Theos-Talk Archives (February 1998 Message tt00201)

I tooo would like more info on those
2 documents.  London correspondent
who sent me transcriptions emails
that the Mr Nereshirmer letter is
in E Greenwalt's book on Mrs
Tingley & the W Judge letter is from
"O E Library Critic"-----Novem 1932.
What does O E mean in the title of this
journal?  I have neither item but will try
to borrow copies or get photocopies. Maybe
someone else knows more details?  JHE's
latest post raises a question-------Why
are Theosophists so secretive & clickish?
Today after classes I waded thru Judge
chaper in Cunningham Press "Theosophical
Movement" & found (pp 267) that "Rajah"
was "occult designation of Judge." Who
are the editors of this history?

D Green

>Dear David Green,
>
>I must say that I find this publication of ES documents and edited
>letters without naming their source or giving them context disturbing.
>As interesting as the Neresheimer letter is, you do not tell us to whom
>the letter was written, nor do we know where the original resides.
>These are important details in order to give the letter authenticity
and
>context.  I'm also reluctant to comment on this letter because the
>subject concerns occult matters that have been up to this time
protected
>by the Judge/Point Loma/Pasadena tradition Theosophists and are not
>discussed--certainly not on a public forum like this.  But, in order to
>stay the confusion created by this annotated and context less letter, I
>think that this much ought to be said:  I believe that the annotator's
>square bracketed identification of the Rajah with Judge is incorrect,
or
>at least very misleading.  The Raja or "luminous youth" was the name of
>an oil painting that Judge made of a young man.  Little is known about
>this portrait except that it was supposed to be of a person of high
>occult status who was connected with Judge.  After Judge's death
Tingley
>kept this painting in her home behind a curtain that was kept closed
>when visitors were present.  She used the painting for occult purposes.
>You are of course free to attach whatever meaning to this that makes
you
>happy, but keep in mind that she did not discuss the painting or what
>use she made of it with others.  She also eventually had the painting
>destroyed.  I leave the meaning of all of this to your intuition.
>
>Regarding the EST communication, I have no record of  such a
>communication going out to the ES members on that date, or any other
>date that year, and I believe that my file is fairly complete for that
>period.  I would be very interested in knowing the date of the O.E.
>Library Critic from which this circular was supposed to have been
>taken.  Also, EST circulars sent out by Judge around that time bore a
>London (not New York) address, because Judge was residing in London at
>that time.  I'm not questioning the existence of the message, but only
>complaining that when you present documents on the net in this way, you
>make it impossible for the readers to confirm and put them into an
>historical context, and therefore to intelligently comment upon them.
>
>So please, now that you have published these documents, would you
please
>give us complete information about them, so that we will be able to
make
>our own evaluations.
>
>Thank you
>JHE
>


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