Monthly Archives: April 2018

The Inner Journey – The Night Journey and Miraj of the Prophet

The great journey of Utnapishtim, as told in the Epic of Gilgamesh, has a parallel in the story told about the Prophet Muhammed.  This is the story of the Prophet’s night journey, and subsequent Miraj (which is an Arabic word which means ladder), where he rose to ‘heaven’ and experienced the Divine – he was in discourse with God!

We are told that the Prophet liked to go to the Kaaba enclosure at night. He would stand absorbed in prayer for many long hours. One evening he suddenly felt tired and in great need of sleep. He therefore lay down near the Kaaba and fell asleep. The angel Gabriel than came to him and shook him twice to awaken him, but Muhammad remained asleep: the third time the angel shook him, Muhammad awoke, and Gabriel took him to the doors of the mosque, where a white animal (looking like a cross between a mule and a donkey, but with wings) was waiting for him. He mounted the animal which was called Buraq and started to journey to ‘the farthest Masjid’, which was thought to have been in Jerusalem.[1]

This mysterious ‘sleep’ which overcomes the Prophet – a sleep, from which he cannot be woken until the third attempt, sounds like an experience of deep meditation, or Samadhi, where even the angel Gabriel could not waken him. In the Epic of Gilgamesh, during his forest journey, Gilgamesh was also overcome by a strange ‘sleep’, after felling the giant cedar of the forest. His beloved friend and companion Enkidu, too, could not awaken Gilgamesh from this mysterious sleep until the third time of trying.  It is only after coming out of this long and deep meditation, that Gilgamesh confronted the ‘monster’ Humbaba. We are not sure, who or what, Humbaba was. He seems to be some form of nature spirit and guardian of the cedar forest. But Humbaba is also referred to as ‘evil’, so this forest journey is an allegory for the inner journey, where Gilgamesh, is similar to the knight who slays the dragon. The forest itself represents the country of the living and appears to be like Dante’s deep dark forest.  This mysterious sleep can be understood as being the experience of Samadhi or deep meditation, from where the inner sacred journey begins. In both cases, it is a beloved guide or companion who guides our hero on his path. In the case of Muhammed, the steed is Buraq and the guide is Gabriel.

It is interesting that the psychopomp in the form of Buraq, the flying ‘horse’, is present in this story, just as it is in the fairy tales of The Fairy of the Dawn, The Little Hump-backed Horse, and Golden Chisel and the Stone Ram, which are mentioned in my book, The Witch as teacher in Fairy Tales.[2] The psychopomp is a steed and guide of souls, carrying them  from one realm to the other; they serve as guides through the various transitions of life. In the fairy tales, the little horse, for instance, is both the steed and guide for the hero, whereas in the story of the Prophet’s journey, Buraq is the steed, while Gabriel is the guide. I find it fascinating that that the little humpbacked horse, in the story of the same name, had long floppy ears like a donkey, and Buraq was said to be part donkey and part mule. The donkey is a symbol of humility and patience, and of course there is a strong connection with Jesus: Christ’s nativity and His entry into Jerusalem.

The ‘farthest Masjid’ is thought to be a location, rather than a physical structure. A place of prostration; a place where Muhammad prostrated before God and worshipped Him, in the Blessed Region. I find it interesting that it is described as the ‘farthest place’, while Utnapishtim is taken by the gods to live forever at the ‘mouth of the rivers’ and given the epithet ‘Faraway’ – a paradise like the garden of Eden called Dilmun.

Muhammad stated that “The earth has been made for me (and for my followers) a place for praying.”

Many believe that this place of prostration was in Jerusalem, where the al-Aqsa Mosque now stands. But spiritually it is the farthest inner place that one can be in. It is at the very Centre of our universe, where the Divine One  or God, is to be encountered.

After alighting from Buraq, the prophet performed prayer, and was tested by Gabriel on God’s command. Muhammad said: “Gabriel brought me a vessel of wine, a vessel of water and a vessel of milk, and I chose the milk”. Gabriel said: “You have chosen the Fitrah (natural instinct).”[3] This is a really beautiful symbol! Milk is divine nourishment and is used in initiation ceremonies as a symbol of rebirth. Milk is of the spirit, where water is of matter. Muhammad chose well and properly, so that the second part of the journey could then be undertaken.

