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Earth People Magazine

Volume 3 Number 5

Now Playing: 'The Ghost Song'
By: The Doors

Cover Picture

The Sorcerer (Cave Shaman)

Rock painting (black) height 2.5 feet, in a chamber decorated with animal engravings. Drawing by H Breuil from the original. From Les Trois Freres, French Pyrenees (Ariege). Mid-Magdalenian period, c. 14,000 B.C.
As found in ‘The Way of the Animal Powers – Historical Atlas of World Mythology’, by: Joseph Campbell.
Notice the feet are about the only part that looks human, the rest from many different animals.

Written in September 2002

I would like to extend my many thanks to Stephen Fountain (Orin) of Flagstaff Arizona for sending me part one of a little something he has kindly put together especially for ‘Earth People’. Other parts will be printed when I receive them. 

Stephen actually specialises in Environmental Studies, and I think he is finishing his studies at university before he returns for his second visit to Australia, maybe to stay. He has also invited me to go and meet the Hopi Elders of 2nd Mesa, with whom he has a great friendship. If only someone would donate me the ticket and some big money. He’s not aware of my financial status, besides I’m there in spirit anyway.

Now, I would like to share a little something that gives an idea of what most people think of what I’m doing. One visitor to the old Sweat Lodge used a piece of coal from the fire pit to write a message on the old cut-log seat. It read: “Nice place – a bit weird.” And Stephen Fountain, who has been showing the magazine around Arizona, said that: “They either really love it, or they don’t understand it.”

Around June I got a phone call from Tony Ghost Hawk, whom is a thirteen-year Sundancer committed to seeing that the proper respect is being given to his traditions. After a discussion, I invited him out to see me and maybe do a “Sweat”. He said he would a week and a half later, but I haven’t seen or heard from him, or Jim Cedar Face for that matter, since. I can only assume that they have realised that I am fair dinkum and respectful, and have gone looking for others who are not.

In love there must be trust. Without trust, there is no love. Jealousy is an illness of the mind and heart. Trust lives in the lodge of your innocence. The heyoka is a warrior of the Native American tradition who goes into battle backward on his horse with a broken lance, knowing that the Great Spirit will protect him. It is this kind of trust that you need. The imbalanced aspects of patriarchal history reside like stone carvings within each of us. Welcome the new aspects of feminine power in your being even though they may seem foreign. Trust in the ways of power and the Great Spirit. Know that you are made of power, and live with trust in your heart.

Two Balinese women carry parasols or umbrellas that symbolise the welcoming of the deities. Mayan carvings of the rain god and Quetzalcoatl welcome the feminine consciousness of the planet Venus in the sky. The aspects of patriarchal consciousness, here welcomes the new aspects of feminine consciousness. To find a balance of trust within ourselves, we need to know about our own history. Examine what is instinctual within you; what is male and female, and trust that you will find the answers you need to bring you into power. This will also bring those around you into trust. If those around you do not trust you, they will eventually try to destroy your power.

Printed with permission 
From: ‘The Power Deck’

Sitting Owl’s Book Review

‘The Spiral Dance’

A Rebirth of the Ancient Religion

Of the Great Goddess

By: STARHAWK

As the name of this book implies, it is about the dance of life, and as the subtitle suggests, it is about the view of life from the female’s perspective. But what it doesn’t fully imply is that it is mostly about Witchcraft.

For many people this fact could either cause a reaction of dread and fear, or in others; “finally some female power”. However, I found it to contain some helpful information about most of the ancient understandings of life and the nature of Spirit and Psychology, and after all, the ancient witches were in fact shamans.

Here are my two favourite pieces from the chapter ‘The World View of Witchcraft’:
“In the Faery Tradition of Witchcraft, the unconscious mind is called the Younger Self; the conscious mind is called Talking Self. Because they function through different modes of awareness, communication between the two is difficult. It is as if they speak different languages.

“It is Younger Self that directly experiences the world, through the holistic awareness of the [right] hemisphere [of the brain – Ed]. Sensations, emotions, basic drives, image memory, intuition and diffuse perception are functions of Younger Self, which corresponds roughly to Freud’s concept of the id, to the personal and collective unconscious described by Jung, and to the “Child” mode of Transactional Analysis. Younger Self’s verbal understanding is limited; it communicates through images, emotions, sensations, dreams, visions, and physical symptoms [Cellular memory]. 

