Arthur Avalon Quotes

Arthur, their young king, like a hero out of legend.

I think too many people presume to read the divine Scriptures and fall into such terrors as this,' said Patricius sternly. 'Those who presume on their learning will learn, I trust, to listen to their priests for the true interpretations.' The Merlin smiled gently. 'I cannot join you in that wish, brother. I am dedicated to the belief that it is God's will that all men should strive for wisdom in themselves, not look to it from some other. Babes, perhaps, must have their food chewed for them by a nurse, but men may drink and eat of wisdom for themselves.

But even the longest day wears to sunset.

Merlin Speaks: Ô mighty trees of Avalon release sap and seeds into hearts and minds So Arthur’s dream can reveal echoes of futures past So Camelot’s glory is forever ingrained in the rich forests and mountains’ mysterious valleys where a once and future King lowered his sword and lay in the arms of his sweet Lady of Forests and Lakes

When Arthur was present, you did not look at anyone else.

She saw. And, painful though the knowledge was, it was also a relief. She had not failed with Arthur, nor had Morgan stolen him from her. He had belonged to Morgan long before she came into his life.

the way of the world is evil. It does not become any less evil because we disguise it with harmless-sounding phrases like ‘status quo’ or ‘business as usual’—it merely makes the evil more palatable to us.

But a voice said within her, Now it is too late. They found her at high noon, just as the sun came out after the storm, floating among the reeds of the Lake. Her long hair was spread out on the surface like water reeds, and Morgaine, stunned with grief, could not find it in her heart to regret that Kevin had not gone alone into the shadowed land beyond death.

Hic Jacet Arthurus Rex Quondam Rexque Futurus Arthur is gone…Tristram in Careol Sleeps, with a broken sword - and Yseult sleeps Beside him, where the Westering waters roll Over drowned Lyonesse to the outer deeps. Lancelot is fallen . . . The ardent helms that shone So knightly and the splintered lances rust In the anonymous mould of Avalon: Gawain and Gareth and Galahad - all are dust. Where do the vanes and towers of Camelot And tall Tintagel crumble? Where do those tragic Lovers and their bright eyed ladies rot? We cannot tell, for lost is Merlin's magic. And Guinevere - Call her not back again Lest she betray the loveliness time lent A name that blends the rapture and the pain Linked in the lonely nightingale's lament. Nor pry too deeply, lest you should discover The bower of Astolat a smokey hut Of mud and wattle - find the knightliest lover A braggart, and his lilymaid a slut. And all that coloured tale a tapestry Woven by poets. As the spider's skeins Are spun of its own substance, so have they Embroidered empty legend - What remains? This: That when Rome fell, like a writhen oak That age had sapped and cankered at the root, Resistant, from her topmost bough there broke The miracle of one unwithering shoot. Which was the spirit of Britain - that certain men Uncouth, untutored, of our island brood Loved freedom better than their lives; and when The tempest crashed around them, rose and stood And charged into the storm's black heart, with sword Lifted, or lance in rest, and rode there, helmed With a strange majesty that the heathen horde Remembered when all were overwhelmed; And made of them a legend, to their chief, Arthur, Ambrosius - no man knows his name - Granting a gallantry beyond belief, And to his knights imperishable fame. They were so few . . . We know not in what manner Or where they fell - whether they went Riding into the dark under Christ's banner Or died beneath the blood-red dragon of Gwent. But this we know; that when the Saxon rout Swept over them, the sun no longer shone On Britain, and the last lights flickered out; And men in darkness muttered: Arthur is gone…

Jess Pepper's review of the Avalon Strings: 'In a land so very civilized and modern as ours, it is unpopular to suggest that the mystical isle of Avalon ever truly existed. But I believe I have found proof of it right here in Manhattan. To understand my reasoning, you must recall first that enchanting tale of a mist-enshrouded isle where medieval women--descended from the gods--spawned heroic men. Most notable among these was the young King Arthur. In their most secret confessions, these mystic heroes acknowledged Avalon, and particularly the music of its maidens, as the source of their power. Many a school boy has wept reading of Young King Arthur standing silent on the shore as the magical isle disappears from view, shrouded in mist. The boy longs as Arthur did to leap the bank and pilot his canoe to the distant, singing atoll. To rejoin nymphs who guard in the depths of their water caves the meaning of life. To feel again the power that burns within. But knowledge fades and memory dims, and schoolboys grow up. As the legend goes, the way became unknown to mortal man. Only woman could navigate the treacherous blanket of white that dipped and swirled at the surface of the water. And with its fading went also the music of the fabled isle. Harps and strings that heralded the dawn and incited robed maidens to dance evaporated into the mists of time, and silence ruled. But I tell you, Kind Reader, that the music of Avalon lives. The spirit that enchanted knights in chain mail long eons ago is reborn in our fair city, in our own small band of fair maids who tap that legendary spirit to make music as the Avalon Strings. Theirs is no common gift. Theirs is no ordinary sound. It is driven by a fire from within, borne on fingers bloodied by repetition. Minds tormented by a thirst for perfection. And most startling of all is the voice that rises above, the stunning virtuoso whose example leads her small company to higher planes. Could any other collection of musicians achieve the heights of this illustrious few? I think not. I believe, Friends of the City, that when we witnes their performance, as we may almost nightly at the Warwick Hotel, we witness history's gift to this moment in time. And for a few brief moments in the presence of these maids, we witness the fiery spirit that endured and escaped the obliterating mists of Avalon.

