Theurgy or high magic is the raising of consciousness to the appreciation of the powers and forces behind the external material world in a pious intention of developing spiritual awareness and subsequently helping to bring to birth the divine plan of a restored earth. Thaumaturgy, or low magic (sometimes called sorcery), is the production of wonders by the use of little known powers of the mind.
Dragons
Merlin was born into a world that had already begun to change radically, particularly in the West. Britain had experienced the arrival and subsequent departure of the Romans, and now the land knew the Age of Kings. The struggle for domination of the kingdom was fought between a few warlords. Into this chaos of alliances, treachery, and bloodshed, Merlin made his appearance—a precocious and visionary youth. He would subsequently leave the world as a sage. In his youth, Merlin has yet another correspondence with the Sun card of the Tarot: here he is the innocent child astride the horse of intelligence. He does not hold onto the horse’s mane to save himself, for he is all-trusting. He is also the figure of the Fool, abandoning all earthly constraints and leaping into the unknown, as is always the nature of magick.
He quickly becomes an adviser to a king and a performer of the mystical arts as his subsequent encounter with Vortigern shows. That the tale concerns a red dragon confirms Merlin’s affinity with Wales and the deepest parts of the British psyche. England is ruled by the sign of Aries, the equivalent of the Dragon in the Chinese astrological system.
Merlin’s master Vortigern does not enjoy a great reputation in contemporary records. Gildas, the sixth-century historian, will not even admit to him owning any true kingship, describing him as ‘a proud usurper’. He is apparently prey also to every conceivable vice. Vortigern is largely remembered for inviting Saxon mercenaries to occupy part of the east coast of England, a move which quickly led to the steady colonization of that part of the country. He is regarded as a dangerous failure, a leader who has suffered from misfortune. From once having control of his Saxon protégés, Vortigern’s authority deteriorates completely, and with his court he is forced to flee to Wales for safety.
There, the king seeks to build a mighty tower. When the project is begun the foundations keep sinking into the ground. After consulting his magicians, Vortigern is informed that his project would only be a success if a singular sacrifice is made. The blood of a bastard child must be sprinkled over the foundations. His informants tell Vortigern that the young Merlin would be a suitable candidate. It seems the youthful wizard is as vulnerable as any of the Innocents of Bethlehem. Merlin is sought out and eventually brought before Vortigern. Completely unabashed by his kingly presence, the young wizard quizzes Vortigern about the tower. He castigates the magicians for their lack of insight and provides his own explanation of the problem. Merlin explains that there is a pool of water beneath the tower. At the bottom of this are two hollow stones, one containing a red dragon and the other a white one. When the pool is drained this is found to be so, and the two dragons begin to fight. Merlin explains that the British, represented by the red dragon, will be harried by the Saxons, the white dragon. This situation will continue until the coming of the Sacred Boar, who will defeat them. The ‘Boar’ that Merlin refers to is, of course, Arthur. Vortigern is so impressed by Merlin’s insights that not only does he spare his life, but forthwith gives him a place at court as his personal magician and adviser.
Much insight is to be gained from this episode, our first encounter with the youthful wizard. What is demonstrated is the superior magick that Merlin already has at his disposal. His dismissing of Vortigern’s magicians as incompetent charlatans shows that he can be patently right when others are wrong. This is demonstrated again by the account of the soothsayer who travelled to England with the first Saxon fleet and swore to the immediate defeat of the British. That prediction Merlin would also prove to be substantially incorrect.
Alchemical symbolism is present in the tale also. It is not too obscure a task to exchange the lions for dragons and then change white to green. If we do this we have the alchemical process of two organic forces acting to cause change. Merlin will later be associated with the stag, which is another creature that features in the annals of alchemy. No record exists of Merlin being an alchemist, but his superior knowledge of magick would have suggested its fundamental principles. The ability to ‘cause changes in consciousness’ is at the heart of magick, and this premise may be made clearer if we look further at the art of alchemy and what is involved therein.
This science (Arabic al-kimia—the art of transformation) is the father of chemistry. The study began in Egypt and later became established in ancient Greece, India, and China. Its adoption by Islamic culture and its journey to Europe follow the pattern of an osmosis of ideas that prevailed in the Middle Ages. That the goal of alchemy was to transform base metals into silver and gold has passed into common lore. To regard this as the only end is to misinterpret the philosophy behind the alchemist’s researches. As Paracelsus wrote in his Alchemical Catechism:
Q: When the Philosophers speak of gold and silver, from which they extract their matter, are we to suppose that they refer to the vulgar gold and silver?
