Theos-Talk Archives (December 2001 Message tt00119)

NOTE FROM NOS: The article below is reprinted with the kind permission
of the Author. However the diagrams are not included as HTML or
attachments were not possible. Diagrams can be sent upon request as
attachments to personal email address. 

The Healing Fountain
By William Glyn-Jones

Discovering The Pagan Alchemy of Regeneration

The earliest Grail romance that we have is by a Welshman named Bleheris.
In 
the story Gawain has been riding through a wasteland on a stormy night,
when 
he enters a torch-lit hallway. On a bier is the body of a king, and we
are 
told that the land has become a waste in sympathy with this king's
wound. 
Gawain sees on a dais a lance from which flows a red stream into a
golden 
cup, and then, by a channel, is carried out of the hall. He is welcomed
to a 
feast, wine is poured into cups, and he marvels when he sees the magical

Rich Grail that serves by itself.
As he is riding home afterwards he sees that the land has been partially

regenerated, and this, we are told, is because he asked about the nature
of 
the Lance. We are told that had he completed his inquiry and asked about
the 
Grail as well the regeneration would have been brought about in full.
The 
implication seems to be that it is for us, the reader, to commit to the 
inquiry ourselves, and in this article we shall do just that, starting
by 
completing the enquiry about the Lance, and then looking into the magic 
attributed to the Grail more specifically in the second half.

The Lance

In fact the only thing that Gawain managed to ascertain was that the
liquid 
dripping from the end of the lance is the Blood of Christ. We know that 
Christ said that the red wine of the 'last supper' was his blood, so
this 
may tell us that the liquid dripping from the lance was really
consecrated 
wine. But why was it dripping from the end of a lance?
The idea of the regeneration of the land suggests a pagan vegetation
god, 
and taken together with the healing wine we seem to be in the Dionysian 
sphere. The Grail is widely held to be a cross between the Christian
chalice 
and the Celtic cauldron, but it may be best to start our enquiry by
going to 
back to the roots of the Mediterranean vegetation and wine god.

One of our first sightings of a loving celebration of plant-life and
liquid 
love-light in the cultural annals is in Egypt, where the Nile flooded at
the 
time of the heliacal rise of the star Sirius. The flooding of the Nile 
brought new birth - the greening of the land - and the sunlit foliage
was 
filled with a benevolent fertility, represented by Osiris. The waters
broke 
at this time of birth - the start of the Egyptian New Year - and the
most 
obvious astrological influence in this new birth was Sirius. It was
clearly 
felt that at this time of the ripening of the fruits a stellar energy
from 
Sirius came into the Nile and into the plant world. Perhaps rites were
set 
up to augment and magnify this infusion, as the Sirius energy was
invoked 
and channeled into a plant sacrament, as if to waken the god in the
Realms 
of Green. A second hand quote, coming via Robert Temple in The Sirius 
Mystery tells that Wallis Budge wrote about 'Egyptian texts speaking of
holy 
emanations proceeding from Sirius.which 'vivify gods, men, cattle, and 
creeping things'.and are a pouring out of the seed of the Soul. Of
course, 
the Dogon maintain the same thing in almost exactly the same terms. To
them 
the seed which energizes the world pours forth from the Sirius system.'
In 
recent times the channeled words of Lazaris tell us of the vast Sirius 
vortex of the Goddess that sends its streams of love-light to Earth.

Via Crete, this ethos entered the Greek world as the Dionysian
mysteries, 
where Dionysos as nature spirit was identified as Sirius. The stages in
the 
yearly wine-making process - the opening and mixing with spring water,
the 
mixing with flowers, the harvest, or the winter wine festivals - each of

these events had a place in the calendar, which would certainly seem to 
suggest astrological considerations.

In his book Dionysos Karl Kerenyi describes how the Cretan priestesses 
carried out a secret rite in mountain caves at night involving the 
fermentation of honey mead in a bull skin sack. This much he guesses
from 
fairly unambiguous evidence. He also describes a widespread tradition
where 
this fermentation of mead was carried out at the onset of the Dog Days -
the 
period where Sirius rises with the Sun. If you have ever brewed your own

wine or beer you will know that there is tremendous vigor to the
process. A 
riot of bubbles erupts in the liquid as CO2 gas is released. It is not 
difficult to see how the ancient mind would perceive this as something 
magical, and this may well be the prototype of the magical bubbling
witch's 
cauldron. The priestesses of Delphi worked with a magic cauldron that
may 
have been such an alchemical vessel. The riot of bubbles was seen as a 
second birth of the spirit of vegetation. Incidentally, the birth from
the 
bull-skin sack explains the curious nature of the Athenian myth, where 
Dionysos was born prematurely, and then sown into Zeus's thy for the 
completion of his gestation. He was then born a second time. In Crete
Zeus 
was originally a bull. So the second womb, the thy of Zeus, was a
bull-skin 
sack.
In Crete there was no Nile, no natural synchronicity of a physical flood
of 
liquid love-light with the rising of Sirius. But the pagan fermentation 
ritual seems to have been adapted, perhaps through the influence of
Egyptian 
magi, so that the fermenting liquor provided a substitute overflowing of

divine liquid, a DIY Nile inundation kit. Viticulture also spread to
Crete 
and the honey remained as the fermentation fuel in the wine-making
process. 
This provided the perfect plant sacrament to act as the receptacle for
the 
metaphysical light of Sirius. One can imagine the priestess standing
over 
the liquor facing East at dawn as Sirius rose and the stellar energies
were 
drawn into the beverage.
So in Crete the sweet golden honey mead was the liquid light of Sirius,
and 
when imbibed the divine beverage was a Eucharistic agent of stellar
codes. 
As with the Nile, but this time intentionally, the birth of the wine god
was 
timed so that he would have a favorable astrological birth chart, with 
'Sirius-rising'.
It is possible that there is something in this. A German engineer called