At the same time also, we are told that Muhammad’s chest was opened and water from the well of Zamzam was poured on his heart giving him wisdom, belief, and other characteristics to help him on his ascent. This purification is also seen in the trial of the drinks.[4] It was the angel Gabriel who, in the time of Abraham, when Hagar was thirsting in the desert with her baby son Ishmael, that Gabriel brought forth water by hitting the ground with his wing. Fresh pure water emerged, and they were saved. This is sacred water of Life which comes from the Well of Zamzam and was used to purify him spiritually before his ascent.

The Prophet was raised with the Angel Gabriel beyond time and space. Indeed, Samadhi takes us to an inner realm which is outside of time and space.  Here Muhammad toured the ‘seven stages of heaven’ and spoke with the earlier prophets – Adam, Abraham, Moses, Joseph, Aaron, John the Baptist, and Jesus. One could say that he became one with the Spirit of Guidance. It is said that his vision of the heavens and of the beauty of those horizons permeated his being. Some accounts say that Muhammad meets four angels, as he travels through the heavens and that he is shown death and what hell looks like. The meeting with four angels is very significant. Four is the Divine Quaternity and for Jung was more powerful as a symbol than the number three. There are four cardinal points, seasons, winds, sides of a square, arms of the cross, rivers of Paradise, and many more. There are four streams of immortality.

Muhammad meets angels called cherubim who instil fear in him, but he later sees them as God’s creation, and therefore not harmful.[5] I find this interesting as it carries the same feeling with it, as Petru’s encounter with the Fairy of the Dawn, in the story of the same name. In that story Petru travels through the various realms, overcoming ‘monsters’ and gaining helpful guides, deeper and deeper towards the Centre, where, as he progresses, he must overcome The Fairy which could be likened to a powerful angel, in her terrible and powerful aspect. The hero was told not to look at her, and indeed he almost loses himself, when he does look at her. It was only when he played his little flute that she went back to sleep again, thus allowing him to continue his quest[6]

Muhammad was then taken to a holy tree in the seventh heaven that Gabriel was not allowed to pass.[7] In the story of the Fairy of the Dawn, the hero Petru, also must leave his horse and guide at the point in the road where the final realm begins. When we enter the Divine space, we must go alone, without anything at all from any other realm, even the angelic.  This a strange and frightening realm.

It is here that Muhammad meets with God, who tells him that his people must pray fifty times a day. I was fascinated with this part of the story: – to pray fifty times a day would mean to be in continual prayer – in other words, wherever we are on this earth is a place of prayer and of unity with the Divine. But the number fifty represents a Jubilee, after the completion of the 7×7 cycle. It is in the forty ninth room that Petru finds the Fairy of the Dawn, and the Water of Life. Fifty represents a return to the beginning and the primordial start. There is a strong relationship between the quaternity (four), and the number fifty, as there are fifty lunar months in four years. Fifty is a divine number. Five is the number of man – forming the pentagon. It also represents the marriage between heaven and earth. and so it is that five daily prayers which are decided on. By praying five times a day, God will reward humankind tenfold, by raising humankind to heaven. This experience shows us the deep significance of prayer, which through the Eternal Word, enables us to liberate our consciousness from the contingencies of space and time, and fully comprehend the meaning of life and of Life.[8] Prayer is one of the five pillars of Islam.

There is a so called ‘primitive version’ of the Miraj, by Ibn ‘Abbas, where Muhammed meets four angels as he travels through the heaven showing him fire, ice, hell, and the process of death. But Ibn Abbas describes Muhammad’s encounter with God as a human who touches and speaks to Muhammad as a human would. I find this very touching and illuminating from a spiritual perspective. As we have seen in the story of Golden Chisel, we create for ourselves an Ideal of God – an Ideal which, when complete, speaks to us and relates to us in a very human and personal way. When the Divine becomes a personality for us, we have achieved the final stage of integration into the One, of Fana fi Allah. At this level we are able to talk with Allah and feel this great Love and Guidance in our lives. It is said that God made man in His own Image, and we make our own Ideal of God in our own image according to our understanding and beliefs.  This is ever changing as we evolve. We are part of the One, and the One is part of us. As we say in our Zikar: La El La Ha, El Allah Hu which means, none exits save God, God alone is.

