it almost verbatim in the CF (S76). See A38 below. 163. Yeats believed, according to Everard Feilding, that "in the unconscious there is a will to cheat and to be found cheating". He was referring to Eusapia Paladino, a famous Italian medium (see LWBY II 553). According to Yeats, one of George's Controls warned them to "Remember we will deceive you if we can" (VB 13). Yeats described George's psychic state in a Notes 529
rejected sentence in a draft of the Introduction to VB: "it was as though her hand were grasped by another hand". 164. The True Creative Mind of 18 is "Emotional Philosophy". 165. The last card of twenty-two in the Trumps Major of the Tarot is entitled "The World". Yeats was well acquainted with the Tarot, which had an important function in the GD. His friend Pamela Colman Smith illustrated A. E. Waite's well-known book The Pictorial Key to the Tarot (1910). 166. Many of the phasal characteristics in the following lists were included with little or no change in the "Table of the Four Faculties" (CVA 30-3). In this Table Evil Genius and Creative Genius have been changed to True and False Creative Mind. 167. A reference to an anticipated visit of Iseult (see L 644). As usual, George refuses to have other people present. 168. These "component parts" appeared in this form in an early draft (VNB2 28). In their final form they became the Four Faculties: Will, Mask, Creative Mind and Body of Fate. 169. That is, the Creative Genius (Creative Mind) of 17 is from 13, the Mask of 13 from 27. Yeats's Persona (Body) of Fate is from 27. 170. Like Yeats, Dante belonged in 17: the Creative Mind is from 13, the Mask from 3, the Body of Fate from 27 (CVA 75). 171. "Loss" is the characteristic of Body of Fate for 17. Yeats is comparing his loss of Maud to Dante's loss of Beatrice. 172. Edward Burne-Jones also belonged in 17 but was rejected as an Example. 173. Charles Steward Parnell was the only Example selected for 10. The numbers for the other Faculties are correct (CVA 55). 174. Originally selected for 13, Verlaine was rejected as an EXQ.mple. The numbers for the other Faculties are correct (CVA 64). 175. Originally placed in 14, Rossetti was shifted to 17 but rejected as an Example. 176. Both Baudelaire and Verlaine were placed in 13 in the list of 2 June 18. 177. A reference to the plan, ultimately rejected, to select an emblem or symbol for each of the Phases. See Sec 2, n48, and n190 below. In the almost finished list this emblem apparently belongs to P3 (MYV II 401). 178. Originally selected for 18, Villon was shifted to 13 but rejected as an Example. But see CVA 200-1. 179. Finem Respice was the motto of Dr Robert W. Felkin, who was Chief of the Stella Matutina, as the Inner Order of the GD was called at this time. Both Yeats and George were members. For details of Yeats's quarrel and ultimate break with Felkin, see YCD 124--45. 180. A reference to Iseult's expected visit. 181. This dialogue is indirectly about Maud and DIE as in fact much of the discussion of 15 is throughout the AS. 182. That is, Cycle 5 (see A18). 183. The fourth and highest of the Four Principles, "The Celestial Body is the portion of Eternal Life which can be separated away" (CVA 160). It is represented by George in DIE. 184. Yeats summarized the next fifteen Qs in the CF under the heading of 'Spirits at IS" (S75). There is some suggestion that he had Maud in mind. 185. Margaret was the younger sister of Elizabeth Radcliffe. Both practised automatic writing, portions of which Yeats preserved (see YO, 130-71). When Professor Harper talked with Margaret some years ago, she remem bered little of their experiments with Yeats. 186. Yeats wrote to Lady Gregory on 4 Jan that he was "writing it all out in a series 530 Notes
of dialogues about a supposed medieval book, the Speculum Angelorum et Hominum by Giraldus, and a sect of Arabs called the Judwalis (diagrammat ists)" (L 644). He was apparently already at work on the R-A Dialogues. 187. See n186 above. Nothing came of the thought of writing one dialogue concerning the Primary, one the Anti. 188. Yeats was several times warned not to read - philosophy especially - while the writing of the AS was in progress. 189. Yeats finished OlE on 14 Jan and was already planning Calvary with Judas as protagonist (see L 645). 190. The primary object of the following dialogue (Qs 1-18) was to create a system of emblems for the Ps. For a detailed discussion see MYV II 399- 404. See also the Notes for Calvary (VPl 789-91). On a blank page among the Qs for 14 Jan Yeats recorded the symbolic values of the various kinds of birds (air and water), beasts (tame and wild), and fish (see A10). See also Sec 2, n48, and n177 above. 191. See VNB1 24. 192. Yeats was excited over this distinction between two kinds of philosophy: one created from experience versus one created from search. He summar ized the idea under the heading of "Experience" in the CF (E5), and George recorded the definition of philosophy (A21) and the symbolic meaning of the swan-headed serpent (A16) in VNB1 82. 193. A reference to Elizabeth Radcliffe, who had been invited to visit the Yeatses (see L 644). Yeats made a diagram of her LF with a star at top on a blank page. See Illustration 6 for light on the strange discussion in Qs 22-6 and in A54 below. 194. Another allusion to Fighting the Waves. The contact under discussion is sexual. Yeats is thinking of himself and Maud in the persons of Cuchulain and Fand (see A34 below). In Q30 Yeats first wrote "Did I do", then marked through "I do", Much of the remainder of this day's AS is concerned with Yeats and his "three birds". Several notes in VNB1 suggest that George was fully aware of the allusive game being played. For tables of the tetradic scheme as it is projected in OlE see MYV I 150-1. 195. Maud is the speckled bird. 196. On Baile's Strand, The Green Helmet, At the Hawk's Well and OlE. 197. Yeats identified the "unmarked angle" as "15th phase". See n193 above and illustration 6. 198. It must have seemed strange to Yeats that the tower was George's symbol not his. For another reference to the pyramid see Sec 1, n8. 199. Yeats recorded the information in A18 on a blank page. 200. A reference to Elizabeth Radcliffe's automatic writing, about which Yeats wrote an interpretive essay (YO 130-71). The Yeatses planned to invite her to visit them in Oxford (L 644). See Sec 2, n7 and n193 above. 201. Guides are referred to as Fish, Rose, Tree, etc.; Controls or Communica- tors as Thomas, Aymor, Dionertes, etc. See NB4, entry dtd 23 May 20. 202. An allusion to the Initiate or New Messiah. 203. Fountain was not a useful concept (see CVA xl, 169-70). 204. For Yeats's discussion of the relationships among the Four Faculties see CVA 14-17. In a note on p. 14 he explains why he changed Creative Genius to Creative Mind and Ego to Will. 205. Cf CVA 18. According to Robartes, in an unpub MS, "'a form created by passion to unite us to ourselves' is the Arab definition" of the Mask. See VNB1 52 and CF (F13). Notes 531
206. Another of George's evasions when she is uncertain. Cf the refusal to answer Q9 above. 207. Another reminder, of which there are many in the AS, that Yeats's nature is too lunar and that the practical, active side needs development. Cf 5 Nov 17. 208. The following oblique Qs and As (16-30) are essentially about Yeats's relationship to Maud and George and the effect of marriage upon him as creator. Much of this material was summarized by George in VNB1. 209. Cf "Crazy Jane on the Day of Judgement": "Love is all / Unsatisfied / That cannot take the whole / Body and soul" (P 257). 210. Qs 35-7 are the basis of the first paragraph of "Drama of the Faculties and of the Tinctures, etc." (CVA 17-18). 211. Cf CVA 79: the Body of Fate for 18 (George's P) is "Enforced disillusion ment". 212. George obviously did not want to get involved in Abbey affairs and probably did not want to move to Dublin. 213. Maurice was the pseudonym for Iseult in the Prologue and Epilogue to PASL. Her presence at sittings would interfere with the experiments. 214. All three of these numbers were important in the GD: 10, representing the branches of the Cabalistic Tree of Life and the Degrees in the Three Orders; 22, representing the letters in the Hebrew alphabet, the pictorial cards of the Tarot and the petals of the symbolic rose; 12, representing the human Cycles based on the Zodiac. On a blank page Yeats made a circular diagram with twenty-two numbers on the outside and the following note on the inside: "12 = Mind, 10 = Soul, 22 = Ascent." He had difficulty accommodating these numbers to the 28 Phases (see CVA 34n). Cf Sec 2, n95. 215. Nothing further was made of these five circles. Yeats made a rough diagram of five concentric circles identifying four as Horoscope, Phases, Days and Equinoxes. The outer was "to come later". 216. A reference to the fourth of five stages of the Mystic Way. Among other sources, Evelyn Underhill's Mysticism (1911) would have been familiar to the Yeatses. She was a member of the GD. 217. Leo Africanus appeared at a seance in the home of W. T. Stead on 9 May 12. Yeats preserved two records of the seance. For further details see Adams and Harper, pp.3-47. Benevolent six years before (in 1912), Leo has now (in 1918) become malevolent. Although Yeats writes of Frustra tors in the plural, only Leo and Bell are named in the AS. For Bell's only appearance see n233 below. 218. Yeats achieved 6=5 (Adeptus Major) in the Second Order of the GD (Stella Matutina). 219. Apple, the Guide, identified himself three times by his sign. 220. See Sec 2, n95, and n214. above. 221. This discussion (Qs 6-12) of whether life begins at Aries (Cycle 1), Taurus (Cycle 2) or Libra (Cycle 7) is puzzling. Yeats summarized the debate in the CF (C11-11x). 222. That is, the Cycle Signs of Yeats and George. 223. Yeats first wrote then marked through two other forms of Q13:(1) "Can you characterize the 12 cycles"; (2) "How does one use this attribution practically". In the following discussion he is still trying to use the· numbers 10, 12 and 22 in the System. George is here relating the ten branches of the Tree of Life upon which the Degrees of the GD were based to the twenty-eight Ps of the Moon. See diagram facing p. 51 in Mathers, 532 Notes
The Knbbalah Unveiled. Yeats owned two copies of this book (DCYL 1292- 92a). Cf Sec 2, n95, and n214 above. 224. That is, the GO. 225. More than six years later, at the bottom of this page beginning with Leo's sign and ending with "I will make it", Yeats made the following note: "all about Tarot etc frustration WBY. [?May] 1924". He had reluctantly concluded that Leo, the chief Frustrator, had made it impossible to correlate the numbers of "Tarot etc" into the System. 226. At this point the following assurance from the Guide was marked through: "Will try medium again if this is not successful writing now." 227. See Body of Fate for 23,25 and 27 in CVA 97, 106, 113. 228. Dickens (originally in 21), Anatole France and Balzac (originally in 23) were placed in 20. Only Balzac was selected as an Example. 229. That is, Creative Mind of 18, George's P, is from 12, Body of Fate from 26. 230. Yeats recorded these characters in the CF (C33) but found no place for them in VA. 231. This and A43 below suggest that someone else, possibly Iseult, was in the house. 232. That is, the symbolism of the GO. 233. Bell is not mentioned again as a Frustrator. 234. Keats, Wordsworth, Tennyson (all originally in 12) were shifted to 14, but only Keats was selected as Example. Virgil like Pound (A3 below) remained in 12, but neither was selected, though Pound was not rejected until the galley proofs of VA. 235. To note which of the characteristics in the following dialogue (Qs 4-13) were retained, consult the appropriate Ps in CVA. 236. This reference to Keats's "love of world" reflects and partially explains Yeats's well-known deSCription of him in "Ego Dominus Tuus", 1151--62 (P 161-2). 237. Iseult also belonged in 14. 238. Cf these lines from "The Leaders of the Crowd": How can they know Truth flourishes where the student's lamp has shone, And there alone, that have no solitude? (P 184) 239. Since the typal contrast of Christ and Judas occupied much of Yeats's thought in AS 26-7 Jan, Calvary was most likely the poem his head was full of. 240. In fact, the following characteristics of the PF (Body of Fate) are little changed. Consult CVA, Ps 2-12. 241. Loyola was placed at 25 but not selected as an Example. 242. In the following dialogue (Qs 3-8) Yeats had Wyndham Lewis in mind. He is described in a manuscript of "The Twenty-Eight Embodiments" as a "bullet headed young man, who had that short neck which I associate with passion" (cf CVA 54-5). The four kinds of necks in A6 are listed in the CF (C34) under "Characterizations". See also MYV I 283, n108. 243. The Mask of 9 is from 23, the Creative Mind from 21. 244. Probably a reference to the Old Beggar and the Queen in The Player Queen. For further details see MYV 1283, n109. 245. In the remainder of this sitting and much of that on 27 Jan Yeats is attempting to establish the themes of Calvary. Originally conceived as a "Judas play" (Yeats's term) with Judas (8) as Creative Genius in opposition Notes 533
