Mythology and Inspired Literature
The prevalence of myths within the human psyche has led some great thinkers (including C.G.
Jung, C.S. Lewis, J. Campbell, and A. Besant) to the opinion,“ that myth can be truer than historical or even
scientific fact”, the reason being that it preserves perennial truths in a way in which changing human ideas
cannot. Mr. Hodson worked with his Adept guru the Master Polidorus on an important book on Mythology entitled
Concealed Wisdom in World Mythology
(T.P.H. Adyar,1983). The book contains extremely lengthy and profound occult analysis of
myths especially those of Egyptian and Greek times. It is far too detailed to lend itself to this website
overview, therefore only one brief example is supplied here, in order to give an idea of its
Unicorn: The assumption that much of the mythology of ancient peoples, with its many glyphs and emblems, is
Adept-inspired for the purpose of preserving for the race and of revealing, while yet concealing, power
bestowing knowledge, is supported by the remarkable aptness of the symbology. The unicorn or horned horse as
we have seen in one of its many possible meanings is an appropriate symbol of the sublimated generative force
in man. The horn, emerging from the brain, indicates that the expression of the creative power and desire
then occurs through the will-inspired intellect and its cranical organ the physical brain and particularly
the pituitary gland. The horn is thus occultly phallic whilst the horse is an oft-used symbol for man’s
purified lower quaternary – mind, emotion, etheric vehicle for vitality and flesh.
mythology this is represented by the winged – but not the horned – horse, Pegasus, which the hero,
Bellerophon, the Initiate-Ego, catches, controls and directs by means of a golden bridle. This harness is a
symbol for the developed and wisely-used will-thought by means of which the personal nature of man (Pegasus)
horse was caught near a fountain, typifying the source of Life. Mounting it, Bellerophon rose into the air
and slew the Chimaera, a fire-breathing monster. Whilst riding on Pegasus, Bellerophon had no need to come
anywhere near the creature whose breath was flame. He soared above her and killed her with his arrows at no
risk to himself. The Chimaera was composed of a lion’s head and four legs, a serpentine tail and a goat
between the two. It is thus an impossible or unreal conception, a chimaera in the modern meaning of the word,
an illusion, only to be ‘seen through’ (destroyed) when in a superior state of
the Initiate Ego, personified by Bellerophon, is no longer limited to the surface of the earth and the
physical body; ascends as if winged, into the empyrean – the superphysical states of consciousness. Thus
elevated, he is beyond the limitations of passionate desires (the fiery breath), the will to dominate (the
lion portion) and sensual desires (the serpentine tail).
In the Book
of Job, the change from the wild ass to the unicorn is also significant; for the ass is a symbol of
stubbornness and in its wild state all its qualities are unharnessed. The Candidate for
Initiation must tame the hitherto wild ‘ass’, so that thereafter, as symbol of a docile quaternary, it may
bear the threefold spiritual Self onward to its goal, even as the Christ rode upon an ass in triumph to
unicorn, be it remembered, is a fabulous animal whose spinal cord is presumed to extend beyond the medulla
oblongata, through the pituitary gland and out between the eyes, after which it becomes hardened into a horn.
Occultly interpreted, this refers less to the physical spinal cord than to the interior etheric canal which
runs along its length, and as has previously stated is called Sushumna nadi. The equi-polariized creative
fire, Serpent Fire or Kundalini, flows along this canal from sacrum to brain and in its progress in man, it
is accompanied by the separate positive and negative currents which follow each their own pathways, known as
Pingala and Ida respectively, intertwining the Sushumna as they flow.
sublimation of the creative force – the ascent of the serpentine creative fire – occurs as a result of the
transmutation of sex-force by means of the continued practice of yoga, aided by passage through valid rites
of Initiation. Such knowledge was for a long period of time part of the closely guarded secrets of the
Ancient Mysteries, and even now the technique whereby it is thus aroused is kept secret from the world. This
reservation is designed not to withhold valuable information but to protect the profane and the unready from
the danger and strain inseparable from the premature awakening of Kundalini….The horn of the unicorn is
sometimes pictured as helical, which may be regarded as a suitable if veiled reference to the spirally
intertwining forces of Kundalini, the power that moves in a serpentine path…”
Concealed Wisdom in World Mythology, T.P.H. Adyar,1983 p.173 et seq.