In the story of Gilgamesh, just after he meets Utnapishtim the Faraway, Gilgamesh says ‘I look at you now, Utnapishtim, and your appearance is no different from mine; there is nothing strange in your features. I thought I should find you like a hero prepared for battle, but you lie here taking your ease on your back.—‘.[9] Gilgamesh experiences Utnapishtim, who was raised to Godhead, as a human being just like himself, and who relates to him as such. This is a very profound understanding of our relationship with the Divine and helps us to understand this relationship. We expect our encounter with the God to be extraordinary, and so when we actually experience it, we can miss this true experience by not recognising it. We are expecting something else. We expect enlightenment to be mind-blowing but it not.  It is something pure and simple – something which can bring us to tears, in the knowing of Love and how we too have been guided. Enlightenment can creep up to us without our being aware.

It is said that Muhammad was then returned to Jerusalem by the angel Gabriel and Buraq, and from there to Mecca. On the return journey, he came upon some caravans that were also travelling to Mecca. It was still night when they reached the Kaaba enclosure. The angel and Buraq left, and Muhammad proceeded to the home of Um Hani, one of his most trusted Companions, and with whom he had been staying.  He gave her an account of what had happened to him, and she advised him not to tell anybody about it, but which Muhammad refused to do, so when Muhammad reported his experience at the Kaaba, he was met with disbelief. They thought that he was mad. But his most faithful followers simply said that if the prophet said that this is what happened, then it must be true.

A few weeks later, facts confirmed some elements of his account; the arrival of the caravans whose coming he had announced, having seen them on his way back, and of which he had given a precise description.

This demonstrates that the prophet’s night journey and Miraj or ascent, are both a spiritual journey as well as a physical one. There is a state of rising to an inner realm where there is a counterpart of the physical body. This state is called the Alam-e-mithal by Sufis.[10] This can be achieved by intense meditative practice under guidance by a Teacher.

This story of the Prophet’s Night Journey and Miraj are the most profound and revealing insight into the inner journey – into the realm of Alam-al-mithal. Accounts of this journey are to be found in so called Fairy Tales, and ancient stories like the Epic of Gilgamesh.

In my next blog, we will delve into the near-death experience of C. G. Jung, which can be understood as such a journey.


[2] Daly, Nuria. The Witch as Teacher in Fairy Tales, Balboa Press 2017


[4] ibid

[5] ibid

[6] Daly, Nuria The Witch as Teacher in Fairy Tales, Balboa Press. 2017




[9] Sandars, N.K. The Epic of Gilgamesh, Penguin Books 1972

[10] Hazrat Inayat Khan. The Mystical Meaning of the Resurrection

The Quest for Immortality: Part 5. Utnapishtim – before the Flood

At the end of the last chapter, Utnapishtim tells Gilgamesh that he will reveal to him a mystery; a great secret of the Gods. Gilgamesh already knows the story of the flood, as it follows the creation story in the Sumerian belief system, and Gilgamesh is on this quest for immortality precisely because Utnapishtim was the one, who, on saving humankind from the deluge, was raised to immortality by the gods.

Who is Utnapishtim?  His father Ubara-Tutu was a king of Shurrupak and the only king named in the prediluvian King-List apart from Utnapishtim himself, who was known as a wise king and priest. The king- priests were in direct contact with their gods by scared ritual, where they would use trance to communicate with their god. It is probable that this was how he was ‘given’ this immense project of saving humanity.

Before the flood:
We are given the scenario of where and why the deluge came upon the earth; – It was at the city of Shurrupak, on the banks of the Euphrates, just north of Uruk. Gilgamesh is told that the city had grown old and the gods in it had also grown old. Perhaps we can understand this to mean that there was a social, economic and spiritual decline at this time.

Utnapishtim explains the relationship between the specific gods who sat in judgement over humankind. First and most supreme, was Anu, the lord of the firmament and ‘father’ of all the Gods. My feeling is that this god is like our own concept of the Divine One or Unity – everything is part of the One, and nothing exists which is not part of this One, yet this Divine Being is more than the sum of His parts.

There then was Enlil, described as the counsellor of the gods, but known as the god of earth, wind, and air, ultimately spirit, and subservient to Anu. Also mentioned are Ninurta, the helper, who was the god of wells and irrigation, and Ennugi watcher over canals. These gods of earth, air, and the water ways, are the gods who sat in council and who were very  displeased with humanity.

‘In those days the world teemed, the people multiplied, the world bellowed like a wild bull.’[1]
Clearly there was a problem of overpopulation with the earth being unable to sustain so many people, as well as the population’s total disregard for the earth, air or environment. The cities had become very populous; in those days, Uruk had a population of 50,000 to 80,000 residents living in 6 square kilometres – the largest city in the world at that time. Both the cities of Shurrupak and Uruk were situated on marshlands, so it would have been difficult to sustain so many people in this environment.