A: By no means; vulgar silver and gold are dead, while those of the Philosophers are full of life.
In its attempt to attain enlightenment, the alchemists’ desire to attain the ‘Philosophers’ Stone’ has much affinity with the Grail Quest. The wish to attain the ‘elixir of life’ and a ‘panacea’ to cure all ills and prolong life indefinitely was the more practical application of the alchemists’ endeavours. It is the more mundane aspect of alchemy that has left its mark. The refining of metals; the invention of gunpowder, ink, dyes, and paints; and their contributions to ceramic and glass manufacture are all the practical result of alchemical investigations.
Earth Energies
Stonehenge is one of the most well-known and celebrated megalithic monuments in the Western world. Even discounting mythical solutions, how it came to be constructed is an age-old mystery. The reason for its being built seems to originate with Ambrosius. Also known as Ambrosius Aurelius, he succeeded to the throne on the defeat and death of Vortigern. During the latter’s reign, a treacherous plot by Hengist the Saxon had resulted in the massacre of many nobles. It was the wish of Ambrosius to erect a suitable memorial to these fallen warriors. The craftsmen who were summoned by the king seemed strangely reluctant to execute the task, and Ambrosius was obliged to seek out Merlin to ask his advice.
Merlin was adamant that the only monument that would truly do justice to honouring the memory of the fallen was the ‘Giant’s Dance’, a structure of vast stones in Ireland. These stones apparently had the power of healing. Even water that had been first poured over the stones, then used for bathing wounds, had a miraculous curing effect. Ambrosius must have been impressed by Merlin’s conviction, as he sent the wizard, accompanied by a small army, to fetch back the stones from Ireland. Merlin achieved this end, naturally aided by his magick, and the stones were set up near the site of the present day town of Amesbury in Wiltshire.
It was discovered a thousand years later that the famous Stonehenge blue stones come from the Prescelly in Wales, and so were transported to their present site. That bare achievement is none the less impressive as it involves conveying the huge sarsens over land and also water along the river Severn. It is not so easy to rule out supernatural means in the construction of Stonehenge when considering that extraordinary undertaking. The importance to our wizard of possessing those particular stones is significant. Who else but Merlin would fully understand their magickal properties and how they could be used in rituals and otherwise? The stones gave him a powerhouse of energy to work with and all with the support of a monarch. Merlin’s close relationship with, even patronage by, kings had begun.
Given that the original purpose of the construction was as a monument to fallen heroes, might not the actual location be of some great significance also? Some scholars propose that Stonehenge was similar to Delphi, making it the Sacred Centre or Omphalos of Britain. If the site had oracular powers, combined with the ability to heal, this would explain its continual influence on succeeding generations. Naturally it fell into disuse with the increasing influence of Christianity, but this would be some time in the future. As to the actual chronology of Stonehenge, here history diverges from legend. Work began on constructing Stonehenge in 3100 BCE with the monument falling into disuse around 1100 BCE. As Merlin’s activities centre around the sixth century AD, a discrepancy of at least three thousand years seems apparent. Either Stonehenge was constructed in its present location some millennia ago or it was simply moved there using the skills of Merlin. We gain more from regarding the whole episode as an example of a sacred site being preserved by a remarkable magician than attempting to rationalize the historical or geographical aspects.
The tradition that Ambrosius is buried at Stonehenge emphasises the link between kings and megalithic sites. The ‘entering of the earth’ by the king at the end of his life is a sign of his divine function. The perception of Stonehenge as a ‘portal’ to another world was understood only too well by Merlin. His own intention may have been to slip away quietly to the other world when he felt that his magickal work upon this plane had been completed. Would his shade have remained as a guardian of the site? The presence of earth spirits and other presences is particularly strong at sacred sites. The vibrations are still potent even though they may have lain dormant for thousands of years.
On a more basic level, the forces of the natural world are ever present in the countryside. To conduct magick in the open air rather than in a temple has an immediacy that suggests Merlin used the world as his temple and then had total command of all the natural forces present. It has to be said that it is not so easy to do magick outside these days, partly because of the possibility that one might be disturbed, and also that the earth’s aura is not as powerful as in times past. The magnetic field that surrounds the planet is now probably about half the strength that it was several thousand years ago. For that reason we have to work hard at magick—it does not come as easily as it once did! One is fighting the electronic vibrations everywhere, and they definitely get in the way. The problem is we have come to rely on computers, mobile phones, and the rest of it, and now they most definitely will never go away.
