WESTERN WAYS: DRUIDRY AND SOPHIA
In my world, Druidry and the Way of Sophia are linked, though not the same. In The Western Way (1,2) authors Caitlin and John Matthews made a distinction between a ‘Native’ Tradition and a ‘Hermetic’ one, which act as “complementary opposites”. The Native Tradition is “the inward spiral of a maze which leads into the heart of ancestral earth-wisdom”. The Hermetic Tradition is the outward spiral of the same maze: a path of evolving consciousness which is informed by the inner resources of our ancestral roots, “augmented in a macrocosmic way” (2).
My original interest in a ‘Celtic’ spiritual thread, developing from the 1980s, wasn’t specifically Druid or Pagan. It came mostly through Celtic and Celtic influenced literature. Although a long tradition in its own right, it post-dates the demise of institutional Druidry and Paganism in Celtic speaking regions. Most of it has been written with at least an element of Christian reference and influence. So we get verses like this from the medieval Welsh Book of Taliesin:
I was at the cross
With Mary Magdalene.
I received the Awen
From Ceridwen’s cauldron. (3)
What I intuitively liked about this was the sense of a culture working to integrate diverse influences rather than attempting to be ‘pure’. Pure culture (or the attempt at it) narrows horizons and banishes possible resources, becoming limited and inflexible in my view. Sophia is both an image of the divine and expresses a blending of Jewish and Greek wisdom traditions. She came to prominence in Alexandria, the largest city of Roman Egypt. She is cosmopolitan. In the verse above Mary Magdalene (an incarnation of Sophia in some gnostic traditions) and Ceridwen (not a traditional Celtic goddess from Pagan times) both have Sophian roles in relation to male figures seen in different ways as light bringers.
Some of the Celtic-derived stories from the medieval period are clearly breaking new cultural ground whilst using resources from the Celtic past. They belong to a realm of creative mythology, as Joseph Campbell called it, whose purpose is “the opening … of one’s own truth and depth to the depth and truth of another in such a way as to establish an authentic community of existence” (4). Twelfth century Western Europe sought to renew itself by drawing on its classical heritage (native in Italy) and Geoffrey of Monmouth drew on it in his Mystic Life of Merlin (5), for example by dedicating a contemplative ‘Observatory’ to the owl deity Minerva, Roman Goddess of Wisdom. It also drew on Celto-Germanic heritage, with the Arthurian mythos – the matter of Britain – taking a prominent place. This mythos does not name Sophia. But it does have the image of the grail and the story of the grail quest. For me the grail represents the presence and energy of Sophia, and Caitlin Matthews has described it as “a prime symbol of Sophia” (6). Perceval, the grail winner, has to encounter the divine in a new way for himself. At one level his role is to honour and heal the land, renewing its tantric energy. But the Grail Goddess, whilst enabling that traditional collective healing, adds a new and more individuated depth of wisdom and compassion. So although I have always been moved by the scenes and images of the more archaically oriented Peredur (7), I have found a more compelling narrative in Parzival (8). It is the innovative aspect of the story that engages me and the grail image that nourishes me.
In the Gnostic Gospel of Thomas, (9) Jesus of Nazareth asks three leading followers to say what they think he is like. Peter, traditionally Jewish, says “you are like a just messenger” (or righteous angel in other translations). Matthew, familiar with Graeco-Roman ways, says “you are like a wise philosopher”. Thomas says, “my mouth is utterly unable to say what you are like”. The teacher responds, ‘I am not your Teacher. Because you have drunk, you have been intoxicated from the bubbling spring that I have tended’. As I read this text, it is a confirmation that a lived spirituality is beyond packaging.
In this sense, terms like Druidry, Way of Sophia or Western Way have only a limited use. Joseph Campbell said “the best things cannot be told; the second best are misunderstood; after that comes civilised conversation”. The problem is real yet I believe he overstates his case. I think it is worth the effort of finding words, making distinctions and enabling affiliations in full awareness of the difficulties. Civilised conversation with moments of … something more … feels like an honourable pursuit.
- Caitlin & John Matthews (1985) The Western Way: A Practical Guide to the Western Mystery Tradition: Volume 1 – the Native Tradition London: Arkana
- Caitlin & John Matthews (1986) The Western Way: A Practical Guide to the Western Mystery Tradition: Volume 2 – the Hermetic Tradition London: Arkana
- John Matthews (1991) Taliesin: Shamanism and the Bardic Mysteries in Britain and Ireland London: The Aquarian Press (with additional material by Caitlin Matthews)
- Joseph Campbell (1976) The Masks of God: Creative Mythology Harmondsworth: Penguin
- R. J. Stewart (1986) The Mystic life of Merlin London: Arkana
- Caitlin Matthews (1986) Sophia Goddess of Wisdom, Bride of God Wheaton, IL: Quest Books
- The Mabinogion (1976) Harmondsworth: Penguin (translated with an introduction by Geoffrey Gantz)
- Wolfram von Eschenbach, W. (1980) Parzival Harmondsworth: Penguin (translated by A. T. Hatto)
- The Gospel of Thomas: the Hidden Sayings of Jesus (1992) San Francisco, CA, USA: Harper San Francisco (translation with introduction, critical edition of the Coptic text and notes by Marvin Meyer; with an interpretation by Harold Bloom)
I have always been intrigued by the English folk ballad Lord Bateman and the lady named Sophia referenced within it. It seemed to use much esoteric imagery.
Lord Bateman travels to Turkey where he is held captive by being chained to a huge strong tree. He is freed by his captor’s daughter Sophia.
Turkey resonates with the Crusades, a Turkish knight appears in the Mummers plays and can be seen as a place that was a melting pot for esoteric lore: Kabbalah, Sufism, Alchemy, Gnosticism etc.
Being bound to a huge tree seems very archetypal, The Hanged Man of theTarot, Odin and Jesus reenact this archetype.
Prior to his release by Sophia, they partake in the old sacrament of bread and wine. Is the name of his liberator coincidence?
I often supposed I was being too speculative, until I read R. J.Stewart’s The Underworld Initiation. Here the author makes a deep analysis of this ballad relating it to Quabbalah. So maybe this a is reference to our Sophia.
I think it is. Also, Sophia’s standing in Orthodoxy, including the great cathedral of St. Sophia in Constantinople even if it did become a mosque. The Underworld Initiation has a lot to do with switching me on to this stuff in the first place.