In his 1924 manifesto, Breton also included what he felt to be the definite and tracable history of surrealism and magical art in the work of certain
            artists and visionaries, many of whom were obscure then. I will also define my reference to magic by defining magician as someone who can use the
            arts of illusion and staged phenomenae to induce an audience to believe to be not only true, but highly so, no matter how outrageous their Cartesian
            credibility is. He must have th patience and process-consciousness of the alchemist.We relate here to alchemy in the following context: any manifestation
            on a physical plane of unconsciouss, or divine processes. Alfred Jarry, the French writer referred to the science of pataphysics as the laws and
            equations which describe or govern the astral level, or as he put it on one occasion, "the surface tension of God".

            With the Age of Aquarius beginning, we find attention shifting to the image of the sun. The general condition of mankind is to become peaceful and
            benevolent. But even if this is not true or evident, those who have reflected on the Egyptian sense of time and phenomena to the Hopi's time system,
            will realize that is they themselves who are already embodying these manifestations. True, there are many hangovers from the last era: wars, racism,
            pollution, etc., but they are just  that :"hangovers", which must clear up as the day continues. Perhaps ritual will resume its rightful  place as the proper
            outlet for aggressive tendencies. In this case, the artist who is involved in the processes I have mentioned, is the likely person to help in describing the
            form of these rituals. There will also be a coming awareness of the true descent of Western culture from Atlantis. The truth of  the Sufi teachings will
            enable Western man to recover his true spiritual heritage and just as the Eastern modes of learning have come to light, so will there be a re-learning
            of the real Western myths.

            Artaud realized that Western man must be able to re-live his passage in terms of Western archetypes and attempted to show them in his plays.
            Eastern, or any other myth senses, have inestimable value as teaching aids, but serve no real emotive or personal value to Western man compared
            with his own archetypal allegories. Likewise, Greek mythology is at best an interesting study, but survives mainly as literature. Although Greek logic
            and science, etc. did invade Europe through Rome, the inherent magic of that era is gone. The one exception is the Tuatha Danaan tribe who migrated
            from Greece to Ireland where they became a legendary Celtic fairy clan. This places them in touch with other aspects of Celtic myth lore, the King
            Arthur legends and Druidic mysteries, which Robert Graves describes in The White Goddess. In that book, he relates that the lore of the British Isles
            was spread by the minstrels. This, then, brings us to the fountainhead of Western learning, the Sufis.

            Through their influence, the tradition of the troubadours spread through Spain and southern France with the Saracens and eventually led to the
            tradition of "romance". Going back even further, we find the existence of the divine arts and sciences from Atlantis preserved in ancient Persia
            and Egypt. Here were developed the various practices and beliefs which eventually found their way into Europe: alchemy, freemasonary,
            Rosicucianism, minstrelsery and such institutions as the Knights Templar and the Order of the Garter. These did not fare too well when they
            encountered the  Hebrew-Christian theologies, the 'official' Bible myths being a distraction for the student of magic that often the true Christian
            mystics are overlooked by him. It is an interesting fact that many Christian esoterics from Assisi to Jacob Boehme were actually indoctrinates of
            the Sufis. This also applies to many scientists and scholars such as Roger Bacon;. from there the tradition largely went into the arts. 

            In art, music and literature, the traditions of Sufism and magic lay beneath the surface until some 19th century French artists uncovered them.
            These artists, who are by no coincidence, the spiritual predecessors of the Surrealists, saw as evidence around them, and in the wisdom of their
             imaginations, the traditions stemming from Arabia. The most mysterious inheritors were the Gypsies, with their Tarot cards, fortune telling and
             intoxicated rituals. They parallel so closely the Sufi Dervishes who used mushrooms and hashish to prolong their unusual 'whirling', that the
            influence is unmistakable. There is also the phenomenon of the Basque region near the French-Spanish border, which because of its strange and
            customs which relate to no other in Europe, is thought by many scholars to be a last remnant of Atlantis. 

            One artist who perhaps best personified those tendencies was Maurice Ravel. A Basque by birth, he spent hours of labour over his immaculate
            compositions in order to express what he felt was the effect of the Arab pollination of Europe. Although rarely, or never mentioned with regard
            to the Surrealists, he was, in fact, a favourite of such magician-painters as Magritte and Ernst, who obviously saw the hallucinatory and anti-gravity
            effects of such compositions as "Alborada del Gracioso" or "Une Barque sur l'Ocean". To a lesser degree perhaps, Claude Debussy also translated
            the tradition into his work, but it seems he was more pre-occupied with the Norman-Celtic myth sense that he had in common with writers like
            Maeterlinck and Mallarmé. The other composer who was, with the first two, referred to as 'Orientalists' at the time was Erik satie. A Rosicrucian
            for a time, Satie's delicacy reminds one of a Persian tableaux, or a Moorish garden at night. 

            Comparable examples in painting would be people like Delacroix, Gustave Moreau, Douanier Rousseau and Odilon Redon. Then there were the
            other Symbolists, the writers. This would include men like Gautier, Baudelaire and the Club des Hashiciens, Rimbaud, Huysmans and many more.
            Perhaps the most outstanding and easily the most outrageous of these was the meta-magician and  poet/playwright, Alfred Jarry. Jarry actually
            embodied in his everyday life and attire the most  extravagant and hyper-real of his hashish and absinthe (later ether) hallucinations to the degree
            that it consumed him at an early age. His life made it possible, however, for the Surrealists, through the poet Appolinaire to appear. 

            By the end of the First War and after the convulsion of Dada, it was high time for a gigantic flowering of all this accumulated knowledge to erupt
            in the intoxicating, and intoxicated atmosphere of Surrealism. It was by this time pretty well agreed that the Mediterranean was the seat of
            Western magic. Even Picasso eventually moved there to be closer to his inherent mythologies. Dali never ceased to speak of his Catalonia.
            Miro lives on Majorca Giorgio de Chirico was a Mediterranean by birth. Paul Klee resolved himself as a painter after a trip to Morocco. 

            The last note was sounded by Antonin Artaud, who symbolized the apocalyptic end of the first phase of the reinvestigation of magical art.
            Through the hysterical and acute vision of his madness, he saw these and other possibilities for Western man's salvation. Artaud even traveled
            to Mexico to take peyote with the Indians and learn their god and myths. Trying to assemble the trans-Atlantis antediluvian myth sense himself,
            apparently proved too much for his already unstable mind. As he said himself, "In Mexico, while climbing a mountain with my guides, I was
            bewitched by an agent of the International Dark Forces". This also seems to have been the case for the Surrealist painter and inventor of the
            decalcomania technique, Oscar Dominguez. A native of the Canary Islands, which we know to been a portion of lost Atlantis, Dominguez'
            untimely suicide in 1958 shows the strain on those who endeavour to investigate the true myths. 

            Max Ernst seems to have survived intact, however. Announcing at one time that he had been reborn at the end of World War One as a young
            man seeking the myths of his time, he managed to get through with his life. For reasons of survival, similar to Ernst's, the magic artists have again
            gone underground, there they lie, in psuedo-burial, waiting to take their rightful place as the people's magicians. 

            Gregg Simpson
            1970