Jack and Annie joined Arthur and Guinevere on the bench, and Cafelle sat on a low stool near the blazing fire. Kee sat beside her. “Tell me, what do you seek to know, my lord?” Cafelle asked King Arthur. The king leaned forward into the half circle of firelight. “The ninth dragon…was stolen…from Morgan’s garden,” he said. “Oh,” Cafelle said. “I understand. You need the ninth dragon, my lord, to cross to Avalon.” “I do indeed, wise friend,” he said. Cafelle nodded. Without another word, she stood up and opened the door. Kee joined her at the threshold, and the two stood together, facing the woods outside. Kee’s silky

I know what you be thinking, an’ you be wrong. Different Gawain, no relation to the Gawaine that were in Arthur's court. But he is knighted, I believe, because he carries a mighty sword with him under that great-cloak.” “Well, bugger me! A Crusader!

That night, Beansprout dreamt of Vivian and the large bronze boat with the dragon-headed prow coming to take Arthur to Avalon, in the same way as Vivian had taken Tom to wake the King.

Lancelet’s skin was so soft—she had thought all men were like Arthur, sunburnt and hairy, but his body was smooth as a child’s.

Malory tells the story, in his 'Morte D'Arthur,' that the end comes by a fatal Destiny, that no one can escape. Arthur, surrounded by his noble warriors, approaches his son, who leads the enemy hosts, and offers him peace. . . . Mordred, dressed in black, thin, with his generals around him, has accepted the offer. Then, a snake slithers between the feet of a warrior who unsheathes his sword to protect himself. The gesture is taken as an attack and the fratricidal war is unleashed. Everyone dies, except Arthur, who is carried to the Isle of Avalon (to the impregnable earthly Paradise, to Hyperborea) where the women-magas and wise women look after him until his recovery.

In this Age the Mantras of the Tantras are efficacious, yield immediate fruit, and are auspicious for Japa, Yajna, and all such practices and ceremonies (14). The Vedic rites and Mantras which were efficacious in the First Age have ceased to be so in this. They are now as powerless as snakes, the poison-fangs of which are drawn and are like to that which is dead (15). The whole heap of other Mantras have no more power than the organs of sense of some pictured image on a wall. To worship with the aid of other Mantras is as fruitless as it is to cohabit with a barren woman. The labour is lost (16-17).

Kali says of Herself in Yogini Tantra "Sachchidananda-rupaham brahmaivaham sphurat-prab-ham." So the Devi is described with attributes both of the qualified Brahman; and (since that Brahman is but the manifestation of the Absolute) She is also addressed with epithets, which denote the unconditioned Brahman.

Thus, in one man as compared with another, the sattva guna may predominate, in which case his temperament is sattvik, or, as the Tantra calls it, divyabhava. In another the rajoguna may prevail, and in the third the tamoguna, in which case the individual is described as rajasik, or tamasik, or, to use Tantrik phraseology, he is said to belong to virabhava, or is a pashu respectively.

A well-known saying in Tantra describes the true "hero" (vira) to be, not he who is of great physical strength and prowess, the great eater and drinker, or man of powerful sexual energy, but he who has controlled his senses, is a truth-seeker, ever engaged in worship, and who has sacrificed lust and all other passions. (Jitendriyah satyavadi nityanushthanatatparah kamadi-validanashcha sa vira iti giyate.)

The Vamakeshvara Tantra says that Tri-pura is threefold, as Brahma, Vishnu, and Isha; and as the energies desire, wisdom, and action, the energy of will when Brahman would create; the energy of wisdom when She reminds Him, saying "Let this be thus" ; and when, thus knowing, He acts, She becomes the energy of action. The Devi is thus Ichchha-shakti-jñana-shakti-kriya-shakti-svaru-pini.