Classical psychoanalysis developed from attempts to interpret the speech of Younger Self. Witchcraft not only interprets, but also teaches us how to speak back to Younger Self.

“Talking Self organises the impressions of Younger Self, gives them names, classifies them into systems. As the name implies, it functions through the verbal, analytic awareness of the left hemisphere and can be compared to the concept of "ego” in both Jungian and Freudian psychology,… Talking Self speaks through words, abstract concepts, and numbers.

“In the Faery tradition, a third “self” is recognised: the High Self or God Self, which does not easily correspond to any psychological concept. [I believe Jung referred to this as the “Self” and “Universal Unconscious” as apposed to “self” as ego.] The High Self is the Divine within, the ultimate and original essence, and the spirit that exists beyond time, space, and matter. It is our deepest level of wisdom and compassion and is conceived of as both male and female, two motes [modes?] of consciousness united as one. It is often symbolised as two linked spirals, or as the infinity sign, the 8 on its side…
“The creation myth that heads this chapter clearly expresses the attitude of wonder, to the world, which is divine, and to the divine, which is the world.

In the beginning, the Goddess is the All, virgin, meaning complete within Herself. Although She is Goddess, She could just as easily be called God – sex has not yet come into being. As yet there is no separation, no division, nothing but the primal unity. Yet the female nature of the ground of being is stressed – because the process of creation that is about to occur is a birth process. The world is born, not made, and not commanded into being.
“The Goddess sees her reflection in the curved mirror of space, which may be a magical insight into the form of the universe, the curved space of modern physics. 

The mirror is an ancient attribute of the Goddess, according to Robert Graves, in her aspect as “the ancient pagan Sea Goddess Marian… Miriam, Mariamne (Sea Lamb), Myrrhine, Myrtea, Myrrha, Maria, Marina, patroness of poets and lovers and proud mother of the Archer of Love… the mirror did also form part of the sacred furniture of the Mysteries, and probably stood for ‘Know thyself.’ “

“Water is the original mirror, the image conveyed is also that of the moon floating over the dark sea, watching her reflection in the waves. A faint echo can be heard in the opening of Genesis: “The earth was unformed and void, and the spirit of God floated on the face of the water.”

“There is yet another aspect to the mirror: A mirror image is a reversed image, the same, but opposite, the reverse polarity. The image expresses the paradox: All things are one, yet each thing is separate, individual, and unique… We are all “swirls” of the same energy, yet each swirl is unique in its own form and pattern.

“The Goddess falls in love with Herself, drawing forth her own emanation, which takes on a life of its own. Love of self for self is the creative force of the universe. Desire is the primal energy, and that energy is erotic: the attraction of lover to beloved, of planet to star, the lust of electron for proton. Love is the glue that holds the world together.

My only comment on this chapter is that Starhawk denies sacrifice or the suffering of life. However, I admit that this is a very touchy subject that she has handled fairly well. She quotes Joseph Campbell who goes so far as to say, “Human sacrifice… is everywhere characteristic of the worship of the Goddess”. But she says that sacrifice is not suffering. And so it shouldn’t, it should be as she says, ecstatic. And yet, in the chapter on initiation, she quotes a part of the ritual thus: “ “Are you willing to suffer to learn?” She is asked, because learning, and growth, always involve pain.” And that statement is all too true!

At the end of the book Starhawk gives tables of correspondences which link the elements with the associated direction, time of day, season etc., and I found that what was familiar to me was pretty much the same as the Medicine Wheel, for the Northern Hemisphere. However, it seemed that perhaps somewhere in the evolution of the craft, someone has decided that creation, and all things, begin with air, not fire, so as a result the elements have been rotated one quarter of a turn in relation to most of everything else. I’m not willing to judge here, but this may or may not, have something to do with some problems that the author admits to occurring within covens of the craft.

Regarding spells, Starhawk says:
“A spell is a symbolic act done in an altered state of consciousness, in order to cause a desired change. To cast a spell is to project energy through a symbol. But the symbols are too often mistaken for the spell. “Burn a green candle to attract money,” we are told. The candle itself however does nothing – it is merely a lens, an object of focus, a mnemonic device, and the “thing” that embodies our idea. Props may be useful, but it is the mind that works magic.”

