0357 the avalon course 1

8/18/2019 0357 the Avalon Course 1

http://slidepdf.com/reader/full/0357-the-avalon-course-1 1/30

THE

avalonavalonavalonavalon

M Y S T E R Y S C H O O L

A Path to Higher Consciousness

through the Arts of Sacred Magic

_____________________

THE AVALON COURSE IN SACRED MAGIC:

LESSON ONE

Director of Studies: Mara Freeman

Chalice Centre, Lôn,

Maesllyn, Llandysul,

Ceredigion, SA44 5NA

Wales, U.K

www.avalonmysteryschool.net

[email protected]



OVERVIEW OVERVIEW OVERVIEW OVERVIEW

1. Reading and Study1. Reading and Study1. Reading and Study1. Reading and Study

Introduction to Sacred Magic I : The Hidden Universe

An Esoteric History of Avalon I: The Isle of Apples

2. Practicum2. Practicum2. Practicum2. Practicum

Creating and cleansing sacred space

The Magical Journal

3. Body/Mind Work3. Body/Mind Work3. Body/Mind Work3. Body/Mind Work

Purpose of training the body and mind

Relaxation and Grounding

Entering the Silence

4. The Magical Arts4. The Magical Arts4. The Magical Arts4. The Magical Arts

The Three Arts

The Circle and the Center

Meditation: The Inner Flame and the Sphere of Light

Ritual Practice: The Three Rings

VisionJourney: The Shores of Avalon



The Avalon Course in Sacred MagicLesson One

3

Note: Note: Note: Note:

In each lesson, there will be four areas of work, each corresponding to one of the four elements:

AIR Reading and StudyFIRE Creativity and Making

WATER Meditation, VisionJourney and Ritual

EARTH Mind / Body Practices

The first section contains reading material in which you use your mental faculties. Knowledge is

associated with the ‘heady’ element of Air, symbolized by the upward triangle and cross-bar. The

second section involves making something for magical purposes in your environment. Creating is

associated with the element of Fire, symbolized by the upward triangle. The third section involves

training the body and personality, which are associated with the element of Earth, symbolized by

the downward triangle with cross-bar. In the fourth section, you will be learning magical practices, which are associated with the element of Water, symbolized by the downward triangle. All four

elements are important for a balanced approach to the magical arts.

The Four ElementsThe Four ElementsThe Four ElementsThe Four Elements




4

1. READING AND STUDY READING AND STUDY READING AND STUDY READING AND STUDY

Introduction to Sacred Magic IIntroduction to Sacred Magic IIntroduction to Sacred Magic IIntroduction to Sacred Magic I

The Hidden UniverseThe Hidden UniverseThe Hidden UniverseThe Hidden Universe

All magical teachings are based on an awareness that there is more beyond what we call the physical

world. Most of us live as if we were confined to a small, barred room. Our minds pace back and

forth in a narrow spectrum of consciousness, structured by the conditioning we received by our

parents and society. In the modern Western world, consensus reality teaches that we can only

perceive life through the evidence of our five senses filtered through the rational mind, despite the

fact that, for over eighty years, this half-truth has been debunked by quantum physics. And so we

never notice that, like Alice, all we have to do is to put the right key in the lock and the door will

open wide. Western magic provides one of the keys to the Garden. 1

Not so very long ago, things were quite different. The materialistic worldview is comparatively

recent, having come to ascendancy during the period of the 17th century ‘Age of Reason’ in

England, when Newton posited a mechanical, clockwork view of the universe and Descartes

hoisted the rational mind onto the control seat with his “I think, therefore I am.” But for

thousands of years before this era, ordinary people took it for granted that the cosmos teemed with

invisible forces, powers, and spirits. In the British Isles and Ireland, as in many places throughout

the world, people lived side by side with gods, goddesses, nature spirits and faeries. Under

Christianity, the invisible worlds were seen as various heavens and hells, peopled either by God and

his ministers, or the Devil and his demons. Ordinary people, whether educated and wealthy or

simple peasants, believed the physical plane to be one part of a whole invisible continuum of life.

In earlier societies, certain men and women took on the challenge of exploring the inner, or

invisible worlds. Depending on their culture, they were given various titles, the most familiar to us

today being shaman, druid, magician, and witch. On their inner travels, these walkers-between-

worlds discovered inner realms of unspeakable beauty, harmony, cosmic order and perfection. In

the East, such a ‘place’ may have been called Shambhala, or the Pure Land, while in the West, it was

Tir na n’Og, Faeryland – or Avalon. In Judeo-Christian cosmology, it was the Garden of Eden, the

Earthly Paradise. Plato knew it as the world of Ideas, which he insisted was more real than the

world of appearances.

1 Note on the use of capital letters. When common words like ‘Quest’ are capitalized throughout the course, it meansthey refer to an archetypal or magical construct, rather than to normal usage.




5

As articulated in the old Hermetic dictum, ‘As above, so below,’ our world is supposed to reflect

this sacred pattern of cosmic harmony. But because our ‘doors of perception’ have been

systematically closed, we have lost touch with the eternal. The Earthly Paradise we call Avalon

provides us with a template of what life on the physical plane can be, but humankind, following the

orders of the ego, rather than the spirit, has lost the blueprint, skimped on materials, and cut

corners in disregard for the Divine Plan. Magic affords a way of redressing this situation – but first,

we need to look at what Magic actually is.

The Purpose of Sacred MagicThe Purpose of Sacred MagicThe Purpose of Sacred MagicThe Purpose of Sacred Magic

Dion Fortune, one of the twentieth century’s greatest occultists, gave a definition of Magic that has

not been surpassed since her time. She wrote:

Magic is the art of causing changes to take place in consciousness in accordance with will.

Notice that she emphasizes that consciousness is the most important thing to change. The popular

view of Magic in our materialistic world is that it is about making changes in the outer world by

mysteriously defying the laws of physics – from materializing a new car to turning your boyfriend

into a toad. Well, Magic can help you make things manifest in the outer world – sometimes

startlingly so – but it’s not a matter of manipulating the physical plane by waving a wand like Harry

Potter or chanting ‘barbarous names of power.’ It’s all about consciousness. Magic teaches us about

the underlying, subtle realities of the cosmos, which can only be discovered by learning to

experience life in an expanded way. It is only through the doorways in the mind that we can cross

the threshold of the inner realms.

Magic is, of course, just a tool, and so can be used by different people in countless ways. Basically,however, there is Sacred Magic and Everyday Magic: The first is used for spiritual awakening and

making positive changes in our world in accordance with the Divine; the second is used to improve

the state of one’s everyday life. Casting spells for love or money and so forth fall into this category.

There is a place for both Sacred and Everyday Magic in the world. But to those who follow the

Western esoteric tradition, Magic is a spiritual path. The password that opens the door to the

temple of the Western Mysteries, is: ‘I desire to know in order to serve.’ For the ultimate goal of

Sacred Magic is to bring Heaven to Earth. How is this done? In essence, there are three steps: First,

we learn to travel in and out of the Inner Worlds, then to create lines of communication with those

Intelligences who are concerned with the spiritual evolution of the human race, and finally to

mediate spiritual power into the physical world – a task which, using alchemical terminology, hasbeen appropriately called the ‘Great Work.’ However, along the way, as your knowledge increases,

you will naturally learn how to make positive changes in your everyday life, too.




