Camelot seems to have repeated itself numerous times on numerous levels in the succeeding epochs of Euro/America, playing out different aspects of the story. Although they did not unfold in the same serial order as our standard outline of his/story, it is easier to present them in that manner. Seven is a sacred number of completion in Western numerical lore, so here are seven more Camelots to complement and further illuminate the first one. Several different manifestations of Arthur sit atop each of them to show the elasticity of legend and how it stretches and re-forms itself to reflect the various themes of its times. There are many ways Camelot may be threaded through the personality of power of our recorded story, and the following is one of them.

Camelot #1 - Charlemagne & His Court
If Camelot was the full circle of chivalrous romance between men and women, then the court of Charles the Great or Charlemagne (742-812), King of the Franks and self-styled Emperor of the West, was the half circle of chivalrous romance between men and men. Although there is only the difference of a few hundred years between Arthur’s and Charlemagne’s courts, they are, in actuality, thousands of years and lifetimes apart, for they represent totally opposing sensibilities.
Both embody the premiere romances of their respective ages, with comparably incomparable heroes abounding in each. Charlemagne inherits his loose kingdom from an aggressive father and a legendary grandfather, and places his name firmly in the warrior annals of his time through his battles with the Saracens of Spain and the Saxons of the neighboring low countries. Arthur, too, did battle with the Saxons, and both men carry the same ‘AR’ in the first syllable of their names. In the romances, twelve knights served as the inner circle of Camelot with succeeding rings of twelve on the outer circles, while twelve knights also served as the embodiments of chivalry for Charlemagne. These heroes would continue the Arthurian tradition of larger-than-life warriordom as the ultimate manly ideal.
Charlemagne is presented as a full-circle figure by the collected view of both the chroniclers and romancers. He is the champion of Christendom who also becomes a wavering old man who has outlived his power. While Arthur kept that second side of himself hidden, Charlemagne, on some level, allowed the romancers free reign with his personality. He comes down through time as a ruler manifesting both confidence and confusion, a far fuller figure than hero/worship usually cares to contemplate.
Charlemagne had several wives and numerous concubines so that he did not have to trust one partner to reflect his interior, like Arthur. His love was for his men, not the women in his life. In the Charlemagne legends, women play a far lesser role in bringing out the hidden personality of its major players, in keeping with a greater restraint on romantic impulses and emotional ardor. This would be a far more comfortable archetype for government to play with than the fully dramatic scope of the original Camelot myth with its equal masculine and feminine expressions of power. Being a thoroughly masculine expression, Charlemagne’s majestic sense of kingdom is reflective of him alone, as a singular shining light of creation and crown, rather than as part of an intricate tandem of king and queen and court, as in the Arthurian cycles.
Charlemagne’s court at Aachen, in what is now western Germany, becomes the Camelot of its time, a center for learning, gossip and literacy and a social reflection of the noble singular Self cast in a rational, competitive, warrior mold. This archetype would become the personality of power for European monarchy for the next thousand years. Charlemagne took Arthur and divested him of his vulnerabilities and his need for self-integration, making him complete unto himself for all outward purposes. Though many personalities fluttered and strutted around him, he is alone in his ambitions, and is able to actualize them forcefully. He is Arthur with his manliness integrated through the suppression of his womanliness. His Emperhood is officially sanctioned by the starch magic of the Church, when he has the Pope himself give benediction to his singular selfhood, by officially crowning him. The Emperor would now be the institutional archetype of western his/story and its straight-line concerns of hierarchy and tradition. The transition from Arthur to Charlemagne would be a transition from the romantic Round Table of smoldering darkness and magical light to a singularly male chivalric construct dedicated to the linearity of ambition and self-aggrandizement.
Charlemagne’s progeny did not operate on the same ambitious level as he. Here the Mordred syndrome of the weak and greedy future would rise, and so his empire became divided and eventually lost its name to a palindromic ruler named Otto, Part One (912-973) a little over a century later. Otto turned his own conceit of Emperor-hood into the Holy Roman Empire. This rigid institution lasted nearly a thousand years and gave an orderly base for medieval autocracy to continue until it ultimately toppled in favor of mass expression of self and will.
Charlemagne, then, is the prototypical Emperor of the scientific, empirical Europe to come, a champion of the ordering of information and rule, with the blessings of the sacred establishment behind him. He is the data-master, and his Round Table court would codify and regulate information, so that material civilization could rise in its organized wake. He is not a figure of tragic romance, for his lust is always manifested in terms of his own ambitions, rather than a desire for union outside himself. He is balance and order and stability and rationality and measure filtered through a fiercely unbalanced sense of self and destiny, a fitting hero for the dualities of medieval and modern civilization. Because his thirst for immortality through title and Empire was thwarted by future genetic ineptitude, he is the isolated magnificence of his/story, the individual alone, his manhood serving as an island of action and accomplishment, his womanliness hidden and unacknowledged.
His subsequent duality of character in the chronicles and the romances is the result of the unintegrated male/female soul behind the legend. Charlemagne gives astonishing anchor to an age which allowed its interior to all but disappear in public expression, but gave outer structure to many of the institutions that would refine themselves while passing down into continuous present-day use. Those worlds that Charlemagne did not countenance, the worlds of the invisible arts and emotions, the Merlin worlds, would also disappear in the empires that were modeled after his. He would be the Millennium Emperor of the West, and his influence would last from 800 to 1800, until a directly reflective prototype of himself rose in the last part of the eighteenth century to bring that conception of all-powerful isolated Self to completion.

Camelot #2 - Alfred and His Court
The Camelot in Anglo/American tradition that most closely resembles the spirit of the original myth is that of the court of Alfred of England (849-899). The English have been rather parsimonious with the appellation ‘great’ for their rulers, reserving that meritorious accolade for this singular individual. Alfred is Galahad, the purest of Arthur’s warriors, and the son of Lancelot. It is he, in some of the English legends, who ultimately finds the Holy Grail, for he alone has the purity of soul to see it.
If Charlemagne created a Camelot of the warrior heart, then Alfred was the instrument of a Camelot of the mind. He was the possessor of an incisively inquisitive intellect and a strong determination for the internal integration of his kingdom, not only of the peoples of his realm but the knowledge and wisdom of his time. He is a figure of both action and reflection, presiding over an explosion of scientific learning unequaled for many a century in the West. He is yet another data-master, but of a far more spiritual nature so that he weds within himself both the Grail and Spear of Christendom as the aggressor and receiver of knowledge in true Galahad fashion.