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My Juice Kept Sticking to the Table

By: Stephen Fountain (Orin)

We are transiting at such a high velocity, yet we don’t feel it because we are ONE microcosm moving at the same time. However, to truly slow oneself down or speed oneself up, are true realities, that for a brief moment one would not be travelling at the same speed as the microcosm. When this happens one would see a new facet of a true reality unlike their prior perceived understanding of “reality”.

So as far as we know, here in the third dimension of normal existence, time is a constant. This world universe that we know, is the microcosm. This is all about material, emotional, mental and spiritual ability. All things in the microcosm, even the analytical differences that we perceive here, are all of the same order and make of things. How many dimensions are possibly out there? It is possible that dimensions are infinite. So what does this say about our three dimensional bodies? The soul and spirit are multi-dimensional beings housed in a three dimensional body. What does this tell us?

1. We can reside in our three dimensional bodies, never feeling connected or aware of our spirit or soul. This negates one’s three-dimensional body from evolution and thus remains limited.

2. We can truly feel and remain connected to the spirit and soul while being here in our three dimensional “house”. This allows us to integrate new concepts or realities that are coming from spirit and soul into our three dimensional way of understanding. Sometimes this can be painful and sometimes it is like a tingly rush of bliss. You are evolving your three-dimensional house with your consciousness, allowing changes to occur.

So why are many humans bent on “trying to stay the same”? [Fear of the unknown, ignorance and the illusion I guess, Ed.] Confront your fears and leave them in the past, because the past is what fears are based on. Learn from the past to make wise choices now that will connect you to your future, so that you can live consciously now, knowing your choices are in flow with your path. Love and creativity are true laws to this microcosm.

3. Perhaps you have already been living in a conscious and creatively loving way, and you can understand what you have read thus far. It is possible to slip into the infinite and return, just as it is possible to slip into the infinite and transform into something very unrelated and inadaptable for the third dimension. Should I stay or should I go? One only knows their true answer to that question. Being responsible about such knowledge, and the choices to be made regarding that knowledge are extremely imperative, especially in relation to your life and purposes that you need to fulfil while here in the third dimension. This is something that is granted, and one should have a strong foundation with God/Creator in such events. To try to slip away “from your past or current situations” is NOT the reason to engage in “Infinite Journeys”. You would be infinitely confused.

Having said all that, I would like to share some wonderful and yet unnerving experiences that I have had since my adventure to the Land of Down Under. I will quickly state that I have personally gone through much cleansing, confronting, healing and living changes in the past ten years. I am now thirty-three years of age. 

In the last three years I have gone through the most profound realisations and experiences. I am the clearest I have ever been and my relationship with God the Creator has been strengthened in such events. It is what helps get me through to the next level. I have been described by some of the Hopi as a Medicine Man, and by many, a healer. I think that fits. Anyway, I will take you on a journey now. Pay close attention; this could happen to you.

I set out on my journey from Flagstaff to the Phoenix Airport. I was so exited to be going to Australia, my first overseas flight, and yet I was a little nerve wracked to think of flying over the Pacific for nearly fourteen hours. I went to meet my friend Todd in Phoenix and everything was going smoothly. I personally started to get nervous and I asked the universe to give me some kind of sign that what I was doing was indeed part of the plan.

I spent the afternoon talking with Todd and just trying to relax and focus on all of the things that I would be doing while I was there. Then, when it came time to get ready to go to the airport, I went through all of my stuff to double check that I had everything. I was petrified when I found that my tickets were not in the bag. “OH my God, what am I doing? Is this a sign?” I asked. I looked through everything that might have info on it. There on a scrunched up paper was the number of the Agent’s call centre, located in Phoenix. I called. They said that if I get over to the office really quick, before they closed, someone would probably be there and may possibly be able to help. We loaded up the car and drove right over. Luckily there were a few people still there getting ready to leave. I begged them to help me out. The guy said that he would make my ticket, but it would take an hour and I would have to pay a fee. I said, “Do it, and I’ll pay a fee.” So we got the ticket finally and bolted to the airport. Because of the delay, I got there only seven minutes before the flight took off. I made it!

I sat there thinking, “What kind of answer was that?” Then I realised that all along I was rushing, trying to get my ticket and get to the airport because I DID NOT WANT TO MISS THIS. I even said this to Todd a few times. All along the answer was with me. I was supposed to go because I was not supposed to miss this. Time and time again, when I think that something is confusing, horrible or not right, I somehow always manage to slow down just enough to see that what is actually happening is GOOD INFORMATION to learn from. Such as, how I managed my emotions through this turmoil.