6

The art of sacred magic is the task of initiates of a ‘Mystery School,’ so-called for a number of

reasons: The word comes from the ancient Greek schools of initiation, where the word used was

mysterion , from the verb myein , ‘to close,’ referring to the closing of the eyes or the lips. Closing the

eyes referred to the withdrawal of the senses from outer reality in order to experience the inner

worlds. Closing the lips referred to the vows of silence taken by the initiate, ( mystes , plural mystai)

regarding what took place at the sacred ceremonies, so that they would not be profaned. But it also

referred to the experience of something so ineffable that the rational mind was powerless to explain

it, a truth revealed by the actual presence of the Divine, god or goddess. In the Middle Ages, a

‘Mystery’ also meant a craft or a drama. All of these meanings should be borne in mind in this or

any other modern Mystery School that offers a genuine course of initiation.

The Threefold WayThe Threefold WayThe Threefold WayThe Threefold Way

Dion Fortune identified three paths to knowledge of the inner planes, symbolized by three colored

rays, each pertaining to a particular strand of tradition in the Western Mystery Teachings. They are

represented in diagrammatic form as three interlocking rings:

Figure One: The Three Rays

The Orange Ray is the path of Magical Knowledge, or the Hermetic way. It is concerned with

working with symbolism and patterns through visualized or ceremonial forms. It has an intellectual

emphasis and is mostly associated with the traditional Western Qabalistic magician.

The Green Ray is the path of Elemental Power, and is concerned with Nature contacts, especially

Elemental and Faery beings. It has an emotional and instinctive element and is mostly associated with the druid, traditional witch or shaman.

The Purple Ray is the path of Mystical Devotion, and is concerned with going beyond the egoic self




7

to direct communion with the Divine. It is mostly associated with the contemplative person, who

lives a simple life either within the world or in a monastic setting.

In reality, these three strands interweave throughout magical practice, and in the Avalon Mystery

School each one – the Way of the Magician, the Way of the Druid and the Way of the Mystic – is

considered equally important for a well-rounded comprehension of the arts of Sacred Magic.

♦ In The Avalon Course in Sacred Magic, with its emphasis on teaching the magical

arts and working with the symbols and archetypal forces of Avalon, we are mostly

working with the Orange Ray, although the Green Ray is also present in the later

lessons, which are concerned with the forces of the UnderRealm.

♦ In A Course in Sacred Earth Magic, the emphasis is on the Green Ray and working

with the spirits of the Earth and the elemental forces of Nature, including the

mineral, plant and animal kingdoms.

♦ In the Advanced Course, the Orange and Purple Rays intertwine for the teaching of

the mysteries of the OverRealm which include the Star Powers, Angels and

Archangels, and the Quest for the Holy Grail.

The Three Rays were probably inspired by Dion Fortune’s work while in Glastonbury: the Orange

Ray by the Arthurian legends associated with the area; the Green Ray by the elemental energies she

experienced on the Tor; and the Purple Ray by the hallowed ground of Glastonbury Abbey.

An Esoteric History of Avalon I: The Isle of ApplesAn Esoteric History of Avalon I: The Isle of ApplesAn Esoteric History of Avalon I: The Isle of ApplesAn Esoteric History of Avalon I: The Isle of Apples

Early TalEarly TalEarly TalEarly Taleseseses

Avalon, most scholars agree, derives its name from Celtic words meaning “apple” or “apple-tree,”

such as the Welsh afal , (pronounced ah-val ) meaning ‘apple,’ which in turn stems from the Old

Celtic root word for apple, aballo. There is, in fact, a town called Avallon in Burgundy from the

Gaulish Aballone, from Avallone meaning ‘place of apples.’ Some have argued that a Welsh form,

Ynys Avallach , points to the island being named after an ancestral god, Avallo or Avallach, but

avallach is also a common noun meaning ‘a place of apples.’ A Welsh word for apple tree is afallen or

awallen which would have been pronounced ‘Avalon’ before the 10th century.

The first time we hear of this ‘place of apples’ is in the books of the twelfth century cleric, Geoffrey

of Monmouth, who calls it by the Latin form of Insula Avallonis, ‘the Isle of Avalon.’ Despite his




8

name, Geoffrey is more associated with the learned halls of Oxford, than with Monmouth in

southwest Wales. He may have been a canon of the college at an Oxford college, and it was here, or

so he claimed, that one Walter, Archdeacon of Oxford provided him with ‘. . .a certain very ancient

book written in the Welsh language,’ which became the authority for his books on British history.

Up until Geoffrey’s time, British history had been considered an inferior subject, not worthy of

attention like the glorious chronicles of Greece and Rome. Geoffrey was inspired to rework the

legends of Britain’s past into a semi-mythical historical drama, Historia Regum Britanniae, (A History

of the Kings of Britain) which placed the deeds of Arthur, Merlin, and other heroes at the center of

the unfolding pageant of time.

The Fortunate IslandThe Fortunate IslandThe Fortunate IslandThe Fortunate Island

Avalon is mentioned twice in Geoffrey’s History : first as the place where Arthur’s sword, Excalibur,

was forged, and secondly as the king’s final resting-place after he was grievously wounded at the

battle of Camlann. It is in his later work, Vita Merlini, (Life of Merlin) that we learn more about the

mysterious island. Here, the prophet Merlin converses with the Welsh bard, Taliesin, who delivers a

treatise on the creation of the world from the four elements and goes on to describe its countries.

Among these is Insula Pomorum, the Island of Apples, which is also called ‘The Fortunate Island:’

…from the fact that it produces all manner of plants spontaneously. It needs no farmers to

plough the fields. There is no cultivation of the land at all beyond that which is Nature’s

work. It produces crops in abundance and grapes without help; and apple trees spring up

from the short grass in its woods. All plants, not merely grass alone, grow spontaneously;

and men live a hundred years or more.2

Taliesin goes on to tell Merlin how Arthur was taken to the Isle of Apples to be healed of his battle wounds by a group of beautiful women skilled in magic:

That is the place where nine sisters exercise a kindly rule over those who come to

them from our land. The one who is first among them has greater skill in healing,

as her beauty surpasses that of her sisters. Her name is Morgen, and she has

learned the uses of all plants in curing the ills of the body. She knows, too, the art

of changing her shape, of flying through the air, like Daedalus, on strange wings.

At will, she is now at Brest, now at Chartres, now at Pavia; and at will she glides

down from the sky on to your shores.3

2 Clarke, Basil, ed. and trans. Life of Merlin.(Vita Merlini) Cardiff: U of Wales Press, 1973, p.101.3 ibid.




9

They say she had taught astrology to her sisters—Moronoe, Mazoe, Gliten,

Gliton, Glitonea, Tyronoe, Thiton and Thiten, famous for her lyre.

It was there we took Arthur after the battle of Camlan, where he had been

wounded. Barinthus was the steersman because of his knowledge of the seas and

the stars of heaven. With him at the tiller of the ship, we arrived there with the

prince; and Morgen received us with due honor. She put the king in her chamber

on a golden bed, uncovered his wound with her noble hand and looked long at it.

At length she said he could be cured if only he stayed with her a long while and

accepted her treatment. We therefore happily committed the king to her care and

spread our sails to favorable winds on our return journey. 4

Taliesin names only eight of the sisters,

including Morgen, who becomes Morgan le Fay

(Morgan the Faery) in the later Arthurian

romances. As Queen of Avalon, Morgen is a key

figure in its Mysteries and we shall be returning

to her and her sisters later.

