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This Fellowship of Isis website has been authorized by the FOI Foundation Center: Clonegal Castle, Enniscorthy, Eire

FOI Online Liturgy
Booklet: Tara of the Oracles,
The Alchemical Twins Face the Fates
By: Olivia Robertson

Printable PDF File

Rite 2: Kwan Yin and Her Jade Dragon

"The shadows of the Deities are manifest on earth."


PRIESTESS ALCHEMIST (TO TWIN APPRENTICES, AIDEN & ELAINE):  To endure with honesty the changing faces of the Goddess and the God, we need to explore Heaven where They reign and earth where they cast their shadows.  We need to invoke the Goddess Kwan Yin, Bodhisattva, One Who incarnates on earth, Bestower of Compassion, but also Destroyer of evil in Her dragon form.

PRIEST ALCHEMIST: (RAISES STAFF): Holy Kwan Yin Who art adored throughout our earth for your mercy and goodness, Protectress of the weak, reveal to us the mystery of your Dragon form, that we may know why you are divine!


In Heaven I appear as I truly am, naked, Light personified, emerging from the holy darkness of Aditi.  When I hear cries of anguish from those who are tortured, whether human or animal on any planet, I manifest in changing form appearing.  As I descend the spheres I am clothed in the garments bestowed upon me by suppliants.  Artists portray me as you would have me. Finally – when I descend to the seventh hell, the planetary plane of good and evil, you only see my shadow.  It is thus with all Deities.

What appears to you as evil and terrifying is in reality over-mastering delusion.  You kill your enemy – yet he is not dead – and returns in the cycles of time to destroy you.  All you do, whether good or evil, returns to you as you pass from life to life.  On the planetary level of earthly matter, your experiences are divided into that which helps you find your true Self and that which opposes your Awakening.  Thus I may manifest as a Dragon which destroys evil.  Know that nothing good is lost.  Evil is only what is unnecessary, and thus its energy may be transferred for further growth.

In verity Goddess and Dragon are One.  Deities contain their shadows.  Be whole.  Heaven and Earth are One.  I am at your Beginning and at your End.

PRIEST ALCHEMIST:  We give thanks to the Goddess Kwan Yin for her Oracle.

PRIEST ALCHEMIST (TO ELANE):  Elaine, you find it hard to accept the existence of evil, and why the Deities permit cruelty and abuse, especially to the young and vulnerable – children and animals.  Are you willing to face the Ordeal of the Jade Dragon, and so understand this mystery?

ELAINE: My need is so great I will face the ordeal.
PRIEST ALCHEMIST:  So be it.  We shall be with you, but may not help you. (SHOWS ELAINE A CARD) Describe this Tarot card!

ELAINE (EXAMINES CARD): This is the Marseille deck number XIII, “Le Pendue”. It is like “L’Empereur” in reverse.  The Emperor has his right leg crossed over his left, as if to step forward. But the Hanged Man has his right leg behind his left, thus inhibiting movement.  He is hanging upside down from two trees, each with six sawn off branches.  However, when I reverse the card, he is perfectly happy, his left leg balanced on a plant – not the hang man’s rope.  The trees now have green foliage.  The colours of his suit are blue, red and yellow, with nine buttons and two half moon pockets.  Earthly power is transformed into spiritual beauty through the gateway of voluntary death.

PRIEST ALCHEMIST:   You are ready to enter trance state.


ELAINE:  Thoughtfully I am ascending the hill of the Zodiac.  I enter and there is soft music.  I look around and find the Portal of Cancer.  Oh, how beautiful it is. It is a Moon Gate, with the Sun above it, its rays reaching to right and left.  On the right is a mighty ocean bordered by high shining towers.  In the sky are space-ships.