to Christ (22) as Sage or Teacher, Calvary bec'ame instead a Christ play focusing on free will versus fate, so Judas became a minor character rather than protagonist, and Peter (the Evil Genius) was rejected, Note that "Amalgamation", the True Creative Mind of 22, comes from 8 (CVA 91). Several entries in the NBs and CF are devoted to the ideas developed in Calvary (Cl3-13x). For details see MYV 1166-1'0. 246. Yeats's attempt to establish this analogy was clearly unsatisfactory. 247. On a blank page filed with this day's AS Yeats drew up a provocative scheme of "cross headings" relating the human to the divine: I think there is some confusion in cross headings at ® ;0
Human Ugliness Human Wisdom = devine Wrath ~ devine Ugliness
Human Beauty Human Wrath = devine Wisdom = Devine Beauty
Yeats may be recalling "The Argument" of Blake's Marriage of Heaven and Hell or one of the striking "Proverbs": "The wrath of the lion is the wisdom of God" (Blake pp. 148-9 and 151). 248. George is recalling Satan's temptation of Christ in Pardise Regained. 249. Yeats first wrote then marked through: "Before say 19 does it act against anti." 250. The historical cycle or era of Christ follows that of Buddha. More will be made of this typal contrast in the AS but little in VA. 251. Like Christ, Myers and Swedenborg were placed in 22, but only Sweden borg was selected as Example. 252. This Q is the beginning of Yeats's development of a cyclical theory of history. The arithmetic is puzzling: if this cycle began "2026 years ago" (ie, 108 BC) "ten generations before Christ", the average span of a generation would have been less than eleven years. Nevertheless, he recorded the figures without change in the CF (C31). Elsewhere he recorded that "Pre Christian cycle = 2250 years". On a blank space following Q48 Yeats noted that Mars and Jupiter are Primary; Uranus, Sun, Moon and Venus are Antithetical. 253. It is clear that George is deliberately avoiding Qs 55 and 56, both Significant. 254. The "great event" was probably the birth of Blake in 1757. In The Marriage of Heaven and Hell, Blake related his birth to the beginning of Sweden borg's new spiritual dispensation (Blake, p. 149). 255. If Yeats accepted this prophetic analysis, he concluded that a "complete change" would come about the year 2000 - that is, at the end of ten generations of nineteen or twenty years each, and the new age could be described as the "beginning of spiritualism". 256. AS2 and 7 are combined in Yeats's description of the Fool in VA: "He is but a straw blown by the wind, with no mind but the wind and no act but a nameless drifting and turning, and is sometimes called 'The Child of God'" (CVA 115). 534 Notes
257. Excited by the thought developed in Qs 8-15, Yeats summarized it in the CF (C12-12x), in VNB1 98, and in "The Four Contests of the antithetical within itself" (CVA 35). Finally, on 6 Aug 34, he projected the idea in "The Four Ages of Man" (P 288). In both VA and the poem he identified the Second Quarter with heart and the Third with mind. For further details see MYV I 172-3. 258. In Qs 21-4, concerning the difference between subjectivity and absorp tion, Yeats is apparently analysing himself as well as Judas in the play he was contemplating. 259. George summarized this explanation in VNB1 41 under "War of Primary & Anti in 4 Quarters (tentative)". See also CF (P72) and MYV 1173-4 and 284, n118. 260. Yeats made a note on a blank page which casts some light on this provocative riddle: "Ego of 17 goes to 12 because the fourth back has similar aim in search. For [From] 12 to 24 are 11 [Ps apart] & the 11th is always opposite in nature to whatever number one starts at." The P of Nietzsche and Cuchulain is "fourth back" from Yeats's if 15 is not counted. 261. The True Creative Mind of 28 is Physical Activity. 262. Cf the characteristics finally chosen for Creative Mind at appropriate Ps in CVA. 263. That is, in 26 and 28. For further details of the remainder of this puzzling and sometimes confused dialogue, see MYV 1174-5. 264. A reference to 15 (full) and 1 (dark). Cf Al1 below. 265. These are the fundamental polarities of the System and VA. Cf AS 5 Nov 17. 266. Maud's niece, the daughter of her sister Kathleen Mary Pilcher (see MYV I 175). In an unpub ltr dtd 9 Feb 18 Yeats told Iseult that "we tried to get our initiators to tell us her phase but they would not". 267. The Yeatses were well informed about theories of astral light, an impor tant subject in the studies of the SPR as well as the Theosophical Society (see KT passim and EPS 16). Yeats summarized the discussion of Qs 30-48 in the CF (Ll-1x). 268. Yeats refers to the psychical experiments in automatic writing "which resulted in the discovery of the Edgar Chapel at Glastonbury". He may have known of this discovery and others through an advance copy of Frederick Bligh Bond's The Gate of Remembrance published in Oxford (Feb 1918) or through mutual friends Everard Feilding or Sir William Barrett. Yeats recorded his interest in the CF (SI0) and visited Glastonbury in Jan 1921. See NB8, entry dtd 18 Feb 21, and for further details MYV I 176-8 and 285, n124. 269. See n271 below. 270. That is, the first of three Stages in the development of the System. See A37 below. 271. A reference to Charlotte Anne Elizabeth Moberly and Eleanor Frances ,Jourdain, the authors (under the pseudonyms of Elizabeth Morison and Frances Lamont) of An Adventure (1911), a well-known book about their visionary experiences on the visit to the Petit Trianon in Versailles. Reissued with additional matter in 1913, 1914, 1931 and 1955, the book has become a minor classic of its kind (MYV 1179 and 285, n127). See also YO 145, LWBY II 346-7, and Sec 7, n46. 272. See n268 above. 273. Cf A15 above. This is the first of numerous references to the three Stages Notes 535
in the development of the System. Yeats summarized As 37 and 38 in the CF (S42) under "Stages of the Work" and noted that "First ended on Jan 30 1918". 274. The beginning of much discussion throughout the AS of cones and funnels. 275. Under somewhat different headings these topics were explored in consid erable detail in CF, VNBI and 2, and VA, Book IV. 276. Apparently, Leo was responsible for the disturbance. 277. Despite the following optimistic discussion (Qs 51-62), nothing concrete was written or revealed about the Third Stage. Yeats summarized portions of these thoughts in CF (SlOx).
Notes to Section Four
1. The remainder of this remarkable sitting touches upon many of the seminal metaphysical issues of "The Gates of Pluto" (eVA 220-52). Beginning with "the newly dead" (Qs 2-21), the following dialogue is concerned chiefly with the first part of the Second Stage: "of man & the spirits" (see MYV I 182f). Yeats summarized portions of this sitting in CF under "After Life States" (AI2-12x) and "Body" (B6-6x). 2. Cf "The Vision of the Blood Kindred" (eVA 222). 3. Yeats quoted this phrase in "The Awakening of the Spirits" (eVA 223). 4. In fact there were Four Bodies (or Principles) in the System: Physical (later Husk), Passionate, Spirit and Celestial. Much is made of them in the AS, CF and various NBs but little in VA (see eVA 160, 222). 5. Note that this list includes the Yeatses' Ps. 6. The spirit characters of two plays project the idea that "the passionate body goes ... to the scene of its passions": Dermot and Dervorgilla in The Dreaming of the Bones (1919), and the mother and father of the Old Man in Purgatory (1938). 7. Cf eVA 223, VB 223n and NBl?, entry dtd 2 June (or 31 May) 20. 8. Yeats noted sometime later that a page was missing. More than likely there were three or four. 9. That is, the fourth and most ethereal of the Bodies or Principles. 10. Maud is cited or alluded to many times in the AS, NBs and CF as the prime example of a person with a "fixed idea". 11. Yeats listed the Seven Planes in reverse order on a blank page with the elemental attributes (note Q17 above) beside the Four Bodies:
4 celestial body 3 spirits of the dead 2 passionate 1 phisical
Yeats was well acquainted with the concept of the Seven Planes from his Theosophical studies, especially A. P. Sinnett's Esoteric Buddhism and The Occult World. For an explanation of the Qleaning and significance of the Planes, including the division into an "upper Triad" and a "lower Quater nary", see KT 88-93. Like Yeats, Madame Blavatsky believed that "we stop at the fourth plane, finding it impossible to go with any degree of certainty beyond" (p. 90). For further details see MYV 1186-7 and 286, n6. 12. Cf "Shepherd and Goatherd", 11 107-12 (P 145). 536 Notes
13. See Sec 3, n271, and Sec 7, n46. 14. George is thinking of herself and Yeats. 15. Yeats marked through Q64, but George answered it. 16. Yeats made a large X after this question, reminding himself that the sitting was codified and important. 17. On a blank page facing As 1-9 George listed the seven divisions of the Second stage of the experiments:
1. The newly dead 2. Funnel life dreaming back 3. " " Shifting 4. Life between 5. Spirits at I 6. " "XV 7. Guides
As 2 and 3 are summarized in CF (S28). Cf CVA 224. 18. Yeats and George were much impressed by this dialogue (Qs 4-19). He summarized the contents in the CF (S28-28x). In the "final" of the eight drawings illustrating the separation of soul from body, George sketched the position of the Three Bodies. More than two years later, in NB6, entry dtd 2 June or 31 May 20, George recorded a similar vision which included Husk or Physical Body (n7 above). Still later, in "The Separation of the Four Principles", Yeats's description merely recapitulates the sketches and explanations in the AS and NB6 (CVA 222). He may have recalled one of Blake's well-known illustrations to Blair's Grave: "The Soul Hovering over the Body Reluctantly Parting with Life". For further details see MYV I 189- 91. 19. Yeats was well acquainted with Boehme. He owned a copy of Franz Hartmann's The Life and Doctrines of Jacob Boehme . .. (1891), in which he made many markings and notes while he and E. J. Ellis were editing The Works of William Blake (DCYL 853). Cf CVA 228: "The Spirit can even consult books, records, of all kinds, once they be brought before the eyes or even perhaps to the attention of the living, but it can see nothing there that does not concern the dream." 20. Yeats first wrote then marked through: "The CB & Spirit have both free will after death." The Yeatses were impressed by the discussion of the Three Bodies. George summarized much material from the sittings of 1-2 Feb in VNB137-8: "The three (P.c. & Sp.) should in life be balanced." That is, the Passionate, Celestial and Spirit Bodies should be equal or balanced in the Physical Body (Husk), the whole man. 21. Yeats quoted A 16 almost verbatim in VA, citing the "Robartes papers" as the source (CVA 235-6). He summarized As 15 and 16 in CF (C54). 22. This "high medium" who had some connection with Glastonbury was probably Hester Dowden (Mrs Travers-Smith). Yeats knew her as the daughter of Edward Dowden but also as a medium who had assisted Frederick Bligh Bond in the revelations recorded in four of the Glastonbury Scripts. See Sec 3, n268, and MYV 1176-9. Her book Psychic Messages from Oscar Wilde (1923) "created a sensation". For further details see EPS 176-9. 23. A large X at the beginning and end of this extended response suggests that the material was codified and significant. 24. That is, "the other three" Bodies. Ego is synonymous with Physical Body. 25. Qs 6-20 are primarily concerned with contrasts and comparisons of Maud, Notes 537
George and Iseult, the archetypal examples of the SB, CB and PB. Two rejected Qs on the back of a page are suggestive:
1. When MG PB dies what happened to the new [PB] 2. Will Medium old PB die?
Six other Qs on this page were rephrased on 3 Feb. Note the emphasis on the 'fixed idea' in Qs 19 and 20. 26. Apparently, the Platonic analogues were not valid. Nothing more was made of this attempt to relate the good, the beautiful and the true to the PB, SB and CB. 27. Yeats informed Iseult of this instruction in an unpub Itr dtd 9 Feb 18, then added: "the work became too heavy for us both". 28. The limit of the number of times for any P continued to puzzle Yeats. In VA, discussing Ps 8 and 22, he wrote: "To these two phases, perhaps to all phases, the being may return up to four times before it can pass on. It is claimed, however, that four times is the utmost possible" (eVA 20). See also Q38 below. As early as 21 Nov 17 Yeats was informed that "some pass through the same stage 2 or 3 times" (A18). 29. The exchange in Qs 19-30 is obviously important to the psychical theory of the System. When these ideas were summarized in CF under "Memory intellectual" (M34), Boehme's name (A25) was omitted. Although he belonged in Blake's P, he was not selected as an Example of 16, and his name appears only once in V A (eVA 128). In effect the SB searches for philosophical truth, the PB for emotional truth (A37). 30. See n29 above. 31. Four Qs and references to several others are recorded in George's hand on two separate pages:
1. How does a bad choice at 15 affect spirit in next life? Does it prevent complete absorption? 2. What manner of crisis in man's life corresponds to contact? 3. Why fool penance for» Hunchback 0 4. What prolongs life of PB ijan 31) Feb 1. after dinner question 8 Spirit celestial & immortal bodies??? F2. question 5. Why suicide of old P.B. F.3 " 15-18. PB strong? spirit? TIl TIl F6. ques. 5 Do all Spirits at 15 see this world? F6 19. What was meaning of saying each phase was also a world, interchange of this world with 0 & » & thoughts at IS? Feb 6 quest - after dinner 1-8 0 & » man & woman.