Theodore Schwenk became interested in the idea that water is sensitive
to 
subtle outside influences. He called it 'the impressionable medium par 
excellence'. His thinking led him to believe that its boundary surfaces
are 
the receptors, sensitized by wave patterns that make them similar to
living 
membranes. As a result, he decided, water that is being shaken and
bubbled 
is much more receptive, since the boundary surfaces are greatly
increased. 
'A stream, bubbling mainly over stones,' he wrote, 'forms countless
inner 
surfaces and tiny vortices, which are all sense organs to the cosmos'.
He 
conducted an experiment and showed that water shaken during an eclipse 
produced significantly impoverished mini wheat crops compared to water 
shaken before and after the eclipse. So, according to Schwenk, gurgling 
waters newly emerged from deep in the Earth are in an impressionable
virgin 
state, hyper receptive to astrological influence, and this may explain
why 
on the island of Andros on a fixed day of the year a miracle was
performed 
where water from a particular spring was turned into wine.1 Then there
is 
the hound of the Celtic god Lugh, 'which turned any running water it
bathed 
in into wine'2. Was this hound the Dog Star infusing the running waters
with 
its refined energy? The fermentation process itself fills the liquid
with 
little bubbles such as could hardly be achieved in any other way, and
so, by 
Schwenk's logic, would greatly increase the liquid's ability to receive
the 
cosmic rays that we know reach Earth from the stars. (You can stop 
fermentation after the valued conjunction by adding brandy. To avoid
further 
influence keep the wine very still in an underground cellar.) So when
the 
Minoan priestesses fermented honey-mead at the heliacal rise of Sirius 
perhaps they really were storing Sirius energy in the wine.
For some reason, the 'Minoan' culture fell into decline. Invasion from
the 
North and/or a series of Earthquakes have been suggested as the cause.
But 
the rite survived, and reemerges on mainland Greece through the Dionysos

cult of Thrace that caught on in Athens and became central to the ethos
of 
her great flowering, and this is where we find the clues as to the
nature of 
the Lance seen by Gawain. When we look at the way the Maenads were
described 
in Euripides' play The Bacchae we hear that they were able to make honey
and 
wine rise out of the earth. This may not have been Euripides' poetic 
imagination, for we hear elsewhere that the thyrsos of the maenads
dripped 
with honey. Immediately we can see a connection with the lance that
dripped 
with red wine in the early Grail romance. It was not really a lance, but
a 
thyrsos. ('Thyrsos' is the name of the staff entwined with ivy and
topped 
with a fir cone that was Dionysos' parody of the warrior's spear.) How
might 
this rising of the liquid have been achieved?
Back in '96 I decided to brew some wine. In the kit I bought there was a

special top to be placed on the flask to allow the released gas to
escape. 
This suggested to me that the pressure from the released gas must be
strong. 
I wondered whether it might be strong enough to push the wine up a thin 
tube, if the gas were prevented from leaving the container. I
experimented, 
and it worked. Slowly but surely a head of wine began to snake its way
up 
the tube. There was something very Hellenic to me about this apparatus. 
Surely I had heard somewhere about fountains of wine? In fact a fountain
of 
wine is one of the wonders that the Golden Fleece is said to have
brought 
about when it was carried to Greece. It seemed natural to me to twine
the 
transparent tube around the trunk of a houseplant, so that it became
like a 
caduceus of rising kundalini. In winter the sap in the vine falls, but
here 
it was rising again just as in springtime - a true second birth of the 
Spirit of rising sap.
It was several years later that I read in Kerenyi's book about the
Cretan 
rite of the honey mead. And when I read about the thyrsos dripping with 
honey, my curiosity was most definitely aroused. I returned to the pages
of 
Kerenyi's book that dealt with the Cretan rite to look for confirmation,
and 
found the story of how the god was interned in the underworld, and when
he 
was reunited with his tendons he returned victoriously to the upper
world. 
It appears that the same bull that provided the leather for the sack was

also the source of the tendons that were used in place of the plastic
tubes 
in the apparatus I was using. Like the snake charmed up from its basket,
or 
the kundalini rising around the spine, the golden liquor is raised in
spiral 
fashion up the thyrsos pole.
The thing about this 'rite' is that it is really just a fun way to spend

time, not a somber ritual. If you ever happen to get the urge to brew
some 
wine, I'd recommend it. It gives the same kind of pleasure as growing
plants 
and baking your own bread, and setting up the fountain has that DIY side
to 
it which can be very satisfying. Timing it with astrological events
gives us 
a chance to exercise the little grey cells, if nothing else. We are well

past the age when it was appropriate to worship a wine god, or indeed
any 
god, but when making wine or even just drinking it, we can certainly
gain a 
great deal from casting our thoughts across the rich cultural ethos that

exists around the process and the drink.

And our interest can only be enlarged by discovering that, according to 
Lyall Watson in his essay The Wonder of Water in the book Earthworks,
'water 
put through particular rhythmical motions in a spiral pattern is 
demonstrably different.' He doesn't actually say how it is different,
but he 
does tell us that an Austrian called Schauberger, who had had
considerable 
success constructing logging flumes due to his intimate knowledge of the

properties of water, made spiral copper tubes for the purpose of making 
water 'sparkle with energy' and more recently John Wilkes in the USA 
produced a series of 'flow-forms' to increase its capacity to support
plant 
and animal life. These work by sending water down a figure of eight
vortical 
meander, and seem to be effective. So the 'circling of the honey mead'
as 
the Druids call it - the spiraling of the wine up the thyrsos pole to 
produce the exalted blood of the 'ascended grape' - seems to be more
than 
mere fancy. The definition of alchemy is the processes of turning
something 
into something more precious, whether it is kundalini becoming more
refined 
as it spirals up through the charkas, blood as it is passed through the 
spiral forms of the arteries, or wine as it spirals up around a thyrsos.