Barinthus the ferryman is no bit-player, either!

He is the Celtic version of Charon, the ferryman

who leads the souls of the dead across the River

Styx to Hades, the UnderRealm of classical

mythology. He appears as a monk in medieval

hagiography, but the origin of his name fromthe Irish, Barrfhind, ‘white-tops,’ referring to the

ocean’s waves, betrays his probable origins as a

pre-Christian spirit of the sea and UnderRealm.

His ‘knowledge of the seas and the stars of

heaven’ refer to the realms of the inner planes,

which are characterized by their fluid shape-

shifting nature and starry light.

4 ibid.

Arthur in Avalon by Edward BurneArthur in Avalon by Edward BurneArthur in Avalon by Edward BurneArthur in Avalon by Edward Burne----JonesJonesJonesJones




10

An Earthly ParadiseAn Earthly ParadiseAn Earthly ParadiseAn Earthly Paradise

This and similar accounts from the 12th century afford us a glimpse of a magical country beyond

time: a lovely, fertile land of apple orchards and many flowers, where no one grows old, and all live

in harmony and joy. The land is ruled by beautiful faery women whose queen possesses great

knowledge and the ability to heal. Arthur, the wounded king of the Britons, is taken there to be

healed, and becomes her lover. As to the location of this isle, ideas proliferated in the Middle Ages.

Different versions of a story about a hero called Ogier the Dane places Avalon variously in the

Mediterranean, the Far East, and India. Gervase of Tilbury, writing around the turn of the 13th

century, located Avalon in Sicily. He told how a groom, in search of a runaway horse, followed a

trail that led him inside Mount Etna. He emerged on a beautiful plain where he found King Arthur

lying on a regal couch in a marvelous palace. A 14 th century poet, Guillem Torrella of Majorca, told

how he rode on the back of a whale eastwards for 500 miles and came to a paradise island

decorated with paintings of Arthurian scenes, and found Morgen le Fay and Arthur appearing as a

youthful girl and boy. Arthur explained that his wound was healed by bathing in water from the

Tigris River, which flowed from the Earthly Paradise, and that his youth was restored by frequent

visits to the Holy Grail, a theme closely connected with Avalon. In fact, a number of French chanson

de gestes from the Middle Ages include stories of questing knights who come to Avalon and find

Arthur and Morgen ruling there in bliss. But the poet of a Welsh triadic verse from the Middle Ages

had no doubt where Avalon was located: he called it one of the three ‘Perpetual Harmonies of the

Island of Britain.’

GlastonburyGlastonburyGlastonburyGlastonbury

Driving west along the

A361 from Shepton Mallet,

in Somerset, south-westEngland, a prosaic black

and white road sign

announces that you are

approaching ‘The Isle of

Avalon.’ On your right, you

will see a strange-looking

conical hill, topped by a

ruined tower. Park below it

and walk up the steep path

to its summit, and you willget a breathtaking

panorama of the Somerset

A View of Glastonbury town and its TorA View of Glastonbury town and its TorA View of Glastonbury town and its TorA View of Glastonbury town and its Tor




11

landscape. To the north are the Mendip Hills with the cathedral city of Wells nestled below them;

to the west on a clear day, you might even see the mountains of South Wales. Closer at hand,

stretching away to the south of the Tor, lie flat green meadows bordered by ditches, treeless except

for a few willows with their feet in the water, and the blue line of the Polden and Quantock Hills.

Just below you rises the gentle slopes of Chalice Hill where apple trees grow, and in the distance the

red brick roofs of the small market town of Glastonbury.

Behind the town, the long whale-backed Wearyall Hill lies humped, its name testimony to Joseph of

Arimathea and his weary boatload of brave seafarers who, according to the legend, brought the

Holy Grail to this very place and founded the first Christian church in England. Up here on the

windy Tor, it is not hard to imagine that this was once an island. In fact, if you have come just after

the winter rains, the land around the Tor may be a shining sheet of water, as it was thousands of

years before the land was reclaimed from the sea. According to local legend, when Glastonbury

becomes an island once again, Avalon will reappear from out of the mists and the golden age will

return once more to the land.

When Glastonbury was

surrounded by water, the

Celts called it Ynys-witrin, a

Welsh name meaning the

‘Isle of Glass.’ Maybe this

was because the water

surrounding Glastonbury

Tor was clear and shining,

but it is also a similar nameto Caer Wydyr, the Glass

Castle of Annwn, the Welsh

UnderRealm, where nine

maidens guarded a magical

cauldron. Glastonbury lies in

the county of Somerset,

whose name may have

derived from the ‘Summer

Country,’ one of the names given to the Celtic Otherworld. Although the later Anglo-Saxon name

of ‘Glastonbury’ has nothing to do with glass, folk-etymology has insisted through the ages thatGlastonbury is ‘Glass-town-borough.’ In fact, it comes from the Anglo-Saxon Glaestyngas, which

may derive from an earlier Celtic name for the place, Glastonia, from ‘glasto,’ meaning ‘woad,’ a dye-

plant which grows in marshy places. Another theory is that it comes from a word meaning ‘oak-

The Chalice Well gardensThe Chalice Well gardensThe Chalice Well gardensThe Chalice Well gardens




12

tree.’ The ‘Oaks of Avalon’ feature in fairly recent accounts of the area. But Caradoc of Llancarfon,

writing in the early 12th century, referred to it as ‘Glastonia . . . that is, the glassy city, which took its

name from glass.’ Another version of how Glastonbury got its name was recounted by William of

Malmesbury, monk and historian, who wrote in the 12th century. He told how a northerner called

Glasteing pursued his runaway sow through the midlands. The sow was huge, white and had eight

legs – clearly a beast of the Otherworld. He finally tracked her down at the nearby town of Wells,

but she eluded him by trotting over a marshy track, known later as the Sow’s Way. He found her at

last on an island, suckling a litter of piglets beneath an apple-tree, and since the island seemed a

fertile and secluded spot, Glasteing settled here and named Glastonbury after himself. The apple-

tree brings us back to our theme, for it can truly be said that in Glastonbury, all roads lead to

Avalon.

There those who still see Avalonian archetypes abroad in the Glastonbury landscape. Some

perceive the Goddess in the contours of the land itself, with the Tor as her left breast, and Chalice

Hill her pregnant womb. Although the Tor may be her breast, (pilots flying over it today refer to

the ruined tower as ‘the nipple,’) legends of it being a ‘hollow hill’ also associate it with the womb of

the Earth Mother, like many of the Neolithic chambered mounds found throughout the BritishIsles. These and other earth-chambers are believed to be not only burial-mounds, but sacred

centers where religious ceremonies took place. In many religions throughout the world, this earth

womb is a perilous UnderRealm realm through which the souls of the dead must travel for

The Ruins of Glastonbury AbbeyThe Ruins of Glastonbury AbbeyThe Ruins of Glastonbury AbbeyThe Ruins of Glastonbury Abbey




13

transformation and rebirth. In the ancient Mystery Schools of the Near East and Greece, the

initiate had to descend into the UnderRealm and overcome its dangers before being spiritually

reborn. Some believe there was once a labyrinth of caves and passages within the Tor, providing an

UnderRealm complex for initiations into the womb of the Goddess herself.