32. The following discussion (Qs 5-28) is the basis of Book IV, Section xii, "The Spirits at Fifteen and at One". Yeats was not satisfied with this Section (eVA 241n). 33. Yeats recorded Q28 verbatim in the CF (526). He is recalling a sentence from "At Stratford-on-Avon" (1901): "The Greeks, a certain scholar has told me, considered that myths are the activities of the Daimons, and that the Daimons shape our characters and our lives" (EI 107). For the origin and meaning of significant myths see NB8, entry dtd 6 May 22. 34. See Sec 3, n153. 35. Yeats is thinking of himself and Maud. 36. That is, the Control, like Yeats, belongs in 17. 538 Notes
37. Not satisfied with A32 above, Yeats repeated Q32 as Q1, then marked through it. The idea of alternating sexes (Qs 1-3) was appealing: Yeats recorded it in CF (S56) and George in VNB1 12. 38. Concerning the Three Stages, see 30 Jan 18, A37. 39. See n38. 40. The following dialogue (Qs 10-20) is essentially about Blake, Beardsley and Maud; all were originally placed in 16, but only Blake was selected, Beardsley being moved to 13 and Maud concealed among "some beautiful woman". For Yeats's use of this material see CVA 71-5. 41. The vision of the "bishops mitre" apparently remained several days. On 4 Jan Yeats headed his Qs "Oxford 'Mitre'''. 42. Iseult may have been among those "who may know", but Yeats was careful not to reveal too much about "our spiritual work" in an unpub ltr dtd 9 Feb: "I wish I could tell you what has come but it is all so vast & in part depends upon another." 43. Cf 6 Feb, A20. 44. Yeats summarized Qs 1-7 on two Cards (114 and S50). Q7 is the first suggestion of a theory of transference, which was to be developed more fully in Nov 1919. See MYV I 199-200, and II 346-7. 45. Yeats copied most of A6 on a blank page, leaving a space for two words he could not read: "[?memory] they". 46. The sensuous, Yeats noted in the CF, is "that which makes the object perceived emotionally different to each person" (S54). He has rephrased A8, 21 Dec 18. See MYV I 199-200. 47. Sequence is an important term in the AS. It is in effect the contrary of allusion: image = sequence; picture = allusion. A note in VA clarifies the distinction, relating sequence to Unity of Being, allusion to unrelated facts (eVA 196n). See MYV I 200-1. 48. There was only one organized sitting with recorded Qs and As from 12 to 21 Feb, possibly because Yeats was working on "Shepherd and Goatherd", the first of his elegies for Robert Gregory. Sometime before 7 Feb (date of un pub ltr to Lady Gregory) he had learned of Gregory's death, and he wrote to her about his poem on 22 Feb (L 646). 49. Possibly a reference to Frank Pearce Sturm, an occultist and physician who had several times before requested an audience with Yeats. After he finally visited the Yeatses on 12-14 Feb 21, George described him in an unpub NB as "too mediumistic" (see MYV 1201-3). 50. Probably a reference to Iseult and Maud. Yeats wrote to Lady Gregory on Friday 22 Feb that he had gone "to London for one day this week", possibly to look after their affairs. 51. At the top of this page Yeats wrote then marked through: "Feb 16. 8.37. conditions wrong". 52. A reference to Maud (16) as the pre-eminent example of the person with the fixed idea. 53. Another warning against Leo, the chief Frustrator. 54. The Control suggests that "the houses of the horoscope chart the pattern of consequences". They have two functions: "First, they show the probable results of direct act or reaction. . .. Then, . . . they reveal the skein of convenience in any given situation" Gones, p.88). Both instructions and diagram are confusing. 55. The following dialogue concerns the saint as sin-eater. For details see MYN 1204-8. 56. For more aboutthis discussion (in Qs 3-8), see AS 29 Jan 18 and MYV 1174-5. Notes 539
57. The division of people into Victims (Antithetical) and Teachers (Primary) is recurring throughout the AS and VA. Yeats summarized this dialogue (Qs 16-40) in CF (V6-6x). See also eVA 52. 58. A reference to the Third Stage. See A42 below and Sec 3, n273. 59. This mythical ancestor, after whom Anne Yeats was to be named, is very important in the AS. Yeats recorded this appearance, Anne Hyde's first, in VNB1 61, where he noted that he had found her in Burke's Peerage. More than three and a half years later, in NB7, entry dtd 8 Oct 21, Yeats attempted to reconstruct the series of her appearances and interpret her messages. For further details, including some confusion on Yeats's part, see MYV 1209-11. Cf Sec 5, n1. 60. The following rambling and not very convincing attempt to interpret the events and predict the outcome of the First World War is not unlike that of numerous astrologers and psychical experimenters, including Frederick Bligh Bond (see Sec 3, n268 above) in The Hill of Vision (1919). 61. As an Adept in the GD, Yeats had been taught the use and significance of colour symbolism by MacGregor Mathers, whose experiments to induce visions by meditation on coloured Tatwa cards were widely practised in the Order. Yeats reordered the colour scale (A9 below) on a separate page, which George copied verbatim in VNB1 89, and he expanded it and modified it under "Colour" in CF (Cl4-14x), attempting to relate the scale to the symbolism of the System. See MYV 1212-14. 62. That is, Christ Church, Oxford. 63. On the eve of a symbolic journey to Ireland, all the Controls and Guides who had participated to this date assembled to warn and advise the Yeatses (see MYV I 215-17). Cf also VB 19: according to Yeats, "my wife was unwilling that her share should be known, and I to seem sole author". 64. If in fact the Yeatses considered the personal messages to be "the most important" of the communications, much remains to be done in unravel ling the mystery of the AS. 65. At this point Yeats tore out six sheets (12 pages) of matter too personal to remain in the record. He had been told by the controls near the end of their revelations to "tear up or keep sealed". Choosing to preserve the pages, he stored them away identified by the following note: "Tom out pages personal (some mirror writing) found in script [?book] (1918. Feb 1 to Mar 31) but not all [?belongs] to it." Yeats also made a detailed summary of these pages for the long notebook entry headed "The Incarnation of Anne Hyde" (see n59 above and MYV I 218). We are indebted to Peggy McMullen, Archivist of the Yeats collection at Stony Brook, for providing us with copy of the hidden pages herein restored to their proper place in the AS. 66. An important statement in the context of these experiments. 67. Apparently, Yeats was eager to begin composition of the book. 68. See A47 below for a list of these "three things". 69. Qs 1-13 of this involved sitting are devoted primarily to the nature and relationships of the Four Bodies (Principles). 70. For the relationship of Burke's Peerage to Anne Hyde see n59 above. 71. A reference to Elizabeth Corbet (Lolly) and Susan Mary (Lily) Yeats. 72. That is, the spirit of Anne Hyde knew that the Yeatses were her kin. 73. She was not in fact Duchess of Ormonde but Countess of Ossory. Her husband, James Butler, became Duke of Ormonde in 1688, three years after her death (MYV I 210). 74. The origin of this word is a mystery, but Yeats accepted the definition. 540 Notes
75. In theosophy the term Astral Body "is chiefly employed ... to denote the link between the nervous system and the cosmic reservoir of energy". The Astral Body is "an exact replica of the physical body but composed of finer matter" (EPS 16). See also KT passim. 76. Yeats first wrote then marked through: "Do you oppose her mission?" 77. For a list of the Three Stages see Sec 3, n273, also nn38 and 58 above. 78. As the P of Blake and Maud, 16 is particularly appealing. 79. Libra (7) and Scorpio (8) are the Cycles of Yeats and George. 80. No 1, the mystery, was probably about the anticipated child discussed in the concealed pages (n65 above). No 3 suggests that Yeats was thinking of writing his book when he was "quiet again" in Ireland. 81. Cf Sec 3, n271. For Yeats's use of Ql see eVA 168. He recorded Al in CF (SI3). For further details see MYV I 224-5. This account of the "Trianon vision" (Q14 below) suggests that Yeats did in fact talk with Miss Jourdain between 1 Jan and 5 Mar. 82. Seemingly disconnected and fanciful, the remainder of this deliberately obscure dialogue was obviously important to Yeats: it is in effect a kind of concealed summary of what he had learned about Anne Hyde in the past two weeks. When he reread this Script for the entry dtd 8 Oct 21 in NB7 he analysed these abstruse notes. See Sec 5, nl, n59 above, and MYV 1225-6. 83. Mindful that the Yeatses were departing for Ireland, possibly on 6 Mar, the Control was warning Yeats not to talk about the experiments to family and friends.
Notes to Section Five
1. This brief Script, the first in Ireland, was significant primarily because "Anne Hyde is writing". Yeats summarized it in NB7, entry dtd 8 Oct 21. See also Sec 4, n59, VNBI 61, and MYV I 209-11. 2. Symbolism of place was important to Yeats throughout his life, especially in these early inquiries concerning the Irish Avatar. The Yeatses were staying at the Royal Hotel in Glendalough, the site of an ancient monastery with a round tower in its cemetery. 3. Yeats summarized this material on death and the afterlife in the CF (D22- 22x). 4. Yeats first wrote "soul" instead of "life". 5. At the time of this sitting, Yeats was composing "Shepherd and Goatherd". See Sec 2, n96, and Sec 4, nn 12 and 48. 6. The Control is referring to the PB, SB and CB, used by Yeats in DIE in the embodiments of Eithne Inguba, Fand and Emer, who in turn represent Iseult, Maud and George respectively. For a detailed analysis of the relationship of the AS to the play, see MYV I 150-3. See also Sec 3, passim (nnI7, 44, 119, 125, 129, 137 and 194). 7. A reference to the Seven Planes of Existence, first discussed in AS 31 Jan 18 and later used in VA. See MYV 1186 and Sec 4, nIl. 8. Yeats first wrote then marked through: "Are those periods always 8, thereby running several phases not one?" 9. Although Yeats refers to all three Bodies, the PB (Husk) is not discussed in this Script. Nevertheless, he continued to question the Control about the characteristics and relationship of the three, attempting on 16 Mar to discover if harmony is possible between them. See Sec 3, n20. 10. George noted: "1 referring to power, question asked." Notes 541
11. George summarized Aymor's words on "dreaming back" in VNB1 80. See also Sec 2, n96. 12: Yeats made three diagrams on a separate page: the one described in A12 (reproduced in CF, D13x), a funnel and 4 lines separating the Cardinal Points. 13. A reference to Elizabeth Radcliffe. See Sec 2, n7. 14. More information on the funnel can be found in VNB1 71 and VNB2 36. See also Sec 3, n274, and Sec 4, n17. 15. Swedenborg's theory of correspondence appealed to Yeats. His interest in Swedenborg dates from his work with Edwin J. Ellis on their joint edition of The Works of William Blake, who related his own birth date to Sweden borg's mystical revelations. See also Sec 2, n14, VBWI 312-17, eVA 128, and MYV I 284, n116. 16. Yeats is perhaps recalling a line from The Four Zoas: "The times & spaces of Mortal Life, the Sun, the Moon, the Stars" (Blake, p. 346). See also p. 374. Since sequence is preferable to allusion (see 31 Aug and 2 Sept 18), space is apparently preferable to time. 17. A reference to Robert Gregory. See n5 above. 18. The parallel is close. As the first Principle after Physical Body (Husk), the Passionate Body may be compared to the astral world, which is "the first sphere after bodily death" (EPS 16). 19. A reference to the round tower at Glendalough. The tower, symbol of PB and of conjugal union, became central to the Yeatses' search for the symbolic truth of the journey of the soul in AS of 1918, culminating in three symbolic sittings at Thoor Ballylee on 21-3 Sept. Q37 below is a reference to the tower at Glendalough. Yeats pursues this unanswered Q on 20 Mar, Q7. See also "Under the Round Tower" (P 137) and eVA 182. 20. This exchange may be Yeats's first attempt to describe the way of the soul as a widening, climbing circle or gyre. Cf the Cabalistic Tree of Life. 21. "Here" is Glendalough. See nn19 and 22. 22. Cf n19 above and see MYV 1236-7. 23. A succinct but good definition of AM. 24. Yeats first wrote then marked through: "Why do [you] say eternity not a different qual[ity)". 25. "Friday + yes" is inserted above this line and circled. 26. In 1921 Yeats mistakenly wrote that "AR" was "the signature of a spirit named AMOR" (NB7, entry dtd 8 Oct). 27. Shelley was placed in 17, Balzac in 23. 28. Complementary Dreams are discussed in eVA 173-4 and 220. See also Harper and Sprayberry, pp.69-85. The idea that "subjective art prepares life after death" is summarized in CF (C55). Cf "Under Ben Bulben", 1. 65 (P 327). 29. These statements on Antithetical and Primary opposites are contradicted later in the AS, as codified in the CF. Yeats noted that the "whole passage is confused" (L 2). 30. The Yeatses stayed in a small hotel, now a pub and guest house. Glenmalure is the setting for J. M. Synge's In the Shadow of the Glen. In Sept 1920 Yeats visited Maud and her son at the cottage (Hone, p.326). 31. That is, Anne Hyde. See Sec 4, n59, and NB7, entry dtd 8 Oct 21. 32. A reference to the troubles at the Stella Matutina, the renamed Inner Order of the GD. See MYV I 247-8 and YGD 127ff. 33. Seminal in Yeats's aesthetic, the theory of contraries is indebted to Blake, especially The Marriage of Heaven and Hell. See Sec 1, n37. 542 Notes
34. See CF (B2). 35. See CF (D13-13x) and VNB1 33. 36. Ideas of good and evil perplexed Yeats throughout the making of VA. See CF (Ll, L2-2x) and MYV I 251-2 37. See n27 above. 38. George noted on the side of her first page: "WBY's number I is my II & so on." 39. Recorded in VNB132 under "P.B.". 40. See VNB1 99 for verbatim transcription. 41. See Sec 4, nIl. For a discussion of the similarity between Yeats's Four Principles and Madame Biavatsky's Seven Planes, see MYV 1253. 42. Concerning Primary and Anti, see Yeats's observation in VNB1 42: "For genius one must be stronger than the other." He links Anti with destiny, action, free will, and consequently with genius. 43. George wrote in VNB1 31 under "Retina": "Physical retina far more sensitive than we know. Using retinal light can see through a stone wall but is not recorded by conscious memory. Spirits see what is recorded in unconscious memory." 44. For a time the Qs for 2 Apr were thought to be lost. Yeats noted his distress in the CF (P3). Merely misfiled, they are presented here in their proper place. Yeats filed two detailed notes with his Qs:
(1] Abstraction It is in ego & CG from 19 to 25 inclusive, in PF from 16 to 18 inclusive. In Mask from 12 to 14 inclusive In EG & CG from 5 to 11 In PF from 2 to 4 In Mask from 26 to 28 "Abstraction is that quality in every phase which impedes unity of being" It is worst at 25. 24. 23. 22. 5. 6. 7 Begining at 19, less at 20 more at 21 [See AS 30 Jan 19 and CF (A26)] [2] Ego 16 14 Mask CG 17 13 PF Mask 18 12 CG Ego 19 11 Ego CG20 10 PF PF [21] 9 Mask 23 Mask 24 PF 25 Ego 26 CG
45. This explanation of the retina was recorded by Yeats in CF (Sl) and George in VNB1 31. See n43 above. 46. The PB is the most important of the Principles because of its relationship to art. See MYV I 254-5. 47. Yeats recorded this answer in both the CF (P3) and VNB1 32. 48. See n33 above and Sec I, n37. 49. The PB is described as "a part of Anima Mundi" in the CF (P4). VNB1 36 Notes 543
adds that although the PB is "sometimes absorbed shortly [after] death ... the image remains in AM". See Q and A28 below. 50. A question exists about the date on which the following As were written. Since the first sitting on 2 Apr had begun at 9 pm, the Yeatses must have been tired when they began this strenuous late-night session. But we believe that 2 Apr is in fact the correct date. See MYV 1257-8. 51. Yeats marked a large "X" to indicate that he had reread and "codified" this answer, as well as As 11 and 13. George too was preoccupied with the idea that the spiritual body could not return to earth. She recorded this exchange twice in VNBI 27 and 30. As 1-8 are summarized in CF (DI9). 52. This distinction is important. Yeats recorded AS 11 and 14 almost verbatim in the CF (P5), but related also the appropriate Elements beside the Principles. See also S28-28x and VNBI 90. 53. In this extended discussion of the Four Principles, SB was changed to CB. The influence of the Yeatses' GD experiences is evident throughout this exchange. See MYV I 258-9 and YCD passim. 54. Yeats associates the characters of OJE with himself and the three women who continued to occupy his thoughts: Maud, Iseult and George. Their significance to him became archetypal: he linked the Four Elements with the four chief characters of the play. Cuchulain (Yeats) is earth and instinct; Emer (George) is fire and emotion; Eithne Inguba (Iseult) is water and desire; and Fand, the Woman of the Sidhe (Maud), is air and intellect. See VNBI 77 and VNB2 36. See also MYV I 76-83 for the relationship of the AS to OlE, and MYV I 259-61 for an extended discussion of the personal undercurrents in Yeats's search for Blakean harmony among the Four Principles. See also n6 above.