We live in an era that has the mind as its matrix. Our neurons work at full stretch and as I write this, I rely on an electronic device to put my words on a screen and eventually on to paper. Billions of people communicate by radio waves every second. We have built a new world, but we have lost the imagination to build our own temple. To be creative requires mental skills other than reason or logic. The computer can be insidious in the way that it provides endless variations as a substitute for invention. Technology has become so sophisticated that unfortunately many cannot tell the difference between reality and an image of that state.
Gateway to the Underworld
Among his many personae, Merlin appears to own the nature of a beast. This apparent conflict between reason and the irrational is part of the inner conflict that rages within his breast. It perhaps fuels his magick, so he becomes a personification of magickal polarity. The notion of a deity or spirit who triumphs over winter and death is embodied in the sacrificial gods such as Osiris, Odin, and even Jesus Christ. Even Father Christmas, wreathed in holly and ivy, has the same air of a woodland spirit who brings life and joy back to the world.
In the English folk tradition the various figures of the Green Man, Jack in the Green, John Barleycorn, and Robin Goodfellow all represent humanity’s earthy nature. Robin Hood, the outlaw in Lincoln Green with his Merry Men, is another figure with a mythic status. His partner is Maid Marion, a thinly disguised goddess, probably Aphrodite. Even Peter Pan has an affinity with all this. In the Arabic tradition, Khidir, the Green One, is the voice of inspiration, encouraging the artist to work with great devotion. The idea of the artist being inspired by his own creation to attain a finer depiction of his vision is an interesting one. The same image of the foliate head appears in Nepal, India, Tibet, and Mexico; it may have even originated in the East and been brought to the West.
Gwynn ap Nudd or Vindos is the king of the fairies who lives in Annwn—the place of enchantment, the underworld. Associated with both Apollo and Hermes, he thus has regal and magickal correspondences with Merlin. His title ‘Lord of the Underworld’ echoes the Norse god Odin. He is also Herne the Hunter, but with a greater purpose than merely taking game. His ‘ghostly hunt’ was recorded in the twelfth century and recorded in the Anglo-Saxon Chronicle. Known as the Wild Hunt, this procession across the sky of headless steeds, spectral hounds, known as Yeth, and the souls of Pagans was to be seen at midnight in winter. Unfortunately the sight was the harbinger of death and ill fortune. As Nature began to be tamed by the farming community, the Wild Hunt was seen less and less, and the only vestige left of it was the coming of Santa’s sleigh on Christmas Eve.
In the English county of Somerset, this parade of the dead was most likely to be seen at Samhain on November the first. This ancient festival marks the beginning of the Celtic year and is thought to be the time when the veil between the worlds is at its thinnest. It was on this night that the souls of the dead were taken inside Glastonbury Tor. A portal appeared at the base of the Tor, the entrance to the Fairy Kingdom. The Teutonic nations regarded Odin as the leader of the Wild Hunt and referred to the parade of dead souls as ‘Woden’s host’. These were considered to be men slain in battle, thus following the Norse belief in Valhalla. The tradition appears to be almost as old as war itself and to have a pedigree perhaps even more ancient than Woden.
Glastonbury Tor lies at the centre of the isle of Avalon, the mecca of spirituality in Britain. Crowned by a ruined tower, all that remains of a church once dedicated to St. Michael, it is a fascinating sight. The Tor never disappoints in its ability to create an otherworldly air for those who venture to its peak. A labyrinthine maze winds around its conical mass, and an extremely powerful, elemental quality much like a whirlwind or a vortex can be felt there. The Goddess has her throne here and her dominion over life and death is reflected in the spiral pattern of the Tor maze. The most common association with these forms is as a symbolic depiction of the soul’s journey. Dragon energy abounds here as it always does in high places, and some see the Tor personified as a dragon that twists and turns in a space of its own, clear of the surrounding land.
It is, as would be expected, the point where numerous ley lines meet. The ‘Michael’ and ‘Mary’ lines cross here, and a maze of energy lines crisscross and envelope the Tor. Other sacred locations on the isle of Avalon—Wearyall Hill, the Chalice Well, and the Abbey—all interconnect with the Tor. Tunnels are said to connect many of these places, indicating that the Tor may have always been a hollow hill.