The Magic Cauldron was present in Britain long before the time of
Christ, 
and perhaps it arrived there directly from Crete. There is a myth that a

goddess called Britomartis ('the sweet maiden') was chased out of Crete
into 
the Sea. It is tempting to suggest that she sailed to Britain, and that 
'Briton' comes from her name 'Britomartis'. There is actually good
evidence 
to support this notion. Ariadne, the Cretan goddess, was associated with
the 
Corona Borealis constellation. This ring of stars was called Ariadne's 
Wedding Wreath. And in Britain there was a goddess called Arianrod who
was 
associated with the same constellation. The Corona Borealis was her
castle 
and Arianrod was She-of-the-Silver-Circle. This is surely too much of a 
coincidence not to be a link. Another Celtic goddess in Britain with a 
similar name was Rhianon, who had a cauldron and attendant birds. The
link 
to the women of Delphi and Dodona is obvious.
There is more evidence that a group migrated from Greece to Celtic
Britain. 
The Ogham alphabet of the Druids has been shown to be almost identical
to a 
6th century BC alphabet used in Greece. Also, according to Lomas and
Knight 
in Uriel's Machine, an earlier script used in Britain, France and Spain
has 
similarities to the later Linear A and thus seems to show that 'there
was 
some sort of common link between Western Europe and Minoan Crete'. In 
addition, Glastonbury Tor has even been sculpted into a series of
terraces 
in the shape of a Cretan maze!

But that is all circumstantial. It is when we look into the poetry and
myth 
of Taliesin that we find conclusive evidence. Just like Dionysos, after
he 
was born Taliesin was chased by an angry goddess and he changed into
various 
animals to escape capture. (Hera was the pursuer in the Greek story and 
Ceridwen in the Celtic.) Just like Dionysos he was sewn into a leather
sack, 
and the Taliesin poem describing his birth explicitly says that from
this 
bag he was 'created a second time', like Dionysos whose name means 
'Twice-Born'. The name Taliesin is interpreted as a Welsh word meaning 
'Shining Brow', but if we take it to be a Roman word then it means 
'sack-born', from 'telum' and 'sinus'. After he was found in the
leather 
sack by Elfin, whose bard he became, he was taken to a court of the
wisest 
nobles in the land, and proved himself as a bard by reducing them to a
state 
where all they could say was 'blwerm, blwerm' (presumably the baby noise

made by wobbling the lips with the forefinger). In other words they were

drunk. In the Greek equivalent Dionysos was kidnapped by Tyrhenian
pirates, 
and showed his divinity by causing them to leap from the ship. For the 
poetic Orphics Dionysos was a god of inspiration, loosening the mind and

lubricating the creative juices. Likewise Taliesin was an inspiration
god 
for the Celtic bards. The inspiration, or Awen, of the bard was said to
come 
from the liquid of the Cauldron of Ceridwen. To my mind Taliesin, the 
'cauldron-born' as John Mathews calls him, is, without doubt, the Celtic

Dionysos.
As we shall see from the Taliesin poems, there was said to be a fountain
of 
honey mead in the center of Caer Sidhe, and symbolically this is the
rush of 
creativity that inspires the bard to poetry. Like good inspiration the 
liquor pours itself; it is self-propelled, generating its own
enthusiasm. It 
takes two or three days for the fermentation process to get going, and
the 
'eloquence of the wave' comes from depths to a bard who is patient
enough to 
wait for the flow period in the natural cycles of inner creative
energies. 
Meditative incubation periods were a standard part of bardic technique.

Time and again in the Taliesin poems we find references to ebb and flow,
to 
poetry that is not shallow but from the depths, to overflowing cups and
to 
the wisdom of the wave. Dylan is an appropriate name for a bard, since
it 
means 'Son of Wave'.

The evidence for a rising liquor rite in Celtic Britain is very good in
the 
Taliesin poems. In The Defense of the Chair we read:
My chair is in Caer Sidhi,
Where no one is afflicted with age or illness.
.A fruitful fountain flows before it,
whose liquor is sweeter than the finest wine.

There are many more relevant references in the Taliesin poems, for
instance 
in the Chair of Taliesin we find:
.everything is revealed:
why the swift fountain produces cresses,
what is the connection of the people to the foaming noble drink.
.and frequent refilling,
and the overflowing wine cup,
.and the flowing flood
is a divine gift.

There is also much of interest in The Hostile Conspiracy where we hear
about 
an ability to 'boil without water' and a 'river of wisdom' which
'overflows' 
and 'refills'.
In The Spoils of Annwn we hear Caer Sidhe called 'The Castle of the 
Honey-Mead' and of nine maidens who 'kindle the cauldron with their 
breathing'. John Mathews suggests that these are the Celtic Muses, for
bards 
found the muse in the Cauldron of Ceridwen. This breathing, as Mathews 
suggests, may have been magical blessing of the liquor, imbuing it with 
various qualities. In another poem we hear how important it is that the 
bards 'say words of blessing over the clear liquid'. As a point of
interest, 
biologist Lyall Watson in his book Supernature describes scientific 
experiments showing that a hands-on healer actually changed the
structure 
and properties of water (p.163). He slightly affected the molecular 
structure and the water increased the growth rates of plants to which it
was 
given! This is the transubstantiation process of water-into-wine fame.
There 
would seem to be strong benefits to developing our healing potential and

storing good vibrations in our liquor. Christ's abilities as a healer
are 
well documented and perhaps at the 'last supper' when he poured out the
wine 
he performed a healing blessing putting what we can call the Christ
codes 
into the beverage.
The Athenians mixed wine with flowers in the festival of Dionysos of the