Notes to Section Six
1. The Yeatses, now at Coole Park, almost certainly were referring to the renovation of Thoor Ballylee, which they hoped to occupy by the end of summer. Lily Yeats wrote to her father of her new sister-in-law, "George is in love with Galway County." See MYV II 1. 2. Lady Gregory's busy household and scepticism about Yeats's occult interests perhaps made George uncomfortable with their experiments. See MYV II 2. 3. On a spare page facing Qs 1-10 Yeats made several partial diagrams. In his most complete sketch, he attempted to combine phasal numbers and the four cardinal Signs of the Zodiac. 4. It is possible that the "objective moment" here described is related to the OM, the only Moment of Crisis which was not spelled out or carefully defined. See the Script for 22 Dec 19, All, in which George's Control declined to explain its meaning. Cf 11 Apr, Qll below. 5. Yeats first wrote "world" instead of "civilization". 6. Since 12 had been established as the P of the Forerunner (Nietzsche) and the hero (Cuchulain), Yeats was surprised to learn that present civilization could be described as either. 7. Nietzsche remains at 12 in VA; Pound was also placed at 12 in early drafts but removed in galley proofs. 8. The number 2100 remains as the total number of years in a cycle. See "The Historical Cones" (eVA 178). 9. Leo remains the prime Frustrator, a generic name for spirits blamed for confusion. Despite Yeats's disclaimer, he recorded much information from 544 Notes
the AS of 8 and 9 Apr in the CF (Hl5-1Sx) as "imperfect truth" as he attempted to formulate his theory of history. For more about Leo see Sec 1, nS, and Sec 3, n217. 10. The Script for 11-12 Apr is among the most puzzling. Although some of George's As dtd 11 Apr (12.30 pm) might conceivably be in answer to several of Yeats's Qs of this date, many clearly are not (especially 11-14). Also, George's numbered As exceed Yeats's Qs (24 veruss 14), and her As are more fitting responses to his Qs dated 12 Apr (9.05 pm). Moreover, Yeats links her As (11 Apr) to his Qs (12 Apr) in the CF (Hl6-16x). Yeats's Qs for 11 Apr (which he marked "Wrong" at the end) are presented here without As. Barring further discoveries the confusion must remain a minor mystery. 11. Yeats first wrote then marked through: "Can you define epoch?" 12. For Q4 Yeats first wrote then marked through: "What is the meaning of rising?" 13. These diagrams represent Yeat's attempt to link the P of civilization with the P of the epoch. He reproduced them in the CF (H16), later correcting the phasal numbers to "18 Epoch" and "12 Civilization" after the Control changed the original numbers on 16 Apr (A2). 14. Yeats summarized this exchange in the CF (H16) but transcribed WS as "world spring" instead of "watch spring". 15. When Yeats transcribed this passage in the CF (H16x), he wrote "informa tion" instead of "imagination". 16. Again, Yeats used material in notes that he had first discredited in the AS. Filed with AS 12 Apr are the following diagrams and notes:
[sketch of crescent moon] 1500 18 Epoch 12 Civiliza[tion] partial circle with opposite letters "5" Self reliance [?Isolation] Mask [3 words marked through] CG - emotional creation in constructive thought large X and circle [? Altruism] Evil Genius Emotion creates M & CG in construction Ego. Pf. Eg [?Husk] PF Aristocracy Masks Egp Self reliance 24 Evil Genius CG Aristocracy Emotion creates P ofF [?Objectivity]
17. Yeats first wrote "1500" instead of "5" in this attempt to place 15 chronologically in his emerging cyclical theory of history. See MYV II 9-10. 18. George's spirits did indeed provide Yeats "metaphors for poetry":
Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold. (P 187) Notes 545
See Qs 17-21 below for suggestions of ideas which were incorporated into "The Second Coming". Cf also 17 Apr, Q28, below: "Is not world as spiral ascends getting farther from reality that being central line." 19. Yeats changed this A in the CF to "condition of individual". 20. Yeats first marked through "what do you", then wrote "stet" after the entire Q. 21. See the diagram of "The Historical Cones" (CVA 178). North (ugliness) falls at 2100; South (beauty) at 1050. 22. The G and I refer to "the dual objectivity of god and innocence". See 16 Apr, A18. Again we are reminded of the opening lines of "The Second Coming". See n18 above. 23. Yeats refers to A28. 24. Written in George's hand before Thomas announced his presence. The Qs for this sitting were lost or - more likely - not recorded. 25. Yeats was persistent in his repeated Qs regarding the overthrow of the aristocratic by the democratic social order evidenced in George's As. See MYVII 13. 26. Although no location is recorded in the AS, we believe that the Yeatses had moved to Ballinamantane before this sitting. No Qs are recorded, and since the As often appear to refer to living people, the fifteen-page Script is frequently confusing. However, it seems certain that the Yeatses were working out the Ps of the Moon with specific personalities. Since much of the material is personal, the Yeatses used many astrological symbols and both backward and mirror writing for concealment. George's unhappiness at Coole is evident in the closing lines. 27. Included in 16 are Blake, Rabelais, Aretino, Paracelsus, some beautiful women (CVA 71). Also considered for inclusion are Maud (to whom "some beautiful women" certainly refers), Stephens, Beardsley, Boehme and Cervantes. It should be noted that George provides the phasal assign ments. See Sec 7, n5 below. 28. Iseult belongs to 14; Maud to 16. George's reluctance to discuss this sensitive subject is evident in subsequent As. 29. Yeats's excitement over this puzzling passage is evident in his entry in the CF (S63): "they can both hear but will die poor if they do not mix their gifts & barter them for gold". He also recorded on this Card the lines below beginning "One brought myrrh" and ending "but they can both hear". See MYV II 15-16. 30. This striking phrase could refer either to Yeats himself or to the as yet unconceived child the Yeatses came to believe would be the Irish Avatar. 31. Probably a reference to the link between husband and wife. See MYV II 17. 32. The beginning of this notebook has an index listing dates of sittings and pages:
May 9: 1-{i May 12 6-8 May 14 9-11 May 16 12-19 May 22 20-22 May 23 23-24
II 24 24-29
33. Since As are not numbered after this point, all remaining Qs are listed together followed by remaining As. 546 Notes
34. An extra page here is numbered "1" with these As:
24. no - from all 25. tired no answer no 26. tired tired goodbye 5 to 6
35. Since there had been little AS from 19 Apr to 12 May, Yeats may have been working on "The Second Coming", "The Phases of the Moon" and "The Double Vision of Michael Robartes". See MYV II 19 and 420, nll. 36. Maud's Principle was Spirit. Throughout the AS she is associated with those possessed by a "fixed idea". The emphasis on the balance of SB, PB and CB is significant. 37. Summarized by Yeats in the CF (F9) under "Faculties ballance of" and by George in VNB1 83 under "Life is the contact of contraries" . 38. Cf PASL: "Landor topped us all in calm nobility when the pen was in his hand, as in the daily violence of his passion when he had laid it down" (Myth 328). 39. This list forms the basis for the Four Faculties and Four Principles, with preference given to the associations listed under "destiny". As noted above, the tetrads relate to Yeats and the three women in his life: Iseult (PB), Maud (SB) and George (CB). See MYV II 21-2. 40. George made an unusual note at the end of Yeats's Qs: "A good deal of Script preceeded these questions - on Genius. On CB. Spirit & PB etc. Also classification under Fate & Destiny." 41. In the Introduction to VB, Yeats wrote: "They encouraged me ... to read history in relation to their historical logic, and biography in relation to their twenty-eight typical incarnations, that I might give concrete expression to their abstract thought" (VB 12). 42. Byron was placed in 19. 43. Napoleon was placed in 21 (Cycle 4), then shifted to 20. 44. Filed at the end of this Script is a note in mirror writing followed by an explanation suggesting that George's muddle was caused by Leo, whose negative comment concluded the Script. Dictated by Dionertes on paper unlike that used on 14 and 16 May, this provocative note does not record place, time or date:
[MWx3] What did you mean last night by saying that you were surprised that she thought you would not come back - you said "when you told me that" - now I never told you that Exactly It was a misinterpretation deliberately - now I will write backwards Frustrator [marked through]
45. the first seven pages of this Script, with their drawings of the four birds, demonstrate the relationship of the AS to DIE. See MYV II 23-7. 46. Evidently the remarks directed by the Control against Maud, whose Principle was Spirit, were destroyed. But Yeats's Qs 8 and 9 below establish that her CG is "lost in the wind" (Q8). 47. Yeats first wrote then crossed out: "is top bird CB?". He refers to the preceding diagram with his initials in which one of three birds is on the top Notes 547
of the tree. George's Principle is CB. The ambiguous allusive exchange concerning Yeats and his three birds in Qs 1-17 may be interpreted as follows: "swimming" (A3) refers to Ego, P[assionate] B[ody] and Water (the Element of Iseult - Eithne Inguba); "wind" (Qs 4 and 8) to CG, Spirit Body and Air (Maud - Fand); "house" (Q5) to EG, Physical Body and Earth (Yeats - Cuchulain); bird in top of the tree of destiny (Q6) to Mask, CB and Fire (George - Emer). Unfortunately, the analogies are not logically parallel or wholly consistent. 48. The disorder which occurs when the four birds leave "their proper places" is reminiscent of the confusion described in Blake's Prophetic Books when the Four Zoas desert their stations. 49. The Yeatses probably considered these missing As too personal. 50. Marked through: "Yes what she did". 51. These are Yeats's phasal numbers. 52. Both Pound and Nietzsche were placed in 12. Yeats explained in DMR: "1 feel more sympathy with twelve where Nietzsche emerges and all men may discover their superman. though the more violent types of the phase among whom I would be sorry to discover your enemy Mr. Pound, not transfigured but transfixed contemplate the race in some form of his collective opinion till hatred turns the flesh to wood and the nerves to wire." 53. George later noted after her last A: "Read March 7. 1919". 54. George was reminded of the last stanza of a striking epistolary poem Blake sent to Thomas Butts:
Now I a fourfold vision see, And a fourfold vision is given to me; 'Tis fourfold in my supreme delight And threefold in soft Beulah's night And twofold Always. May God us keep From Single vision & Newton's sleep! (Blake, 818)
55. Included in this important list are the Ps of Cuchulain (12), Iseult (14), Maud (16), Yeats (17) and George (18). Yeats summarized the details in Qs 5-8 on a blank page following his Qs. 56. Yeats wrote the following chart on a blank page:
't5 Y Time 1 n X Space 2 @ ~ Wisdom 3 Q @ Knowledge 4 n:p I Beauty 5 f"L TTl Love 6 57. Probably a reference to the reworking of the AS into dialogue between Robartes, the "seer", and Aherne, the "listener". George was reluctant to disclose publicly her part in Yeats's emerging System and frequently cautioned him to avoid speaking about their experiments to others. For a description of the development of the variants of the Robartes-Aherne MSS and their relationship to the poem "The Phases of the Moon", see MYV II 421, n19. 58. POSSibly Duns Scotus. In Nov 1896 AE wrote to Yeats that William Larminie 548 Notes
was translating the works of "an old Irish mystic Duns Scotus" (LWBY I 25). 59. The first eight Qs form the basis for Yeats's explication of 15 in VA, the phase of "complete beauty" and "terror of solitude" where no human life is possible (CVA 69-71). Dante is the archetypal Example of 17. In the record of two Sleeps (1 and 6 Jy 20) Yeats described him as the "doom eager" poet who "sees himself in his exile as the tragic Dante of the Poems". Having donned the true Mask, he achieved Unity of Being. He "was moving toward 15, Shelly away from IS", though both like Yeats belonged in 17. See CF (M31) and NB6, entry dtd 30 June 20. 60. Reworked in VA: "Its own body possesses the greatest possible beauty, being indeed that body which the soul will permanently inhabit, when all its phases have been repeated according to the number allotted: that which we call the clarified or Celestial Body .... Even for the most perfect, there is a time of pain, a passage through a vision, where evil reveals itself in its final meaning. In this passage Christ, it is said, mourned over the length of time and the unworthiness of man's lot to man, whereas his forerunner mourned and his successor will mourn over the shortness of time and the unworthiness of man to his lot" (CVA 71). 61. Cf a similar list with Signs of the Zodiac added in n56 above. 62. Yeats wrote here: "These questions do not belong to July 23." 63. For a time in the DMR Yeats changed the term "Personality (or Persona) of Fate" to "Vehicle", a reference to the microcosmic human body. He uses the term "Body of Fate" in VA. 64. The Control is suggesting that Buddha was Christ's forerunner, and that his successor will be "many" persons (multitudinous) instead of a single individual (A31). See MYV II 34. 65. The Yeatses had been given their Cycle signs on 5 Dec 17: Libra (Yeats) and Scorpio (George). When they began to number the Cycles with Taurus rather than Aries, the New Messiah fell between 6 and 7, thus associating him with the Yeatses' Signs. See MYV II 35. 66. "Many" probably represents George's symbolic conception of the frag mented world of 1918. See MYV II 34. 67. The length of the Christian era is reworked in several entries in the CF (C2 and C36). The idea that a cycle was drawing to a close was increasingly important as the Yeatses became convinced that they were to be the parents of the New Avatar. See MYV II 34 and CF (C39x).