So, I’m flying to L.A., and I became completely calm, knowing that I had my ticket and that there was a layover in L.A. I knew that I was not going to miss this. I ate and called my parents, and was getting really excited now. I was on Air New Zealand, watching Australian movies and it felt good to be in a new environment. I stayed awake due to my excitement. I watched clouds huddle in big masses in the night sky. When there was a break in the huge pluming clouds, I could see the reflection of the nearly full moon on the ocean waves. Most of the journey across the water was filled with these magnificent cloud systems, and I feel that almost all of the clouds gather in the South Pacific.

We went through the time zone, which is kind of freaky and fun at the same time. It was Sunday, and now it suddenly became Tuesday, in one moment. So I can say that, once in my life, there was a time when I never had a Monday. When I landed in Auckland at four in the morning, I could only see some dim city lights. I was waiting for my plane to Brisbane. The first thing I noticed was the accent of the language. Wow mom, I’m not in Kansas anymore!

I boarded the plane and got my seat, and right away I noticed that something seemed really peculiar, but I couldn’t place it. It was still dark with a trace of deep purple light to the east on the horizon. We began to ascend. They were playing some cheesy car-racing movie with Sylvester Stalone. The attendants were busy getting food, so I put my headset on to relax, and I found the classical station. I noticed that it was getting light rather quickly due to the plane ascending in addition to the rotation of the earth.

I looked out of my window while listening to Vivaldi. There was the ocean below, and some clouds above. The clouds were becoming a lighter shade of grey as the sun “ascended”. We broke through a layer of clouds, just as the music of Vivaldi climaxed, and in the same instant, a huge ball of pink and orange light broke through the clouds. And from beginning to end, you could see the grey clouds light up with the pink and orange light, as if it was an avalanche of colour going sideways. I was crying, and was awestruck by the beauty that my eyes beheld and my ears heard. My entire body was thrown into a different place and time. This is when I learnt about the microcosm. Not because I wanted to, or had been trying to force it, but because it was granted to me, and that I was ready to learn of such wisdom.

So, here I was flying in the middle of something that is all sacred, parallel to and in sync with the sun. I was in awe and amazement, and alone. Above me was yet another layer of clouds, and beyond that, the dark morning sky that looked like water, as if it was mirroring the ocean below. I looked closely, it WAS water. I suddenly had the most odd feeling strike me. I could no longer distinguish up from down. I felt that the plane had flipped into a different dimension. I was indeed in a different dimension. I looked at my food and juice, and wondered why they weren’t falling to the ceiling, or whatever that side was at the time. I kept lifting my juice, and it would fall and stick to the table. I wondered how the people were sticking to the floor as they walked around the plane. I felt that they new something that I didn’t know, but they just smiled at me as I went on experiencing something totally new to me. Upside down, right side up, we flew at great speeds, and my juice just stuck to the table. I wondered what kinds of forces were at play here. Gravity? Magnetic lay lines? Centrifugal force? Or was it my own experience set aside from what “I KNOW”? Whichever the case, it was happening, and I was letting it happen.

As this went on, images of people and realities infiltrated my mind. I was not only being shown something, but was explained it as well. As I would glimpse toward the sun, through my sunglasses, images of people I knew, and some I didn’t know, were in complete chaos. I saw car wrecks, earthquakes, and things blowing up. Great turmoil. The earth became the sun, and I was seeing what had happened. I then wondered, “What is this place? Where am I now?” I was truly transported through a time or dimension to this “Other World”. Your world! As we truly share one planet in this time/dimension. But out there, somewhere, (I didn’t have my GPS with me) there are two separate worlds for what you know of where you are, and two separate worlds for what I (we) know of where we are. In one knowledge we are connected, and in one knowledge we are not connected.

I tried to encompass and grasp this entire concept in that moment, which I did, but it took months of sorting the experience out after I came back, before I fully realised it’s full meaning, explainable to this third dimension. So my question is this: Do we really “know” where we are going when we travel? I now know that we are always travelling in different dimensions, the difference is just our awareness of them as we travel. You either choose or allow yourself to become aware of this, or you believe what you think. It is simple, yet complex, you know. That is why having a true relationship and respect for yourself while having a deep and loving respectful relationship with God/Creator is integral. You won’t get lost. If you are disconnected, and information comes your way, instead of awe and great bliss, you may find dismay. So my true message here is CONNECTION. 

