in the earliest recitals of this life-token
story, we find that the thing left behind, as a _center_ (which is
always guarded and protected in various ways), was a tree. Here, we
have the phallic symbol as the life-token. But in the story of the
Holy Grail, the cup is the life token to be guarded; it is the sacred
symbol of the quest and it is of a design resembling the red rose of
the Templars. This time it is the yoni--literally the _chalice_ of the
_holy communion_; the centre of the radiant circle, which is the
answer to all the problems within the radius. It is the search for,
and the finding of, the balance in counterpartal union. It is the X of
Being, and only the purest and the noblest of the Knights of the
"Round Table" essay the difficult quest. The "mound of Venus" is
another name for the "Round Table."

Again is emphasized the necessity for purity, and this purity,
although including all the spiritual qualities: fidelity; bravery;
self-sacrifice; humanity; love of truth; culminates in sexual purity.

"Blessed are the pure in heart (the pulse of the soul) for they shall
see God." We revise this latter part, and we say "for they shall be
_gods_."

Let us consider the story of the "sleeping Princess." She is depicted
as a princess, first of all, because she is the daughter of a king; a
king is an earthly ruler, or exalted person. Esoterically, she is the
daughter of the exalted God, and she is the soul. Sometimes this story
is told in the male gender, but everywhere the essential points are
the same.

Wagner, who is known as a Mystic, has illustrated the story in
Brunhilde and Siegfried. Brunhilde is an immortal--a goddess, who
renounces her immortality to become a woman.

She sleeps on the top of a high mountain and she is surrounded by a
circle of flame; and here she sleeps, despite all efforts to arouse
her, until awakened by the touch of Siegfried--the one human being in
all the universe who could awaken the sleeping princess.

The high mountain symbolizes the highest love of which we are capable.
To reach the soul of the exalted woman, typified in the fairy-story by
the word princess, and later, by Wagner, as the goddess, man must be
her mate. _No other can enter the womb of her soul_, though many may
effect an entrance to the outer court.

This truth, as absolute as life itself, solves all the problems of the
mystery of love and its joys and sorrows. No soul can wholly,
unreservedly love the "wro