THE THRONE OF BAPHOMET
“He was aware, too, of streams of light forming webs in which everything existed, previously unguessed tendrils of energy that linked everything. He spent days wading through an ocean of interacting energy.”
…and, so, with what was once an unguessed gestalt, now fully guessed, I hope, with random accuracy, I am now pleased to enter the artistically spiritual world of Cyrus in the late sixties and seventies (although my own rite of such a passage started around 1961 when I was 13) — Cyrus here being interacted by the energy of, say, Sergeant Pepper, William Blake, Baudelaire, popular or rock or ‘new age’ music as well as some of the classical music that I love, and Nicholas Hallam, although I have not previously heard of Hallam nor the Simon Renfrey who lured men like Cyrus by the ‘tickling trout’, if not tench, by young women. There is so much here, I cannot cover, but I appreciate, with some necessary self defences, the Miltonic evil/good aspects that I once explored with Egnisism (Mellow/Egnis in The Egnisomicon in the 1960s), although the ‘Satan’ acrostics always defeated me. The Dream and Art gestalt, as I see it in the form of a co-vivid communion, is however brilliantly conveyed here in a semi-real non-fiction of references embodying, say, Theurgy, even Christianity is mentioned, and eventually the amorphous forms of Panic centaurs and satyrs one of the latter having been glimpsed by Cyrus as a boy….and, meanwhile, I empathise with the ‘spiritual leprosy’ and the doubts or sense of guilt that one often has when interacting with certain aspects of the literary or artistic or spiritual gestalt. The Caco-Magi and The Kalli Kanzari, notwithstanding.
Full context of my review of KING SATYR by Ron Weighell here: https://dflewisreviews.wordpress.com/2021/12/18/king-satyr-ron-weighell/