Alfred was the very embodiment of the Christian king, the youngest son of his ruling father and a man of unwavering morals who spent much of his career fighting the Danish incursions into England, before consolidating his holdings in a West Saxon province known as Wessex, which he had inherited. Eventually he became unofficially acknowledged as overlord of England, and was able to pass on a relatively stable sense of rule to the generations which followed him. His seed, unlike Arthur’s and Charlemagne’s, was blessed with kingly strength and endurance.
Despite his warrior sensibilities, Alfred was frail and constantly plagued by physical pain to the point of hypochondria. In essence, he was the wounded as well as the blameless king, although his physical vulnerabilities did not impede his effectiveness as conqueror and ruler. He was aware of his European predecessor Charlemagne and created a Camelot-like court where learning was revered. As a mixture of scholar, soldier and spiritualist, he gave firm foundation to the future nation of England.
The ideal medieval triad of learning, religiosity and education were all given full play under him, for he felt an educated clergy and nobility would be far more receptive to an educated king and the secular and spiritual order that he represented. Gathering many of the pre-eminent scholars of the day around him, and using his own considerable powers of written exposition, he revived the court school concept of Charlemagne and gave English literary prose a solid and enduring foundation.
The court and deeds of Alfred inspired subsequent legend and myths and also served to further define kingship and its singular personality of rule. This was a pragmatic Camelot, dedicated to its own intellectual enhancement as well as the imposition of moral, educational and legal structure on its peoples through the linear and hierarchal traditions of orthodox enlightened leadership. No high romance here, for Alfred relied on his own well-developed interior, and totally eschewed enchantment for the straightforwardness of deception-free rule by law and upright example.
Under him, the mythic Camelot makes its full and final transition into our own physical world of Time’n’Space. By sacrificing romance for regulations and by keeping its feminine element suppressed save through spiritual expression, this Camelot would wind up celebrating the masculine, while putting the last of its earlier pagan element to rest through the integration of Christian ideal with warrior and scholarly pragmatics. Henceforth, the crown of Camelot would be a manifestation of both Alfred and his controlled spiritual femininity and Charlemagne and his overt masculine sense of conquest. Their subsequent reincarnating personalities would create a dual line of rulers sprung from the direct mythos of Camelot to give further shape and detail to the original story.

Camelot #3 - The Latin Kingdom of Jerusalem
One of the major themes of the Round Table was the quest for the Holy Grail. Most of the seekers were looking outside themselves for what only could be found by searching within, which was the underlying theme behind that fabled chalice’s romance. The search for the Holy Grail was a full circle affair, integrating the interior and exterior of its ultimate attainers. Only Galahad, Parsifal and his English equivalent Percival, were capable of bringing it to successful conclusion, for only they knew where to look - inside their hearts.
The Grail story inspired numerous romances in the western Middle Ages, as well as a revival of interest in Victorian England in the 19th century, during a period of public fascination with that earlier era. The archetype of the knight-quester was viewed as the ultimate romantic hero, with a nobility of purpose and mission that transcended earthly experience. This full circle figure was wholly a creature of the imagination’s cloth, for in the reality that Camelot next inspired, this time with its feminine even more suppressed, a different hero emerged, that of the blood-drenched knight-crusader.
The ancient city of Jerusalem was conquered and walled by the Biblical Hebrews around 1000 years before the Common Era, and became successively, the symbolic urban shrine of the three main manifestations of monotheism, Judaism, Christianity and Islam. The latter gained control of that citadel around the middle of the seventh century, and it remained a place of pilgrimage for one and all until the eleventh century, when limits were suddenly placed on who could celebrate the limitless Eternal there and who could not. These restrictions ultimately set up a series of military adventures collectively called the Crusades.
The Crusades were initiated in the year 1095 by the pope of the time, one Urban, Part II (c1042-1099), who promised heavenly rewards for all who would martially serve the cross. This declaration brought forth a torrent of nobles and nobodies who ate the landscape alive on their way to unholy mayhem in the holy land of the three One Gods. There were nine official Crusades in all during the chessboard times of the western Middle Ages, beginning in the year 1095 and ending in 1291. A tenth, the so-called Children’s Crusade, occurred in the year 1212, and resulted in either slavery, disease or death for almost all its youthful starry-eyed participants.
Following the first Crusade, the Latin Kingdom of Jerusalem was established in 1099 to create yet another Camelot, this one reflecting the war devastated land of the alternate reality, with largely impotent kings sitting over it, who inspired no great loyalty from their vassals. Version #3 turned out to be a headless Camelot, where an uncoordinated thirst for adventure and glory actually ruled, without a true center of personal focus. Many of the knights and some of the kings involved had been actual participants in the original Round Table, and though a few evinced the same chivalric high purpose through the military orders that rose from their efforts, in actuality chaos reigned, in keeping with the original alternate reality version of this story.
The Latin Kingdom of Jerusalem fell a little less than a century after its inception, and though there were a goodly number of Crusades initiated to reclaim it, the real energy behind them returned home to turn in on itself, becoming a device for Europe to cleanse itself of its heretics and its unwanted. Those inner crusades put that continent permanently in the disassociated province of the straight line rather than the circle, with an ever deeper focus placed on the outer and the earthly. Thanks to the failure of Camelot #3 and its straight line Round Table, the material world was now at the behest of a burgeoning sense of “me” and “mine,” as Europe became the first continent to fully explore its individual sense of Self. In doing so, it laid the groundwork for the fragmented world of modernity, where the sacred circle of all of life lies broken and unacknowledged in a polluted, fractious, bellicose environment with a visibly dying landscape, once again, reflecting the original alternate Camelot.
The Latin Kingdom of Jerusalem, then, would be the third step in the unfolding of this tale, taking the Round Table and putting it in service of the straight line, where the outer life of western civilization would take precedence over its inner life, and the material resource of the Earth would supersede the spiritual wealth of the heavens. The masculine kingdoms of Earth and Heaven would eventually divide and be increasingly split asunder over the next half millennium, and the full glory of Camelot would disappear even further into the reaches of imaginative romance, in a world ever more distorted, fragmented and confused by its deliberate isolation from the true all-inclusive circle of existence.

Camelot #4 - The Founding of the U. S. A.
A period of nearly six hundred years would pass before the next Camelot in this series would arise. During that time, the western isolated sense of individual self would be given ample opportunity to develop in western Europe, largely through a redistribution of wealth and power that would come to include a mid-class of merchants, traders and entrepreneurs who saw the whole world as their round table of resource, and proceeded to exploit it for all it was worth.