The gods mentioned; Ninurta and Ennugi, were of wells, irrigation and canals, so their displeasure would be related to the cleaning and irrigation of small rivers and water ways. The first trials wrought on humankind, were drought and pestilence, but these failed to exterminate the humans, so Enlil then prevailed with his weapon of storm, to finish the job. This could be seen as the result of climate change, in how the people basically raped the land. This could have been the mythological rape that is talked about n ancient stories. It is also clear that humankind was responsible and blamed by the gods, for the destruction of the balance of the earth and the pollution of the water ways. In an earlier poem the flood follows pestilence, famine, and drought, each designed to exterminate humankind.

But Ea, the child of Anu the supreme One, was the god of sweet waters and of wisdom – the creator of humankind; he warned Utnapishtim of the coming deluge in a dream.
‘Reed house, reed house! Wall O wall, harken reed house, wall reflect; — tear down your house and build a boat, abandon your possessions and look for life, despise worldly goods, and save your soul alive.’
This tells us that these people lived in reed houses, in the marshes on the banks of the Euphrates river, as well as houses in the walled city. But the message here is a spiritual one – to abandon their possessions and save their souls.

Utnapishtim was given the exact measurements of the boat that he was directed to build and how to build her. It was a massive undertaking. The boat’s beam was to be equal to her length, and her deck roofed like the vault that covers ‘the abyss’. He was told to take into the boat the seed of all living creatures.

The ground space was to be one acre, with each side of the deck measuring one hundred and twenty cubits, making a square.
The square signifies the earth, as opposed to the circle of the heavens, with God manifest in creation. The square also represents the perfect type of enclosure – in sacred architecture it symbolises transcendent knowledge. It signifies the mystical union of the four elements and the attainment of unity. A square is made up of two equilateral triangles, which is also symbolic – three within four. Thus the significance of the square is a powerful and sacred symbol – sacred geometry.

In our Sufi spiritual practice there is a pattern of breathing, known as the ‘square breath’ which has its own purpose and meaning. Sufis also have a breathing practice known as the element breath, which is done to acknowledge and balance the elements within us.

That each side of the square measures one hundred and twenty cubits is also significant.
Twelve indicates a complete cycle, or cosmic order. Three times four represents both spiritual and temporal order: One hundred and twenty is thus a complete cycle times ten. Ten is the number of the cosmos and the paradigm of creation. The decad contains all numbers and therefore all things and possibilities. It is the perfect number and return to unity.

The detail of the structure of the boat reflects the structure of a belief system, of an understanding of the inner realm. Without this structure, the inner journey cannot be made. The boat is both an inner and an outer structure and demonstrates a profound understanding of the Sacred and the inner realms and of the journey through them.

There were to be six decks below the water line, one deck above, so seven decks in all. After seven days the boat was complete. The magical number seven, the number of the universe is symbolic of completeness – a totality. With the number three of the heavens and the soul, and number four of the earth and the body, seven is the first number which contains both the spiritual and temporal. The structure of the boat reflects the structure of the inner world, with the part or level above the ocean, reflecting consciousness, and the six levels below taking us deeper into the structure of the depths or layers of the unconscious towards the centre which is unity with the Divine. It is very much like the description of the realms in the story of The Fairy of the Dawn[2].

The seven levels of decking on the boat could depict the seven grades of initiation into the mysteries and I think that this is a reflection of the levels of initiation taken when journeying into and through those inner realms towards the depths in the ocean of the unconscious. Sufis believe that Ocean represents the Unconscious. Note that the time it took to complete the boat was seven days, so even the time frame reflects the meaning of the number seven – totality and completeness, as well as reflecting a very long period of time.

Utnapishtim divided the decks into nine sections with bulkheads between. As we commented on before in an earlier blog, the Sumerians counted in threes and sixes – they did not have a binary system of counting as we do. Therefore, the six lower decks were symbolically important, as are the nine sections of the bulkhead. Nine, of course is comprised of the powerful 3 x 3 and indicates completion, fulfilment, and attainment. It is a celestial and angelic number which points to the Earthly Paradise, which for these people was Dilmun.