Each year the colorful Goddess Conference takes place in Glastonbury, to celebrate her vibrant

living presence in the land. King Arthur’s presence is strongly felt here, too. In the 12th century, the

monks of Glastonbury Abbey claimed they had discovered the bones of Arthur and Guinevere in

the grounds. On the nearby hill-fort at South Cadbury, which may have been the original Camelot,

Arthur is said to ride out of the hill with his knights at certain times of the year. In some Grail texts,

the quest for the Holy Grail takes place on the ‘moors adventurous’ that surround the Abbey, and a

legend persists that the Grail was hidden in the watery depths of the Chalice Well, which is now

surrounded by a beautiful garden.

For Glastonbury is unique in that, in the words of Gareth Knight, “there has never been a break inthe tradition of worship from one epoch to another. From the Elemental powers of the worship of

the Sun to the spiritual powers of the quest for the Grail there was a complete run-through of

power.” 5It is what the Celts called a ‘thin’ place, where the numinous inner world often irrupts into

the physical world, like a fountain of light, which is why each year sees hundreds of tourists,

pilgrims and seekers flocking to what has become the spiritual center of England, drawn by the light

of Avalon that still gleams fitfully, yet unmistakably, through the noise and dust of a small market

town of the 21st century.

5 Knight, Gareth. Dion Fortune and the Threefold Way. London: The Inner Light Publishing Co., 2002, p. 127.

The Tor in Winter The Tor in Winter The Tor in Winter The Tor in Winter




14

2. PRA PRA PRA PRACTICUMCTICUMCTICUMCTICUM Creating Sacred SpaceCreating Sacred SpaceCreating Sacred SpaceCreating Sacred Space

It is essential that a special place is set aside in which to practice the magical arts. This is your sacredspace, or temple. The word derives from the Greek temenos, meaning a safe and protected space

which offers temporary sanctuary from the secular world.

The question is: How can you create this in your own home? The earliest magical orders of the

occult revival at the end of the 19th century specialized in spacious chambers, whose sumptuous

furnishings were designed to recall the splendid temples of Ancient Egypt. Nowadays, some of us

may be lucky enough to have a spare room that can be set aside and dedicated to ritual magic alone,

but for others the working space may have to fit into a corner of a storage room or bedroom that is

used for other purposes and by other people, too. Whatever your situation, the most important

thing is that the space will be quiet, uncluttered and free from disturbance. You will need a place tosit, for which an ordinary chair will do, and enough space to be able to walk around it in a circle. 6

Cleansing the TempleCleansing the TempleCleansing the TempleCleansing the Temple

Once you have created your sacred space, it is time to cleanse it, within and without. First, and most

obviously, the physical area needs to be dusted, swept or washed down. Secondly, the inner space is

cleansed, a process known as saining in Scotland and Ireland, meaning ‘to make holy.’ To sain is to

rid the area of any undesirable energies that may be hanging around on the subtle planes: these may

be old thought-forms, the residue of your or other people’s emotional energy, or any psychic ‘dust’

or ‘static’ that needs to go. Saining is done with water and salt that has been prepared in a special

way. Water is used because it is the element of the etheric plane, and has the ability to cleanseunwanted ‘energy,’ while salt is of the Earth and has the power to absorb negative imprints.

1. Collect a small amount of water from a natural source, such as rainwater or from a stream.

If you have access to a sacred spring, all the better.

2. Pour it into a bowl with a small amount of natural sea or rock salt and stir.

3. Place on a clean cloth in the center of your working area.

4. With the first two fingers of your right hand, point to the water, saying, ‘In the name and

power of the Divine Creator, (you can use any spiritual name that may be more familiar to

6 If you are planning to create a full-size dedicated temple to Avalonian magic, now or later, let me

know by email and I will send information on resources that show you how.




15

you here) I bless and consecrate this water for the cleansing of this sanctuary.’

5. Take up the bowl, compose and center yourself, and walk in a sunwise (clockwise) direction

around the area, sprinkling the water as you go, especially into corners. You can sprinkle

with your fingers, or with a sprig of a purifying herb such as hyssop, basil or sage.

The Magical JournalThe Magical JournalThe Magical JournalThe Magical Journal

Keeping a journal or diary is essential to magical work for a number of reasons. First, you are

embarking on a long journey and it is most helpful to keep a log of how you progress. Second, the

work involves subtle inner plane energies that have a dream-like quality to them. If you don’t write

them down, there is a tendency to forget what took place, or to dismiss it as unimportant. Time and

again, what seemed like a meditation of little consequence will unfold its meaning like the petals of a

flower, blossoming into deep significance, once you write it down. Details you may have ignored at

the time, fresh realizations and meanings, and even new information, can emerge. This is because

you are allowing the reflective faculties to assimilate material that came through to another part of

your mind, and the resulting synergy is often enlightening. On a practical level, you need to record

your experiences in order to share them with your tutor in your lesson’s report. These need to be

edited of course, which is an interesting process in itself, often eliciting helpful new insights about

the ‘tone’ of this period of work. Dreams, insights, tarot card readings, and other subjects relevant

to your magical progress can also be recorded.




16

3. BODY AND MIND3. BODY AND MIND3. BODY AND MIND3. BODY AND MIND

The Purpose of Training the Mind and BodyThe Purpose of Training the Mind and BodyThe Purpose of Training the Mind and BodyThe Purpose of Training the Mind and Body

You have created an outer temple or sacred space in which to work magic, but it’s also important tobe aware of the sanctity of the inner temple: your own self, the most important sacred space of all.

Each of us is truly a living universe, a miniature cosmos, through which the spiritual energies of the

inner planes can flow into the physical world. Since our body and personalities are part of an

extraordinarily complex energy system, it is up to us to learn about that system and keep it in a

state of balance and health inside and out. Through a gradual process of self-knowledge and

psycho-spiritual development, we will come eventually to contact that part of ourselves known as

the Higher Self, called by some schools of magic the ‘Holy Guardian Angel.’ This is the divine

essence that overlights each one of us, our Original Being that exists quite beyond our personal

psychology and physical selves. To experience this is to know who we truly are, to come at last into

an awareness of ourselves as a spiritual being beyond any shadow of a doubt, and to be able toaccess greater resources of wisdom and light than we have known before.

As you proceed through this course, you will learn about the various ritual tools required for

magical work. But the best tool, and ultimately the only tool you will ever need, is a well-trained and

tuned mind and body. The magical symbol for Earth reminds us that each of us is the growing

edge, the focal point of the spiritual energies we want to bring into our lives and our world. In this

section of each lesson you will learn exercises that can make a great difference both in the way you

feel in your daily life and to your success in the magical arts. Some of them involve movement,

breath-work and working with energy; others require you to work on mental and emotional levels

for greater self-understanding. Some of them may seem absurdly simple, yet their benefits, ifpracticed regularly, can be profound. However, it must be said that this course is not a substitute for

psychotherapy. If issues come up that you find too difficult to handle, you should notify your tutor, and if they cannot

be resolved, seek help from a professional.

RelaxationRelaxationRelaxationRelaxation

Caught up in the busy, stressful pace of modern living, most of us carry around enormous amounts

of tension in our muscles. This is both harmful for our general level of well-being and also

interferes with the magical uses of body. The first exercise, then, is to learn to relax, and there are a

few tried and tested techniques for this. If you have one of your own, by all means use it. My

favorite is a very simple systematic method that can be done anywhere without requiring any specialmovements. Practice it regularly, and always make sure you are relaxed before doing any magical

work.