Eventually, the New World eastern coast of one of the largest European colonies would wage revolution over individual property rights and, in so doing, create the United States of America, which, in turn, would raise the recognition of individual selfhood to the level of a secular religion. The mythos of the kingless kingdom of America, where everyone had the potential for riches and self-importance, would serve as a fantasy lure for the rest of the world, which teemed to its shores in hopes of becoming part of this seemingly magical Camelot-like land.
Although the actuality would prove far different from the fantasy, and many would come in the shackles of enforced servitude, the founding of the United States was an attempt at creating a Camelot with a rotating, rather than a singular figure at its head. This ideal would be in unconscious keeping with the idea that the Round Table was actually about the revolutions of power, where all could eventually experience its seat of leadership in far more fluid manner.
As reflection of the energy patterns of the original, the Camelot of the inaugural United States would have one of the knights of the Round Table as its symbolic focus, George Washington (1732-1799), and the former Galahad/Alfred as one of its primary players in Thomas Jefferson (1743-1826), as well as several other earlier heros in similarly key roles. The U.S. of A. was specifically created, however, as a conscious effort to demythologize kingship and erect an egalitarian meritocratic society in its stead, a process still going on over two centuries later.
In the cycles of seven, four is always the bridge between the first three numbers, 1, 2, & 3, and the last three, 5, 6 & 7. The first two Camelots defined kingship from two different perspectives of the personality of power and gave order to the data needed to move into medievalia, while the third created the environment where commerce and trade would rise to give power to commonality, which, in turn, gave ascendance to the self-important self as a wide-spread phenomenon. As a bridge between the end of the medieval and the beginning of the modern, Camelot # 4 would create a legal environment where commonality could be celebrated, at least in theory, creating the revolutionary concept of the rotating throne of the kingless kingdom.
Camelot #4 had its requisite war in the American Revolution, but it was a fray fought over the division of abundance rather than scarcity, although the singular king involved, one George, Part III of England (1738-1820) did suffer the impotence of insanity sometime after its conclusion, to hold the pattern of the wounded king.
The founding of the United States soon became subject of heroic myth and self-righteous romance, with many of its knights first proving themselves in battle, and then giving display afterwards to their equally keen intellects in the formulation of a Constitution that ironically belied the slave-owning patrician stance of many of them. Once again, the feminine element was virtually non-existent in this Camelot, which gave play to the quester aspect of the original, turning the Holy Grail into a vision of liberty and justice and the unprecedented pursuit of happiness for all as a universal goal.
Of the many personalities who helped give shape to the Camelot of the United States, two odd figures stand out, who paralleled one another to such jealous extent, that one would have to destroy the other, and himself in the process as well.
Camelot #4’s tragic twins, each equally passionate and proud, were Alexander Hamilton (1755-1804) and Aaron Burr (1756-1836). Both had forged strong careers around the founding of the United States, actively participating both militarily and politically as republican knights helping to forge the foundation of a democratic nation. Each had a compulsion to seduce everyone in sight, and both suspected the other of far too much unhealthy ambition. A duel was ultimately agreed upon when neither could find any other recourse in accepting the continued existence of the other, and Burr fatally shot Hamilton. With the mark of Cain upon him, Burr failed in a scheme to place himself on the throne of Mexico, survived a trial for treason, and ultimately went somewhere East of Eden, to France, before returning to the U.S. to live out his life in obscurity. As a victim of his own inability to see himself in who he perceived to be his opposite, he was the ongoing failure of the Round Table to make itself manifest in the straight line world, for in circles, polar opposites always recognize one another as part of themselves. The Burr/Hamilton tragedy would be acted out in the final Camelot in this series, with the two coming together in the circle of marriage, only to once more act out the inherent sense of loss and betrayal that lies at the heart of the legend.
The West was now ready to fully usher in its modern age, but on the European continent the Charlemagne cycle of the absolute personality of power would have to be drawn to its circular conclusion in order to liberate that concept for one and all to experience. This final manifestation was affected through a direct reincarnated reflection of that once and future Emperor of the West.

Camelot #5 - Napoleon Bonaparte and His Court
The name of that reflection was Napoleon Bonaparte (1769-1821). He carried the reverse anagram of the pagan god Pan in both his names, and yet acted as the total opposite of that archetypal playful deity in all that he was. Perhaps the reverse anagram was symbol of his stance as the inverted Arthur as well, for he was the master of a Camelot with no romantic impulse whatsoever other than the naked drive towards sheer conquest and supremacy.
Napoleon’s singular romantic conceit was a direct acknowledgment of Charlemagne as his fantasy/master in all that he conjured for himself. Despite the thousand year interval between the two, and the many existences that separated the two lives on his own time/frame, Napoleon was a direct link to that earlier conqueror, with the added onus of having to ultimately purge his ambitions with failure in order to begin to see himself more clearly, and transform himself into a true figure of the modern age, instead of the medieval relic he ultimately became.
Camelot #5 was the court of Napoleon Bonaparte, who ultimately had himself crowned as Emperor of France in 1804. He was Arthur as a total figure of isolation, even from his own sense of dynastic Self. The Camelot he inspired was a testament to his singularity, rather than his integrative abilities of leadership. Its opulence, therefore, was highly illusionary, for it was not a court of the full circle, but only the linear ambitions of its central figure. When those ambitions were thwarted less than a dozen years later, his legacy passed into the dust of distorted memory, truncated and incomplete as befitting his stance of separateness and distrust. Ironically, he had been done in, in part, by another Arthur, Arthur Wellesley, the Duke of Wellington (1769-1852), who helped engineer his final military defeat at Waterloo.
As an isolated phenomenon of his/story and the only kingly Arthur who did not inherit his crown from his father, Napoleon was someone who could share his heart with no one, and therefore felt betrayal from many whose lives he touched - family, foe and friend alike. In his absolute need for control over all aspects of his life, he wound up his career as a prisoner of military defeat on the unenchanted island of Elba, there to grow fat and dull and to blame his intimates for his failures. Once more the ‘AR’ appears in his last name, but this was not an Arthur of the heart or mind, but rather of the hand-held gut, acting out his Emperor-hood of the West in a world that was beginning to grow impatient with that conceit.