Most importantly, nine is the number of the circumference, hence its division into 90 degrees and into 360 degrees for the entire circumference. It is symbolised by the figure of two triangles, which in turn is a symbol of male and female, fire and water, mountain, and cave principles. So we are given an image of a circle within a square. The ‘squaring of the circle’ is an archetypal motif which could be called the archetype of wholeness. Jung, in working with mandalas, realised that his own life had been a series of meandering paths that bent back upon each other and yet always leading back to the centre. The mandala symbolically represents the path to the centre, to wholeness. Jung says that unless the Symbol is ‘ungraspable’, it is ineffective. If it is ‘understood’ it dies. The core of the individual is a mystery of life, which dies when it is ‘grasped’. That is also why Symbols want to keep their secrets. They are mysterious, not only because we are unable to clearly see what is at their bottom. It is like an archetypal dream – if we interpret it, we destroy it. When the symbol is a mystery it cannot be destroyed by the ego.[3]

We also realise that the boat is in fact a cube – a very powerful image and symbol to contemplate for the seeker. Within the cube we have the tetrahedron, and a circle. To visualise and feel into these forms and facets, take us deep into a part of ourselves, deep into the inner realm, on the journey to wholeness – to our Centre and unity with the Divine.

For a very interesting Jungian analysis of the triangle, tetrahedron and cube see:
Try to visualise into the sacred form of the tetrahedron! It is a multidimensional image of the Trinity.

We are given great detail as to how this project was managed, how the boat was built, the supplies, the pouring of the pitch, the slaughtering of the bullocks and sheep to feed the builders, and wine for them to drink. Nothing was spared as he knew there would be nothing left after the flood. The launching was difficult because of the shifting ballast above and below. He loaded everything he had into boat – gold, living things, his family and his kin, beasts of the field both wild and tame and all the craftsmen. This was a whole community of beings who would survive the flood.

Finally, the time came when Shamash the sun gave him the sign that the mighty deluge was about to begin. After battening and caulking, Utnapishtim handed the tiller to Puzur-Amurri, the steersman, with the navigation and care of the whole boat. So the tiller is set for Syria (Puzur-Amurri represents Syria).  This new colony was heading to Syria – an inner and an outer place.

The structure of the boat and how it was built, its meaning and purpose, as a spiritual structure and belief system, is in fact the great secret and mystery, which Utnapishtim teaches Gilgamesh. This is the main point of the story. At the end of the last episode, Utnapishtim tells Gilgamesh that he will tell him a great secret and mystery. Here it is hidden within the story of the flood. The boat is the means by which the seeker can make that inner journey to the centre of all and thus find ‘immortality’, just as we have seen in the tales explored in The Witch as teacher in Fairy Tales.

Many years ago, while taking part in a workshop, I had a dream, which I took to the Jungian analyst who was leading the workshop. In this dream I was on a great ocean liner, with the date of the 1950’s written on the funnel. In the hold of that ship were many, many dead babies. I was told that this was an initiation dream, and that I should go into a Jungian analysis, and bring all those dead babies back to life again. This led to an almost seven year Jungian analysis, in which I had many dreams of boats or liners, and of babies. Often the babies were twins or two sets of twins, which takes us to the sacred quaternity that Jung speaks of. Sometimes the babies were born fully able to communicate, and full of wisdom. The Divine children.

To me the boat or liner, meant the collective means of crossing the great ocean of the unconscious, in other words the ‘religion’ or belief system of the ‘people’ I had been brought up with.  Clearly this structure or belief system, did not serve me well. All the potentialities in my life at that time, were dead. In the 1950s I would have been between seven and seventeen years old. A time when I was indeed exploring life and what it meant. I I did not get the answers to so many of the questions which I pondered at the time. I could not find anything that satisfied me on a deep level. Now all those years later, I feel that I have resurrected many, if not all of those babies in the hold of the liner, and that everything that I have experienced in my life has led to these resurrections. The boat which Utnapishtim made to save his people from the deluge, is such a boat.

There follows a detailed description of the mighty storm and the rising of the flood waters., the releasing of the birds, first the short flight of the dove, then the longer flight bird, the swallow, and finally the raven, who saw that the waters had retreated, ate, cawed, and never came back. Utnapishtim made sacrifice to the gods in gratitude for their survival, but on seeing this sacrifice, Enlil realised that Utnapishtim and his companions had survived and  was angry when he saw the boat. No-one was meant to have survived. But Ninurta, the god of wells and canals said that it is only Ea the supreme god of all, who knows all things and that nothing can be devised without him. So Ea reproaches Enlil for so senselessly bringing down the flood and further states that it was not he, who revealed the secret of the gods, but that the wise man learned it in a dream. Yet Ea as god of wisdom could well have given Utnapishtim the knowledge he needed in a dream. So, we learn that Utnapishtim knew from his understanding of the world and the environment, what was about to happen and devised the plan from his own intuition and wisdom. One could say that he was perhaps a great sage.