Notes to Section Seven
1. Cf CVA 146-7. 2. Recorded in CF (M27). 3. Yeats was attempting to work out a 2000 year cycle of history. If Buddha ("influx") is placed at 500 Be and Christ ("reflux") at 0 AD, the New Avatar the Yeatses sought should have been born in 500 AD rather than circa 1920. Thus the 2000 year cycle was more workable. But as the pre-Christian cycle lasted 2250 years (CF, C36), not all cycles could be the same length. See also CF (H21x) and MYV II 37 and 422. 4. On two blank pages Yeats drew four diagrams of the hourglass/diamond figure considering arrangements of 28 to 1 and 1 to 28: Notes 549
Buddha 500 C[hrist] 0 AD soft line [diamond] Buddha hard line going up soft down Christ reverse
In CF (H21x) Yeats suggests that "all [this] perhaps a muddle". See also VNB216. 5. A stray sheet in George's hand with some changes by Yeats is filed with AS 2 June, listing proposed Examples for Ps 10 to 25 with some Cycle numbers and Signs included:
10. Lascalle. Parnell f'- 11. Savanarola I Schopenhauer f'- 12. Nietsche. Pound. [marked through: Keats. Tennyson.] Virgil (C8) 13. Baudelaire. Verlaine. 14. Wordsworth. Iseult Gonne. Keats & Tennyson [marked through: Rossetti] 15. 16. Blake. Beardsley. Stephens. Madame Gonne. Cervantes (6) 17. WBY. Shelley. Landor, Dante. Homer (C4) Botticelli ;Q:; Burne Jones TIl Rossetti 18. Zarathustra. GY. [two names indecipherable] Goethe Dulac (early cycle) Watts f'- Villon. Plutarch f'- Montaigne Rl Durer TIl Titian TIl 19. Browning. Velasquez. Cromwell (5) 20. Dickens. Shakespear (C 6) Chaucer (C 5) Plato (:C':) Fielding (I) Meredith (6). A. France 21. [marked through: Dickens] Milton (C 8) Horace (C 5) Dr Johnson (l) Flaubert (7) Napoleon (4) Richlieu (I) 22. F. Myers. Swedenborg. Dostoievsky. 23. Synge (f'-) Rembrandt (TIl) Michael Angelo (f'-) Balzac [marked through: I (TIl) O'Connell (4) 24. Lady Gregory. "Placens uxor." Mazarin (TIl) 25. Luther. Calvin. Ignatius Loyola. George Herbert. G. Russell
See MYV II 42-3 for a discussion of the dating of the DMR and the cancellations of many of the names listed above from VA. 6. See CF (M22x). 7. Yeats first wrote "born between". 8. That is, the Yeatses' Cycles. See Sec 6, n65. 9. The idea of calling the Initiate or New Messiah the Sphinx was abandoned. 10. Yeats summarized much of the information outlined in Qs 1-14 in the CF (M14, 18, 24 and C36). 11. For more about Dante see Sec 6, n59. Guido Cavalcanti, poet and philosopher, was a friend of Dante. His Canzoni d'Amore was extremely popular. Yeats was well acquainted with Pound's translations of Guido in Sonnets and Ballate of Guido CavaIcanti (1912). His opera entitled Cavalcanti, drafted in 1932, was never performed. 12. Yeats wrote in CF (C2-2x): "First 1000 years (,left side') moral growth second 1000 years ('right side') intellectual growth (big diagram) 500 AD terror (on 'reflux' side) 1500 (perfection) Yet world did not grow morally up to 1000? intellectually - perception of moral necessity." 550 Notes
13. See CF (M16). If civilization was at 22 in 1918, the remaining six Ps in the Christian era wquld have been short (see eVA 178). 14. Yeats mistakenly wrote the symbol for moon but probably intended W[est]. 15. Qs 4-11 are summarized in the CF (M25--25x). 16. The Seventh House is "the mansion of life-relationship, and it takes the keyword PAR1NERSHIP". Also implicit in the Seventh House is "unusual achievement in the arts" Gones, pp 50 and 66). 17. Summarized under "Masters Diagram" in CF (M30) and diagrammed in VNB1 76. See also eVA 178 and MYV II 45--7 for a discussion of the original decadic divisions of the Great Year. 18. Yeats evidently attempted to finish George's incomplete column (labelled "Right") : [sketch of diamond] [sketch of diamond] L June 5 [sketch of hourglass] R @ Christ up to 100 N @ 24 200 f"L 24 E 300 W E 1837 Y 430 ;0 Y 1650 S 520 13 S 1520 13 630 S 13 1450 ;0 700 Y ;0 1300 W 830 E W 1220 .r... 920 24 .r... 1120 N 1000 .r... N 1000 L [sketch of hourglass] to R [sketch of diamond] R [sketch of hourglass] to L [sketch of diamond]
@ N 28.1.2 24 .r... 3456.
E W 7.8.9
Y ;0 10.11.12
S 13 13 13 S 14.15.16 ;0 Y 17.18.19.20 W E 21.22.23 .r... 24 24 N @ 25.26.27 Although this material was filed with the AS of 3 June, it clearly is related to the lists of 5 June. 19. Summarized in CF (M25x). 20. Summarized in CF (M26). 21. This passage is reminiscent of the first preserved script, 5 Nov 17: o in J) sanity of feeling & thinking ... J) in 0 Inner to outer . . . more or less Notes 551
These polarities form the symbolic basis for Yeats's System and his theories of human personality. The moon represents the subjective inner man, the sun the objective outer man. Also related are W. T. Horton's dark and white winged horses, discussed by Harper in YH 41£. See also CVA xii-xvii, MYV I B, II 51 and 423, n15, and Sec 1, n2. 22. Cf part II of "The Double Vision of Michael Robartes", which was finished by 1 Jy. See MYV II 54. 23. Again, the Yeatses are restating the polarities on which the System is based. Yeats recorded this statement of archetypal opposition in the CF (M2B). 24. See Sec 2, nn17 and 20. 25. Yeats first wrote then marked through: "What was symbolized at 300 AD by point to right of [sketch of diamond] where Ego is now." 26. See CF (HlOx and Hl7). Much of this sitting is summarized in these two Cards and HI0. 27. Recorded in CF (H9). 2B. Yeats wrote the following on a blank page before Qs 23-6: in phases CG. proportions same direction reversed 4 Mask. proportions reversed direction same 3 PF. proportions reversed direction reversed 2 29. Summarized in CF (R4 and R7) and in VNB2 3B. 30. Qs 14-25 are central to the System's explanation of good and evil (CVA 229- 30). See CF (R7x): "If the man becomes good with 'full knowledge' of evil his 'visible world' does not become evil. A man who has been evil without knowledge of good has same life as good man." See also R4x. 31. "Teaching" became an important concept as the AS progressed. Yeats noted the significance of AS 10 June in CF (D43x) and developed the idea of the Return in "The Shiftings" in CVA 229-32. See MYV II 61-2. 32. Noted in CF (R2). 33. For Yeats's explanation of the Return and the Shiftings, see CVA 224-34. See also Sec 2, n84. 34. Qs 24-34 are summarized in CF (Dl8-1Bx). See also S12-12x and CVA 160 as a rephrasing of Q29. 35. Yeats combined this brief definition and the extension of it before Q3 below in CF (PI). See also P77 and CVA 160. For more details concerning the involved discussion of the Principles on 12 June see MYV II 62-7 and cf AS 1 Feb lB. Yeats remained puzzled over these concepts, writing in an unpub TS, "I quote the documents without claiming to understand." 36. At a later time Yeats chose to call these societies "Covens", but he made little use of the concept in VA. See especially CVA 171-2 and 228-9. 37. Portions of Qs 1-21 are recorded in CF (B7-7x). 3B. See CF (D34). 39. For Yeats's record of Qs 36-7 see CF (S6x) 40. Recorded verbatim in CF (D34). 41. Yeats first wrote then marked through: "Is second spiral very different from". He also crossed out the time ("B.35 PM") and wrote "no more" in parentheses. 42. Yeats first wrote then marked through: "Is Constantine calling because his life has given ours its CG?" 43. George wrote "4 Memories" across the top of the page. 44. Although considerable effort was devoted to the Four Memories, Yeats could find no place for the concept in VA. Along the side of an entry 552 Notes
headed "Memories" and dated 9 Jy 23, he recorded his ultimate rejection: "Four Memories now declared to be frustration" (VNB2 1). For a discussion of the relationship-of the Memories to AM and PAM, see MYV II 72-4. Yeats listed the Memories as they are related to the Faculties on a blank page facing Qs 6-17 and in the CF (M39), where he related Memories and Faculties to Principles. He registered his doubts at the bottom of the Card: "All very doubtful. my own supposition & probably wrong." See also NB1, entry dtd 11 Apr 20. 45. Written above "past" is "the last". This passage contains the matrix of VA. 46. Yeats is thinking of the account of a visionary experience at Versailles in An Adventure by C. E. A. Moberly and E. F. Jourdain. Yeats was rebuffed when he wrote to Miss Moberly concerning the return of the spirit of her dead father to Elizabeth Radcliffe (LWBY 11347). For details see MYV 1178-9,1168 and 424n. See also CF (M11) and Sec 3, n271. 47. The As to Qs 21-5 were unrecorded or misplaced. 48. Gustav Theodore Fechner, a German psychologist best known for his Elemente der Psychophysik (1860), in which he attempted to discover an exact mathematical relation between bodily facts and conscious facts. Yeats owned a copy of Fechner's On Life After Death (3rd edn, 1914), in which he made numerous marginal notes (DCYL 665). See Walter Kelly Hood's article on Yeats and Fechner in Yeats: An Annual of Critical and Textual Studies, ed. Richard J. Finneran, vol. VII (1989) 91-8. 49. Yeats copied George's drawing on to a blank page facing his Qs. 50. Another reference to the difficulty of conducting experiments in a city. Bibliography
Adams, Henry, The Education of Henry Adams: An Autobiography (New York: Modem Library, 1931). Adams, Steve L., and George Mills Harper, "The Manuscript of 'Leo Africanus''', in Yeats Annual No.1., ed. Richard J. Finneran (London: Macmillan, 1982). Blake,William, Blake: Complete Writings with Variant Readings, ed. Geoffrey Keynes (Oxford: Oxford University Press, 1988). Blavatsky, H. P., The Secret Doctrine: The Synthesis of Science, Religion, and Philosophy (Pasadena, Calif.: Theosophical University Press, 1963). Bond, Frederick Bligh, The Gate of Remembrance (Oxford: Blackwell, 1918). Crawford, William J., Experiments in Psychical Science (London: John M. Watkins, 1919). Ellis, Edwin John, and William Butler Yeats (eds), The Works of William Blake: Poetic, Symbolic, and Critical, 3 vols (London: Bernard Quaritch, 1893). Gregory, Lady Augusta, Gods and Fighting Men: The Story of the Tuatha De Danaan and of the Fianna of Ireland (Gerrards Cross, Bucks: Colin Smythe, 1970). __, Seventy Years: Being the Autobiography of Lady Gregory, ed. Colin Smythe (Gerrards Cross, Bucks: Colin Smythe, 1974). __, Sir Hugh Lane: His Life and Legacy (GerrardsCross, Bucks: Colin Smythe, 1973). Harper, Edith K., Stead: The Man: Personal Reminiscences (London: William Rider, 1918). Harper, George Mills, '"Out of a Medium's Mouth': Yeats's Theory of Transfer ence and Keats's 'Ode to a Nightingale"', in Richard J. Finneran (ed.), Yeats: An Annual of Critical and Textual Studies, vol. I (Ithaca, N.Y. and London: Cornell University Press, 1983) pp.17-32. __, "'Unbelievers in the House': Yeats's Automatic Script", Studies in the Literary Imagination, vol. XIV, no. 1 (Spring 1981) pp. 1-15. __ and Sandra L. Sprayberry, "Complementary Creation: Notes on 'Another Song of a Fool' and 'Towards Break of Day'" in Richard J. Finneran (ed.), Yeats: An Annual of Critical and Textual Studies, vol IV (Ann Arbor, Mich.: UMI Research Press, 1986) pp. 69-85. Himber, Alan (ed.), The Letters of John Quinn to William Butler Yeats (Ann Arbor, Mich.: UMI Research Press, 1983). Hogan, Robert (ed.), The Macmillan Dictionary of Irish Literature (London: Macmil lan, 1980). Hone, Joseph, W. B. Yeats, 2nd edn (London: Macmillan, 1967). Howe, Ellie, The Magicians of the Golden Dawn (London: Routledge and Kegan Paul, 1972). Jeffares, A. Norman, W. B. Yeats: Man and Poet, 2nd edn (London: Routledge and Kegan Paul, 1962). Jones, Marc Edmund, Astrology: Why and How It Works (Baltimore, Penguin Books, 1972). Julian the Emperor, The Works of the Emperor Julian, 3 vols, trans. Wilbur Cave Wright (London: William Heinemann, 1913). Kalogera, Lucy, "Yeats's Celtic Mysteries", Dissertation, Florida State University, 1977. Mathers, S. L. MacGregor, The Kabbalah Unveiled (London: Routledge and Kegan Paul, 1954).