Short of stature with a dour, unpleasant personality, Napoleon was born on the Mediterranean island of Corsica into a large family of the minor nobility, with eight of thirteen children surviving infancy. His father was a dreamer and seducer who died relatively young, while the son remained close to his powerful mother all his life, who served as his Lady of the Lake. The redoubtable Madame Mere (1750-1836), was an equally controlling, but somewhat less rigid figure than her son, giving him the requisite strength of character that his father’s weak, and short-lived life lacked.
After receiving a French military education, he proved himself a warrior adept, rising to the rank of general before his twenty-fifth birthday. The excess militarism of the French Revolution beyond France’s borders greatly enhanced his career, and after stumbling from favor in the mid-1790’s, he rebounded most righteously through his skills at organized violence. By 1799, Napoleon had assumed the dictatorship of a tumult-weary France, and within five years he had himself proclaimed Emperor, re-enacting the outer trappings of Charlemagne’s coronation by receiving his crown from the pope of the time in Notre Dame cathedral.
Earlier, he had found his Guinevere in the person of one Josephine Beauharnais (1763-1814), whose first husband had been guillotined during the revolution. She was disliked by his family, and had been connected to the ruling court of France, despite her sympathies with the revolution. Napoleon was unsure of himself with women, being largely disconnected from his own heart, and her interest in him was a healing balm. Both acted out the infidelities of Camelot against each other, and dark rumors abounded about Napoleon’s incestuous infatuation with her daughter by her previous marriage. There is also the distinct possibility that he forced himself upon one or more of his three sisters, for he was someone who knew no bounds in his lust for conquest. He could not understand the pain and humiliation he caused others since everything he did was filtered through his immense isolation and its unacknowledged need for connection and integration. In the full circle of his/story, the incest/seduction theme of Camelot would be instigated by Napoleon, instead of against him, with similar alienating and self-destructive results.
Male figures in the power arena often see their sexuality totally in terms of performance, as if each entanglement they initiate is a test of maintaining their tumescent organ and little else. The compulsion for seduction and domination that this behavior inspires overwhelms any sense of pleasure and places them far more in the category of rapist than lover, using their illusionary positions of prestige as masks for a deeper sense of inadequacy. This continual impulse to prove themselves over and over in unions that mean little to them other than symbolic notches on their dangling members has been one of the primary sorrows of our collective civilization, for it further emphasizes the absolute isolation of power and its inability to see itself in any other terms than dull conquest.
The court of Napoleon and Josephine was filled with the intrigues of a dozen Camelots, including numerous assassination plots, for its primary heads were always playing off the power of each other. Napoleon’s sexual betrayals lasted throughout their relationship, although as his continental eminence continued to rise, Josephine was forced more and more into a curtailed position of subservience to his considerable will. Eventually the marriage was annulled on the grounds of Josephine’s alleged sterility and he took a second royal wife, from whom he received his desired heir, Napoleon, Part II (1811-1832), a precocious but pathetic figure who lived most of his brief life as a prisoner of state in Austria. Because Napoleon embodied the seeds of his own self-creation, as well as his own self-destruction, there was no need for a malevolent Mordred figure in his life. The pathos of his son served that role, acting as an incarnatory dead-end by consuming himself with tuberculosis rather than raising a patricidal hand against his father as he did in the earlier myth.
Napoleon had four brothers and three sisters, whom he placed on various European thrones, so that by 1808, he was the singularly most dominant figure on the continental stage. Existing on four hours of sleep a night, he was a veritable whirlwind of activity, adding to his conquests, codifying laws, establishing reforms and exerting total control over everyone around him. A series of political and military miscalculations, highlighted by a disastrous invasion of Russia and concluding with an overwhelming defeat in 1815 at the famous Battle of Waterloo in Belgium, finally ended his career, turning his exile on Elba into his own living-death Avalon. His family was also banned from France at his final defeat, and most of its members wound up in Italy.
With his downfall, came the rise of an entirely new era in European politics, marked by nationalism and the further empowerment of the individual in a romantic reassessment of Self as the ultimate reflection of Earthly reality. A full millennium of Emperors would now give way to a series of revolutions, the most important of which would be centered around industry and information, allowing the western world full and final entrance into its modern phase.
The Round Table of knight/marshals and family members that the Bonapartes represented is Camelot in disparate and isolated disarray. The power of a singular personality had usurped the integrative command of the circle for all concerned, and when that personality fell, so did all semblance of cohesion fall for his supporting cast. The lessons of the circle, that we are all reflections of one another, fell on the deaf ears of blind ambition in the Napoleon construct of the Round Table, for this was a Camelot that thoroughly ignored the interior magic of its players. The archetypal Arthur that Napoleon represented was the most unintegrated of all the crowns who subtly bore that long-ago legacy, marking an end to the kingly courts which would reflect it.
It was now time for the original alternate Earth Camelot of the dying and depressed land and the impotent king to be played out, so as to bring that part of the legendary cycle to conclusion.

Camelot #6 - Franklin and Eleanor Roosevelt and Their Court
Franklin Delano Roosevelt (1882-1946) and Eleanor Roosevelt (1884-1962) were the first of two 20th century American embodiments of the Camelot legend, trading in their king and queenships of the past for the more egalitarian office of the presidency of the United States. They symbolically reflected the Uther Pendragon and Galahad figures of the myth, with the latter, Eleanor, acting as the mind and body of the twosome, and the former, Franklin, serving as its ebullient heart. In a sense, Uther began the Round Table story and Galahad, in his achievement of the Grail, ended it, so that the two were representatives of one of the full circles of Camelot, allowing the latter to take female form in modern-day America, so as to create a complementary couple who could bring out the original alternate story and place it in the cycles of our own reality.
FDR, as he was initially known, was the only four-term president of America, an individual of great charm, who made up for his own intellectual deficiencies by attracting some of the best and the brightest of his time to him in a Round Table of the mind and the social imagination rather than the strong arm. The previous century, he had been Martin Van Buren (1782-1862), who was also a wealthy upper New York State politician of Dutch extract. Just as Roosevelt had married his first cousin, so did Van Buren, one Hannah Hoes (1783-1819), but her premature demise at the beginning of his career robbed him of his much needed help-mate, and showed what would have happened had he operated on his own. His subsequent one-term presidency from 1836 to 1840 occurred during an economic depression cycle and opened him up to much criticism as a rich elitist out of touch with the common populace, a political slight he was able to redesign around and successfully confront and overcome his next life in this series, exactly a hundred years later.