It has been called a magic mountain, a spiral castle, a Druid College, the Place of the Goddess, and with the most speculation, a landing place for UFOs. Cley Hill, another reputed attraction for alien craft, can be seen from the Tor. Balls of light, of every hue and size, have been seen hovering about the tower. Often these sightings are accompanied by feelings of disorientation as if the observers find themselves floating in the air. Such an otherworldly kingdom would be bound to have associations with the wizard Merlin, and there are many. He is said to be awaiting on the summit of the Tor for the returning Arthur from his Glass Castle. Beneath this great mound are two mighty springs of water, one red and the other white. The similarity to Merlin’s encounter in his youth with the two dragons of Vortigern cannot be ignored.
Sacred Kingdom
Arthur would later succeed Ambrosius, and it is after his departure that the Celtic notion of a king being chosen by divine right is born. The notion of kings ruling by the ordinance of some higher power, usually God, is very ancient. The Sumerian king Gilgamesh, who ruled in 2600 BCE, is regarded as the first monarch to possess this almost romantic quality. The tradition persisted, adapted by the Church under the title of the ‘two swords’, the monarch employing one weapon to defend the faith, the other his realm.
The king was not regarded simply as a ruler or an authority figure. In that society, he represented the cosmic order; he was the deity personified. His fitness to rule depended entirely on his own character, his honesty, his courage and wisdom. The very welfare of his people and the fertility of the land depended entirely on the king. If he failed, then the kingdom fell into chaos. Plagues, failed harvests, and invasion from enemies would result. It is the essential concept of the microcosm and the macrocosm, the belief that in all things dwells the spirit of the Divine.
That the British have recognized monarchical titles for over two millennia is shown by contemporary Roman records which list the leaders of various tribes. The most celebrated were Boudicca, the Queen of the Iceni, and King Caractacus. The latter is, unfortunately for his reputation, remembered mainly for taking refuge in Wales while fleeing from the Roman armies. The later Anglo-Saxon tradition of kingship certainly coloured the view of Chrétien de Troyes, who in the Middle Ages wrote the first tales of King Arthur.
The concept is not always dominated by a male perspective. Rhiannon (Rigantona, or Divine Queen), a goddess of great antiquity, would choose as her consort a king. He would then be the guardian of her kingdom. Pwyll, loyal kinsman ofArawn the lord of Annwn, adoringly follows the goddess around the hollow hill which is Glastonbury Tor, and they eventually become lovers. She is known as Rhiannon of the Birds and represents the virgin in the original sense, which was a woman ‘complete within herself’. Rhiannon is also the goddess of sexual love who is free to take any man as her lover. The goddess is energized by sex; she is the Moon to the Sun. In the old English nursery rhyme, Rhiannon is the legendary Lady Godiva who rides naked and unashamed upon her white horse:
Ride a cock-horse to Banbury Cross
To see a fine lady upon a white horse
With rings on her fingers
And bells on her toes,
She shall have music wherever she goes.
Temple maidens once had sacred sex with worshippers, a tradition that, perhaps inevitably, fell into disrepute. Even so, the notion is nonetheless an expression of sex as a Divine Act. The Hindu carvings that so shocked the sensibilities of Victorian explorers were created as a celebration of sex, an outlook that still has its detractors in the West. The Celtic peoples held a view that the sexes were equal and that a woman might choose her partners as freely as any man.
Guinevere is a particular ideal of feminine beauty. Gwynefer or Gwen-hwyfar means ‘fair spirit’. Like the Empress of the Tarot, Guinevere has a crown of stars about her—she is Venus/Aphrodite. In another Welsh tradition, she is Blodwenn—the ‘flower bride’ whose physical form is made entirely of flowers. Guinevere is also Queen of the May, her festival being at Beltane on the first day of that month. Guinevere is permanently in white, the badge of her innocence. Her chosen colour may also indicate that she is Etain (Persephone), the underworld bride abducted by Midir. Melwas was the ‘King of the Summerland’, which refers to the kingdom of the afterlife as well as to the English county of Somerset. His kidnapping of Guinevere, and her being held in Avalon until rescued by Arthur, strongly echoes the aforementioned classical myth.