Flowers, which brings to mind the Bach flower remedies. They also mixed
the 
wine with spring water, and again this would have increased the healing 
potential of the drink. Ariadne means 'the utterly pure' and she was
also 
called Aridella - 'the utterly clear', and if she was spring water this 
gives us an angle on the idea of the marriage of Ariadne and Dionysos.
This 
aspect of wine making - creating a beverage filled with the healing 
vibrations of spring water, flowers, stars and the blessings of healers
- 
may have been a key part of the secret rite held in the mountain caves
of 
Crete. These women would have felt very at home at Glastonbury in
England, 
for two healing springs and a large and atmospheric cave are found
within 
yards of each other. The caves are within the Tor itself, at the site of
the 
spring of calcium rich 'white' water.


On the occasions when I have drunk the iron-rich 'red' water of the
nearby 
Chalice Well I have been extremely impressed by its healing effect. I
have 
experienced a kind of blissful light intoxication after drinking this
water. 
This is reason enough for the grail-bearer's to set up at the site, for
it 
would have given them a head start in the transubstantiation process.
Since 
the water has a red tinge due to its iron content the spring was already

like a natural ever-flowing fountain of wine. According to Ross Nichols
in 
the Book of Druidry an alignment of menhir stones once channeled star
energy 
into the red spring, in keeping with that original Egyptian and Aegean 
ethos.
The red-stained pool in the peaceful Chalice Well Gardens
(demonstrating Vesica geometry)
In fact there is good reason to believe that the rite was indeed carried
out 
in the Glastonbury Tor caves. We here from Taliesin's poetry that the 
fountain of the cauldron was in the center of Caer Sidhe, and
Glastonbury 
for the Celts was the earthly Caer Sidhe. The original name for
Glastonbury 
- Yniswitrin - means Isle of Glass, and Caer Sidhe was described as the 
castle of glass. It was also called the Caer-forever-turning, and John 
Mathews has Caer Sidhe as the Zodiac. Glastonbury Tor is itself the
center 
of a landscape Zodiac, which strengthens the case for it as the location
of 
the Caudron. In addition, if the rings of the Cretan Maze pattern, which
is 
suggested by the terraces on the Tor, are numbered from the inside out,
the 
route taken gives us the numbers 8, 5, 6, 7, 4, 1, 2, 3. Drunvulo 
Melchizedek in The Flower of Life has pointed out that these numbers 
describe the outline of a grail shape.

-- -- -- -- -- -- -- --
-- -- -- -- --
-- -- -- -- -- --
-- -- -- -- -- -- --
-- -- -- --
--
-- --
-- -- --

The center of the maze is numbered eight, and in druidic numerology this
is 
the number of 'essence'. The heart of the mystery is not something that
can 
be seen with physical light or objective thought, nor is it a purely 
symbolic sacrament, it is a vibrational essence in the liquid itself.

There is seemingly further confirmation of Glastonbury as the location
of 
the Grail Rite. Legend has it that Joseph of Arimathea brought the cup
from 
the 'last supper' to Glastonbury. Apparently he built a round wattle and

daub white painted chapel at the site of the Chalice Well gardens to
contain 
the sacred vessel. Either he, or Arthur, or perhaps both, are said to
be 
buried under the foundations of the old abbey of Glastonbury.
Undoubtedly 
the Grail rite, as Eucharist, was distorted by the Christian Church and
in a 
sense its power was stolen to pull in the punters, but there are some 
secrets to be found here. It has been suggested that the floor plan of
the 
old Glastonbury abbey was two overlaid squares at forty-five degree
angles. 
Several sources quoted in John Michell's New Light on the Ancient
Mystery of 
Glastonbury claim that the foundation pattern was one that had Christ in
the 
center, then a circle with the Four Ways (the Four Directions), and
around 
this another circle containing the twelve-sectored Zodiac. I felt that
the 
diagonally overlaid squares pattern must be part of a system for
creating a 
Zodical wheel of twelve equal sectors with only the simplest of tools,
i.e. 
a rope and a peg, and as such would be a coded lesson for the common
person 
for how to construct the sacred space for the invocation of paradise in
a 
few easy steps. We've already discussed the ease with which a fountain
of 
wine can be made, and it would be nice to add DIY sacred space to our 
repertoire. After several experiments I gave up, until I read another
book - 
the Tomb of God, by Andrews and Schellenberger - about
Rennes-le-Chateaux, 
another site reputed to be the location of the Grail. The basic geometry
for 
the two mysteries show a striking resemblance to each other.
>>From the book I learned that by creating a square that is set 
>diagonally
within a larger square, and then putting a circle neatly within the
smaller 
square, and we use the circle for the construction of four equilateral 
triangles - two perpendicular Seals of Solomon overlaid - and the
creation 
of the 12 Wheel is practically complete. The two crossed squares are of 
great significance to the Glastonbury mystery, for Arthur was said to be

buried under two pyramids. The crossed squares appear to be images of
two 
superimposed pyramids seen from the top.



