also wrote a one-act play The Saviour. The main idea of
this had been in my mind for a long while as a presentation of
irony. The council of a city in the extremity of despair invoke
a long-expected saviour. He appears to their rapturous relief
but turns out to be the enemy they feared in his most frightful
form. I elaborated this theme by introducing episodes where they
are given a chance to escape. They throw this away for the sake
of the saviour. The poignancy is further increased by various
vicissitudes. The council is guided by a fool whom they ignore,
being the only character with a grain of common sense, and by a
prophet whose insane purpose is to deliver the city to
destruction. By his inspired advice, the council are lured into
one disastrous folly after another, and when the catastrophe
occurs the prophet throws off the mask and bloats over the ruin
he has wrought.
play was accepted by Morris Brown but as bad luck would have it,
war conditions obliged him to close his theatre before it could
be produced. I published it in The International in March
1918, but only after a struggle with my lawyer, who was
seriously alarmed lest Washington should think the cap fitted
and suppress the number. The play being written three years
earlier, and there being not the slightest allusion to or
analogy with current events, his protest showed how dire a reign
of terror had been established by the megalomaniac in the White
House and his brutal and thick-headed bravo, Burleson.
— The Confessions of Aleister Crowley.
New York, NY. Hill and Wang, 1969. Pages 767-768.