553 554 Bibliography
Moberly, C. A. E. ("Elizabeth Morison") and E. F. Jourdain ("Frances Lamont"), An Adventure (London: Macmillan, 1913). Murphy, William M., Prodigal Father: The Life ofJohn Butler Yeats (Ithaca, N.Y. and London: Cornell University Press, 1978). Myers, Frederic W. H., Human Personality and Its Survival of Bodily Death, 2 vols (London and New York: Longmans, Green, 1903). The Oxford Companion to Classical Literature, ed. Paul Harvey (Oxford: Clarendon Press, 1937; rpt. 1946). Regardie, Israel, The Golden Dawn: An Account of the Teachings, Rites, and Ceremonies of the Order of the Golden Dawn, 4th edn rev. (Saint Paul: Llewellyn Publications, 1971). Reid, B. L., The Man from New York: John Quinn and His Frienc(s (New York: Oxford University Press, 1968). Russell, George W., Letters from AE, ed. Alan Denson (London, New York, Toronto: Abelard-Schuman, 1961). Schrenck-Notzing, Baron von, Phenomena of Materialisation, trans. E. E. Fournier d' Albe (London: Kegan Paul, French, Trubner, 1923). Stead, Estelle W.,' My Father: Personal and Spiritual Reminiscences (London, Edinburgh, and New York: Nelson, 1918). Stead, W. T., Life Eternal (London: Wright and Brown, 1933). Strong, Mrs Arthur, Apotheosis and After Life: Three Lectures on Certain Phases of Art and Religion in the Roman Empire (London: Constable, 1915). __, Roman Sculpture from Augustus to Constantine (London: Duckworth, 1907). Taylor, Richard (ed.), Frank Pearce Sturm: His Life, Letters, and Collected Work (Urbana, Ill.: University of lllinois Press, 1969). __, A Reader's Guide to the Plays of w. B. Yeats (London: Macmillan, 1984). Trethewy, A. W., The "Controls" of Stainton Moses (London: Hurst and Blackett, 1923). Wade, Allan, A Bibliography of the Writings ofW. B. Yeats, 3rd edn, ed. Russell K. Alspach (London: Rupert Hart-Davis, 1968). W. B. Yeats and T. Sturge Moore. Their Correspondence, 1901-1937, ed. Ursala Bridge (London: Routledge and Kegan Paul, 1953). Index
Abbey Theatre 6, 19, 20, 30, 531 Aoife 167 Abstraction 31, 542 Apple (Guide) 47, 278, 286, 306, Adam 128, 132, 133 307, 308, 350, 357, 365, 379, 384, Adams, Steve L. 6, 50, 512, 531 390, 398, 404, 416, 456, 531 Adventure, An (Moberly & Arnaud (also AR) (Control) 335, Jourdain) 16, 307, 319, 534, 552 355, 357, 362, 364, 369, 391, 400, After Death (Stead) 2 435, 480, 541 Aherne, Owen 15, 547 Archer vision 232-4, 337-8, 528 Allusion 234, 45, 381-2, 388, 395, Aretino, Pietro 545 497, 538, 541 Arnold, Matthew 523 Ameritus 38, 39, 40, 41, 42, 43, 44, Arthur, King 523 45 Astral body 52, 417, 513, 540 Ames, Julia A. 2 Astral images 87, 119, 375, 389-90, Amoun Temple 37, 42, 54 410-11,426 Angels 96, 123 Astral light 87, 303-4, 375, 410, 412, Anger 101-3 534 Anima Mundi (AM) 22, 24, 30, 34, Astral link 67 42, 43-4, 153, 201, 221, 234, 349, Austen, Jane 196, 525 381, 386, 395-6, 412, 413, 434, Automatic Faculty (AF) 24, 25, 30, 474, 504-5, 552 237 definition of 396, 502, 541 Automatism 12, 17, 527 and Antithetical Self 65-6 Avatar 17-19, 22, 25, 26, 28, 29, 31, and subconscious 86-7 32, 37, 41, 43, 47, 48, 51, 467, and soul 96 481, 482-3, 486, 488, 510, 518, and Iseult 132 540, 545, 548 as PB 412, 414-15, 542-3 see also New Messiah, New Christ Personal Anima Mundi (PAM) 24, Aymor (Control) 16, 18, 20, 21, 175, 30, 304-5, 506, 552 309, 311, 331, 335, 350, 352, 355, Antithetical Self (AS) 36, 64-88, 365, 366, 369, 372, 374, 376, 378, 74-86, 92-121 379, 381, 384, 386, 387, 398, 405, and beauty 78-81, 84-5, 88, 94, 409, 419, 421, 530, 541 98, 99-101, 106-8, 112, 133-9, 263-71,324 Balfour, Arthur 42 and sin 92-4, 147, 271, 298 Balzac, Honore de 194, 283, 401-2, and energy 108-10 407, 532, 541, 549 and war with Ego 116 Barrett, Sir William 13, 51, 52, 520, and war with Primary 298-300, 534 410-11,542 Baudelaire, Charles P. 179, 211, 245, and cycle of soul 127, 138-42, 158, 299, 457, 522, 526, 529, 549 190,231,247,250,500,524 Beardsley, Aubrey 27, 147, 344, 519, as truth 134 524, 538, 545, 549 greatest power 140 Beatitude 499-501 and funnel 143 Beatrice 244, 529 and knowledge 154 see also Dante and mask 267-9 Beauty 78-81, 84-5, 88, 99-101, and Judas 292 110-11, 137-41, 190, 264, 514, Antoinette, Marie 319 545,548
555 556 Index
Beauty (continued) Cabalistic states 281 and wisdom 100-3, 118, 533 Cabalistic Tree of Life 26, 519, 531, and primary 109 541 as evil 114 Caesar 293 complete 115, 216 Calvin, John 194, 525, 549 and sexual desire 120-1 Campbell, Mrs. Patrick 23, 93, 181, and cycle 124, 141-2, 247 513, 515, 523 and anger 127 Carlyle, Thomas 193,457,521, 524 and civilization 145 Cashel 29, 427 and spirits at 15 212 Castiglione, Count Baldissare 514 and genius 217 Cavalcanti, Guido 469,549 as dark night of soul 276 Celtic Mysteries 83, 514, 523 creation of 349 Cenci, The (Shelley) 41 Bell (Frustrator) 286, 531, 532 Cervantes Saavedra, Miguel 196, Berenice 43, 44 524, 545, 549 Bird symbols 21, 32, 34, 176-7, Chaucer, Geoffrey 192-3, 517, 524, 179, 207, 217, 225, 251, 449-52, 549 522,525-6,527,530,546-7 "Franklin's Tale" 517 Bisson, Mme. Alexandre 4, 50 Chesterton, G. K. 30,53 Black Eagle 48 Christ 15, 20, 21-2, 26, 28, 31, 32, Blake, Robert 40,53 43, 128, 162, In, 178, 184, Blake, William 12, 18, 20, 26, 27, 28, 221-2, 225, 236, 260, 290-8, 326, 34, 41, 42, 47, 52, 53, 103, 147, 330,420-1,460-8, 476, 482, 510, 185, 211, 333, 344, 345, 389, 457, 521, 528, 532-3, 548, 549 514, 516, 517, 519, 523, 524, 526, New Christ 28, 39 533, 536, 537, 538, 540, 541, 543, as initiate 95-6, 99, 188, 294, 524, 545, 547, 549 530 Blair, Robert 536 cycle of 187-8, 194, 420, 428, 430, Blavatsky, Helena Petrovna 513, 432,524 516, 535, 542 Christian cycle 15, 21-2, 296, Blue Bird, The (Maeterlinck) 515 460-70, 482, 515, 548, 550 Boehme, Jacob 325,333,536,537, Circles 117, 125-9, 183, 200, 219, 545 221-3, 225, 275, 279-80, 310, Bond, Frederick Bligh 16, 52, 534, 344, 523, 525, 531 536,539 Colour scale 367-7, 539 Borderland 2 Commedia dell'arte 270 Borrow, George 521 Complementary Dreams 29,403,541 Botticelli, Sandro 193, 549 Complexes 81-2, 89, 97-8, 104-6, Bricriu of the Sidhe n, 223-4, 513, 133, 318, 329 520,527 of Iseult 81 Browning, Robert 168, 549 definition of 105 Buddha 21-2,294-5,460-8,482, as "knots" 105-6, 151, 329, 516 533,548,549 Conception 370-2, 406 Bullen, A. H. 54 "Cone Historical" 28 Burke's Peerage 374, 539 Confession 90-2, 98, 105, 329 Burne-Jones, Edward 196, 244, 529, Constantine, Emperor 376, 504, 551 549 Contact 219-20, 223, 229-30, 253-6, Butler, James, Duke of Ormonde 539 259, 265-8, 440, 530, 527 Butterfly symbol 104, 110, 251, 256, Contraries 14, 19, 20, 26, 36, 37, 45, 484, 515, 516 406, 514, 541, 546 Butts, Thomas 547 Controis 14, 18, 19, 530, 539 Byron, George Gordon, Lord 446, see also Thomas, Aymor, Dionertes, 546 Guides Index 557
Convito (Dante) 42 380-6,388-96,400-3,490-502, Cormac 29 518, 519, 520, 536, 541 Correspondential images 403, 414, Duality 197, 199 498 Dulac, Edmund 9, 13,27,32,53, Covens or societies 499, 551 158, 520, 549 Cradle vision 235-6 Dumas, Alexandre 521 Crawford, Dr. William J. 30, 31, 53 Duns Scotus, John 547-8 Criterion, The 528 Durer, Albrecht 193, 549 Cromwell, Oliver 196, 549 Crookes, Sir William 1 Eagle and butterfly symbols 104, "Cross correspondence" 7, 8, 51, 52 110, 245, 251, 484, 516 "Crossing" 27-8 Easter Revolution 25 Crystal ball 42 Eithne Inguba 12, 166, 169, 217-20, Cuchulain 12, 13, 14, 15, 31, 91, 517, 521, 526, 527, 540, 543, 547 160, 164-71, 211, 219-20, 223-31, Ellis, Edwin John 516, 536, 541 239, 253-4 515, 520, 521, 525, Ellis, Sister Mary Ellen 6 526, 527, 530, 534, 543, 547 Ellmann, Richard 10 Cycles, spirit 192-217, 275-6, Emblematic pictures 129, 138, 236, 279-80, 284-5 245, 517, 519, 529, 530 Emer 12, 14, 166, 169, 217-20, 517, Daily Self, see Primary Self 521, 522, 526, 527, 540, 543, 547 Daimon 8, 34, 35, 36, 38, 39, 40, 45, Emery, Florence Farr 197, 204, 525, 46, 66, 71-3, 99, 337, 513, 537 526 Daimonic Man 518 Emmanuel 83 Dante Alighier~ 42, 162, 168, 243-5, Eurectha (Control) 36 307, 458, 469, 520, 521, 529, 548, Eva C (Marthe Beraud) 50 549 Experimemts in Psychical Science Yeats's admiration of 42 (Crawford) 53 Decima 515 Defoe, Daniel 195, 524-5 Fand (Woman of the Sidhe) 12, 166, "Descriptive Catalogue, A" (Blake) 169, 171, 207, 217-20, 223, 517, 517,523 520, 521, 522, 526-7, 527, 530, Destiny 24, 99, 161, 165, 243, 415, 540, 543, 547 444-5, 449, 451, 478, 516, 521, see also Maud Gonne 542, 546, 547 Fate 24, 105-6, 165, 243, 415, 444-5, as Karma 105-6 449, 516, 521, 546 Dial, The 32, 51, 53 Fechner, Gustav Theodor 508, 552 Diamond 462-90, 511, 548-9, 550, Feilding, Everard 2, 52, 528, 534 551 Felkin, Dr. Robert W. ("Finem Dickens, Charles 144, 283, 288, 518, Respice") 245, 529 532,549 Fielding, Joseph 549 Dickinson, Mabel 33, 41, 525, 527 Figaro 60 Dionertes 21, 46, 47, 48, 530, 546 Fish (Guide) 14, 179, 181, 187, 191, Discord 31 195, 202, 208, 209, 222, 225, 235, Dostoevsky, Fyodor 26, 145, 194, 246, 256, 261, 267, 271, 274, 275, 524,549 277, 278, 286, 290, 297, 301, 306, Dowden, Edward 49, 536 307, 308, 309, 310, 326, 338, 341, Dowden, Hester (Mrs. Travers- 369, 384, 399, 525, 530 Smith) 49, 52, 536 Fixed idea 37, 318, 330, 353-4, 535, Dowson, Ernest 457 537,546 Dream images 30 Flamel, Nicolas 512 Dreaming Back 17, 19, 25, 144, 150, Flaubert, Gustave 26,34, 194, 549 155-8, 309, 315, 318, 322, 327, Fodor, Nandor 49 558 Index