Construction of equilateral triangle from diagonal squares and circle

'False' dodecagram of four interlacing triangles, marking twelve points
on a 
circle


The Zodiac wheel is an important part of the regeneration rite, because
it 
creates a synergy that is more than the sum of its parts. This is why
Christ 
is in the center of the Zodiac, representing the balance of the six 
polarities that make up the 12 symbolic life sectors, or houses. The
Zodiac 
balances the fourth dimension and turns it into the canopy of
sensitivity 
that can be used to access the other dimensions. This
interdimensionality is 
represented by the vertical axis, the World Tree, which goes through the

center of the horizontal zodiac wheel. Sometimes this is represented by
a 
mountain or hill, as with Glastonbury Tor. It is this axis that allows
the 
sap to rise, rather as a tree or pillar gives ivy and vine something up 
which to climb. And it is the rising sap - the kundalini - that causes
the 
partial healing of the wounded king and the regeneration of the land. It
was 
his ability to access the subtle energies of other dimensions that gave
the 
Egyptian pharaohs their serpent fire, the energy of an Osiris.

It would not be difficult for an individual to take this basic pattern -
the 
four directions circle inside the twelve sectored circled - and create
it 
for personal use. The former balances the Four Elements (of the 2nd 
dimension), the basics of alchemy, the raw material or rather raw
energy. 
The latter balances the 12 Great Archetypes (of the 4th dimension).
Combined 
they set up an axis of multidimensionality, the stem of the fountain.

The Awakening rite involving the rising wine is connected to a concept
found 
in the Celtic Faery Tradition4. According to this tradition great starry

angels came down into the Earth, becoming the Sleepers-within-the-Land.
The 
three orders of Earth beings - humans, animals and faeries - came out of

these starry Sleepers, and remembering our starry nature is the process 
called Awakening the Sleeper, which necessarily involves remembering our

unity with the other two orders. This same idea exists in the lore of
the 
Australian Aborigines who believe they come from star people who came
down, 
called the Mi-Mi spirits, and the original starry unity that can be 
perceived anew is the Dreamtime.
The Awakening of Dionysos was such an operation, as was the equivalent 
Egyptian rite where the Sleeper is Osiris. Plutarch tells us that 'Among
the 
Greeks also many things are done which are similar to the Egyptian 
ceremonies in the shrines of Isis, and they do them at about the same
time.' 
The rising liquor may have been a Cretan innovation, but there are many 
similarities between the two rites. Music and catharsis are important in

both, and they both involve the raising of a pillar representing the
inert 
god-in-the-tree. They also have Sirius in common. Apparently our Sun is
not 
a bright feature of the underworld sky, and the stars are more visible
in 
that realm. As the brightest star, Sirius must be received fondly in the

elemental plant realm, and in the Egyptian rite of Awakening Osiris5 we
hear 
that the beings in the Netherworld below the feet rejoice upon seeing
Isis, 
who is Sirius. In the Greek tradition we have the image of Dionysos
arriving 
from the East with a following of elemental revelers. 2D, the elemental 
realm 'below' our own 3D world, is said to be our strongest source of 
kundalini, and when the elemental rabble is roused in joyful celebration
the 
fecundity of the Earth is enhanced. Ley lines are lines of Earth energy,

perhaps created by faery processions following the stars as they sail
across 
the sky. This Earth energy is the Rainbow Serpent of the Aboriginal 
traditions, and the Aboriginal shamans see themselves as maintainers of
this 
force.
Faeries and ley lines are controversial topics, but what we can say is
that 
if a healthy flow of kundalini is an important part of the regeneration 
process, and if the St Michael and Apollo lines really are designed to 
channel the heightened Earth kundalini of the Quarter Days when these
lines 
enter into key astrological alignments, then Glastonbury and Delphi
would be 
perfect places to conduct the Awakening Rite, because they have not only
the 
healing springs, but they also are on the St Michael and Apollo Ley
Lines, 
respectively. My own subjective opinion about places like Glastonbury
and 
Delphi when I have visited them is that there is some sort of pleasant 
energy there. Such reports are common, and at the very least, harmless. 
There is something else to be said about the Awakening rites. They are
not 
mere celebrations of seasonal regeneration. Both Kerenyi and the
compilers 
of the Osirian rite make the same point about Dionysos and Osiris 
respectively, that these gods were simultaneously in two realms, asleep
and 
awake. The rite was an invocation of the god, even if he was less
apparent 
in the vegetal realm. This is why Dionysos has the ivy as his main
plant, 
throwing a mantle of luxurious greenery over the bare pillars of the
winter 
forest. Equally he brought cheer to the winter as the Sun-in-the-wine,
the 
bottled sunshine. He was the Night Sun and the Winter fire. Equally
Osiris 
was present in the fire of a torch lit by focused rays of sunlight
through a 
rock crystal, and this torch was kept burning during the midwinter days,

according to Robert Temple in The Crystal Sun.

There is a certain paradox in the idea of raising the pillar, because in

fact kundalini is generated more strongly when the spine is lying
horizontal 
against the surface of the Earth. This is one of the reasons why
serpents 
and lizards are the masters of kundalini in 3D, because they have very
long 
spines that lie along the ground. And yet rising kundalini moves up the 
dimensional axis, which is symbolically a vertical feature of the sacred

landscape - the World Tree. How on Earth can we combine these two
things? 
Baring in mind these two seemingly different directions, it must be no 
coincidence that the yogic position that is said to be particularly
powerful 
for raising kundalini is the pose of the Sphinx. It lies (facing East)
with 
its belly stretched out along the ground, and its shoulders are raised
up 
off the ground, so that the back arches upwards. This curve combines
both 
the horizontal aspect of the lizard with the upright aspect of the
human, 
an idea linked to the fact that it is an animal with a human face.
The other important thing to notice about lizards is that they have a 
sensitive underbelly in contact with the Earth. The belly is the
location of 
feelings. Kundalini can be used to transmute or 'burn away' old,
repressed 
karma, which is stuck patterns related to feelings that have no rational

relation to the Here and Now, but it is NOT wise to attempt to use
kundalini 
to deal with fears that arise in the moment, for they are there for a 
reason. Some of them may be irrational, but we need to be sensitive to
our 
fears because the bottom line is that they are there to alert us to
dangers. 
Breath-work and other energy raising techniques are not an alternative
to 
feeling through all our emotions, and our emotions are vital. A ship
cannot 
catch the wind and sail unless it has an ocean on which to float.