Roosevelt was a large athletic man who was stricken with polio in 1921 and paralyzed from the waist down, which confined him to a wheelchair for the rest of his life. Throughout his political career, his infirmity was judiciously concealed from the prying eye of the camera, so that he was the archetypal impotent king whose disability lay largely hidden. He was, in essence, a President-for-Life figure whose resonant voice of reassurance made him the first effective media chief executive and an exemplar for the manipulators of mass communication who would follow him.
The Great Depression of the 1930s in the United States demanded a call for kingship to counterbalance the instability of the realm and this created an unconscious call for Camelot, albeit the Camelot of the original alternate Earth rather than its mythic counterpart. Because of his infirmity, Roosevelt was a literal personification of the impotent king ruling over a devastated land which the parallel reality Arthur had also been. Here again the betrayal theme would be acted out through his secret liaisons with several secretary-mistresses. Roosevelt’s Arthur was a largely hidden figure, with a vigorous public image hiding a far more devious persona that was greatly dependent on his wife for the sense of completeness that he projected.
He was also greatly attached to his mother, Sara Delano Roosevelt (1854-1921) a powerful domineering woman who had been the original Ygraine, the deceived wife of Duke Gorlois, so that Camelot #6 was able to give even more direct root reflection of the original story. The obsession of the mother for her son was a reverse mirror of the earlier king’s equally fixated draw towards the earlier Duchess of Cornwall. The women in FDR’s immediate familial circle played a far more important role than any of the previous his/storical Camelots, for Roosevelt and his incarnatory line was a far more integrated character than the Napoleon/Charlemagne figure. His ultimate solution to the ongoing Great Depression of the 1930’s, however, was a reversion to type through the wholesale salve of global warfare, a Camelot theme extended out onto the entire world’s landscape. This bloody antidote proved highly beneficial from an American standpoint, and by the end of the War-to-End-All-Wars, Part II (1939-1945), his depressed and devastated land was the most powerful country on Earth, although it lost its king to ill-health in the final days of the fighting, as sacrifice to the illusions he so handsomely personified.
Although few people would make the connection between Eleanor Roosevelt and Thomas Jefferson, because of the profoundly different roles they played, the two serve as excellent example of how world-level figures can mirror one another, and take on facets of each other in the countering positions they both inherit and are given.
Both Eleanor Roosevelt and Thomas Jefferson were tall, highly intelligent, highly articulate people with a Galahad-like innocence about them, despite their considerable accomplishments, and each was equally wounded by the loss of loved ones. Eleanor Roosevelt lost both her parents as a child, while Thomas Jefferson suffered the death of his young wife relatively early in his long career. Each was patrician born, and both had an abiding respect for commonality, dedicating their public lives to the upthrust of democratic ideals, while evincing an innovative talent for ideas, though Eleanor Roosevelt’s contributions were largely hidden, in keeping with her traditional subordinate, supportive wifely role. Jefferson also countenanced slavery, so that his regard for commonality stopped well short of embracing everyone, although he would later incarnate in African-descended bodies to give him a fuller view of what he embraced in theory, but not in practice.
There is a virginal grace, a la Galahad, to both, even though Jefferson’s sexuality has been subject of much speculation over the centuries, particularly surrounding an ongoing liaison with one of his slaves. Galahad’s purity of heart and purpose is rightfully represented by a powerful male and female figure in the continuing unfoldment of Camelot. He was the knight who ultimately brought the quest of the Round Table to satisfactory conclusion, and therefore represented a completion of the circle of the masculine and the feminine and the Grail and the Spear.
While Thomas Jefferson and Eleanor Roosevelt are two distinctly different beings, she was able to channel some of his essence into century number twenty, thereby bringing him back to the White House without his having to design his own pathway there. Her Galahad is a complete circle of the masculine and the feminine, introducing both thought and feeling to politics at the highest levels, a role she has often played as female exemplar of the seeker after wisdom and truth.
Her queen-ship and nurturing of democratic ideals during a time of great economic trial, did much to shape the second half of America’s century, bringing a Jeffersonian sensibility to it through a far more integrated character than his, in order to help the country truly blend itself around the ideal espoused in its Constitution that everyone counted equally in its United States.
In the original alternate reality Camelot, the ruined countryside was greatly divided, with petty barons fighting one another and vying for power while the life of the land reflected the diseased body of its king. The dying landscape affected people much the same way that the depressed economy of the United States did, for in our unacknowledged magical world, the outer and the inner are always recognized as reflective of one another. Just as the barons of the dying Camelot fought for supremacy, so did the industrialists and lords of the underworld fight for control of Depression-weakened America. And just as all-out warfare brought the original Camelot to conclusion, so did it finalize the Roosevelt court and usher in a whole new age, that of the Atom, through the detonation of planet-destroying nuclear devices as its concluding act.
Once again, no Merlins or Ladies of the Lake graced this Camelot, for it only called for the magic of personality and a continuation of the American fascination with the surface of things in order to bring it to its next level.

Dark Mirror Camelot # 6
Camelot #6 was also mirrored in opposite by a court of total darkness, under an unbent Arthur, one Adolf Hitler (1889-1945), whose years of rule, 1933-1945, exactly paralleled FDR’s, and whose first and last letters of his name encompassed the ‘AR’ of that once and future king. By giving convenient enemy for the wounded Camelot of depressed U.S. of A. to rally round, and a traditional milieu, the extended battlefield, on which to prove its knightly prowess, Nazi Germany proved a perfect tonic for the economic healing of America.
With their emblematic swastikas unfurled, the Nazi Knights of the Twisted Cross would prove to be the last of the crusaders as well, bringing that myth to its circular conclusion by militarily and economically devastating Europe, while dissipating that continent’s power for most of the rest of the century. Just as the first crusaders crisscrossed the continent, both gathering and dispelling data in their locust march towards Jerusalem, so did the shadow crusaders undo Europe’s gradual thousand year ascendency over the rest of the globe, as eaters of the his/story that their earlier counterparts had martially helped forge, in their equal sense of fanatic mission.
At war’s conclusion, 22 Nazis were selected to be tried by an international tribunal at Nuremberg, although one committed suicide before the proceedings began. 22 is a sacred number in a number of systems, including the Kabala, the mystical scripture of the Jews, the very people the Nazis tried to annihilate. Instead, their excess inadvertently helped give rise to the resurrection of Israel as a Jewish state, and Jerusalem, as a kingdom once more readily accessible to the West.
