W.B. Yeats – The poet of the Occult


Yeats photographed in 1903 by Alice Boughton

William Butler Yeats (13 June 1865 – 28 January 1939) was an Irish poet, dramatist, prose writer, and one of the foremost figures of 20th-century literature. A pillar of the Irish literary establishment, he helped to found the Abbey Theatre. In his later years served two terms as a Senator of the Irish Free State. He was a driving force behind the Irish Literary Revival along with Lady Gregory, Edward Martyn, and others.

Yeats was born in Sandymount, Ireland, and educated there and in London. He spent childhood holidays in County Sligo and studied poetry.  From an early age when he became fascinated by Irish legends and the occult. These topics feature in the first phase of his work, which lasted roughly until the turn of the 20th century.

His earliest volume of verse was published in 1889, and its slow-paced and lyrical poems display debts to Edmund Spenser, Percy Bysshe Shelley. From 1900, his poetry grew more physical and realistic. He largely renounced the transcendental beliefs of his youth, though he remained preoccupied with physical and spiritual masks, as well as with cyclical theories of life. In 1923, he was awarded the Nobel Prize in Literature.

W.B. Yeats was one of the bigger poets of the 20 century.

He found his “genius” via ritual magic.


William Butler Yeats wrote about politics, heroes, love, and family. He also wrote about his visions, experience, and his own views about magic systems.  Yeats used the term “genius”, or better the greek original term “δαίμων” literally. But many of the papers and studies about him use the term “genius” as a metaphor.

The essays, the letters, and the productions of the automatic writing he produced with his wife show not only a great poet but one of the greater Magicians of the 20 century. But this is not the case for the people studying his papers. Yeats almost never was judged or studies about his occult knowledge or his deep references for the occult in his work. Not only the academics are to blame for this but Yeats himself.  After his publisher, A.H. Bullen told him that the Irish find his work ( specifically “The Secret Rose“) heterodox, Yeats started to write less about the occult.

 The death of W.P.Yeats


He died at the Hôtel Idéal Séjour, in Menton, France, on 28 January 1939, aged 73. He was buried after a discreet and private funeral at Roquebrune-Cap-Martin. Attempts had been made at Roquebrune to dissuade the family from proceeding with the removal of the remains to Ireland due to the uncertainty of their identity. His body had earlier been exhumed and transferred to the ossuary.

Yeats and George had often discussed his death, and his express wish was that he be buried quickly in France with a minimum of fuss. According to George,

“His actual words were ‘If I die, bury me up there and then in a year’s time when the newspapers have forgotten me, dig me up and plant me in Sligo’.

The person in charge of this operation for the Irish Government was Seán MacBride, son of Maud Gonne MacBride, and then Minister of External Affairs.

Yeats’ final resting place in the shadow of the Dartry Mountains, County Sligo
His epitaph is taken from the last lines of “Under Ben Bulben“, one of his final poems:

Cast a cold Eye
On Life, on Death.
Horseman, pass by!



George Mills HarperYeats’s Golden Dawn

George Mills HarperThe making of Yates’ “A vision” – A study of automatic Script



Unveiling the Occult Mysteries of William Shakespeare: Exploring Esoteric Themes in the Bard’s Work

Unveiling the Occult Mysteries of William Shakespeare: Exploring Esoteric Themes in the Bard’s Work

William Shakespeare, often hailed as the greatest playwright in the English language, crafted works that continue to resonate with audiences centuries after his death. While Shakespeare is celebrated for his insightful portrayals of human nature and the human condition, there is also a lesser-known aspect of his work that delves into the realms of the occult and the supernatural.

Throughout Shakespeare’s plays, there are numerous references to mystical beliefs, magical beings, and occult practices. In “Macbeth,” for example, the three witches who prophesy Macbeth’s rise and fall are emblematic of the supernatural elements that pervade the play. The themes of fate, destiny, and the consequences of tampering with the unknown are central to the narrative, hinting at Shakespeare’s fascination with the occult.