- - -



The Grail

It goes without saying that the Grail has been discussed in great depth
and 
in many different ways for many years. In the early Romances it was
often 
called the San Graal, and it has been noticed that this may have been a 
distortion of 'Sang Raal', 'the Real Blood'. The Masons believe Christ
was 
not crucified, and that he married Mary Magdalene, the Priestess of
Isis, 
and the two started a bloodline. This was heretical in the eyes of the 
Church because it implied two things: that Christ consciousness is not 
victim/martyr consciousness, and that Christhood includes sexuality and 
partnership. But there is even more to it than that.

We have already seen that, according to the faery tradition, the three 
orders of Earth creatures came out of the starry sleepers who came into
the 
land. By that logic we have the stellar codes in our blood. Apparently
the 
people of Naxos believe that Dionysos is there father, and the Lochrian 
Greeks believed that their own bloodline stemmed from a vine planted
after 
being littered by Sirius in the form of a female dog7, and there was an
idea 
knocking around in Neoplatonist circles that although human blood
contains 
the violent nature of the Titans, it is also Dionysian because its line
can 
be traced back to him in the Orphic myth8. (I can't help but think of
that 
'So is mine!' line in the film the Lost Boys, after the character
Michael is 
told by a vampire that bloodsucker's blood is in his veins.) If Dionysos
is 
the Sun-in-the-Grapes then he is also one of the Stars-in-the-Blood. I
have 
come across 6 different sources, four of them channelled and quite 
unrelated, who believe that we carry the codes of Sirius in our genes. 
Thinking about this, I bissociated with the fact that Dionysos is
Sirius, 
and it occurred to me that 'Dionysos' = 'DNA Source'.
But of course the Sirians are 6D beings without physical bodies, so how 
could they have put their codes into our genes? Then I realized that
morphic 
patterns maintained by Sirian focus could affect our DNA just as they 
affects plants. Or perhaps it is simpler than that. One of the sources 
channeled in the Pleiadian Agenda says: 'when I am talking about
creating 
bloodlines, I am talking about infusion by 2D through 8D [i.e. the even 
numbered dimensions] forces into the 3D procreative powers.'
'Dionysos' = 'DNA Source' makes sense, but still the etymological
continuity 
is up the spout. This is where we go to a 7D perspective. 7D energy is
very 
light, and by definition light from higher dimensions is faster then the

'speed of light', so by Einstein's equations it will not experience the
same 
time constraints. 7D is the dimension that is the source of sound
encoded 
words and sacred language.

Christ, then, is asleep in our blood, and the Grail rite awakens him
simply 
because it is a magnanimous acknowledgement of this fact. Apparently in
the 
Osirian awakening rite a red ribbon was tied around the Djed pillar to 
symbolize the menstrual blood of Isis, who we know for the Egyptians was

Sirius, and we might call this operation the Regenisis (gene-Isis). Far
more 
than the Masonic story this fact would have put the Church in an
extremely 
precarious position, revealing that they had been teaching their
Grandmother 
to suck eggs. Every human can awake the Christ within, and the Pagan
Grail 
Rite gives us the tools to help us do so!
Barbara Hand-Clow's book is very clear on this point: although we have 
contributions in our blood matrix from patriarchal 'reptilian' beings, 
accounting for the violent side of human nature, we also have stellar 
contributions, and Eucharist is a sound encodement of 'You Christ'. This
is 
the single most important element of the DIY Christhood technique: 
contemplative recognition of this fact, whether through a Grail rite or
not, 
finds and amplifies those codes in our blood.
It occurs to me that when Jason sowed the dragon's teeth, up jumped a
crop 
of warriors, who immediately set about killing each other. These were
humans 
responding to the violent reptilian genes, the genes of the Dragon.
Notice 
that the fearful, rigid, violent part of the human brain is called the 
reptilian brain. Then, in the Grove of Aries, Jason managed to subdue
the 
dragon with a magic flower (love?), allowing him to obtain the Golden 
Fleece, which caused a fountain of wine when brought back to Iolchos.
The 
Magic Flower may indeed have been the 'Blood of Isis' for the book The 
Flower of Life by Drunvulo Melchizedek shows how the Gene-Isis 'six-day'

creation myth is based on the operation of creating the six-petalled
Flower 
of Life via six movements. Osiris and Isis rode the waters of the Flood
in 
the Ark, or at least the boat represented by the same constellation,
Argo, 
which represents the Ark and the Argo, and, as the Virgin of the World
says, 
they brought peace to humanity, ending the fighting and barbarous
behavior 
of humans, just as Jason's flower subdued the dragon of Aries. This
geometry 
contains the Grail Rite geometry mentioned above, and so the rite can be

associated with the Magic Flower of Jason as the key to the alchemy of
peace 
and re-gene-eration. Have a look at Drunvulo's Book to see how the
geometry 
fits together in a way that also includes the geometry of the Great
Pyramid 
and all the Platonic Solids. It is another easy way to construct a
wheel of 
twelve.
It occurred to me to look for an actual six-petalled flower that
resembles 
Drunvulo's Genesis Pattern, and one contender that I found is the
Crocus. 
This is intriguing, because these flowers are the source of saffron,
and, 
Robert Temple tells us in the Sirius Mystery, they were grown in
Colchis, 
where their saffron was used to dye clothes a golden color. Saffron
would 
have been used to dye fleeces gold as if by alchemy, hence the Golden 
Fleece. The poisonous Autumn Crocus - a dead ringer for the Genesis
Flower 
pattern - actually has the Latin name Colchicum. Colchis is the place
Jason 
found the Golden Fleece guarded by the dragon in the Grove of Aries. It 
seems that what he really found was the Gene of Isis, the healing
alchemy 
that transmutes the violence of Aries in the dragon genes in our blood.
The 
pattern is another easy way of creating a twelve-sectored wheel, by 
connecting all the intersection points to the center.