Fool or "Child of God" 70, 290, MalaPersona 111,129,131,160,242 297-9, 301-2, 357-8, 361, 513, Mask 23, 24, 26, 36, 43, 161-3, 517, 533, 537 168, 170-1, 180-3, 192, see also Idiot 197-207, 201-7, 239-45, Fountain 261, 511, 530 261-70, 286-93, 299, 340, 346, Four Bodies 17, 21, 535, 536, 539 422, 427, 441, 442, 445-52, see also Four Principles 484-9, 506, 516, 520, 522, 523, Four Elements 21, 51, 217, 245, 379, 527, 529, 530, 547, 551 526, 543, 547 Persona Artificans 161 see also OlE Persona of Fate (PF) 47, 242-5, Four Faculties 21, 22, 32, 43, 46, 261-3, 269-71, 283, 286-93, 523, 529, 546, 530, 552 299, 422, 441, 442, 444, 445-52, Bad Mask 171, 186, 192, 207, 224, 484-9, 503, 506, 529, 548, 551 270,524 True Mask 164, 180, 520 Body of Fate 24, 444, 529, 531, Will 23, 80, 411-12, 529, 530 532,548 Four Memories 22, 28, 29, 36, 42, Creative Genius (CG) 28, 47, 99, 505-7, 551-2 104, 111, 129, 147, 161, 198, see also Anima Mundi 200-5, 238-9, 241-5, 253, Four Principles 15, 17, 19, 21, 32, 262-3, 268, 270, 274, 276, 313-35, 372-3, 529, 535, 539, 286-93, 299, 301, 343, 346, 422, 542, 543, 546, 551, 552 427, 433, 441, 442, 444, 445-52, Celestial Body (CB) 17, 19, 52, 454, 471, 484-9, 506, 509, 527, 247, 281-2, 317-35, 339-40, 529, 530, 532, 546, 547, 551; 345-7, 350, 367, 380-6, 388-96, and phase, 203; and beauty, 400, 403, 417, 443, 444, 445, 217 446, 449-52, 496-504, 529, 535, Creative Mind 520, 523, 524, 525, 536, 543, 546, 547; as creator of 527, 529, 532, 533, 534; see also beauty 349, 548; George Evil Genius Yeats as 537; definition 498 Ego 23, 36, 115-16, 154, 197, 242, Husk 535, 536, 540, 541 262-70, 285, 314, 318, 321, 324, Passionate Body (PB) 17, 19, 52, 326, 327, 328, 340, 353, 410, 313-38, 345-6, 348-50, 354, 441, 442, 448, 451-2, 484-9, 367,372-3,375,376,377,380-6, 497, 506, 530, 536, 547, 551; see 388-96, 403, 408, 409-10, also Physical Body 412-18, 439, 443, 444, 446, 449, Evil Genius (EG) 47, 111, 115, 450, 499, 535, 536, 541, 546, 160-1, 163-71, 173, 181-3, 547; as anti self 410; and art 189-203, 207, 223-4, 239-45, 413, 542; as sex 414; and 263-70, 274, 276, 286-93, Anima Mundi 414-15, 542-3; 343-4, 444, 447, 449, 451-2, Iseult Gonne as 537 524, 527, 529 Physical Body 17, 313-34, 367, Evil Mask 47, 179, 444, 520, 527 417, 535, 536, 540, 541, 547; see Evil Persona (EP) 65, 68, 72, 111, also Ego, Husk 113-14, 121, 129, 379, 513, 516 Spirit Body (SB) 17, 19, 313-34, False Mask 164, 520 346-7, 367, 373, 380-6, 388, Genius 66, 68-71, 78-9, 85-6, 410, 416-17, 444, 446, 535, 536, 98-9, 111, 130, 217, 230, 253, 543,546; Maud Gonne 264, 268, 270, 443, 484, 509, as 537, 546, 547 520, 542, 546; and beauty 85; Fowler, Mrs. Eva 92, 515 and sin 131; and contact Fragrances 48 253-6 France, Anatole 283, 532, 549 Good Genius 111, 115, 167-8, Free Will 35, 121-2, 325, 327, 328, 201, 268, 286 329, 484, 490, 499, 521, 536, 542 Index 559
Freud, Sigmund 42, 79, 105, 514, and OM 46 516 phase of 189-90, 197, 524 Frustrators 15, 27-8 as speckled bird 254 see also Leo Africanus, Bell Yeats's passion for 40, 200, 514 Funnel 19, 20, 119, 143, 147-53, Great Wheel, The 38 178, 214, 226-7, 249, 286, 309, Gregory, Lady Augusta 3, 7, 10, 12, 327, 331, 334, 380, 385, 389, 14, 15, 20, 21, 30, 34, 47, 50, 51, 390-8, 402-8, 413, 415, 425, 431, 52, 53, 54, 76, 93, 131, 179, 199, 434, 439, 452, 465, 474, 479, 480, 517, 518, 522, 523, 524, 525, 529, 489, 490, 497, 500, 501, 503, 505, 538,543 510-11, 522, 535, 536, 541 as placens uxor 190, 524, 549 definition of 388, 494 personality of 441-2 Gregory, Margaret 35, 41, 52 Gate of Remembrance, The (Bond) 52, Gregory Robert 17, 19, 21, 381, 538, 534 541 Ghostly Self 39, 495-6 Guides 17, 18, 259-60, 309, 530, Giraldus 15, 24, 30, 44, 250, 530 536,539 Glastonbury Script 16, 305, 307-8, see also Fish, Rose, Leaf 328, 534, 536 Gurney, Edmund 1 Glaucus 44 Gyre image 392-3, 489, 494, 503, God 43, 128, 154, 155, 184, 221, 269, 505,541 298, 299, 303-4, 310, 324, 359, 403, 407, 408, 409, 410, 411, 430, Harper, Edith K. 2, 49, 50 545 Harper, George Mills 50, 53,512, as lunar 303 515, 529, 531, 541, 551 study of 489 Hawk woman 160, 165-7 Goethe, Johann Wolfgang von 5, Hegel, G. W. F. 185, 523 168, 521, 523, 549 Helen of Troy 70, 73, 189, 513, 524 Gogarty, Oliver St. John 40 Herbert, George 23, 171, 525, 549 Gold symbol 437-8, 515, 545 Herodotus 193 Golden Bough (Frazer) 43 Historical cones 22, 23, 29, 426-35, Golden Dawn (GD) 15, 30, 33, 34, 535,545 37, 42, 44, 45, 513, 514, 517, 521, Historical cycles 15, 20, 21-2, 32, 528, 529, 531, 532, 539, 541, 543 34, 94-6, 110-13, 119-21, 126, Gonne, Iseult 10, 12, 13, 21, 32, 40, 296-7, 344, 355-8, 362-5, 41, 52, 53, 91, 104, 109, 132, 177, 420-35, 452, 460-88, 515, 533, 190, 233, 244, 274, 288, 512, 513, 543, 544, 548, 550 514, 515, 516, 517, 520, 521, 522, Holy Ghost 172, 184, 221-2,225, 525, 526, 527, 528, 529, 531, 532, 495, 496, 528 534, 537, 538, 540, 543, 545, 546, Homer 44, 192-3, 524, 549 547, 549; and OM 46 Hone, Joseph 51, 53 and Antithetical Self 66-8, 71, 74, Hood, Walter Kelly 552 81-2,93 Horace 193, 524, 549 cycle of 152 Horton, William Thomas 2, 7, 8, 10, Gonne, Maud 2, 12, 13, 19, 21, 25, 12, 37, 41, 51, 211, 213, 512, 515, 27, 32, 33, 36, 37, 40-1, 42, 61, 525, 526, 551 76, 186, 233, 254, 318, 329-30, Hourglass 462-90, 548-9, 550 332, 345, 351, 437, 512, 515, 517, Human Personality and its Survival after 518, 520, 521, 522, 523, 525, 526, Death (Myers) 1, 49, 521 527, 528, 529, 530, 531, 534, 535, Hunchback 47, 114-15, 120-1, 166, 536, 537, 538, 540, 541, 543, 545, 172, 180, 182-3, 224, 239, 269, 546, 547, 549 287, 301-2, 352, 354, 357-8, 361, cycle of 152, 247 517, 523, 527, 537 560 Index
Hyde, Anne 17-19,23,32,36,38, Leo Africanus (Frustrator) 2, 4, 5, 6, 39, 42, 46, 174, 175, 362, 373-6, 9, 15, 20, 21, 43, SO, 53, 56, 96, 378, 379, 404, 522, 539, 540, 541 179, 274, 276-7, 281, 286, 310, 355, 366, 424, 428, 487, 512, 527, Idiot 94, 102, 116, 120-1, 172, 177, 531, 532, 535, 538, 543-4, 546 188,269 Lewis, Wyndham 131, 518, 524, Incorporated Stage Society 53 526,532 In the Shadow of the Glen (Synge) 541 Life Between 17, 216, 249, 309, 361, Initiates 15, 21, 88, 95-6, 99-103, 375,536 106-7, 132, 188, 259, 294, 476, Life Eternal (Stead) 49 515, 524, 530, 549 Light 1,49 Irish fairies 214, 350, 425, 526 Lightning Flash (LF) 33, 34, 36, 53, see also Leanhaun Shee 167, 204-6, 252-3, 255, 256, 521, Irish Statesman 54 525, 530 Isabella of Ferrara 56, 177, 512, Lightning, mathematical 23 522 Locke, Audrey 7, 51, 526 Isis-Urania Temple 45 London Spiritualist Alliance 1, 49 Loyola, Ignatius 289, 525, 532, 549 Jeffares, A. Norman 52 Lucifer 53, 526 John, St. 31 Luke, St. 524 Johnson, Dr. Samuel 457,549 Lully, Raymond 60, 512 Jourdain, Eleanor Frances ("Frances Luther, Martin 194, 525, 549 Lamont") 16, 376, 534, 540, 552 Lyttelton, Lady Edith 7, 8, 9, 10, 51, Judas 15, 26, 31, 174, 291-5, 522, 512,515 532-3, 534 Judwalis 530 MacBride, Major John 518 Julia's Bureau 2, 6 MacBride, Sean 136, 518, 541 Machiavelli, Niccolo 193 Kabbalah Unveiled, The (Mathers) 532 MacPherson, James 194,521,524 Kalogera, Lucy Shepard 514 Maeterlinck, Maurice 93, 181, 515, Kant, Immanuel 45,185,523 523 Karma 105, 358, 516 Mallarme, Stephane 211, 526 Karsch, Anna Louise 5 Manannan 167 Keats, John 43, 44, 47, 93, 131, "Mansions of the Moon" 22 146-7, 153, 169, 191, 286, 287, Mantra 63-4, 513 288, 518, 519, 524, 532, 549 Marcus (Control) 123, 133 Kelly, John S. 3, 5, 50, 515 Mark, St. 524 Knots: see Complexes Marriage of Heaven and Hell, The (Blake) 52, 533, 541 Landor, Walter Savage 15,23,26, Martyn, Edward 528 70, 93, 162, 191, 444, 513, 517, Masters 16, 21, 25, 51, 52, 53 520, 524, 546, 549 Mathers, S. L. MacGregor 528,531- Lane, Sir Hugh 6, 7, 13, 14, 51, 52, 2,539 179, 223, 520, 522, 527 Matthew, St. 524 Lang, Andrew 1 Maud Gonne Notebook (MGNB) 9, Lassalle, Ferdinand 549 SO Lazarus 31, 32 "Maurice" (Iseult Gonne) 274,531 Leaf (Guide) 160, 169, 191, 204, 208, Mazarin, Jules 549 217, 222, 223, 235, 239, 261, 271, McMullan, Peggy 52, 539 369 Mead, G. R. S. 53 Leanhaun Shee 209, 526 Mediumship 13, 17, 27, 28, 31, 34, as symbol for Maud Gonne 526; 35, 50, 75, 77-8, 84, 122, 176, see also Irish fairies 227-8,237-8,272-3,324,327, Index 561
328, 349, 351-2, 368, 378, 440, Obsessing spirits 28, 227, 236-8, 443, 444, 449, 507, 528 330 Meleager 44 O'Connell, Daniel 196, 549 Memory Dreams 42,70,304-5, Ontelos (Control) 39 372-3, 377, 378, 380-1, 513 Overshadower 41, 211, 526 see also Dreaming Back "Mental Traveller, The" (Blake) 34 Paracelsus 545 Meredith, George 195, 525, 549 Paris, son of Priam 70, 73, 513 "Metallic Homunculus" 9, 13 Parnell, Charles Stewart 196, 244, Michelangelo Buonarroti 193, 524, 457, 524, 529, 549 549 Pascilt Blaise 194 Millevoye, Lucien 41 Patrick, St. 508 Milton, John 192-3, 524, 549 Paul, St. 31 Moberly, Bishop George 16 Persephone 44 Moberly, Charlotte Anne Elizabeth "Personal objective" 28 ("Elizabeth Morrison") 16, 552 "Personal subjective" 28 Moments of Crisis 20, 32-6, 38-9, Peter, St. 31, 174, 291, 522, 533 40, 41, 44, 46, 53, 543 Phaedrus myth 7, 56, 60, 512 Beatific Vision (BV) 20, 32, 34 Phaeton 7 Critical Moment (CM) 20, 32-6, Phantasms of the Living (Myers) 1 38-9,40,46 Phantastikon 42 Initiatory Moment (1M) 20, 32-6, Phases 14, 26, 27, 38, 115-16, 38-9,40,41 126-8, 143, 167-8, 185-207, 265, OM 32, 46, 421, 543 286-354, 380-1, 387-97, 400-7, Montaigne, Michel Eyquem de 549 453-5,517 Montesquieu, Charles-Louis 193 of civilisation and epoch 426-33, Moore, T. Sturge 50 460-90,544 Moses 128 limit on 537 Moses, William Stainton ("M. A. Philosophy axon") I, 6, 49 and System 251-2, 530 Murphy, William M. 52 and self expression 270 Myers, Frederic W. H. 1,26,49, Pico della Mirandola, Giovanni 87, 169, 194, 295, 513, 514, 521, 524, 515 528, 533, 549 Pilate 31 Mystical marriage 33, 526 Pilcher, Kathleen Mary 534 Myth 12 Pilcher, Thora 303 as activity of daimon 337 Pity 26 Planes 318, 418, 520, 535, 540, 542 Napoleon 196, 296, 446, 519, 524, Plato 7, 126, 512, 537, 549 546, 549 Plutarch 193, 549 National Gallery of Ireland 7 Podmore, Frank 1 National Library of Ireland 51 Poetry 23, 52, 520 New Messiah 16,22,460-1,515, Polarities 7-8, 55, 512, 534, 551 524, 530, 548, 549 see also Contraries see also Avatar Pollexfen, George 6, 527 Newly dead, the 17, 227, 229, 309, Pound, Ezra 21, 23, 27, 3D, 31, 32, 312-16, 535, 536 52, 53, 131, 191, 286, 454, 518, Newman, John Henry, Cardinal 523, 524, 525, 532, 543, 547, 549 525 Prayer 39 Nietzsche, Friedrich W. 20, 21, 182, "Preliminary Examination of the 183, 190, 200, 422, 454, 457, 515, Script of E[lizabeth) R[adcliffe)" 523, 525, 534, 543, 547, 549 (Harper and Kelly) 2, 3, 4, 5, Noh 12, 32, 40, 208, 270 50,51,515 562 Index
