Blavatsky and neo-theosophy (3/3) Myth Theory, Philosophy of History, Sociology of Pop Culture

Part 1

 

HBO’s  Love Has Won: The Cult of Mother God, Docuseries was the 8^th most watched show on Max in its first of three episodes (and the second episode reached #3) . It is the tragic story of Amy Carlson and an alternative spirituality group with an eclectic mix of beliefs and practices with some questionable elements that have raised eyebrows. The theology of Love Has Won has been described as fluid, combining New Age spirituality, conspiracy theories, and elements from mainstream Abrahamic religions.

 

In the first two parts, I examined how certain concepts of esoteric cyclical history may have filtered down into the Love Has Won 'Galactic A-Team' chart in a more modern mass media pop culture form. In this post, I'd like to take a brief look of how these original ideas have been developed along more rational lines. It begins with a passage from H. P. Blavatsky’s Isis Unveiled I, ch. 1, p. 34, about the doctrine of cycles:

‘’Thus, all those great characters who tower like giants in the history of mankind, like Buddha-Siddartha, and Jesus, in the realm of spiritual, and Alexander the Macedonian and Napoleon the Great, in the realm of physical conquests, were but reflexed images of human types which had existed ten thousand years before, in the preceding decimillennium, reproduced by the mysterious powers controlling the destinies of our world.’’ (34)

William Q. Judge elaborates on this notion in The Ocean of Theosophy, chapter 4, 1893; (he further elaborates on the subject in his first essay on the Bhagava Gita, 1895:

‘’In these cycles we can include mixed characters who have had great influence on nations, such as King Arthur, Pharaoh, Moses, Charlemagne reincarnated as Napoleon Bonaparte, Clovis of France reborn as Emperor Frederic III of Germany, and Washington the first President of the United States of America where the root for the new race is being formed.’’

Without getting into the complexities of it, there is a notion of the esoteric role of prominent historical figures, who are involved in the cyclical repetition of archetypal patterns. This concept has actually received one of the more serious studies in the recent academic interest in Theosophical history with a notion that Garry W. Trompf terms 'Macrohistory: Trompf, G. (2013). Theosophical Macrohistory. In Olav Hammer, Mikael Rothstein (Eds.), Handbook of the Theosophical Current, (pp. 375-403). Leiden, The Netherlands: Brill. http://dx.doi.org/10.1163/9789004235977_019

In the second and best of three papers on Theosophical Macrohistory, he outlines a general overview of the concept in Blavatsky’s writings and the main continuations in other Theosophical writers. As a critical survey, it ambitiously aims to intertwine a historiography, theoretical study, and biography. The critical aspects fail mainly because of the limited space for such an extensive, pioneering undertaking and the limited availability of consistent materials in a burgeoning field of study. It is remarkable that the paper almost succeeds in this, before faltering with superficialities and inaccuracies. It does manage to succeed in touching upon most of the essential problems of the topic and as such can be considered a solid basis for future developments.  He does for example, cite the Blavatsky and Judge passages noticed above, seeing them as more or less consistent and connected (380-81; 390-91). Whatever one thinks of Blavatsky’s ideas, the paper does convincingly establish that her views are intelligible, hence amenable to rational analysis according to academic concepts of macrohistory.

Jeffery Lavoie, despite mixed motives and retaining familiar tired academic misconceptions, has undertaken a solid study of the Theosophical doctrine of cycles, benefiting from the more advanced state of scholarship since Trompf’s paper. Jeffrey D. Lavoie, “Saving Time: Time, Sources and Implications of Temporality in the Writings of H. P. Blavatsky” (PhD diss., University of Exeter, 2015). https://ore.exeter.ac.uk/repository/bitstream/handle/10871/25014/LavoieJ.pdf?sequence=3

It’s a rather complex subject and as been indicated in the first two posts, the idea has been developed variously in different neo-Theosophical currents. The general notion of individual agency in a context of archetypal history has been developed by several comparative mythology scholars, in considering the relation of myth and history. Mircea Eliade elaborates how historical accounts have a complex interaction with mythology, how poetic historical sagas and even local legends have a tendency to become mythologized: 'A series of contemporary events is given an articulation and an interpretation that conform with the atemporal model of the heroic myth.' (Cosmos and History: , The Myth of the Eternal Return, 1958. Chapter 1, 'Myths and History')

Georges Dumézil, in "From Myth to Fiction: The Saga of Hadingus", (1970) further elaborates on the complex inter-connection between myth, history and fiction. He considers how the early mythology of a people can be creatively transposed into the epic of their origin or the "history" of their kings, or the source of their fiction. The Saga of Hadingus, written by twelfth-century Danish "historian," Saxo-Grammaticus, provides an instance of this kind of transposition, demonstrating how the saga can be seen as a literary structure derived from the religious structure of the myth. https://www.amazon.ca/Myth-Fiction-Saga-Hadingus/dp/0226169723

Joseph Campbell further considers Freudian and Jungian psychological concepts: archetypal patterns found in mythology are found to appear subjectively in dreams. Therefore patterns of mythical heroes have individual applications.: 'Moreover, if we could dredge up something forgotten not only by ourselves but by our whole generation or our entire civilization, we should become indeed the boon-bringer, the culture hero of the day-a personage of not only local but world historical moment (The Hero with a Thousand Faces, 1949).

Moreover, Eliade furthermore mentions how forms of mythical, archetypal patterns are present in modern mainstream mass media popular culture via novels and films: 'The cinema, that 'dream factory', adopts and uses innumerable mythical motifs: the combat of the hero and the monster, combats and trials of initiation, exemplary figures and images (the 'Young Girl', the 'Hero', the land of paradise, 'Hell', etc.) Even reading has a mythological function (The Sacred and the Profane, 1957, Chapter 4, 'The sacred and the profane in the modern world',p. 174).

Edgar Morin posits the heavy mythologizing power present in the Hollywood star system: 'Thus the stars, patterns of culture in the literal sense of the term, give shape to the total human process which has produced them. The star is indeed a myth: not only a daydream but an idea-force. The characteristic of the myth is to insert itself or incarnate itself somehow within life. If the myth of the stars incarnates itself so astonishingly within reality, it is because that myth is produced by that reality, i.e., the human history of the twentieth century. But it is also because the human reality nourishes itself on the imaginary to the point of being semi-imaginary itself. (The Stars, An account of the star system in motion pictures, 1957) p, 183.

So with a recent article on Robin Williams, this notion of how popular culture figures become viewed as historical figures of some transcendent historical significance takes us full circle, as it where. Whether the archetypal structures appear after the historical events or are coeval with them is debatable, suffice to point out that there is a noticeable tendency in human nature to view historical figures in an archetypal, idealized way (The celebrity worship of "Love Has Won": Why Robin Williams may have resonated with a cult. Melanie McFarland December 4, 2023 https://www.salon.com/2023/12/04/love-has-won-robin-williams-culture/ ).