THE THEOSOPHICAL SOCIETY

Evening Star, Issue 23055, 6 September 1938, Page 14

THE THEOSOPHICAL SOCIETY

On Sunday evening there was an address at the Theoscphical Society by Mr J. McEwan on “The Tempest.” Shakespeare’s story of evolution. “Herein,” he said, "are contained many occult truths, theosophy itself holding the key to unravel them, for though the Thcosqphical Society has no dogmas, there is a vast amount of teaching involving technical terms. Modern -science is probing more and more into hidden laws of Nature, while such poets as Dante in his ‘Divine Comedy,’ Jchn Bunyan in ‘pilgrim’s Progress,’ Milton in ‘Paradise Lost,’ and the Bible itself—all these trace the life of the soul, with its final triumphant entry into Divinity. The scenario of ‘The Tempest’ represents the seven planes of Nature, the opening shipwreck typifying the whirl of the emotional Nature (water meaning emotions). The characters are taught to control the emotions, just as they have perfect control over physical actions; then follows control of the mind: then the opening up of the intuitional Nature; finally, the man gains control over all laws of Nature. Prospero was responsible for bringing ’the people to the island, hence he was a magician, but a white magician with great knowledge and ability to train and teach others to become like himself. Only two on the island wore ready to be taught I he higher or greater mysteries, viz., Miranda and Ferdinand. Only these two were ever allowed into the dwelling of Prospero—the sacred cave or cell —for he was a great initiate and was passing through the period • of crucifixion which is one of the stages of the would-be aspirant for perfection. Hp was isolated on an island, i.e., cut off from all help and thrown on his own resources—a period through which the Christ passed also. It is only at the moment of repentance that the man begins to tread the holy path, for hitherto on the path of outgoing he committed many sins and noted nearly always contrary to the law of harmony or brotherhood. Once

he understands these laws and sees something of his goal, he repents ot his past actions and definitely follows the occult path. Miranda is symbolical of the wisdom which man ever seeks; hence Ferdinand, the seeker, falls immediately in love with her and they are united. At times his partner imposes heavy tasks upon him which is the stern discipline needed to tread the pathway. The sudden disappearance of the banquet by Ariel’s prank typifies the turning away of man from the sensual delights of the lower nature, while Caliban denotes the strong pull of the lower self, with its temptations through love of power, ambition, etc. Shakespeare, in order to write such a wonderful play, must himself have been an initiate in the greater mysteries. Thus there is no doubt the real writer was Francis Bacon, a man of tremendous learning and occult power, who, living in times dangerous to the scientist of advanced knowledge, chose to sign the name of an obscurer man to his works, and so prevent unpleasantness for himself. * The Tempest ’ shows plainly every man must work out his own salvation, thus doing away with the idea of vicarious atonement.”