Hidden in this Nazi court were Napoleon Bonaparte and his four brothers, each taking on prominent roles in its political hierarchy. Napoleon reincarnated as one Gregor Strasser (1892-1934), a gifted organizer and strategist, with a socialist overview. As a speaker, however, he was unimpressive, despite taking the number two position in the Nazi Party with a competitive, quarrelsome eye on being number one. Mistrusted by Hitler, he was ultimately out-maneuvered and assassinated while sitting in a prison cell, having run up against a will far more powerful than his own, proving he had the stomach, but not the throat, to grab hold of a popular movement, that quickly became far more nationalist than socialist.
This longtime human bastion of willful individuality finally got to see the repercussions of his own excesses, while working for the first time within a popular movement, rather than from the aristocratic positions he had held in the past. His closest brother in his Bonaparte life, Lucien (1775-1840), was again his brother on this go-round, Otto Strasser (1897-1974). In both lives, the younger sibling had the foresight to peel away from established power, go into exile, and take the measure of his life without it. Napoleon’s three other brothers all wound up in the dock at Nuremberg, to sullenly mull over their repetitive choices, as Camelot #6, both in light and darkness, came to an end following WW II and its spectacular Big Bang conclusion.
It would take one more Arthur and his untimely removal from the Earth plane to allow the Camelot legend to finally begin the process of integrating its romantic outer form with the full circle of its turmoil-filled interior, in order to ultimately create a new myth for a new stellar age, which will demand it.

Camelot #7 - John & Jacqueline Kennedy & Their Court
The seventh and final Camelot had that title directly bestowed upon it. It was the seemingly bright and shining reign of John F. Kennedy (1917-1963), whose handsome exterior contradicted a far less integrated interior that would not be clearly seen until decades later when his compulsively seductive nature began to find the light of memoir and embarrassing revelation. He would be the wounded king as well, with a host of life-threatening ailments that he also kept hidden. Despite the total disparity in their overt personalities and the seemingly opposite nature of their very natures, John F. Kennedy held a curious mirror to the Bonaparte court. Although the overt differences between them were profound, a closer reading of the two and their strikingly parallel families reveal a subtle connection, and, once again, the different ways different characters give odd and opposite reflection to one another here.
The key dissimilarity twixt the two was in their fathers, for while Carlo Bonaparte (1746-1785) was ineffectual and allowed his son a free reign in the development of his personality, Joseph Kennedy, Sr. (1888-1969), the patriarch of the Kennedy clan, was absolutely Napoleonic in the control he exerted over his progeny. By serving as a Napoleon figure to his sons, Joseph Kennedy, Sr. gave John a bitter taste of the archetype of the absolute patriarch, one that probably filled him with a great deal of internal rage, and a continual need to prove he was as much of a man as his progenitor.
Joseph Kennedy, Sr. was the original Duke Gorlois, who had been tricked and defeated by Uther Pendragon, a similar pattern he played out with Franklin D. Roosevelt, who, in turn, blunted the former’s greater domestic ambitions through similar deception by sending him off to the ceremonial position of ambassador to England. Joseph Kennedy, Sr. may also be looked on as a symbolic Lady of the Lake, that daughter of the water whose hand rises with erect sword to become the male embodiment of the illusory fantasy of might and conquest as the ultimate embodiment of masculinity. He was a purveyor of the patriarchal passion for power, replete with an all-abiding desire to spread his seed and eternalize himself through his offspring. He is the Lady of the Lake cut off from the depth of her being, staying on the surface of things through the male emblem of the sword. The Napoleon element of JFK, which was embodied by his father, was totally externalized through the means of both Joseph, Sr. and Jr., his older brother, much in the manner that Arthur allowed others to act out his flaws, so that that he could better see them.
Rose Kennedy (1890-1994), the matriarch of the clan, was a figure of illusionary support with her own fierce agenda for her nine children, and a mania for maintaining outer traditional form at all interior cost. Wounded by her husband’s continual infidelities and daughter of a professional politician, who had a similar disposition, she probably viewed males as inherently weak, and so, concentrated most of her energy on her five daughters, exerting a similar Napoleonic control over their lives, with equally disheartening results. Through them, Camelot would be strictly divided into its unintegrated masculine and feminine elements, with each playing out archetypal roles of disconnection.
The singular rebel to the mother was Kathleen Kennedy (1920-1948) who defied her in following her own heart, then perished in her late 20s over France in an airplane crash. The eldest daughter, Rosemary (1918) acted as a mirror of weakness to this family that worshiped at the altar of strength. She suffered a lobotomy and lifelong institutionalization at the insistence of Joseph Kennedy, Sr., for he could not countenance such blatant imperfection in his offspring. The other three daughters all dutifully, and often unhappily, did as they were supposed to do.
John Fitzgerald Kennedy, carried the inverse ‘AR’ of Arthur in his middle name, making him an even more hidden manifestation of that once and future king. Like Napoleon Bonaparte, he was the second son of a large family, but there the overt similarities stop, since the two are representations of the opposite sides of the personality of power, with each serving as the polarity of the other. While JFK was charming, witty, relatively tall and handsome, Napoleon was serious, dour, short and nondescript. Because of a bad back and a glandular disease, John F. Kennedy’s future survival was always in question, while Napoleon Bonaparte carried an innate sense of destiny about himself from his beginnings. JFK was patrician-born and led a life of extraordinary privilege, while Napoleon, although a member of the minor nobility, suffered through early poverty because of his father’s improvidence. John F. Kennedy carried his wounds physically, while Napoleon bore his spiritually and emotionally.
When President John F. Kennedy fell to assassin bullets in Dallas in 1963, he was initially viewed as the wounded and blameless king. His reputation, however, would become sullied in the decades following his sudden and shocking demise, making him a thoroughly divided character, a beloved martyr to many and the corrupted son of power to others. Napoleon shared that same duality as the most revered and reviled man in Europe, and he, too, eventually suffered a questionable death, where he may have been slowly poisoned during his final exile. The two, then, played out variations on the wounded, betrayed and blameless king from opposing cultural standpoints, one democratic, the other imperial.
In both the Bonaparte and Kennedy families, the eldest son was named Joseph. He was the Pendragon figure, whose position Uther assumed when he was killed in battle, a role he played again as Joseph Kennedy, Jr. (1915-1944), by dying in a plane crash on a needless WW II mission, after having been carefully groomed for the presidency by his same-named sire. A bully who was an exact replica of his father, he served as a mirror of the Napoleon prototype for his far more intelligent and sensitive younger sibling, by literally beating it into him when they were children. In replacing his older brother in his father’s ambitions, John F. Kennedy became the enchanted version of Joseph, Jr., creating a profound conflict of inner character for himself.