The Genesis Pattern Colchicum (The Autumn Crocus)


So we seem to have discovered the mystery of the Chalice, but why was
the 
Grail so often described as a cup of plenty and a Rich Grail? There is 
actually another stratum of significance to the Grail, where again it 
performs the function of the other artifact that contained the sleeping 
Osiris, namely the Ark. When it first showed up in the court of the
Round 
Table a veiled woman carried the Grail around the room and everyone's
plate 
was magically filled with all the food they desired. So the Grail has
the 
ability to create bounty just by being in the vicinity, clearly linking
it 
to the earlier Celtic Cauldron of Plenty. Interest in the Grail has
ranged 
from one extreme to the other. Some seem to have taken the symbol and
used 
it as a political tool, some have undertaken a quest to find an
awesomely 
valuable relic, whilst others have shunned such things as gross
materialism, 
and maintain that the Grail exists on some higher, and by implication
better 
plane of being. But it seems to me that the whole point of the Grail is
that 
it is not part of such a duality. It is something physical, and of
course it 
has 'mystic gleams' in higher dimensions, but these are sourced in the 
appreciative value felt for the artifact.

In answering the question of the Lance we come to an understanding of
the 
importance of the ascending light, the rising kundalini from the Earth
that 
is our fuel, the life-sap of enthusiasm and curiosity that connects us
to 
our world. To complete the fountain we need to ask about the descending 
light, to consider quality of energy as well as quantity, and this is
the 
lesson of the Rich Grail.

Those who shunned the material Grail felt that the idea of a Cup of
Plenty 
was a grosser form of Grail than the Christian Chalice that did little
other 
than be holy. But financial independence is a key issue in life. In 
relationships, families, between national groups and between nations, 
greater financial independence brings more peace, concord and harmony.
The 
descending light is the process of manifestation into physicality. How
might 
the Grail be involved in this process? There is an interesting way to
answer 
that question if we consider the nature of the sixth dimension, as it
has 
been described9. In fact the Grail and the Ark, as sacred artifacts that
are 
a source of richness, are the epitome of the way the 6th dimension is
said 
to work.
All the even numbered dimensions relate to pattern and structure. If 2D 
'faeries' are interested in the technical qualities of a poem - rhythm, 
rhyme, chorus, verse and so on, and the 4D 'dragons' are interested in
the 
stock patterns of emotional drama - challenge, suspense, thrill, success
and 
the like, then the 6D 'angels' are interested in much longer term 
repetitions. Their area is the ethos that builds up around the poem as 
successive generations of appreciative readers savor it year after year.
It 
has been said that angels take up residence in poems, and this is how it

works. Dionysos as wine god was called 'the Light that matures', and 6D

fields are like the complex, subtle and exquisite flavors that build in
wine 
aged in oak casks. Plato's moral objections to Homer's Odyssey matter
less 
to us for whom the antique epic poem can be drunk like the finest
vintage.

So 6D is the dimension of the morphic fields biologist Rupert Sheldrake 
speaks of in connection with the collective banks of behavioral patterns
of 
animals. In fact every thing that exists in our 3D world receives its 
sustenance from its 6D light form. Put another way, the 6D light form of
an 
object maintains its existence in 3D. Strong morphic fields are created
by 
strong desires for an object to continue to be in the physical.
A key point here is that a greatly venerated object has very strong
morphic 
fields, and so is useful for waking up our 6D sight - our ability to see

these multidimensional fields around physical objects, which are very 
subtle. They are best seen with peripheral vision using a soft focus,
i.e. 
not staring and 'trying' to see them. The truth is, the emperor really
was 
wearing an exquisite outfit, but when someone shouted that he wasn't the

crowd lost their sight, because it was so subtle. That was the fall of 
Hellenism, as fig leaves were placed onto statues in the museums to
cover up 
the apparent nudity, metaphorically speaking.
Since these morphic fields are maintainers of 3D things, creating
something 
in 3D is made much easier by increasing the beauty and strength of a 
light-form of the thing ('Beauty' and 'Strength' are pretty much
synonymous 
in 6D terms.) This is why it is said we can create our realities with 
thought and feeling.
So 6D is the source of synchronicities - significant coincidences 
manifesting into the physical. If I am correct in my assertions then it
was 
the phenomena of synchronicities that granted both the Grail and the
Ark, 
and indeed Jason's ship the Argo, with the quality of giving guidance
and 
generating oracular prophesy. When kundalini is flowing juicily and you
are 
enthusiastically curious about something, these passionate feelings and 
thoughts greatly empower the 6D fields of the answers you seek,
resulting in 
the appearance of 'meaningful coincidences' - events and objects
manifest 
quickly to guide you with elegance and creativity to the answers you
seek. 
This is the fountain flowing fully, as the rising kundalini empowers the

condensation into form, just as synchronicities can raise kundalini by 
sparking curiosity. What do the Grail and the Ark have to do with all
this? 
In an area where the morphic light fields are very strong it is much
easier 
to work with manifestation via 6D. For a start your 6D sight is
awakened, 
and it seems that there is a general boost to the light-forms in the
area - 
a pervasive sense of value. This value field precipitates abundance.
This is 
why in the frontispiece of Walter Crane's High History of the Holy Grail

there is a picture of the Grail on an altar surrounded by Hellenic
pillars 
and catching the precipitate of Heavenly Dew that has been invoked. The 
Grail invigorates the value fields, which in turn and in time leads to
the 
precipitation of events and objects that are their 3D counterpart. So
the 
story of the Grail causing the appearance of bounty is no mere allegory.