Other examples of preserving the perennial wisdom are found in so-called Fairy Tales and
inspired writings of which Lewis Carroll’s Alice in Wonderland and Alice
through the Looking Glass are examples. I personally have very fond and privileged memories of
this exposition, because I was an inadvertent witness to Mr. Hodson investigating this project. When he was
living in Perth, Western Australia in 1973, Mr. Hodson had encouraged me to call on him after work. One day I
called and the door was open so I just walked in. I found him in his bedroom dictating to Sandra his inspired
interpretation of Lewis Carroll’s Alice Through the Looking Glass. He was lying on his
bed focussed at the level of causal consciousness or higher and all these wonderfully inspired ideas which he
was obviously seeing and hearing on the higher planes were flowing through most lucidly and without any
hesitation. When it was realized that I was present Mr. Hodson came back to normal waking consciousness and
greeted me in his usual friendly manner, but for a brief time I had witnessed how a great yogic occultist
does his investigations. His findings related to Alice through the Looking Glass were
published a few months afterwards in the journal, Theosophy in Australia, October 1973 (see
also Sharing the Light Vol 1 pp 788-93, from where this extract is taken):
“…The story is found to be composed of at least three elements.
First there is the sublime story of a little girl’s adventures on passing into a
supposed world existing through the looking glass. This fairy tale is told with complete understanding of,
and love for the child, and is replete with brilliance, humour, wit, and invention, all combined in perfectly
controlled fantasy – hence its immortality. The result is pure delight from the first page to the last – a
product of genius indeed.
Second – whether the author knew it or not – the book itself is inspired occult
literature, telling in symbol the story of the passage of life and consciousness, symbolised by Alice, the
pawn, through the elemental kingdoms (first square) and seven planes and squares to fulfilment (coronation) –
all symbolised in the game and on the board of chess.
Third, there is an amazingly accurate portrayal of the experience of the human soul
(Alice) on the straight and narrow way in purity and wholeness (the child state) to discipleship (to Red
Queen as teacher), Initiation (association with the White Knight) and Adeptship (Alice as
possible, one may ask, that genius can be thus occultly inspired with or without knowing so? I incline to an
affirmative answer, since Egoically a genius is awake to universal consciousness and the results may break
through and flow down into thought, emotion, fancy and creative imagination, thus ensouling and directing the
activities in and through the author.
is this true in play, I suggest, for the mind does not then ‘slay the Real’…One must not, of course, read too
much into such a story and of course, there is much sheer fun and fantasy to be found therein, nevertheless –
to say the least – the chain of correspondences is remarkably accurate and complete.
enters the realm of the soul of things where even inanimates talk – chessmen, insects, flowers and animals,
for example. She passes via a looking glass – the Astral light, the reflecting medium in Nature. And the
guiding principle in the interpretation of this allegory is dual, namely, evolution to perfection – the
movement of Soul from pawn to Queen – in the game itself to become a King, and the battle between Spirit and
matter – the white and the black pieces. This warfare is correctly portrayed throughout the game of
checkerboard, itself, displays the pairs of opposites as the eight rows correctly indicate levels of
awareness and stages of evolution. Thus regarded, they represent the first, second, and third Elemental
Kingdoms, followed by the mineral, plant animal, human and Adept stages of unfoldment. Chess thus portrays
both the universal and the individual conflict between Spirit and matter, life and form. The pawns on the
second row would be symbols of the Monads at the beginning of externalisation, with ‘Kingship’ attainable
seven moves further on or in the eighth square.