Everything that I had experienced was connection. Connection to the stuff that we think, or that we don’t want to believe, we are connected to. Sure, it can get difficult if you are working at your job, and then while you are trying to run a register, answer to customers, answer the phone and get everything else that you might need to do while engaged in your job, you then think about something as deep as “Which dimension am I in”.

I’m not asking you to partake in more than you can handle. You must be practical. It is just very interesting when you have the time, like when flying on a plane for hours and hours. You could say that this is the “Zen” of flying as an example. Of course, flying the plane, or working on it, would make it difficult to have such an experience, because your focus would be on running the plane. I however, was a passenger; therefore I was free to focus on what I wanted to. 

Whenever you get to be the passenger, or God gives you a ride, you have the freedom to either ride as a three dimensional being, and not look out of the window, or to know that it is granted to you in faith, love and creativity, and that there is always something to be learnt from this experience. Creator wants badly for us to learn and propel ourselves on in our own creativity and evolution, while remaining connected to the Creator. It is only when one does not live in communion with their source, that chaos has the opportunity to overpower them.

I thank you for going on this journey of learning with me. I feel that it is my duty to end here, and I am at ease in knowing that this is part one of a series. Remember, this was just the beginning of my journey, and we haven’t even touched down in Australia yet. I would like to hear any feedback. Please correspond to David Littlejohn at this time. Remember, try Divine Connection in all that you do, and watch the stairs that you climb on your Divine Path.
With Love, Light and Water,

Orin

(Stephen Fountain)
ARIZONA U.S.A.

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Harmony

By: Lynn V. Andrews

Harmony lives in the lodge of balance and involves equilibrium between the physical and spiritual aspects of your life. For there to be harmony, there must be balance. Imagine yourself as the hub of a sacred wheel, standing in the centre. This wheel must function every day of your life. [If you imagine that the west is your physical self, the north your emotional self, the east your spiritual self, and the south your mental self, you see that you stand in an ancient wheel of truth. Consider whether you spend as much time in the physical (west) as you do in the spiritual (east). Are they balanced? Are they in harmony? Reflect on whether you spend more time in your emotions (north) than you do in your mind (south). [Note that the editor has adjusted the directions to suit the Southern Hemisphere.] Adjust your daily life by being aware of your actions and behaviour patterns to incorporate equal effort in all the directions so that your wheel will function in perfect harmony.

Imagine you are sitting in the sanctuary of your truth and harmony. Surrounding you are the snowy mountains of your higher consciousness. You are perfectly balanced between the planes of higher, universal consciousness and earthly consciousness.

Harmony is of the west, because you must always reflect to find truth, which is one of the greatest teachings of the west. You must always reflect on how balanced you are among all aspects of your nature.

Printed with permission from:
‘The Power Deck’

The Shamans of the Caves

Excerpt from: ‘The Way of the Animal Powers 
– Historical Atlas of World Mythology’

By: Joseph Campbell

The Animal envoys of the Unseen Power no longer serve, as in primeval times, to teach and to guide mankind. Bears, lions, elephants, ibexes, and gazelles are in cages in zoos. Man is no longer the newcomer in a world of unexplored plains and forests, and our immediate neighbours are not wild beasts but other human beings, contending for goods and space on a planet that is whirling without end around the fireball of a star. Neither in body nor in mind do we inhabit the world of those hunting races of the Palaeolithic millennia, to whose lives and life ways we nevertheless owe the very forms of our bodies and structure of our minds.

Memories of their animal envoys still must sleep, somehow, within us; for they wake a little and stir when we venture into the wilderness. They wake in terror to thunder. And again they wake, with a sense of recognition, when we enter any one of those great painted caves. What ever the inward darkness may have been to which the shamans of those caves descended in their trances, the same must lie within ourselves, nightly visited in sleep. Moreover, in parts of the world marginal to contemporary civilisation, the beat of the shaman’s drum may still be heard, transporting spirits in flight to regions known to our own visionaries and to men and women gone mad. Did the shamans of those caves interpret their visionary voyages as shamans do today – shamans whom we can visit and with whom many of us have conversed? Our only evidence is the pictorial script in the labyrinthine secrecy of the silent caves themselves. Why so deeply hidden and in parts so difficult of access?…

