Mark Booth - The Secret History of the World

There was a prophetic element in this teaching, too. The final initiation at Eleusis involved the candidate being shown a plucked green wheat ear, held up in silence.

Of course on one level the Mysteries were agricultural and looked forward to a good harvest. But there was another level to do with the harvesting of souls.

This wheat was the star Spica, the divine seed held in the left hand of the virgin goddess of the constellation of Virgo. I’m talking, of course, about the goddess the Egyptians called Isis. The grain she holds looks forward to the great cosmic ‘seed time’. It will be made into the bread of the Last Supper, symbolizing the vegetable body in Jesus Christ and also the vegetative dimension, or altered state of consciousness, we all must work ourselves into, according to esoteric Christianity, if we are to meet him there.

Again we see that the vegetative dimension of the cosmos is the focus of esoteric thought. In Plato’s philosophy it is the soul, the mediator between the material body and the animal spirit. If we are to leave behind the material world and enter the spirit worlds, this vegetative dimension must be the subject of our Work.

THERE ARE OTHER WAYS THAT SPIRITS could influence events.

Everyone who contemplates one of the busts of Socrates that have survived may be struck by the lively, satyr-like quality of his physiognomy.

In the secret tradition Socrates was a reincarnation of the great spirit who had previously lived in the body of Silenus.

Socrates sometimes spoke of his daemon, meaning a good spirit who guided him through life. Today this might seem an alien concept. But the following account of the daemon in modern times is perhaps instructive. It is an incident recalled by a pupil of the Russian esoteric philosopher P.D. Ouspensky, a formative influence on many of the great writers and artists of the twentieth century, including the poet and playwright T.S. Eliot, the architect Frank Lloyd Wright and the artists Kazimir Malevich and Georgia O’Keefe.

This man, a lawyer, had been to hear a lecture by Ouspensky at a house in west London. He was walking away, puzzled by it and full of doubts. But as he did so, a voice inside him said: ‘If you lose touch with this, you will be doing something that you will regret for the rest of your life’. He wondered where this voice came from.

Eventually he found an explanation in Ouspensky’s teachings. This voice was his higher self. One of the great aims of the process of initiation he found himself undertaking was to so alter his consciousness that he would be able to hear this voice all the time .

Socrates was a man guided by his conscience in this way. He carried forward the great project of converting instinctive wisdom of the lower, animal self into concepts, and his philosophy like that of Pythagoras is not merely academic. It is also a philosophy of life. The aim of all philosophy, he said, is to teach one how to die.

There is some dispute, even within the secret schools, as to whether or not Socrates was an initiate.

When accused of corrupting the youth of Athens and of not believing in the gods, Socrates committed suicide by drinking hemlock. He died forgiving his executioners.

The oath against suicide was one of the most terrible taken by initiates.

IT’S BECOME COMMONPLACE TO SAY that religion has had a negative, even destructive effect on human history. Wars of religion, the Inquisition, the suppression of scientific thought and restrictive patriarchal attitudes are routinely cited. It is worth remembering that some of the greater glories of human culture had their origins in the Mystery schools that were a central part of organized religion in the ancient world. Not only sculpture and drama but also philosophy, mathematics and astronomy as well as political and medical ideas arose out of this religious institution.

Above all the Mystery schools influenced the evolution of consciousness.

Conventional history puts little emphasis on the evolution of consciousness, but we can see it in action again if we look at changes in Greek drama. In the plays of Aeschylus and Sophocles, the first dramatists to have their work performed outside the Mystery schools, wrongdoing results in persecution by the winged demons called Erinyes or Furies — for example in the Oresteia of Aeschylus of 458 BC. By Euripides’s play of 428 BC, Hippolytus , this chiding has been internalized and given a name. ‘There is only one thing that can survive all life’s trials — a quiet conscience.’

In conventional history it is assumed that people have always been pricked by conscience. On this view Euripides was simply the first person to put a name to it. In the upside-down, other-way-round thinking of esoteric tradition the reason that there is no suggestion of conscience in any of the annals of human experience up to that point, is that the Eleusian Mysteries forged this new dimension of human experience.

Great dramatic art shows we often don’t feel exactly what convention tells us we should feel. It shows us new ways of being — feeling, thinking, willing, perceiving. To borrow a phrase of Saul Bellow’s, it opens the human condition a little wider.

When we experience Greek drama we are purged by catharsis . The Greek dramatists give their audiences an experience which is an echo of the experience of initiation, and their way of working is based on an understanding of human nature that is essentially initiatic. Our animal body has been corrupted. It has become hardened and carries something like a protective carapace. We become comfortable with this carapace, though. We even grow to rely on it. But our easy, basking lives have been made possible by blood spilled, torture, theft, injustice — and deep down we know it. So deep inside us there is a self-loathing that prevents us from living wholly in the moment, from living life to the full. We cannot truly love or be loved until the insect-like carapace is cut open by the agonizing process of initiation. Until we reach that point we don’t know what life is meant to be like.

When we see a great production of one of the tragedies inspired by the experience of initiation — Oedipus Rex , for example, or King Lear — we may catch an echo of this process.