On the left is another ocean and bordering it are lovely islands with golden temples, and palm trees – and there are many coloured birds flying overhead.  I pass through the veil that hangs over the entrance. ***

I find myself in an Oriental Garden with hanging lanterns.  There are men and women, young and old, busy creating miniature landscapes, laid out on trays.  I know that making miniature houses is one of the world’s most popular hobbies – but feel that this is pretty childish.  I wander around at will, for no-one stops me.

Ah yes – silly of me – as usual, they can’t see me.  Am I in the future?

I jump when my thought is answered at once.  A smiling young man who looks Polynesian comes up.  I like his sarong which is covered with a painting of tropical fish.  But then I notice he is standing behind a Greek portico.

“No, Elaine,” he says, “You are not in the future.  Yet in a sense you are.  You are in the workshop of The Creators.” 

I feel sudden awe.  These must be the Gods.  Yet somehow I thought that the Gods never did any work.  They just gave commands.

The young man laughs.  He has picked up my thought.  “This is so on your earth,” he says, “But not here.  This is the place where the blue-prints of earths are formed.  You could say that planetary matter, whether biological or chemical, is our raw material. We blend it like clay into desired shapes.  Then through pride and love if what we have created is good – we infuse it with life.”

A young woman joins us.  “You could call us the Olympians,” she says, “Or - whatever you like!  In Greece we used marble, which is pretty expressionless, but it was all there was.  We painted our temples and statues to cheer them up - but now you seem to like them as white soap.”

A young man with black hair joins us.  “We were much luckier in Egypt,” he says, indicating a Pharaoh in his hand.  Is it wriggling? I hope it isn’t alive.  “Not yet,” he replies quickly, “It’s not animated yet.  Limestone presents its own mighty forms.  We just drew forth what was already there – as did Michelangelo in your renaissance.”
“How do you get your creations onto the earth?” I ask. 

“We don’t. It’s all there already.  Human artists, musicians and sculptors carry out our visions.  Some humans have progressed enough to join us in direct creation.”

Suddenly I lose my temper.  “It’s easy enough for you Divinities to create,” I exclaim.  “But what about evil – cruelty, stupidity – greed?  What a mess our earth is in.  And you lot do nothing.”

It must be because I lost my temper – but everything has gone black.  I feel dizzy and I am falling ***

I find myself in a squalid home – not in what people call “a developing country” – but in some European – or North American – city.  There is a television blaring away unheeded, and a small boy is crouching over a computer, playing some digital game.

A little girl is busy making some animal from modelling clay.  A woman, brightly dressed for going out, with heavy make-up, suddenly enters and drags the boy away from the computer.  She hits him hard.  “You know Jeff won’t let you use his computer,” she says.  “When he gets back he’ll beat you.”

When she goes, the little boy gets a print-out from the computer.  “I’ve made a digital man with a gun,” he says.  “He’ll stop Jeff from hitting us.”

The small girl laughs at him.  “He’s no good,” she says.  “He’s only flat.  Now look at what I’ve made!”  She holds up her clay animal, roughly daubed with green paint.  “This is a magic dragon,” she says.  “She can get bigger and bigger and bigger.  As big as a lorry.  You wait and see.”

I am horrified. I feel dizzy again *** and find myself back in the Divine Workshop with the Creators.  I get a shock.  I recognise the beautiful young God and Goddess.  Those two abused children on earth are their shadows.

I come back to our Temple with a feeling of amazement.  I now understand that the Emperor and the Hanged Man and the Dragon are One.




SOURCES: “Chinese Mythology,” Christie, Hamlyn. “Tao Te Ching,” Lao-Tze, trans. Feng & English, First Vintage. “Folk Tales of China,” ed. Eberhard, Routledge & Kegan Paul. “Goddesses of India, Tibet, China & Japan,” Durdin-Robertson, Clonegal Castle. “The Civilisation of China,” Giles, Thornton Butterworth. “The Moon of Much Gladness.” “Kai Lung’s Golden Hours,” and other Kai Lung stories, Bramah, Penguin. Marseille Tarot, 1748, B.P. Grimaud, Paris, 1930.

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