The dual principles of Shiva and Shakti, which are in such dual form the product of the polarity manifested in Parashakti-maya, pervade the whole universe, and are present in man in the Svayambhu-Linga of the muladhara and the Devi Kundalini, who, in serpent form, encircles it. The Shabda-Brahman assumes in the body of man the form of the Devi Kundalini, and as such is in all prani (breathing creatures), and in the shape of letters appears in prose and verse. Kundala means coiled. Hence Kundalini, whose form is that of a coiled serpent, means that which is coiled. She is the luminous vital energy (jiva-shakti) which manifests as prana, She sleeps in the muladhara, and has three and a half coils corresponding in number with the three and a half vindus of which the Kubjika Tantra

the first avyakta creation issued the second mahat, with its three guna distinctly manifested. Thence sprung the third creation ahangkara (selfhood), which is of threefold form – vaikarika, or pure sattvika ahangkara; the taijasa, or rajasika ahangkara; and the tamasika, or bhutadika ahangkara.

Brahma-gayatri for worshippers of the Brahman: "Parameshva-raya vidmahe para-tattvaya dhimahi: tan no Brahma prachodayat

The term pashu comes from the root pash, "to bind." The pashu is, in fact, the man who is bound by the bonds (pasha), of which the Kularnava Tantra enurnerates eight – namely, pity (daya), ignorance and delusion (moha), fear (bhaya), shame (lajja), disgust (ghrina), family (kula), custom (shila), and caste (varna).

The Nitya Tantra gives various names to mantra. according to the number of their syllables, a one-syllabled mantra being called pinda, a three-syllabled one kartari, a mantra with four to nine syllables vija, with ten to twenty syllables mantra, and mantra with more than twenty syllables mala.

The Devas are of two classes: "unborn" (ajata) – that is, those which have not, and those which have (sadhya) evolved from humanity as in the case of King Nahusha, who became Indra. Opposed to the divine hosts are the Asura, Danava, Daitya, Rakshasa, who, with other spirits, represent the tamasik or demonic element in creation.

The human being is called jiva – that is, the embodied Atma possessed by egoism and of the notion that it directs the puryashtaka, namely, the five organs of action (karmendriya), the five organs of perception (jnanendriya), the fourfold antahkarana or mental self (Manas, Buddhi, Ahangkara, Chitta), the five vital airs (Prana), the five elements, Kama (desire), Karma (action and its results), and Avidya (illusion). When these false notions are destroyed, the embodiment is destroyed, and the wearer of the mayik garment attains nirvana. When the jiva is absorbed in Brahman, there is no longer any jiva remaining as such.

This Tantra states that in the Kali age there are only two Ashrama. The second garhasthya and the last bhikshuka or avadhuta. Neither the conditions of life, nor the character, capacity, and powers of the people of this age allow of the first and third. The two ashramas prescribed for the Kali age are open to all castes indiscriminately.

The Rishi are seers who know, and by their knowledge are the makers of shastra and "see" all mantras. The word comes from the root rish Rishati-prapnoti sarvvang mantrang jnanena pashyati sangsaraparangva, etc.

The yuga is a fraction of a kalpa, or day of Brahma of 4,320,000 human years.

Listen, then, O My Beloved! while I tell Thee of the meaning and awakening of Mantra. By the letter A is meant the Protector of the world; the letter U denotes its Destroyer; and M stands for its Creator (32). The meaning of Sat is Ever-existent; of Chit, Intelligence; and of Ekam, One without a second.

It should be thirty-six fingers breadth (in circumference) in its widest part, and sixteen in height. The neck should be four fingers breadth, the mouth six fingers, and the bottom five fingers breadth. This is the rule for the design of the kalasha (182). It should be made either of gold, silver, copper, bell-metal, mud, stone, or glass, and without hole or crack.

I am a Deva. I am indeed the sorrowless Brahman. By nature I am eternally free, and in the form of existence, intelligence, and Bliss.

The sadhaka and sadhika are respectively the man or woman who perform sadhana. They are, according to their physical, mental, and moral qualities, divided into four classes – mridu, madhya, adhimatraka, and the highest adhimatrama, who is qualified (adhikari) for all forms of yoga. In a similar way the Kaula division of worshippers are divided into the prakriti, or common Kaula following virachara, addicted to ritual practice, and sadhana, with pancha-tattva; the madhyama-kaulika, or middling Kaula, accomplishing the same sadhana, but with a mind more turned towards meditation, knowledge, and samadhi; and the highest type of Kaula (kaulikottama), who, having surpassed all ritualism, meditates upon the Universal Self.

Para-shiva exists as a septenary under the form, firstly, of Shambhu, who is the associate of time (kala-bandhu). From Him issues Sada-shiva, Who pervades and manifests all things, and then come Ishana and the triad, Rudra, Vishnu, and Brahma, each with their respective Shakti (without whom they avail nothing) separately and particularly associated with the gunas, tamas, sattva and rajas. Of these Devas, the last triad, together with Ishana, and Sada-shiva, are the five Shivas who are collectively known as the Maha-preta, whose vija is "Hsauh." Of the Maha-preta, it is said that the last four form the support, and the fifth the seat, of the bed on which the Devi is united with Parama-shiva, in the room of chintamani stone, on the jewelled island clad with clumps of kadamba and heavenly trees set in the ocean of Ambrosia.