1. Sit or lie in a comfortable position. Starting with your feet, imagine a stream of

soft white light flowing gently into one toe at a time until all your toes are




17

relaxed; let the light flow through your feet, your ankles, and gradually ascend

your lower legs, knees, and upper legs. You may feel a pleasant sense of warmth

and tingling as each part relaxes.

2. Now bring the light up through your genitals, buttocks, hips and abdomen. Let

it flow up your spine at the back, and up through your stomach and chest in the

front. Now let it flow up into your shoulders and down your arms, like two

streams of water. Let it flow out through the palms of your hands and out of

your fingers, one at a time.

3. Now focus on your shoulders – from here on up, we often encounter more

chronic tension that may take a while longer to release. Be patient, and send the

light through all the muscles in your shoulders and neck, allowing them to

soften. Take the light through your face carefully and slowly, too. It should feel

very good to release tension in your jaw and cheekbones. Pay special attention

to the inner and outer corners of the eyes, the space between the eyes, and the

forehead. Relax your scalp.

4. By now, you will probably be feeling much more relaxed, but there may be a

few remaining spots of stubborn tension: Just go back to these areas and send

the light there until you feel generally relaxed all over.

With practice, you can dispense with the need to visualize, and simply focus your awareness

gently on each body part in turn until it becomes soft and relaxed.

GroundingGroundingGroundingGrounding

Strange though it may sound, few of us are in our bodies at any given time. We mostly walk around

‘in our heads,’ constantly hypnotized by the inner movie screen of our thoughts, feelings, and

imaginings, rather than being present to what is. In magical terms, this means that we are floating

around on the astral plane in an unconscious fashion. We cannot hope to connect with inner forces

until we learn to connect with ourselves, and this is what grounding teaches. It is without doubt

one of the simplest, yet most powerful techniques I know, and practiced regularly, can make a real

difference to your life, whether you ultimately decide to pursue a magical path or not. Like the

relaxation technique, you can do it anywhere, sitting or standing – even in a car or airplane!

Practiced regularly, it will help you feel calm, centered, and more in control of yourself. It is alsorecommended that you do it (or a shortened version of it) when you sit down in your sacred space

before a meditation or VisionJourney.




18

Grounding is achieved by creating a powerful energetic connection between your body and the

Earth called a grounding cord. Your grounding cord provides the unconditional support of the Earth’s

energy and allows you to align your body at an optimum frequency.

1. Sit comfortably in a chair, back straight, both feet flat on the floor, arms and legs

uncrossed, and your hands resting, palms downwards on your thighs. This is the

posture used for all seated work in the Western Magical Tradition. It enables your

energy to flow freely throughout your body and aura.

2. Close your eyes until you are familiar with this process, after which you will find you

can get grounded with your eyes open.

3. Breathe evenly, smoothly and deeply into your abdomen, and exhale fully.

4. Create a grounding cord by imagining a green column of light that begins at the base

of your spine and descends into the floor. Follow it in your imagination down

through the floor, down through the foundation of the building, down into the

Earth, and right into the very heart of the planet. (Some people find it easier to

imagine the cord as the long tap root of a tree: Experiment with this and see what

works for you.)

5. Imagine that your grounding cord anchors you to the heart of the planet,

connecting you firmly and securely. It may be helpful to use one or more mental

affirmations such as, ‘This is my home on the planet.’ ‘I have a right to be here.’

‘This is my place.’ When you feel that secure, ‘anchored’ feeling, you know you haveestablished your connection with the Earth. You are aligned with the Earth’s energy,

safe and supported.

6. Now begin to bring the Earth’s energy up through the cord into your body: Just

imagine fresh green Earth energy flowing effortlessly up the cord into the sole of

your right foot, up through your right leg, and then across your abdomen and down

your left leg, down into the ground again, like a continuous loop.

7. Allow any excess or undesirable energy that you are ready to release to simply flow

down your grounding cord. The Earth will neutralize and recycle it.

8. Remind yourself that, from now on, your grounding cord will continue to operate,

aligning your body with the frequency of the Earth, bringing fresh Earth energy into




19

your body as needed, and releasing excess energy as well.

Entering the SilenceEntering the SilenceEntering the SilenceEntering the Silence

Once you are relaxed and grounded, you will be ready for the most important step of all: stilling the

mind and entering the Silence. The mind/body field is like a lake which is usually in a continual state

of turbulence, stirred by the influence of the air upon its surface (thoughts) and the movement of

currents within its depths (feelings.) We are constantly reacting to our environment, especially in the

modern world where our senses are perpetually being bombarded by stimuli of all kinds, such as

computers and office machines, televisions and domestic appliances, street traffic and airplanes.

Most of us are also in relationship with many more people than even in our grandparent’s era, and

so are continually processing reactions to those we communicate with at home, work, school, by

phone, fax or email. This state of affairs reflects the emphasis our society places on the ‘outside’

world, the world of continually-arising phenomena. It makes it difficult for Westerners to achieve

the stillness and equanimity that is the natural counterpoint to the bustle of life, and that is enjoyed

by indigenous peoples living in natural settings. Yet without entering the Silence, attempting to

enter the spiritual realms is as difficult as trying to see the bottom of the lake when the surface is

broken with choppy waves and the bottom all churned up with mud.

It is for this reason that those who aspire to self-mastery, which is essential to spiritual

development, need to engage in some regular practice of consciously stilling the mind. One of the

easiest and most effective ways for this is shown below. It is also very healing for mind and body.

Stilling the MindStilling the MindStilling the MindStilling the Mind

1. Close your eyes and sit quietly.

2. Gently focus awareness on your breathing. As you inhale and exhale, simply observe yourbreath.

3. Remain aware of your breathing without trying to alter it.

4. As you observe your breath, it may vary in speed, rhythm, or depth. It may even seem to

stop for a time. Without resisting, observe these changes.

5. Your attention may drift to a thought passing through your mind, to a physical sensation in

your body, or to some other distraction. If you notice that you are not observing your

breath, refocus your attention.

6. Relinquish any expectations you may have during the practice of this technique.




20

If you find yourself being drawn to a particular feeling, mood, or expectation,

treat this as you would any other thought. Gently return your awareness to your breath.

7. Open your eyes slowly and return to normal waking consciousness or move from here into

your inner work.

Ideally, this is done for about fifteen to twenty minutes every day on awakening or in the

early evening before supper. If you can do it twice a day, all the better. But even a few

times a week will produce positive results. If you do it regularly, it will be easier for you to

drop into the right state of mind when it comes to doing your magical work. Then you can

enter the Silence through three short steps as follows:

1. Close your eyes. Withdraw all your attention from your body.

2. Withdraw all your attention from your feelings.

3. Withdraw all your attention from your thoughts.

If you are new to these techniques, you may be feeling rather overwhelmed by now, so it’s

important for you to know that you are not expected to master them all in one lesson – or

even in one year! Control of the body and mind is a lifetime’s work. As with all magical

work, little and often is better than trying to master everything at once. Once you have got

the hang of these exercises, you will find that you can get grounded, relaxed and still your

mind within a few minutes of entering your temple or sacred space.