Herbert Kuhn has descried his own visit to the great bell-shaped main chamber, with its overhanging rocks and fissures, of the cave known as Les Trois Freres at Montesquieu-Aventes (Ariege) in the Pyrenees.
“The ground is damp and slimy, we have to be very careful not to slip off the rocky way. It goes up and down, and then comes a very narrow passage about ten yards long through which you have to creep on all fours. And then again there comes halls and more narrow passages. In one large gallery are a lot of red and black dots, just those dots…. The gallery is large and long and then there comes a very low tunnel. We placed our lamp on the ground and pushed it into the hole…. The tunnel is not much broader than my shoulders, or higher. I can hear the others before me groaning and see how very slowly their lamps push on. With our arms pressed close to our sides, we wiggle forward on our stomachs, like snakes. The passage, in places, is hardly a foot high, so that you have to lay your face right on the earth. I felt as though I were creeping through a coffin. You cannot lift your head; you cannot breathe. And then finally, the burrow becomes slightly higher. One can at last rest on one’s forearms. But not for long, the way again grows narrow. And so, yard-by-yard, one struggles on: some forty-odd yards in all. Nobody talks. The lamps are inched along and we push after. I hear the others groaning, my own heart is pounding, and it is difficult to breathe. It is terrible to have the roof so close to one’s head. And the roof is very hard: I bump it, time and again. Will this thing never end? Then, suddenly, we are through, and everybody breathes. It is like a redemption.”
”The hall in which we are now standing is gigantic….”

The Abbe Breuil has published a magnificent series of tracings and photographs of the walls of this imposing Sanctuary. The style is everywhere firm and full of life, not painted, but engraved, fixing forever the momentary turns, leaps, and flashes of the animal kingdom in teeming tumult of everlasting life. And above them all, predominant – at the opposite end of the sanctuary to the hole through which we have emerged, some 15 feet above the level of the floor, in a craggy apse – watching, staring at the arrival with unflinching eyes, is the now famous Sorcerer of Les Freres (Front cover picture), the Animal Master presiding over the animals there assembled. He is poised in profile in a dancing posture, but the antlered head is turned to face the hall. The pricked ears might be those of a stag; the round eyes suggest an owl; the full beard descending to the deep animal chest is of a man, as are the dancing legs; the tail is of a wolf or wild horse, and the position of the prominent sexual organ, placed beneath the tail, is of the feline species, perhaps a lion. The hands are the paws of a lion, and the great chest and torso might also be of this beast. The figure is 2 ½ feet high, 15 inches across. “An eerie, thrilling picture,” wrote Kuhn. Moreover, it is the only picture in the whole gallery rendered in paint – black paint –, which gives it an accent stronger than the rest.

But who or what is this man – if man he be – whose image is now impressed upon us in a way that we shall not forget?

The passage through that tunnel was surely an ordeal more like the experience of a psychologically intended initiation than anything of mere magic: almost literally a reliving of one’s birth. And although the numerous flying darts (if that is what they are) and the punctured hide and spouting blood of the engraved bear do indeed suggest a hunting magic, it would have to have been a magic (given the scene of its accomplishment) associated for the hunter himself with an antecedent transformation of his own consciousness, effected in a sacred place, at a sacred time, and enacted in a sacred manner: the magic, that is to say, of a sacrament comparable in its way with the Christian celebration of the sacrificed Saviour, or with the Mithraic, of the sacrificed Cosmic Ox.

In such context, the hunter and the hunted beast – in ritual terms, the priest and his sacrificed – would have to have been experienced in some psychological dimension as one and the same – even as the mixed form of the presiding presence of the Sanctuary, the semi human, semi animal, dancing Animal Master, already suggests. The beast to be slaughtered is interpreted as a willing victim, or rather, as a knowing participant in a covenanted sacred act wherein the mystery of life, which lives on life, is comprehended in its celebration. And the essential effect of all this upon the young boys who were to be turned by the rites of this sacred place into initiated hunters would have consisted, finally, in the opening of their minds to such an experience of the secondary nature of the passing forms of time that they should become capable of expressing a reverence for life in the act of taking it.

But Joseph Campbell sees the ‘Sorcerer’ more as: ”The sun-lion that is the usual emblem of kings – as is also the Solar Eagle, the lion’s counterpart among birds. And not only of kings, but also of conquerors in spirit.” The first rays of the sun that send the night, its stars, and Dreaming away, before the acts of life begin proper. This is the symbol of the unity of opposites, the unity of spirit and matter, of light and dark, the symbol of God, whom the shamans regularly commune with, often in trance.

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