pieces move fairly freely about the board, thereby suggesting advanced stages of evolution and developed
qualities of character, whilst being on the first square they might perhaps be regarded as the Dhyan-Chohans
from preceding universes. The King and Queen thus personify feminine and masculine Aspects of Deity in
Universe and man – Logos and its Shakti.
herself – man as symbol – begins the ‘game’ as a pawn on the ‘downward’ or outward journey through the three
Elemental Kingdoms or first three squares, when the physical level is reached. Thereafter. The direction is
reversed, the upward or inward journey begins and the guard rightly informs her that she is ‘travelling the
wrong way’. Later, she is instructed very precisely by an Elder Brother, the Red Queen, concerning her early
steps, finds her own Egoic consciousness (Humpty Dumpty), with whom she shakes hands – fully realized contact
– and thereafter is led to the eighth square where Adeptship is attained, for there her Coronation occurs.
Interestingly, Alice is not crowned by other hands but finds the crown upon her head – the Adept is
a story which rightly had its beginning in fire, all three dramatis personae being first met in
the fireplace, all Monads being sparks of the One Flame.
wonderful tale unfolds one sees that truly Alice may be regarded as a symbol of man and particularly of man
approaching and travelling to its end the pathway of hastened evolution to Adeptship. This view is supported
by the statement that she begins her adventures as a little girl or is in the necessary child state and
moreover when through the looking glass, she is ‘on her knees’. The posture of kneeling implies both
supplication and humility, whilst the preceding passage through the looking glass could refer to a reduction
of the illusion produced on consciousness by awareness only of personal, physical surroundings,
philosophically described as mayavic or illusory.
her subsequent experiences, Alice ascends the mountain, symbolic of both spiritual states of awareness and
elevated evolutionary attainments. She talks to flowers and is in consequence in communion with the divine
Life in the subhuman kingdoms of Nature. Everything which formerly was normal then tends to become abnormal,
hence the statement by the railway guard mentioned earlier, ‘you are travelling the wrong way’. Truly, to the
normal, egocentric way of human life, the utterly selfless Path-life is indeed a reversal. Alice rightly says
that ‘the way looks very dark, but I certainly won’t go back’, or despite incomplete understanding and some
difficulties at first, the inner will produces the resolution that ‘there is no other way at all to go’
(Upanishads). She then experiences the loss of the memory of her name, since as Egoic consciousness is
closely approached, the sense of physical identity (name) begins to fade, the limitation of human Personality
being progressively transcended. Complete harmoniousness with the doer or unity with the Divine Life in all
beings is then experienced.
following ideas and experiences with suggested interpretations are illustrative of the higher consciousness:
the very small pay of ‘two-pence per week’ – service rendered without thought of personal gain; experiences
in the shop, where everything was moving – the motionless solidity typical of physical awareness, tends to
disappear when the ever-flowing, electric life-energy (Fohat) begins to be contracted in the ‘workshop of the
Universe’; Alice finds herself rowing on water – superphysical matter is highly fluidic and the concepts of
forms with which it is concerned are impermanent as are the forms themselves, and so the rushes disappear;
that which previously seemed permanent is now found to be transient and impermanent; she attempts to buy an
egg, which however vanishes through the ceiling – the Monad-Ego in the Causal Body (the egg cannot be bought
or ‘held down’ or possessed by the formal mind. It therefore vanishes ‘through the ceiling’, to a higher
plane. Thus read Alice Through the Looking-Glass is rich in presentations of man as symbol. Indeed, many of
the characters may be regarded, whether representing normal or more advanced stages of human
Dumpty, for example, personifies man as Ego in the Causal Body, whilst Alice herself when crowned and feasted
may be thought of a symbol of man after arrival at Adeptship, with all illusion banished as a dream: ‘you are