21

4. THE MAGICAL ARTS4. THE MAGICAL ARTS4. THE MAGICAL ARTS4. THE MAGICAL ARTS

The Three ArtsThe Three ArtsThe Three ArtsThe Three Arts

There are three Arts of Magic, which we can think of as three keys to unlocking the doors of the

inner worlds. These are the methods known as Meditation, the VisionJourney, and Ritual.

MeditationMeditationMeditationMeditation

‘Meditation’ is a catch-all term that has a different meaning in various spiritual traditions.

Magical meditation generally involves focus on one particular object, which could be

exterior, like a candle flame, or interior like the breath, or a visualized symbol. It can be used

for stilling the mind and body, and also for gaining an in-depth understanding of a specific

subject.

The VisionJourneyThe VisionJourneyThe VisionJourneyThe VisionJourney

The visualized journey, or pathworking, as it is called in Qabalistic magic, is a dynamic

exploration of and action within an inner realm. There are likely to be encounters with inner

plane contacts and an exchange of energy in the form of gift giving and taking.

RitualRitualRitualRitual

The object of ritual is to make a channel through which magical energy can flow. In the

practice of Sacred Magic, this is Divine Power. It should not be confused with ceremony,

which is a method of acknowledging and honoring specific energies, persons, places or

times. Dion Fortune said that ritual is meditation in action. A pattern is created on the

physical plane involving actions with objects that symbolize archetypes and inner dynamics.By creating this form , a vehicle is provided for the force within the invisible world. Ritual

magic forms a significant part of Western Magic, and will be taught progressively

throughout this course.

The Circle and the CenterThe Circle and the CenterThe Circle and the CenterThe Circle and the Center

The primary symbol of magical traditions worldwide is the circle, for it is the most basic pattern in

the created universe. Our ancestors grew up in natural surroundings, watching the sun, the moon,

the wheeling stars and the round rim of the horizon. They lived in circular houses, danced in a ring

at their celebrations, met and worshiped in circular groves of trees, and held counsel at circles of

stone. The circle is feminine, protective, womb like. It contains, shelters and creates boundaries,keeping that which is known, wanted and loved safe within, and the vast unknown and formless

world firmly outside. Birds and animals build round nests and holes, and people of primal cultures

generally build their houses and temples in a circular shape. The circle symbolizes the oneness of all




22

life, the unbroken unity that has no ending. Mystics have often described their spiritual experiences

in terms of circles, such as the 17th century Welsh poet, Henry Vaughan, who wrote the beautiful

lines:

‘I saw eternity last night

Like a great ring of pure and endless light.’

The Circle arises into being from a point at its Center. It is out of this mysterious Center, the ‘still

point of the turning world,’ that all life is born, and ripples out through all the worlds, visible and

invisible. We are aware of this dynamic each time we contemplate how the Earth orbits the Sun, the

central life-source of our solar system. Our ancestors knew that the Center was the most important

part of the circle and marked it as sacred, usually with light or fire. Within the round thatched

houses of the early Celts was the hearth-fire, around which the whole family’s life revolved, like

satellites around a little sun. In their early temples and sanctuaries, a central perpetual flame shone

forth, a symbol of the quenchless eternal light of Spirit around which the life of the tribe circled and

so derived its meaning and spiritual sustenance.

As human beings, each of us is also ‘a little universe,’ and within our inmost selves resides the point

of light at the center of our being. If you are at all familiar with basic astrology, you will know that

the Sun symbolizes the Self, our essential being, and is expressed as a circle around a central point:

When we are living a life that is true to ourselves, our life orbits around this point. The following

meditation and ritual work on the Center and the Sphere can enable you to experience this directly.Practice this each day or for a minimum of ten times during this lesson period.

MeditationMeditationMeditationMeditation

1. The Inner Flame1. The Inner Flame1. The Inner Flame1. The Inner Flame

Sit in your sacred space on a chair with both your feet on the ground.

Make sure your spine is upright. Relax, ground and center. Enter the silence. Now focus on the

heart center within your body, which is generally experienced between the breasts Breathe in and

out from this place and begin to sense a glowing light like a candle flame within your heart. It fills

you with a warm feeling of peace and serenity. You feel at home to yourself here. This is the light ofyour unique personhood that was kindled into life the moment you were born. Spend a few

moments resting in the quiet contentment of just being .




23

2. The Sphere of Light2. The Sphere of Light2. The Sphere of Light2. The Sphere of Light

Now we are going to bring some movement into the inner flame. Imagine the point of light at your

center extends in all directions to form a sphere of soft golden light around your entire body, like a

giant, semi-transparent globe. Experiment with its size: it can surround you quite closely or stretch

to form a giant bubble of light that covers the room or the entire house. Feel how its gentle

glowing light contains, protects and blesses you. Within this shining sphere of light and love, you

feel calm and peaceful. Let it extend to cover the area in which you live, the country, and even the

planet itself. You sense the joyful nature of the universe in which we live, move and have our being.

Then, bring it back to a comfortable distance around yourself again. Stay in it for a minimum of ten

minutes or however long you want.

Note: These two exercises can also help you feel more centered in daily life. Many of us are at the

mercy of our environment, and get overly influenced by outer events, other people’s energy, etc.

Instead of letting the images dissolve when you return to everyday consciousness, open your eyes

and feel the inner flame and globe of light still there. Stay in this awareness while looking around

the room. Let the sphere of light dissolve, but continue to stay in the awareness of the inner flame

in the presence of other people. Practice on those with whom you don’t experience a charge. Then

when you feel really confident, try coming from this place with people that you are usually reactive

to. With regular practice, you will be able to do this more and more, even with people to who really

“push your buttons.” It can make a tremendous difference to your life!

You can also surround yourself the sphere of light at times when your environment feels

particularly unsafe or harsh, but in these circumstances, it’s better to see it as a white rather than

golden light. For instance, I find the energy at some airports not particularly pleasant, so I will

visualize it around me when I’m traveling. Sometimes, I will extend the imagery and see myself asenclosed within a white circular temple, filled with peace and serenity.




24

RitualRitualRitualRitual

We are now going to work with the same patterns of the Center and the Sphere using ritual .

Ritual differs from meditation in that we bring the magical symbols and patterns within our minds

out into the world of the senses, in order to bring inner energies through into the material plane.

In this instance, we begin with the Sphere.

Quite likely, you have heard of magicians or witches ‘casting a circle’ for their magical work. This

has two functions: one, to create a protected container for the ritual, and two, to build magical

power.

The Three RingsThe Three RingsThe Three RingsThe Three Rings

Ritual circles are made by walking in a clockwise, or sunwise, direction. This is a sacred way of

orienting yourself in the world in accordance with the sun’s movement. It is often called by the

Irish term, ‘deiseal,’ pronounced jesh-el .

a) Using a compass if necessary, orient your sacred space to the cardinal points.

b) Stand in the center of your space, facing East. Take some deep breaths and center

yourself. Visualize the source of Divine Light like a star above you. The next time you

inhale, see it enter through the crown of your head and connect with your Inner Flame,

so that it glows brighter.

c) Hold your right arm out, extending the first two fingers if you were using them to draw.