Joseph Bonaparte (1768-1844) harbored a lifelong resentment against his younger brother for usurping his position as family leader, even though he was given two thrones by his conquering sibling. He ultimately outlived him, spending several decades in exile in the process, thereby reversing the Pendragon mythos by not giving himself to martial martyrdom, but continuing to live instead, to be over/ridden by a superior will and ability than his own. In the Nazi schema, he went on to become Joachim von Rippentrop (1893-1946), who married well, added a noble prefix to his name, and worked his way into Hitler’s inner circle as his foreign minister. Vain and self-important, like Joseph Bonaparte, with an exaggerated sense of his own abilities, he ultimately found his way into the docks of Nuremberg, and was executed for his hubris, along with numerous others of the unholy 22.
The third Kennedy brother was Robert F. Kennedy (1928-1968), who was the closest of John’s siblings, serving as his confidante and Attorney General, once JFK reached the presidency. A courageous, pugnacious and highly competent individual, who grew with his responsibilities of office, he showed a compassion for commonality and eventually became a senator, before being assassinated like his brother, during a run for the presidency in 1968.
In the Camelot legend, he reflects Bedivere, who threw the sword Excalibur back into the lake on the dying Arthur’s instructions, and then bore the dead king’s body to the funeral barge that would carry him on to Avalon. By returning the magical sword of conquest and might to the waters from which it had arisen, in a sense, he repudiated the role of the conqueror king, much in the manner that Robert Kennedy eventually developed a social conscience that seemed far more genuine than his brother’s and the complete repudiation of his father’s. One can only speculate how he felt about his brother’s rampant sexuality while in the White House, but, more than likely, he felt betrayed by him, as did others in his close inner circle. In a reverse mirror, John F. Kennedy was the betrayer, rather than the betrayed as Arthur had been, thereby allowing him to finally act out the full circle of himself.
The third Bonaparte brother, Lucien (1775-1840) was the one whose abilities Napoleon respected the most, and was the closest to him in his earlier career, just as Robert Kennedy had been with JFK. A key figure in the coup d’etat that made Napoleon dictator in 1799, Lucien ultimately renounced his brother while he was still in power, and tried to flee to America before winding up as a country squire in England instead, where he spent a great deal of time composing a clumsy epic poem based on the life of Charlemagne, before finally settling in Italy. The Arthurian theme of betrayal would undergo a full-circle role-reversal by Lucien, whose repudiation of his brother would be based on a similar sense of having been deceived.
As Otto Strasser, he would also repudiate the dark Arthur of Hitler, as well as his brother, in trying to adhere to principle rather than power. He, too, wound up in exile, although escaped assassination in the process, to ponder over what might have been for many a year, as he had during his Bonaparte incarnation.
The fourth Kennedy brother was Edward or Ted (1932), who was known as a hearty partyer in college, and eventually became a long-term liberal senator with a proclivity for periodically bringing further shame on the family name, via numerous self-destructive episodes. In the Arthurian cycles, he mirrors Gareth, known for his large hands, who takes on the deceptive role of lowly kitchen scullion, before proving his true worth. Here again, the legend is brought to life, through his embarrassing lowly activities counterpointing his effective role as liberal legislator.
The fourth brother in the Bonaparte family was Louis (1778-1846), who was another pawn of Napoleon’s ambitions. His wife Hortense (1783-1837) was the daughter of Josephine Beauharnais, and the incestuous object of his older sibling’s attentions, causing much friction in the marriage. Forced by familial obligations to pursue a pathway of duty over pleasure, as was Edward Kennedy, he proved to be an effective administrator when he was crowned King of Holland by Napoleon, who later forced him to abdicate when the Emperor felt he was far more attentive to the problems of the Dutch than to his own dynastic ambitions. He happily retired afterwards to pursue his own interests.
The fifth and last Bonaparte brother was Jerome (1784-1860), the youngest member of the family and the only one who had not experienced their initial poverty. He was a playboy whose extravagance and licentiousness were his main claim to his/storical memory, and he is comparable to Peter Lawford (1923-1984), an English actor and playboy who married into the Kennedy clan, and became the president’s pimp and procurer. It would have been impossible for the lighthearted, lightheaded Lawford, to ever have survived as such had he been a direct member of the Kennedy family, and so, he opted to join it later on, eventually succumbing to his penchant for pleasure, when his body gave out through excessive toxicity. In the Arthurian cycles, Lawford aligns with Agrivain, brother of Gareth, a devious and deceptive soul who ultimately tells Arthur of the illicit liaison between Lancelot and Guinevere.
The youngest male Bonaparte would become Baldur von Schirach (1907-1974), who achieved a position of prominence as exemplar of Hitler youth. His dissipated ways, which made him a figure of national ridicule, ultimately led him to the Nuremberg docks as well, although he escaped with his life, receiving a 20 year sentence instead.
Josephine Beauharnais, Napoleon’s first wife, and reflective of Queen Guinevere of the legend, had a similar name rhythm to Jacqueline Bouvier (1929-1994), John F. Kennedy’s wife, although the latter was a far more sophisticated and complex person.
Constrained by a profound sense of alienation from America after the violent deaths of John and Robert Kennedy, Jacqueline Kennedy was forced to internalize her anger and keep her emotionality hidden, which, in turn, probably fed into her ultimate self-destruction. Traumatized, trivialized, and grossly intruded upon, she eventually succumbed to cancer, which is a literal manifestation of being eaten away from within.
Her hidden story, as well as her closely timed death with Camelot # 7’s favorite nemesis, Richard M. Nixon (1913-1994), reverberates back to Camelot #4, and the founding of America. John F. Kennedy is directly linked to Alexander Hamilton, a man of equal talent and charisma, as well as hidden appetites, who also capped his career with a highly public death. His long-lived wife, Elizabeth Hamilton (1757-1854), bore great resemblance to Rose Kennedy, and he, too, had a sister, Angelica (1784-1857), who totally disappeared into herself. As champion of a strong central government, and the personality of adept political power to lead it, Hamilton was a far more passionate man than JFK and came to see all he disliked in himself in the person of Aaron Burr, creating a convenient ‘Other’ out of him. Both names hold the ‘AR’ in their own fashion, but in their mutual self-destruction at one another’s hands, Camelot was able to continue under the regis of Galahad in his Thomas Jefferson guise, and the court wound up losing only two of its many knightly personalities, and did not disintegrate around them.
