Understanding The Tempest
If you don’t understand The Tempest, you cannot understand Shakespeare.
If you don’t understand Shakespeare, you cannot understand yourself.
The true meaning of what Shakespeare calls ‘The Tempest’ has been extirpated from our language, our thoughts and our lives by thousands of years of corruption, distortion and plain old-fashioned misunderstanding of the ancient wisdom of the masters.
As elucidated in Shakespeare’s Revelation, ‘The Tempest’ is Shakespeare’s way of alluding to what some call ‘The Sound Current’. This virtually unknown term is referred to in symbols throughout the Bible. In Genesis and Exodus, it is often called ‘the waters’. In the Gospel of John, it is called ‘The Word’ and ‘the wind from heaven’. In Revelation, The Tempest is called, ‘The voice of many waters and the voice of a great thunder’.
This is the sound of creation, or the sacred mystical Name of God. It may be pointed to or reflected, but cannot be spoken – as it is the sound of everything in the universe! Initiates of certain mystery schools and great masters are given sacred, inner tones that resonate with ‘The Tempest’ on the inner levels of spirit and draw the soul home to God bypassing the veils of karma and illusion. The most immediate way to attune to The Tempest is by intoning the sound ‘HU’ or ‘HUE’, as in ‘the native hue of resolution is sicklied o’er with the pale caste of thought‘ – Hamlet.
As seen repeatedly in Shakespeare’s plays, characters who seem to ‘go mad’ are often illustrating how those who do become enlightened and see through the veils of illusion and Maya are considered mad by those around them. As Neitzche said ‘Those who cannot hear the music, think people dancing are insane.‘
Hidden in the symbols, metaphors, allegories, names, and verse of The Tempest are the vital keys that link all Shakespeare’s plays together as one glorious whole and spell out the mystical teachings of Shakespeare and many enlightened teachers.
This section of the website is intended to be a forum for discussing and gathering information about The Tempest as taught through scripture, poetry, and literature by sages through the ages – from all faiths, creeds, colours, races, and nations.
The Tempest – known as ‘The Wind in the Willows’ – by Kenneth Grahame.
Little do most readers realise, that hidden in the images and metaphors of this timeless classic are myriad allusions to the profound experience of listening to the Sound Current. Kenneth Grahame must surely have been an exceptional personage to have had the mystical experience he describes here – and be spiritually evolved enough to remember and articulate it.
THE PIPER AT THE EDGE OF DAWN
Excerpt from Ch. 7, The Wind in the Willows, by Kenneth Grahame.
Then a change began slowly to declare itself. The horizon became clearer, field and tree came more into sight, and somehow with a different look; the mystery began to drop away from them. A bird piped suddenly, and was still; and a light breeze sprang up and set the reeds and bulrushes rustling. Rat, who was in the stern of the boat, while Mole sculled, sat up suddenly and listened with a passionate intentness. Mole, who with gentle strokes was just keeping the boat moving while he scanned the banks with care, looked at him with curiosity.
`It’s gone!’ sighed the Rat, sinking back in his seat again. `So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worthwhile but just to hear that sound once more and go on listening to it for ever. No! There it is again!’ he cried, alert once more. Entranced, he was silent for a long space, spellbound.
`Now it passes on and I begin to lose it,’ he said presently. `O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.’
The Mole, greatly wondering, obeyed. `I hear nothing myself,’ he said, `but the wind playing in the reeds and rushes and osiers.’
The Rat never answered, if indeed he heard. Rapt, transported, trembling, he was possessed in all his senses by this new divine thing that caught up his helpless soul and swung and dandled it, a powerless but happy infant in a strong sustaining grasp.
In silence Mole rowed steadily, and soon they came to a point where the river divided, a long backwater branching off to one side. With a slight movement of his head Rat, who had long dropped the rudder-lines, directed the rower to take the backwater. The creeping tide of light gained and gained, and now they could see the colour of the flowers that gemmed the water’s edge.
`Clearer and nearer still,’ cried the Rat joyously. `Now you must surely hear it! Ah–at last–I see you do!’
Breathless and transfixed the Mole stopped rowing as the liquid run of that glad piping broke on him like a wave, caught him up, and possessed him utterly. He saw the tears on his comrade’s cheeks, and bowed his head and understood. For a space they hung there, brushed by the purple loose-strife that fringed the bank; then the clear imperious summons that marched hand-in-hand with the intoxicating melody imposed its will on Mole, and mechanically he bent to his oars again. And the light grew steadily stronger, but no birds sang as they were wont to do at the approach of dawn; and but for the heavenly music all was marvellously still.
On either side of them, as they glided onwards, the rich meadow-grass seemed that morning of a freshness and a greenness unsurpassable. Never had they noticed the roses so vivid, the willow-herb so riotous, the meadow-sweet so odorous and pervading. Then the murmur of the approaching weir began to hold the air, and they felt a consciousness that they were nearing the end, whatever it might be, that surely awaited their expedition.
A wide half-circle of foam and glinting lights and shining shoulders of green water, the great weir closed the backwater from bank to bank, troubled all the quiet surface with twirling eddies and floating foam-streaks, and deadened all other sounds with its solemn and soothing rumble. In midmost of the stream, embraced in the weir’s shimmering arm-spread, a small island lay anchored, fringed close with willow and silver birch and alder. Reserved, shy, but full of significance, it hid whatever it might hold behind a veil, keeping it till the hour should come, and, with the hour, those who were called and chosen.