Similarly, in “A Midsummer Night’s Dream,” Shakespeare explores the realm of faeries and enchantment, blurring the lines between the natural and supernatural worlds. The mischievous antics of Puck and the other faeries serve as a reminder of the mysterious forces that govern the universe and influence human affairs.

Beyond his plays, Shakespeare’s sonnets also contain echoes of esotericism and mysticism. In Sonnet 27, for instance, Shakespeare speaks of the soul’s journey through life and the quest for enlightenment—a theme that resonates with the teachings of various mystical traditions.

While Shakespeare’s occult influences may not always be overt, they nevertheless add depth and complexity to his work, inviting readers and audiences to ponder the mysteries of existence and the hidden forces that shape our lives.

Brothers Grimm

Brothers Grimm



The two Brothers

Jacob  and Wilhelm , also known as Brothers Grimm, were German academics, philologists, cultural researchers, lexicographers and authors. They collected and published folklore during the 19th century. The two brothers were born in Hanau in Hesse-Cassel, and spend their childhood in a town called Steinau. They lost their father in 1796, left the family in bad shape both physical and economical. The Brothers Grimm attended the University of Marburg where they began a lifelong dedication to researching the early history of German language and literature, including German folktales.

The rise of Romanticism

The rise of Romanticism during the 18th century had revived interest in traditional folk stories, which to the Brothers Grimms and their colleagues represented a pure form of national literature and culture. The Brothers Grimm established a methodology for collecting and recording folk stories that became the basis for folklore studies. Between the first edition of 1812 and 1815 and the seventh edition of 1857, they revised their collection many times, so that it grew from 156 stories to more than 200.

In addition to collecting and editing folk tales, the brothers Grimm compiled German legends. Individually, they published a large body of linguistic and literary scholarship. Together, in 1838, they began work on a massive historical German dictionary. Before the end of their life, they completed only as far as the word Frucht (‘fruit’).

Many of the Brothers Grimm folk tales have enjoyed enduring popularity. The tales are available in more than 100 languages and have been adapted by filmmakers. Some examples including

  • Lotte Reiniger
  • Walt Disney,
  • Snow White and the Seven Dwarfs
  • Sleeping Beauty

During the 1930s and 40s, the tales from the Brothers Grimm were used as propaganda by the Third Reich; later in the 20th century, psychologists such as Bruno Bettelheim reaffirmed the value of the work, in spite of the cruelty and violence in original versions of some of the tales (which the Brothers Grimms eventually sanitized).

The stories ( some of them at least)

Edgar Allan Poe

Unveiling Edgar Allan Poe: Delving into the Occult Depths of the Master of Macabre


Edgar Allan Poe, the legendary master of macabre literature, possessed a fascination with the occult that permeated both his life and his writing. Beyond his tales of terror and mystery, Poe’s exploration of the supernatural and the esoteric offers a glimpse into the depths of his enigmatic mind.

Poe’s interest in the occult manifested in various aspects of his work, from his fascination with mesmerism and hypnotism to his exploration of themes such as death, the afterlife, and the boundaries between the material and spiritual realms. In stories like “The Fall of the House of Usher” and “The Masque of the Red Death,” Poe weaves a tapestry of eerie atmospheres and otherworldly occurrences that blur the line between reality and the supernatural.

Furthermore, Poe’s poetry often delves into mystical themes, with works like “The Raven” and “The Conqueror Worm” exploring the darker aspects of human existence and the mysteries of the cosmos. His use of symbolism and allegory imbues his verses with a sense of mysticism, inviting readers to ponder the deeper meanings hidden beneath the surface.

Beyond his literary endeavors, Poe’s personal life was shrouded in mystery and tragedy, further fueling his fascination with the occult. His experiences with loss, grief, and mental anguish imbued his writing with a haunting authenticity that continues to captivate readers to this day.