Aaron Burr seems to have entered the annals of the Camelot # 7, as none other than its crowned head, Jacqueline Bouvier Kennedy Onassis, reflecting the king and the queen’s hatred and love for one another, and how mortal enemies are often immortal friends in the full circle of passion and romance surrounding all potential relationships here.
Burr, whose name seems to reduce Bouvier to its nettlesome essence, was a highly emotional character, whose naked ambition made him many enemies, although he always showed a composed public face. Small, quick, charming and sophisticated, he came to see Hamilton as his obstacle ‘Other,’ but after killing him, could find little satisfaction for himself in whatever he did, and wound up sentenced to a long life of relative anonymity to give him plenty of time for reflection.
His next go-round, would be a bridge figure between Burr and Bouvier, one Ida Saxton (1847-1907), a spoiled banker’s daughter who wound up marrying William McKinley (1843-1901), a future president of the United States. They had two daughters, both of whom died in childhood, and she remained unhinged for the rest of her life, subject to epileptic seizures and unable to integrate her grief. Because she could never get over her sense of loss, McKinley used to throw a handkerchief over her face to hide her public seizures. This most pious of presidents was ultimately assassinated by one Leon Czolgosz (1873-1901), who held a handkerchief over his gun, before blasting away at close range, in order to help welcome in America’s violent 20th century.
Czolgosz went on to become the equally disaffected Lee Harvey Oswald (1939-1963), Kennedy’s putative assassin, who met his own end in precisely the same manner, with a handgun fired at close range. Ida Saxton McKinley was once more forced to deal with terrible loss, which she was able to do publicly, before retiring with her overwhelming grief to a sister’s home to live out the rest of her sad days.
The McKinley figure would resurrect as none other than Richard M. Nixon, a longtime hidden intimate foe and friend of the Kennedys, and the figure of Sir Kay, who was Arthur’s foster brother in the Camelot myths. He was made a seneschal, and proved himself alternately a scapegoat, a troublemaker, a clown and a treacherously shrewd courtier.
Nixon, as McKinley, was actually competing with Kennedy/Hamilton for the role of beloved public martyr, in his ongoing mismatched battle with his far more glamorous and romantic rival, over the centuries. Nixon has known as many thrones as Kennedy, in his obsessive monomania with power, but he has never learned how to win the public love and trust. The stiff and formal McKinley was probably as close as he’s ever gotten to having popular tears shed over him, before being forced in his Nixon life, through character assassination, to reassess himself in the light of his failures, rather than his successes.
Richard Nixon was in Dallas the morning John F. Kennedy was killed, although left before the fatal shots were fired. Jacqueline Kennedy was in the same hospital as Nixon when he expired, and she joined her two former husbands within weeks of that event. The three, in death, were curiously intertwined, giving signal to the possibility of the above-mentioned hidden connections.
The who-was-who in his/story is, of course, pure speculation, based on the premise that people do keep coming back to assume positions of public power until, presumably, they exhaust their interest in that particular role, and others rise to replace them. In the circular, cyclical rolls of our ongoing story here, personalities, obsessions, and happen-stances continually repeat themselves, making for the distinct possibility that our own age was peopled with a relatively small group on top exchanging power roles over the course of many lifetimes to see what they needed to see about themselves in their use and disabuse of great political power.
Richard Nixon, John F. Kennedy and Jacqueline Kennedy are an odd menage a trois when viewed from their singular appearances in the 20th century, but stretched out over time, their interweaving Camelot patterns become far more obvious. Nixon is always the most repressed and manipulative of the three, Jacqueline is the angriest, whether she takes male or female form, and JFK, is the most complex, in his combination of intelligence, lust and capabilities, topped by his heroic desire for martyrdom.
The three, undoubtedly, will be loosely linked in the public mind whenever they decide to energize a new Camelot somewhere further down the timepike of our world, and a better understanding of the trio might be gained by threading their personalities through his’n’herstory.
With Jacqueline Kennedy, the Guinevere story comes full circle, for she was the betrayed in their marriage, rather than the betrayer as in Arthur’s time. She is the outer form unintegrated with its hidden emotions, and, as such, another reminder from the feminine half of the Round Table that its deeply wounded circle lies ever more vulnerable and in need of ever more healing as Camelot continues to spin its way down through time.
One final female figure brings Camelot and the Kennedys full cycle, an actress from the enchanted world of Hollywood, Marilyn Monroe (1926-1962). She played the reverse side of the circle of the Morgan le Fey figure in the Arthurian cycles. The original was the fairy sister of Arthur, a beautiful enchantress, who bore her brother ill, seduced him and tried to manipulate events to her own advantage through her extensive knowledge of the inner worlds of the supernatural.
The ill-fated Marilyn Monroe was rumored to have had sexual liaisons with both John and Robert Kennedy, which, in turn, may or may not have led to her untimely death through an overdose of sleeping pills. She was the other side of her enchanted predecessor, an enchanting victim of power rather than its purveyor, in keeping with the Kennedy conclusion of reversals to this long, spiraling story. Her passive death, her helplessness and her willingness to be used by others are all the polar opposites of the power of personality of Morgan le Fey, and, in a sense, an equal corruption of the true power of the feminine as an energy that empowers others without sacrificing its own self-investment in the process.
The disenchanted females of Camelot # 7 underscore its unintegrated outer and inner elements and why it was destined to fall and then suffer a further disintegration in its later retelling. The power of the masculine and the power of the feminine are meant to work in tandem here, as equal partners in the display of personality that marks the public face of any culture, and, until they do, Camelot will always fall to its lusts, rather than rise to its completions.

Camelot Concluded
The seven Camelots that entered his’n’herstory from out of the shadow of the myth that preceded them, all effectively put lie to the ideal union of the masculine and the feminine and the magical land that would reflect it. Instead, the rifts and ruptures of the original tale have only grown larger in a world that has come to reflect a fractured sense of linear self-interest as the major mode of expressing power here, instead of the universal embrace of all parts of the circle.
And so, that circle once again turns, but the story will probably continue with yet another king, or perhaps another queen to come to give it the romantic resonance to last through another set of ages, with yet another cast of extraordinary characters at its center, when the time and space are ripe for their reappearance. Until then, its lessons, its magic and its romance will remain alive as ever in our inner worlds, for both its wounds and wonders are part of us all, and like us, Eternal and never-ending.




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