The object of Tantrik sadhana is to bring out and make preponderant the sattva guna by the aid of rajas, which operates to make the former guna active.

Alles was an Seele und Stoff im Universum vorhanden sein kann, findet sich in irgendeiner Form und irgendwie auch im menschlichen Körper. Wie sagt doch das schon erwähnte Vishvasāra Tantra: »Was hier ist, ist auch dort. Was hier nicht ist, ist nirgends.«

Für jeden einzelnen Menschen aber, der eine bestimmte Sprache spricht, ist die ausgesprochene Bezeichnung eines beliebigen Dinges der grobe Ausdruck für seinen inneren Denkvorgang. Sie ruft diese Denktätigkeit hervor, und sie beschreibt sie auch wieder. Sie formt die Vorstellung, und die Vorstellung zeigt sich im Bewußtsein als Mentalfunktion. Und dieser Prozeß kann so gesteigert werden, daß er schöpferisch wird. Das ist das Mantra-Chaitanya.

So verkörpert das Vaikharī Shabda im zitierten Fall durch sein Vehikel Dhvani eine Bewußtseinskraft, die den Mantrierenden zum Feuerbeherrscher werden läßt.

Merlin?” Layla asked. “The Merlin? Knights of the Round Table, King Arthur? That Merlin?

In general, the chakra system branched into two sections: the Vedic and the Tantric (now alive within Ayurvedic medicine and Tantric yoga, for example). The term tantra comes from two words: tanoti, or to expand; and trayati, or to liberate. Tantra therefore means “to extend knowledge that liberates.” Tantra is a life practice based on teachings about the chakras, kundalini, hatha yoga, astronomy, astrology, and the worship of many Hindu gods and goddesses. Tantric yoga originates in pre-Aryan India, around 3000 to 2500 BC. Many other varieties of Tantric yoga or spirituality have arisen from it, including Tantric Buddhism. Each system derived from Tantric yoga has a unique view on the chakras and their related gods, cosmology, and symbols. The history of chakras, as complex as it sounds so far, is even more complicated. The chakra system is intertwined with—and maybe even created by—several different cultures. Although usually associated with India, Tantric yoga was also practiced by the Dravidians, who originated from Ethiopia, as is revealed in the many similarities between predynastic Egyptian and African practices and ancient Indian Tantric beliefs.6 For example, numerous Hindu deities are rooted in “India’s black civilizations, which is why they are often depicted as black.”7 Some historians point out that early Egyptians were greatly affected by African beliefs,8 and in turn influenced Greek, Jewish, and, later, Islamic and Christian thought, in addition to the Indian Hindu.9 Other cultures also exchanged chakra ideas. Many practices of the early Essenes, a religio-spiritual community dwelling in Palestine in the second century BC through the second century AD, mirrored those of early India.10 The Sufis—Islamic mystics—also employed a system of energy centers, although it involved four centers.11 The Sufis also borrowed the kundalini process from Tantric yoga, as did certain Asian Indian and American Indian groups.12 As we shall see, the Maya Indians of Mexico, the Inca Indians of Peru, and the Cherokee Indians of North America each have their own chakra method. The Maya believe that they actually taught the Hindu the chakra system. The chakra system was brought to the West in yet another roundabout way. It was first thoroughly outlined in the text Sat-Chakra-Nirupana, written by an Indian yogi in the sixteenth century. Arthur Avalon then delivered chakra knowledge to Western culture in his book The Serpent Power, first published in 1919. Avalon drew heavily upon the Sat-Chakra-Nirupana as well as another text, Pakaka-Pancaka. His presentation was preceded by Theosophic Practica, a book written in 1696 by Johann Georg Gichtel, a student of Jakob Bohme, who refers to inner force centers that align with Eastern chakra doctrines.13 Today, many esoteric professionals rely on Anodea Judith's interpretation of Avalon’s work, to which she has added additional information about the psychological aspects of the chakras.

Mists of Avalon, Marion Zimmer Bradley (Michael Joseph, 1983) The Arthurian myth is told here from the women’s perspective, first through the story of Igraine, and later concentrating on Morgaine, Arthur’s sister, and her training as a priestess on the Isle of Avalon, presided over by the Lady of the Lake. War in Heaven, Charles Williams (Faber, 1930) The Holy Grail is discovered in a country church, occasioning a struggle for its possession between the forces of darkness and of light, in the persons of a group of occultists and their black magic rituals, and a parish priest.