(Tuck the other fingers into your palm.) See a line of light extend from your inner flame

into your fingers and out into the room.

d) Slowly and deliberately, draw this line of light around in a circle, going from East to South

to West to North. Concentrate on seeing it in your mind’s eye as a laser beam of blazing

blue-white light streaming out from your fingers to form the circle. If you have a large

space you can walk round the perimeter of the circle you are making; otherwise just turn

around yourself.

e) Now face South and draw a circle of light that starts at the South, goes over your head,

down to the North, under the floor and back to the South. (You will be doing this more

or less on the spot, turning your feet and body as necessary.)

f) Now face West and make a circle of light that starts at the West, goes over your head,

down to the East, under the floor and back to the West.




25

g) Stand in the center of your circle, facing East, and see the three rings spread out to form a

sphere of light like a big bubble all around your working space.

h) When you have finished your ritual, dissolve the sphere to allow the energies to return to

normal. Do this by reversing the three rings by drawing them in a counterclockwise direction

– against the Sun. ( Irish ‘tuaitheal,’ pronounced too-hil ).

Note:Note:Note:Note: After doing magical workings of any kind, it is important to come fully back to earth. Stamp

your feet and shake your hands if necessary, and make sure any energy you have raised is grounded

and that you come back to full everyday waking consciousness. It is often helpful to get something

to eat or drink afterwards. Another method that has proved useful is to enter your sacred space as if

you were entering an inner doorway. You might pause on the threshold and sense a Doorkeeper on

the other side who slowly opens the door to you. You take three ceremonial steps over the

threshold – and into the inner world. After the working, you reverse the process, and imagine the

door being shut firmly behind you as you re-enter the outer world.

The VisionJourneyThe VisionJourneyThe VisionJourneyThe VisionJourney

This is perhaps the most important magical skill to master, as it is the primary way of entering the

inner worlds in the Western Mystery Tradition. The skills required are first of all, the ability to focus

and concentrate, and secondly, to use the imagination. A word needs to be said about the latter:

Our precious and remarkable imaginations have been devalued and maligned in modern society.

From an early age we are told that the ‘imaginary’ is inferior to the ‘real.’ If something is ‘all in your

imagination’ it means you have made it all up, or are deluded.

In fact, the imagination is the language of the soul. It is the equivalent of our most important

sensory organ – sight – only turned inwards, rather than outwards. Everything that exists which is

not physical expresses itself as energy, or force. The imagination is a creative mechanism that

enables us to give form to the forces of the invisible planes.

There are two ways in which this works in the magical arts. The first, used in most VisionJourneys,

is when the images are supplied for you. Like characters in a novel, they are drawn so that you can

see them in your imagination. As you learn to build them into reality on the imaginal plane, they will

be ‘inhabited’ or ‘ensouled’ by the inner power that they represent. (If you build it, they will come!)

In the second case, the inner forms can arise spontaneously in your mind’s eye. There is usually a

place for this within each VisionJourney. For example, you are told that someone will be opening

the door, and you let the image of this being emerge of its own accord. The moment when you




26

realize that the images are not merely dancing to the tune of your imagination, but have become

real, with independent knowledge and consciousness, has to be experienced to be believed.

The journeys in The Avalon Course will take you to different parts of the Inner World of Avalon,

particularly the UnderRealm and Faery Realm. It is recommended that you do them a few times

following the structure as given. When you have done them enough times to where you have built

up the structures clearly, so that they become like stations in Inner Space, you can explore different

aspects or other characters within them. For instance, after taking voyages to Avalon a number of

times, you may at some point choose to have a conversation with the ferryman, (most

enlightening!) or explore some hidden corners of the garden. However, it should be said that it is

not wise to go off on inner travels without an inner guide to accompany you.

Before you begin, you have to decide how best to access the script. The most convenient way is to

use the CD sent to you for this purpose. Otherwise, you can have someone read this out to you or

to read it slowly to yourself into a tape-recorder and play it back. You can also read it a number of

times to yourself, jot down the order of events and then begin, perhaps opening your eyes and

looking at your notes once in a while. The latter is a good preparation for advanced journey work.

In preparation for journeying, you can choose whether to use the Three Rings as given above for

ritual practice, or whether to put yourself in the inner sphere of light as in the meditation

instructions. Practice this journey as often as you wish or for a minimum of five times during

Lesson One. (On subsequent visits, you do not have to go through the questioning you encounter

the first time. Don’t feel obliged to follow the script – just use it as a guideline for further

explorations.)

THE SHORES OF AVALONTHE SHORES OF AVALONTHE SHORES OF AVALONTHE SHORES OF AVALON

And so we prepare to set sail for Avalon, that has been ever known as the holiest earth:

the island of the soul, the country of the heart…

You are walking along a pathway of slatted wood, the ancient Bronze Age causeway known as the

Sweet Track, that crosses the wettest parts of the green marshes of Somerset, the Summer Country.

It is early springtime, and all around you fingers of silvery water gleam in between the tall reeds andgrasses. Bulrushes sway gracefully to and fro as a light breeze plays through them. The quietness of

morning is broken only by the occasional shrill cry of a wading bird or the croak of a heron floating




27

across the wetlands. Two white swans glide over the long slow current of water which snakes away

to the west, growing wider as it approaches the sea.

The causeway ends at a wooden jetty and now you can walk no further but must gaze northwards

across the shining lake to the island that is your destination, and which appears as a hilly place

covered with trees, dimly blue in the morning haze. We know this island by many names. For some

it is Ynys Witrin, the Glass Isle, called perhaps because of the glassy waters that surround it,

although some say it is because it conceals a castle of glass, a fortress made from the pure crystal

light of the faery world…. and others call it the gate of Annwn, the UnderRealm, in the tongue of

the men of the west …and some of us know it as Avalon, the Island of Apples, for there grow the

thick and scented groves of apple trees that bear the fruit of the ever-living.

As you watch, a strange craft appears from the direction of the island: a long wooden boat with a

curved prow in the shape of a dragon’s head with winking jewels for eyes. A short but muscular

figure, swathed in a hooded grey robe like a monk, plies the oars with sturdy arms. … It is

Barinthus, the Ferryman of Avalon. The steady click of the oars in the rowlocks and the rhythmic

plashing of the water are borne by the light breeze that ruffles the lake.

As the boat approaches the shore, Barinthus lays down his oars, throws a rope over a mooring-

post, and the boat bobs gently in the shallow waters before you. He steps out and stands gazing at

you, arms on hips, in silence. You cannot see the face beneath the hood, but there is no doubt you

are being challenged by him… Although he does not speak out loud, you seem to hear him ask:

“What brings you here to the shores of Avalon?” Find the words in your heart with which to

answer him… If your answer comes from a sincere desire to learn about the Inner Worlds, to seek

the Wisdom, Beauty and Truth that is Avalon, then he nods to you, and motions you towards theboat.

You step on board, steadying yourself on the wooden bench seat. When you have settled, Barinthus

turns the boat around and the prow points to the north. As the little boat glides over the waters,

you fix your eyes eagerly on the island, but as you gaze, a mist gathers, seemingly out of nowhere

and begins to swirl around the boat, hiding the water and the island from view. It curls about you

like a soft moist blanket, and muffles even the measured beat of the oars. The white veil and the

gentle rocking of the boat lull you into a dream-like state, in which, it seems, you hear the faint

sounds of women’s voices, singing to a plucked instrument:

Song of Apple-trees, honeysweet and murmurous,

Where the swallows flash and shimmer as they thrid the foamwhite maze,

Breaths of far-off Avalon are blown to us, come down to us,




28

Avalon of the Heart's Desire, Avalon of the Hidden Ways!