Slowly, but with no doubt or hesitation whatever, and in something of a solemn expectancy, the two animals passed through the broken tumultuous water and moored their boat at the flowery margin of the island. In silence they landed, and pushed through the blossom and scented herbage and undergrowth that led up to the level ground, till they stood on a little lawn of a marvellous green, set round with Nature’s own orchard-trees– crab-apple, wild cherry, and sloe.
`This is the place of my song-dream, the place the music played to me,’ whispered the Rat, as if in a trance. `Here, in this holy place, here if anywhere, surely we shall find Him!’
Then suddenly the Mole felt a great Awe fall upon him, an awe that turned his muscles to water, bowed his head, and rooted his feet to the ground. It was no panic terror–indeed he felt wonderfully at peace and happy–but it was an awe that smote and held him and, without seeing, he knew it could only mean that some august Presence was very, very near. With difficulty he turned to look for his friend. and saw him at his side cowed, stricken, and trembling violently. And still there was utter silence in the populous bird-haunted branches around them; and still the light grew and grew.
Perhaps he would never have dared to raise his eyes, but that, though the piping was now hushed, the call and the summons seemed still dominant and imperious. He might not refuse, were Death himself waiting to strike him instantly, once he had looked with mortal eye on things rightly kept hidden. Trembling he obeyed, and raised his humble head; and then, in that utter clearness of the imminent dawn, while Nature, flushed with fullness of incredible colour, seemed to hold her breath for the event, he looked in the very eyes of the Friend and Helper; saw the backward sweep of the curved horns, gleaming in the growing daylight; saw the stern, hooked nose between the kindly eyes that were looking down on them humorously, while the bearded mouth broke into a half-smile at the corners; saw the rippling muscles on the arm that lay across the broad chest, the long supple hand still holding the pan-pipes only just fallen away from the parted lips; saw the splendid curves of the shaggy limbs disposed in majestic ease on the sward; saw, last of all, nestling between his very hooves, sleeping soundly in entire peace and contentment, the little, round, podgy, childish form of the baby otter. All this he saw, for one moment breathless and intense, vivid on the morning sky; and still, as he looked, he lived; and still, as he lived, he wondered.
`Rat!’ he found breath to whisper, shaking. `Are you afraid?’
`Afraid?’ murmured the Rat, his eyes shining with unutterable love. `Afraid! Of HIM? O, never, never! And yet–and yet– O, Mole, I am afraid!’
Then the two animals, crouching to the earth, bowed their heads and did worship.
Sudden and magnificent, the sun’s broad golden disc showed itself over the horizon facing them; and the first rays, shooting across the level water-meadows, took the animals full in the eyes and dazzled them. When they were able to look once more, the Vision had vanished, and the air was full of the carol of birds that hailed the dawn.
As they stared blankly. in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi- god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and light-hearted as before.
Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. `I beg your pardon; what did you say, Rat?’ he asked.
`I think I was only remarking,’ said Rat slowly, `that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!’ And with a cry of delight he ran towards the slumbering Portly.
But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.
Letter to John Morton, the one who currently holds the keys to the Sound Current.
RE: HU information – re 3/4/2017 JM Discourse Seminar, Sydney, Australia
In a recent seminar, you discussed the HU and Islam. The seminar attendee asked you to discuss the connection between HU, Mohammad, and Islam.
I’m prompted to share something about the origin of the HU — at least according to Egyptology. This sharing has some overlap between work-related information and personal information, so I’m sending it as “personal” for clarity.
The HU came up when I was studying graduate level Egyptology at Harvard University. I was researching ancient Egyptian Cosmology — beliefs about the origin of creation. Early Egypt is documented as consisting of a number of small civilizations, not one more or less unified country. Each small group believed that their favorite deity brought forth creation in various mechanical ways, described in the books I studied in the Rare Books room.
In the primitive early community located where present-day Aswan exists — their deity did it differently. Their deity formed creation in its mind, then in its heart, and then the deity spoke a word. And when it spoke that word, creation came into being. The word was HU. The time period the book was discussing was around 3500 BC. I was grinning from ear to ear to read this and to have academic verification of J-R’s having told us that the HU is very ancient.
There was a hieroglyphic for HU, written in English as Hw, pronounced verbally as HU.
I discussed this with my Egyptology professor. In class she had mentioned that archeologists believe that there’s something fundamental missing in the understanding hieroglyphics. I told her my view was that the fundamental missing ingredient is the sound of the words, singing or saying the sound of the word, and that HU is such a sound, that many people even in modern days still view as a having divine creative power, in the saying or singing or chanting of it. I shared that in fact, I sing it or chant it.
The professor was excited and supportive and asked where I found out about the HU? I told her a bit about John-Roger. She was glad to hear it, and said this is what academics call “revealed religion”. She said it was worthwhile and valid. And also that her obligation as a college professor is to teach the “academic” method. That would be to document the transmission of the HU — through writings — starting at 3500 BC and up to the present day. She said it would be the project of a lifetime, and a very worthwhile one. I’m research minded, however, I knew my way was more toward experiential learning, not toward a lifetime devoted to deep academia.
I hope this information about the HU is interesting to you, John, and might possibly come in handy some day.
Much love, Barbara Wieland