only a pack of cards’. In his own account of himself, Humpty Dumpty can ‘explain all poems’ – the human Ego
is endowed with comprehension. He is egg-shaped – the form of the aura or Augoeides. He has an enormous face
and so, head – the Ego is an embodiment of understanding and knowledge (see diagram above Ed). He sits with
legs crossed – a posture in yoga in which unity with the One Power, Life and Intelligence is attained. He
maintains balance on a narrow wall – the Inner Self exists in the Higher Mental worlds, which are
intermediary between spiritual Will and Wisdom, on the one hand, and concrete mentality, emotion and the
physical world, on the other. His eyes are steadily fixed in the opposite direction from Alice. The Ego is
conscious at spiritual, rather than physical, levels. Alice looks at him – is communing with the Ego, thereby
personifying the aspirant to Egoic consciousness. He says that should he fall, all possible aid will come
from the King and affirms, ‘I am one that’s spoken to a King, I am’ – the ‘royal’ Atma within the triple
Self. He completely explains the otherwise incomprehensible poem Jabberwocky – pierces fantasy and knows
Alice meets and communes with those twins, Tweedledum and Tweedledee, personifying man in his dual mentality,
abstract and concrete. Dual unification has been attained; for they expound the Logos doctrine with a most
wonderful, if whimsical, instruction to Alice concerning the sleeping and snoring Red King. Here the reader is
introduced to the theosophical teaching that behind all creation there exists that Lord of contemplation, who
brings all things into existence by His thought and holds them there until the time of dissolution arrives. If
the Logos failed to maintain His concentration for a trillionth part of a fraction of a second, the whole
Universe would vanish. The Archetype and its objective expression would disappear, disintegrate. The creative
Song would cease and all would instantly sink back into the condition of virginal Space. This cannot happen,
however, for the Divine Yogi is He whose formative thought and song are maintained unbroken from dawn to eve
of the creative epoch.
Let us walk
with Alice, Tweedledum and Tweedledee through the dark wood where they hear a strange sound in the distance.
The answer given to her question as to the cause of the noise is more than worthy of full
‘It’s only the Red King snoring’, said Tweedledee.
‘Come and look at him!’ the brothers cried, and they each took one of Alice’s hands and
led her to where the King was sleeping…
‘He’s dreaming now, said Tweedledee, ‘and what do you think he’s dreaming
Alice said, ‘Nobody can guess that’.
‘Why, about you!’ Tweedledee exclaimed, clapping his hands triumphantly. ‘And if he left
off dreaming about you, where do you suppose you’d be?’
‘Where I am now, of course’, said Alice.
‘Not you! Tweedledee retorted contemptuously. ‘You’d be nowhere. Why, your’re only a
sort of thing in his dream!’
‘If that there King was to wake’ added Tweedledum, ‘you’d go out – bang! – just like a
‘I shouldn’t! Alice exclaimed indignantly. ’Besides, if I’m only a thing in his dream,
what are you, I should like to know?’
‘Ditto’ said Tweedledum.
‘Ditto, ditto! cried Tweedledee.
He shouted this so loud that Alice couldn’t help saying ‘Hush! You’ll be waking him, I’m
afraid, if you make so much noise’.
‘Well, it’s no use your talking about waking him’, said Tweedledum, ‘when you’re only
one of the things in his dream. You know very well you’re not real’.
‘I am real!’ said Alice, and began to cry.
‘You won’t make yourself a bit realer by crying’, Tweedledee remarked. ‘There’s nothing
to cry about’.
‘If I wasn’t real’, Alice said – half laughing through her tears, it all seemed so
ridiculous – ‘I shouldn’t be able to cry’.
‘I hope you don’t suppose those are real tears?’ Tweedledum interrupted in a tone of
suggest, we have a mathematical genius, Lewis Carroll, perhaps not knowing what he was doing, depicting with
great beauty, with fantasy and yet with extraordinary reality, the fact that we are indeed all beings in the
great ‘dream’ of the King, the Logos of our Universe. Tweedledum and Tweedledee – Monad and Ego perchance –
told Alice that she was only a thing in the Red King’s dream, that if he woke up for a moment she would
disappear, and that the same was also true of themselves. May we leave them together there in the wood, and
so bring to a close an attempted presentation of Alice as ‘man as symbol’ or personification of all