Song of Apple-blossom, when the myriad leaves are gleaming,

Like undersides of small green waves in foam of shallow seas,

One may dream of Avalon, lie dreaming, dreaming, dreaming,

Til wandering through dim vales of dusk the stars hang in the trees.

Song of the Apple-trees, honeysweet and murmurous,

When the night-wind fills the branches with the sound of muffled oars,

Breaths of far-off Avalon are blown to us, come down to us,

Avalon of the Heart's Desire, Avalon of the Hidden Shores.

And it may have been a short time, or a long time, or no time at all, but as the music fades away,

the mist that has been swirling about the boat lifts like a curtain, and straight ahead you view the

shores of Avalon. Two hills rise up from a green and leafy landscape, separated by a small hidden

valley in between: The hill to the left is rounded like a woman’s breast and its sides are thickly

covered with orchards of apple trees whose blossoms can be seen even at this distance, glowing

pale in the silvery light. We may know it in our own world as Chalice Hill. The hill on the right is a

strange pyramidal shape and, as it rises above the oak-trees surrounding it, you see a faint spiral path

that circles it round. We may know it in our own world as Glastonbury Tor. From the valley

between the two hills, two streams flow down, one bright and one of darker hue.

Barinthus jumps out of the boat and is mooring it to a wooden post on the shore. You follow him

over soft warm sand that glitters with specks of light, and he leads you towards a path that winds

into the vale between the two hills. Then noiselessly, he turns back to the shore, leaving you on

your own with the path before you. The way is narrow, closely bordered by ancient trees on eitherside – the oaks of Avalon. It is very still and timeless in the wood. After a while the path stops

abruptly at an old wall of grey stone mottled with lichen that curves around in both directions as far

as the eye can see. Before you is a stout wooden door made of sturdy oak panels with curling

wrought iron hinges. In the middle is a door knocker on which you see two interlocking circles

carved in bronze. A yew tree with spreading branches bearing dark green glossy needles and a few

glowing red berries grows beside the door and overhangs the wall.

You knock on the door, stand back and wait, and in a few moments the door is opened by a figure

dressed in a long woolen white robe. You have summoned one of the Watchers of Avalon, the

Guardians of this sacred place. The Watcher draws back the hood and you see whether it is male orfemale. Once again, you are challenged as to why you are seeking to enter the hallowed bournes of

Avalon. If your answer satisfies, you are greeted with a grave but kindly smile of welcome, for this

person has chosen to be your Guide.




29

You walk in through the door which closes behind you, and find yourself in the most beautiful

woodland garden you have ever seen. In a green carpet of moss and ferns blossom all the flowers

of Spring: primroses, wood anemones and buttercups, and among them the green fire of young

beech trees and the rose fire of oaks. Your Guide leads you through the garden past drifts of

bluebells and wild hyacinths, where small birds send forth a stream of joyous song and the air is

bright with wings. The path slopes gently upwards and soon you arrive at the top of the hill, where

stands a pure white temple whose circular walls gleam as if made from mother-of-pearl. The gates

to the temple are made of findruinne – white bronze, and encrusted with emeralds, fire opals,

moonstones and other glowing gems, but your Guide takes you no further. It is not yet time for

you to enter the inner sanctum of the island.

As you gaze up at the glistening walls, you can see the branches of an enormous apple-tree that

grows inside the temple courtyard, so huge that its boughs hang over into the garden where you

stand, a glorious canopy of green and gold. Within its branches you see white blossoms and golden

apples both growing at the same time. As you gaze at this wonder, you almost miss seeing the

bright blue and gold iridescent plumage of a large Bird of Paradise, its crimson feathered tail

hanging down beneath the branch on which it perches. Its beady eye is fixed on you inscrutably,

but it does not move a feather.

Your Guide is wanting to show you the views of this secret country, and is pointing upwards

towards the East. The conical hill that is known in the physical dimension as Glastonbury Tor rises

up, topped by the straight finger of its tower. Around it winds a narrow path of seven circuits all

the way to the summit. As you gaze at it, the perspective seems to subtly alter, as if one moment it

appears at a distance but the next is close enough to touch. The tower is not the ruin it is in the

physical plane, but a shimmering tower of glass…. Caer Wydyr, the Glass Castle of Ynys Witrin, theCrystal Isle…..With the morning sun behind it, it is almost too bright to bear, and as your eyes

swim, it seems as if a radiant figure takes shape above the tower wielding a flashing Sword of Light.

The next moment, you see that it is, in fact, a ray of the morning sun.

From out of the tower a black shape flies forth, the silhouette of a bird with powerful outstretched

wings. It flies above the garden and you see that its wings are blue-grey, its chest pale orange, and

you know it to be a falcon of some kind. As it flies above you, a tail feather flutters to the ground at

your feet….Your Guide tells you the bird is in fact a merlin, the namesake of one of the great

guardians of Avalon, and that the feather is a sign of his welcome and acceptance of you.

Now your Guide is pointing to the West, and you notice for the first time a pool of water beside

the temple gates. It is filled with crystal clear water that flows down the hill, beyond the garden and

through the woods in its eagerness to merge with the sea. Where it comes out, you see a cluster of




30

white domed buildings that are the roofs of an underground temple close to the shore. A jetty

curves its arm out into the sea where a white-sailed ship is docked, but both the jetty and the ship

seem strangely deserted…You are about to ask questions about this mysterious place, but your

Guide is directing your attention back to the pool of clear water. You realize that you are to bathe

in it, so you remove all your clothes and lower yourself gently into it. The water is icy fresh and as

smooth as silk. It seems to penetrate every pore of your body and enter every cell. You can feel it

cleansing and purifying every part of you, removing all toxins and negativity at every level,

recharging and revitalizing your entire being. . . When you finally emerge, your clothes are gone, and

your Guide is holding out a plain white linen robe for you to wear instead, and there is also a pair of

silver sandals for your feet. Cleansed by the waters and wearing your new clothes, you feel changed

for the better in some indefinable way.

And now your Guide is reaching up to the overhanging branches of the Tree and plucks for you a

golden apple, handing it to you with a smile. Know that it is more than an apple; it is a key that will

enable you to return to this place whenever you choose for spiritual nourishment and the

refreshment of the soul . . . . So now you have three gifts to bring back with you: a merlin’s feather,

your new attire, and the golden apple . . .

You thank your Guide, who turns and leads you back down the hill through the garden, to the door

in the wall where you say farewell. Through the door you go and it closes firmly behind you. You

walk down the path through the oak wood, back to the lake-shore, where you see the figure of

Barinthus the Ferryman still there, waiting by the wooden boat. With a light step, you hop on

board, get settled, and once more glide across the smooth waters, with the prow pointing towards

the mainland. After a while, the mist comes down again and when you look behind, the island is

completely hidden from view. The boat glides silently through the mist, and when at last, it beginsto lift, you see before you the mainland shore. The ferryman is soon mooring the boat and you step

ashore. Reaching into your pocket, you find you have a small gift with which to thank him . . . . You

realize you are dressed in your usual clothes again, and you gradually become aware of your body

sitting in this place and in this time, and it is time to return. In your own time, gently open your eyes

and stretch.

© Mara Freeman, 2005. No part of this material may be reproduced.

0357 the avalon course 1

Documents