The carrying of the Grail around the court of the Round Table may have
been 
part of the Grail rite. In Greece there was a tradition of carrying
sacred 
artifacts in procession. They were kept in the Propylaia in Athens, the 
temple at the start of the Sacred Way to Eleusis. In fact the Propylaia
was 
an art gallery hung with fine paintings, which suggests that the
artifacts 
carried to Eleusis were paintings, like the more recent Greek 'idols'.
The 
tradition has survived in some places: I was once walking through the
maze 
of narrow pedestrian streets in the town on the Island of Skiathos out
of 
season, and out of nowhere there appeared a procession of locals
carrying 
idols evidently with the aim of sanctifying the town. Like the Grail the
Ark 
was said to emit mystical light, and again there is evidence for the 
survival of a ceremony where the Arks were carried around in procession
to 
spread their power through the landscape. Graham Hancock in The Sign and
the 
Seal describes witnessing an Ethiopian celebration where revelers dance 
before the Ark, and he managed to trace this right back to the ancient 
Egyptian festival of Apet. Originally it was boats that they carried
around 
on their shoulders, but over time the sacred objects became more like 
chests. I can definitely associate with the love of a boat as an object
of 
sacred art, a sacred vessel no less. The Ark of the Covenant supported
two 
winged angels crafted from gold, and in the Egyptian originals these
were 
the twins Isis and Nepthis who, as a kite and another similar bird beat 
their wings to blow air into the lungs of the inert Osiris in the chest.
We 
don't have to think too hard about the original form of this action when
the 
Ark was a boat - the goddesses were the sisters behind the fair winds
that 
carry the sailing boats across the firmament, and the pillar that was
raised 
may even have been a mast.
Perhaps the Mediterranean people most known for their love of seafaring
ways 
were the Aeolians, and for them it was the goddess Alcyone (the central 
Pleiadian star) who conjured up the fair winds, for her rising signaled
the 
start of the navigable year in the Mediterranean, hence the term Halcyon

days. Boats continue to be treasured objects, valued highly for their
beauty 
and elegance and for both the adventurous freedom and homely comfort
that 
they can provide. Some of the most endearing pictures of Dionysos show
him 
reclining lazily and smiling in his ship on the Aegean with wine chalice
in 
hand and a grape laden vine entwined up around the mast, while dolphins 
sport in the waters around him. In the same way that the Egyptians
treasured 
their boats, Polynesian peoples treated their surfboards as sacred
objects, 
employing elaborate ritualistic systems of design, manufacture and
upkeep.

It is not exactly clear whether the Grail was a cauldron in which 
fermentation was carried out, or whether it was the same golden cup that

received the liquor from the fountain, but this is not important, for
the 
practical purpose of the vessel is not the issue, but rather the 6D
light 
that it radiates. In fact when Gawain saw the Grail it was here one
moment 
and there the next - there may have been several chalices for different 
purposes all emanating mystic rays. Interestingly, there is evidence
that 
the shape of a container is of importance in the fermentation process 
itself. According to Lyall Watson in Supernature 'a French firm once 
patented a special container for making yogurt, because that particular 
shape enhanced the action of the micro-organism involved in the
process.' He 
goes on to write that 'the brewers of a Czechoslovakian beer tried to
change 
from round to angular barrels but found that this resulted in a 
deterioration in the quality of their beer'. Presumably the same applies
to 
wine, and we can say that the form of the vessel affects the way that
the 
light matures. This may be part of the reason why objects created using 
Sacred Geometry tend to build up stronger 6D fields than those that are
not. 
The best theory scientists have come up with is to say that certain
shapes 
are believed to cause different accumulations of cosmic waves. For
instance, 
it is known that at a certain height in the Great Pyramid the processes
of 
biological decay are slowed to a halt. Perhaps the inner knowledge of
the 
Grail involves knowledge of vessel shapes that accumulate the optimum
types 
of cosmic rays for fermentation and / or storage of wine.
If we are to assume that the wine from the fountain was channeled back
into 
the fermentation vessel, then we must wonder at exactly how this feat of

engineering was achieved. I can only imagine that this would make use of
the 
fact that cold water is denser than hot water - this is the basis of the

circling of the Gulf Stream.

The theory of precipitation of abundance out of light-fields might seem
to 
suggest that the rich get richer, but you can start by making your own 
energy field richer. Call upon the morphic fields of the Golden Fleece
and 
then put it on and wear that rich energy. 6D is not owner specific, and
a 
visit to a museum of beautiful ancient artifacts is a good way to
experience 
this value field. In the Bleheris story we are not asked to possess the 
Grail, simply to become curious about it, to commit to an enquiry about
it. 
Any of us can do this, we do not have wait to be 'chosen' for the task
of 
becoming a Grail bearer. We are not intrinsically too heavy of heart to 
access 6D fields. An of us can develop the integrity and skill needed to
see 
the angelic dimension that is interwoven into our 3D world.