In those days the temples were served by a perpetual priesthood, in whose hands was almost the whole wealth of the state and amongst whom were archivists and teachers, scholars and mathematicians. In the early times the whole temporal power was theirs, as servants of the god whose estates they managed.[4] Utnapishtim could have been one of these priests or mathematicians, whose vision saved humankind. I do think that he was a great Teacher, prophet and leader. Mathematics has always played a fundamental part in the human psyche. Jung talks about primary mathematical intuitions in geometry.

Mathematics are no longer the beginnings of philosophy, or the science of Being in its true appearance, but is instead the science of the structure of the human mind.”[5] The mathematician priests of old would have known this.

The gods again take council and Enlil comes to the boat and takes Utnapishtim and his wife by the hand, entering the boat between them, bids them kneel either side of him, and blesses them, saying “In times past Utnapishtim was a mortal man; henceforth he and his wife shall live in the distance at the mouth of the rivers.”[6] This feels like the final ‘raising up’ of a mortal man, to the highest realms of Being, into Enlightenment.

Thus, it was that this colony of humans could establish themselves far away, in a paradise on earth, at the mouth of rivers. Where this place on earth is, we do not know. I think that the raven probably found land on the Taurus mountains which are now in southern Turkey, but my feeling that this place at the mouth of the rivers is indeed far away – perhaps on the shores of the Mediterranean, even Sardinia, Malta, or Southern Spain.

In the next episode we explore the inner journey or near death experience of C G Jung and the black cube, and of the Miraj of the Prophet, or night journey of the Prophet Mahomed.


Sacred Geometry
“Fundamentally, sacred geometry is simply the ratios of numbers to one another: 1:2, 2:3, 4:5. When such numerical ratios are incorporated into three-dimensional form we have the most graceful and alluring architecture in the world. When those very same ratios are expressed in the domain of sounds they yield the transcendental and transformative music of Indian ragas, Tibetan overtone chanting, Gregorian chanting, African drumming, and the masterworks of Bach, Mozart and other European classical composers. Goethe once said, “Architecture is frozen music.” By this statement Goethe was describing the relationship between musical ratios and their application to form and structure.

While not all the forms found in geometry and nature are harmonic in nature, those that we find most beautiful to the eye do indeed adhere to harmonic series. In particular, forms that express ratios based upon the octave (2:1), fourths (4:3), fifths (3:2), and thirds (5:4) create forms that are visually harmonious. The knowledge of how to use these harmonic ratios to create architecture was basic to the ancient mystery schools of Egypt and Greece. Pythagoras, who got his knowledge of these matters from thirty-three years of wandering and studying in Mesopotamia and Egypt, was especially influential in introducing this sacred geometry to the Greeks, and thereby to Western civilization.

One sacred geometrical proportion, known as the Golden Mean or the Golden Section, was immensely important to ancient architects. The Golden Section is a geometric proportion in which the ratio of the whole to the larger part is the same as the ratio of the larger part to the smaller. Thus a:b = b:(a-b). The Golden Section often involves proportions that relate to the ratios found in the major sixth (3:5) and the minor sixth (5:8). Atomic physicists, chemists, crystallographers, biologists, botanists and astronomers have found these same ratios to be the underlying mathematical framework of the universe. The ratios are also present in the human body and mind, perhaps accounting for the profound and transformative effects of sacred architecture and sacred music upon the human organism. An ancient Hindu architectural sutra says “The universe is present in the temple in the form of proportion.” Therefore, when you are within a structure fashioned with sacred geometry, you are within a model of the universe. The vibrational quality of sacred space thus brings your body and mind into harmony with the universe.”[7]




[1] Sandars, N. K. The Epic of Gilgamesh, Penguin Books 1977 P 108

[2] Daly, Nuria. The Witch as teacher in Fairy tales, Balboa Press 2017

[3] C G Jung letter to Hans Schmid 1915

[4] Sandars N K, The Epic of Gilgamesh, Penguin Classics, 1977, p 15

[5] Quoted by Shane Eynon in the Jungian Book Club. FB

[6] Ibid p 113