Primary self 68-86, 92-121, 513 409, 481, 482, 484, 486, 487, 504, and ugliness 88, 92-4, 100-8, 112, 505,530 133-9, 226, 269, 518 Rosenkreuz, Christian 45 and complex 95-8 Ross, Sir Edward Denison 9 and energy 108-10 Rossetti, Dante Gabriel 168, 217, and cycle of soul 127, 138-43, 244-5, 521, 526, 529, 549 158, 226-7, 250, 263-4, 500 Ruskin, John 457 as good 134 Russell, George W. ("A. E.") 23, 25, and funnel 143 28,47,136,171,518,525,547,549 as Christ 184 and sin 215 Saddlemyer, Anne 522 and war with anti 298-300, Saint 20, 172, 181, 229, 243, 261, 410-11,542 271, 295, 301-3, 329, 352, 407, and PB 410 446, 509, 516, 517, 523 Proceedings of the Society for Psychical as sin-eater 102, 357-61, 538 Research 1, 49, 51 Satan 533 Prodigal Father: The Life of John Butler Sato, Junzo 48 Yeats (Murphy) 52 Savonarola, Fra Girolamo 23, 193, Prophetic Books (Blake) 12, 541, 547 549 Psychic Messages from Oscar Wilde Scatcherd, Miss 6 (Travers-Smith) 536 Schepeler, Alexandra ("Seraphita") 11 Quest, The 53 Schopenhauer, Arthur 180, 193, Quinn, John 15, 47, 52, 53, 517 523,549 Schrenck-Notzing, Albert von SO Rabelais, Fran~ois 545 Select Works of Plotinus (Mead) 53 Radcliffe, Elizabeth ("Bessie") 2, 3, Septimus 36, 37 5, 11, 16, 21, 41, SO, 122, 132, Sequence 24, 45, 89-91, 104-5, 123, 253, 256, 260, 387, 515, 517, 518, 349, 381-2, 388, 395, 401, 497, 529, 530, 541, 552 516, 538, 541 Radcliffe, Margaret 250, 529 Sex 517 Raine, Kathleen SO and health 39, 209 Recurrence 43,48 harmony for Script 35,44,523 Rembrandt van Rijn 28, 144, 145, and sleeps 45 193, 359, 549 attraction and antithetical 47, Retina 19, 405, 412-14, 542 76-7,346-7 Return, the 22, 75, 490-S05, 519, relation to cycle 120-1, 538 551 and type 173 Rhymers' Club 528 and spirits 211-12, 235 Richelieu, Cardinal 196, 549 determination of 283, 324, 337, Richet, Charles 513 338-9 Robartes, MichaelIS, 44, 149, 514, PB as 414 519, 530, 536, 547 see also Contact Robartes-Aherne Dialogues 15,23, Shakespear, Olivia ("Diana Vernon") 25, 37, 44, 52, 517, 519, 530, 536, 3, 33, 34, 41, 158, 207, 520, 526, 547, 548, 549 528 see also W. B. Yeats, "The Shakespeare, William 26, 131, 192, Discoveries of Michael 469, 518, 549 Robartes" Sharp, William ("Fiona Robartes-Aherne Typescript (TS) 23 Macleod") 233, 528 Rogers, Dawson 49 Shaw, George Bernard 131, 518 Rose (Guide) 335, 338, 341, 342, Shelley, Percy B. 23, 26, 41, 69, 147, 346, 347, 351, 352, 366, 369, 384, 401, 513, 519, 541, 548, 549 Index 563
Shiftings, The 17, 22, 148-58, 188, 375, 522, 534, 535, 536, 538, 539, 249, 269, 295, 305, 309, 313, 318, 540 330, 334, 408, 409, 432, 474, 490, see also Phases 495-504, 519, 536, 551; Stead, Estelle W. 49 as freeing from anti and Stead, William T. 2, 49, 50, 531 primary 494 Stella Matutina 37, 529, 531, 541 Shine, Mrs. Ruth 522 Stephens, James 27, 137, 145, 147, Sin 25, 114, 147, 270, 298, 447-8 518, 524, 545, 549 Sin-eater 102, 114, 357-61, 516, Stoddart, Christian Mary 37, 41, 54 538 Sturm, Frank Pearce 538 Sinnett, A. P. 535 Subconscious, clearing of 89-90, Sir Hugh Lane: His Life and Legacy 96-8, 104-6, 115 (Lady Gregory) 51, 522 Swedenborg, Emmanuel 3, 26, 98, Skeat, W. W. 517 194, 295, 388, 476, 515, 524, 533, Sleeps 45, 48 541,549 Society for Psychical Research (SPR) Swinburne, Algernon Charles 457 1,2, 3, 8, 13, 29, 40, 49, 51, 513, Symbolist Movement in Literature, The 521, 528, 534 (Symons) 528 Socrates 193, 294 Symons, Arthur 211, 231, 233, 526, Spencer, Herbert 26 528 Sphinx 22, 31, 468, 482, 549 Synge, John Millington 28, 190, 193, Spiral 19, 26, 100, 108, 110, 421-7, 541,549 430-3, 462-90, 501, 502, 505, System 8, 14, 15, 19, 20, 21, 23, 24, 545, 551 25, 27, 30, 31, 32, 33, 34, 35, 36, "Spirale, La" (Flaubert) 26, 34 39,44 Spirit Teachings 1 and Moments of Crisis 46 Spirit Identity 1 purpose 55, 354 Spirits at Fifteen 17, 174, 188-9, origin of 8, 10, 23-4, 34-5, 369, 191, 207, 209-17, 226-39, 246-50, 456, 512, 515, 534-5, 539, 547, 253, 258-61, 265-8, 272-3, 550-1 281-3, 296, 309, 319, 320, 326, and poetry 443,546 334, 335-40, 345, 458-60, 529, and psychic links 310-11 536, 537, 548 and Mask 266-8 Tarot 30, 45, 239, 281, 285, 517-18, as perfection of body 336-7, 247 529, 531, 532 as female 339 Tattwa cards 539 as miniature world 347-8 Teaching 26, 31, 33, 359-60, 384, and transference 348-50 389,403,408,439,490-504,539, and Anima Mundi 502 551 Spirits at One 17, 188-9, 214, 216, Telepathy 5, 62, 404, 414, 513 226-39, 246-50, 257-61, 272-3, Temptation of St. Anthony, The 283, 288, 295, 309, 326, 333-4, (Flaubert) 26 336-9, 500-1, 536 Tennyson, Lord Alfred 168,286, as perfection of spirit 336-7 287-8, 521, 532, 549 as male 339 Tetrads 32, 46, 48, 51, 103, 122-4, as miniature world 347-8 454, 512, 516, 517, 530, 546, 547 and Anima Mundi 502 Theosophical Society 53, 534 Spiritual memory 333, 392 Thirteenth Cone 24, 48 Sprayberry, Sandra 53, 541 Thirteenth Cycle 39 Springel, Anna ("Sapiens Thomas of Dorlowicz (Control) 10, Dominabitur Astris") 45 13, 14, 20, 21, 22, 23, 24, 26, 27, Stages 16, 24, 113-15, 155, 178, 307, 28, 29, 30, 31, 32, 33, 34, 35, 36, 309, 310, 341, 342, 358, 360-1, 38, 56, 62, 63, 67, 74, 80, 85, 92, 564 Index
Thomas of Dorlowicz (continued) Virgil 193, 286, 524, 525, 532, 549 99, 110, 111, 116, 124, 125, 136, Vision papers 10-11 137, 140, 144, 153, 159, 164, 169, 172, 173, 174, 175, 176, 177, 187, Wain or heir 374 191, 204, 208, 223, 226, 237, 251, Waite, A. E. 529 255, 256, 262, 264, 267, 271, 281, Waley, Arthur 9, 13 286, 289, 292, 295, 297, 301, Wallace, Dr. Abraham 6, 50 305-6, 309, 326, 329, 332, 342, Watts, George Frederic 549 343, 365, 369, 428, 430, 434, 435, Wells, H. G. 519 436,440,441,443,445,448,449, Whitman, Walt 194, 195, 518, 521, 453, 454, 456, 458, 459, 460, 463, 524 465, 466, 467, 471, 472, 473, 474, Wilson, David 9, 13 476, 478, 479, 480, 486, 487, 488, Wisdom 14, 100-3, 110, 116-18, 490,493, 495, 498, 499, 502, 503, 127, 169, 183-5, 225, 250, 251-2, 50S, 507, 511, 512, 530, 545 460, 516, 527, 533 phase of 174, 512 as butterfly 104 as spirit at 15 235 Wordsworth, William 168,216,286, Thrice Greatest Hermes (Mead) 53 287-8, 526, 532, 549 Titian 196, 549 Works of Fiona Macleod, The Tolstoy, Count Leo 194, 195, 196 (Sharp) 528 Tower symbol 19, 25, 256-7, 391, Works of William Blake, The (Ellis and 399, 511, 530, 541 Yeats) 536, 541 as George Yeats's symbol 257 World War I 6, 17, 363-5, 539 as symbol of PB 394-5 Wriedt, Etta 4, 5, 6, 7, 50 as antithetical 396 Transference 8, 47, 51, 348, 360, 538 Yeats and Horton (Harper) 551 of images in Anima Mundi 43-4, Yeats, Anne 17, 32, 34, 37, 39, 47, 87 48,539 Trianon vision 377, 540 Yeats, Elizabeth Corbet (Lolly) 19, Tucker, Henry Tudor ("Harold") 76, 52,374,539 513 Yeats, Jack B. 19 Yeats, John Butler 52, 517 Ugliness 45, 84, 92-4, 88, 99-103, Yeats, Senator Michael B. 51 103, 110-11, 114-15, 124, 137-42, Yeats, Susan Mary (Lily) 19, 52, 226, 269, 515, 533, 545 374, 539, 543 and anger 101-3, 118 Yeats, William Butler as good 114 "All Soul's Night" 44 and moon 141-2,518 "Anima Hominis" 513, 515 as stubbornness of soul 145 "Anima Mundi" 53, 513, 519 intellectual 453 "Another Song of a Fool" 29,30 Underhill, Evelyn 531 "At Stratford-on-Avon" 537 Unity of Being 24,29,42,43,201, At the Hawk's Well 166-7, 170, 525, 538, 548 222, 255, 520, 530 Unity of effect 68 Autobiographies 514, 528 "AwakeningoftheSpirits, The" 535 Vachere, Abbe 3 "Biographical Fragment, A" 528 Velasquez, Diego Rodriguez 196, Calvary IS, 26, 31, 40, 522, 530, 549 532-3 Verlaine, Paul 194, 211, 244-5, 299, "Clairyvoyant Search for Hugh 524,526,529,549 Lane's Will" 7,522 Victim 26, 31, 33, 39, 359-61, 539 "Cra,!-y Jane on the Day of Villon, Fran~ois 169, 245, 521, 529, Judgement" 269,531 549 Deirdre 515 Index 565
"Discoveries of Michael Robartes, 21, 23, 31, 33, 51, 209, 222, The" (DMR) 15, 23, 25, 37, 225, 255, 513, 514, 515, 520, 44, 52, 517, 547, 548, 549 521, 522, 526, 527, 529, 530, "Double Dream, The" 29 540, 543, 546-7; tetradic plan "Double Vision of Michael of 122, 512, 517, 543 Robartes, The" 21, 22, 23, 29, "Owen Aherne and His 30,546,551 Dancers" 12 "Drama of the Faculties and of the Per Arnica Silentia Lunae (P ASL) 3, Tinctures, etc." 531 513, 515, 531, 546 Dreaming of the Bones, The 25, 535 "Phases of the Moon, The" 21, "Ego Dominus Tuus" 161, 519, 23, 517, 546, 547 520,532 Player Queen, The 36, 37, 290, 515, Fighting the Waves 167, 211, 532 219-23, 225, 253, 521, 530 "Poet and the Actress, The" 50 "Four Ages of Man, The" 16, 534 "Prayer for My Daughter, A" 516 "Four Contests of the Antithetical Purgatory 535 Within Itself, The" 534 "Second Coming, The" 21, 22, 43, Four Plays for Dancers 53, 514 515, 544-5, 546 "Gates of Pluto, The" 4, 17, 519, "Separation of the Four Principles, 535 The" 536 Green Helmet, The 164, 167, 170, "Shepherd and Goatherd" 17, 19, 222, 255, 512, 520, 530 520, 535, 538, 540 "Gyre, The" 26 "Sixteen Dead Men" 14 "Heart Replies, The" 12 Speculum Angelorum et "Historical Cones, The" 22, 543, Hominorum 15, 30, 530 545 "Stirring of the Bones, The" 528 "If I were Four and Twenty" 44, "Swedenborg, Mediums, and the 54 Desolate Places" 2, 3, 53, 513 "Incarnation of Anne Hyde, The" "Table of the Four Faculties" 43, 18,23,539 47, 517, 520, 524, 525, 527, 529 "In Memory of Major Robert "Tom O'Roughley" 51(i Gregory" 21 "Towards Break of Day" 29, 30, "Introduction to the Great Wheel" 53 10 "Twenty-Eight Embodiments, "Irish Fairies, Ghosts, Witches, The" 15,532 etc." 526 "Two Songs of a Fool" 25 "Leaders of the Crowd, The" 30, "Under Ben Bulben" 541 288,532 "Under the Round Tower" 19, "Leo Africanus" 6, 50 541 "Lover Speaks, The" 12 "The Way of the Soul between the "Meditations in the Time of Civil Sun and the Moon" 13 War" 516 "Veronica's Napkin" 43 Memoirs (Donoghue) 50, 528 "Vision of the Blood Kindred, "On a Political Prisoner" 30, 53 The" 535 On Baile's Strand 164, 222, 224-5, "When You Are Old" 33 255, 520, 527, 530 Only Jealousy of Emer, The Zarathustra 182, 523, 549 (OJE) 12, 13, 14, 15, 17, 19, Zoretti (Control) 472, 473, 476, 490