contemplation | Contemplative Inquiry

KEY WORDS

My very best wishes for 2016 to all readers of this blog. May your year be blessed with peace and loving-kindness.

Like many people I find the change of calendar year a good moment for revising and re-framing what I do. This includes my personal contemplative inquiry. I remain strongly engaged with my Sophian Way and I am finding means of strengthening it.

At the beginning of contemplative practice I’m now saying: “I open myself to the divine breath: the movement of that breath and the stillness in that breath. I open my heart to the grace of Sophia”. The key words are breath, movement, stillness, heart, grace and Sophia.

‘Divine breath’ translates the Greek word pneuma which could mean either ‘breath’ or ‘spirit’. It was a favourite with the Gnostics of late antiquity. For me, the divine breath is ordinary breath transformed through practice, awareness and understanding. I feel and taste the knowledge that breath enables life, and that it does so through transcending the boundary between me and not-me. It allows me an individual life, embodied yet not sealed off. It also connects me to a larger system.

When I follow the movement of the breath, I am attentive to its inhalation and exhalation. I breathe the cosmos; the cosmos breathes me. The movement of the breath is inherently active, life-giving and relational. There are practices in both Gnosticism and Tantra involving breath exchange with another person which emphasise these aspects of breathing.

The stillness in the breath, in my experience, is held within the movement of the breath. They are not polarised. It is the still point at the heart of being, always present as the activity of breathing is going on. It’s like an inner silence inside a context of sound, or an inner calm inside a context of energetic or emotional arousal. Truly to become open to the divine breath involves a simultaneous awareness of both dimensions.

Opened up to the experience of divine breath (rather than breath awareness as an arbitrary attentional focus) I can open my heart, in the sense offered by Cynthia Bourgeault: “In the wisdom traditions of the Near East, the heart is not the seat of one’s personal emotional life, but an organ of spiritual perception … its purpose is to stay in alignment with the Image of one’s true nature.” (1) Here, the grace of Sophia is Her presence and energy in support of that alignment.

The words cue me in to the experience, though not as a formula, for true contemplative experience is not formulaic. They represent a sensibility of practice, or a culture of practice, rather than a road map. The value of these words, as I continue to use them, will be in what emerges as a result of using them in the coming weeks and months.

(1) Cynthia Bourgeault The Meaning of Mary Magdalene: Discovering the Woman at the Heart of Christianity Boston, MA: Shambhala Publications, 2010

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December 11, 2015

ST. LUCY’S DAY

“LUCIA PROCESSION” BY FREDRICK MAGNUSSON – ST. LUCY’S DAY, SWEDEN, 2007.

Saint Lucy’s Day is on December 13, part of Advent in the Christian year. I’m posting early because I will be spending the next week or so off the internet.

This feast once coincided with the Winter Solstice, the shortest day of the year before calendar reforms. Her feast day has become a festival of light, something that modern Pagans would perhaps more readily associate with Imbolc. St. Lucy’s Day is celebrated as a major feast day in Scandinavia with its long dark winters.

Lucy is called Lucia and is represented as a woman in a white dress and red sash with a crown or wreath of candles on her head. In both Norway and Sweden, girls dressed as Lucy carry rolls and cookies in procession as songs are sung. Even boys take part in the procession as well, playing different roles associated with Christmas. It is said that to vividly celebrate St. Lucy’s Day will help one live the long winter days with enough light.

I have tended more to link the day to a very different response to the day – John Donne’s poem A Nocturnall Upon St. Lucies Day, Being the Shortest Day. This was composed in the 1590’s, well before calendar reform in England.

The poem is linked to a personal bereavement as well as the season. I share the first two verses. They are very much about the young poet’s own experience, rather than the season or the one who has been lost – though in a sense both the poet’s feelings and the poem itself are a service to her. The words themselves give the dark its voice, capturing the moment of desolation fully, and holding it. They do not move on to any culturally expected renewal, but rather to an alchemical anti-renewal instead. If there is any redemption it is in the writing itself, the expression. Donne was a good English writer in a time of good English writing.

Tis the yeares midnight, and it is the dayes,

Lucies, who scare seaven houres herself unmaskes,

The Sunne is spent, and now his flasks

Send forth light squibs, no constant rayes;

The worlds whole sap is sunke;

The general balme th’hydroptique earth hath drunk,

Whither as to the beds-feete, life is shrunke,

Dead and enterr’d; yet all these seeme to laugh.

Compared to mee, who am their Epitaph.

Study me then, you who shall lovers bee

At the next world, that is, at the next Spring;

For I am every dead thing.

In whom love wrought new Alchimie.

For his art did expresse

A quintessence even from nothingnesse,

From dull privations, and leane emptinesse:

He ruin’d mee, and I am re-begot

Of absence, darkenesse, death; things which are not.

John Hayward (editor) John Donne Dean of St, Paul’s Complete Poetry and Prose London: The Nonesuch Press, 1967 (Donne became Dean of St, Paul’s in London a long time after he wrote this poem).

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December 9, 2015

POEM: WATER AND WAVE

I’m sharing this song of Kabir because I enjoyed it and felt cheered by it. I liked its devotional and ecstatic note – not my usual one.. I have harmonised it with my way of Sophia by changing a ‘his’ to a ‘her’.

I have been thinking of the difference

Between water

And the waves on it. Rising,

Water’s still water, falling back,

It is water, will you give me a hint

How to tell them apart?

Because someone has made up the word

“Wave”, do I have to distinguish it

From water?

There is a Secret One inside us;

The planets in all the galaxies

Pass through her hands like beads.

That is a string of beads one should look at with

Luminous eyes.

A weaver by trade but a poet-singer by calling, Kabir lived in fifteenth century India. His philosophy incorporated various beliefs of both Muslims and Hindus and later became one of the major influences behind Sikhism. Like Rumi, further to the west and generations earlier, his generously devotional and ecstatic path made him a natural bridge builder between traditions.

Kabir Ecstatic poems Boston, MA: Beacon Press, 1992 The English translations are free enough for Robert Bly to call them ‘versions by Robert Bly’. Given Bly’s freedom I have changed a ‘his’ to a ‘her’ above to support the poetry of my own gnosis. There is an earlier set of translations published by MacMillan in New York in 1915 by Rabindranath Tagore assisted by Evelyn Underhill under the title Songs of Kabir. Whilst I don’t follow Bly in calling the English of the earlier work “useless”, I do find that Bly’s interpretation has more passion and power. The Bly work includes an insightful afterword Kabir and the transcendental Bly by John Stratton Hawley.

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December 3, 2015

POEM: THE MOON IN DEWDROPS

Simplicity and complexity, elegance and wisdom combined in the poetry of Japanese Zen. I notice that I respond more strongly to such poetry than I do to didactic texts about meditation and philosophy.

To what shall

I liken the world?

Moonlight, reflected

In dewdrops,

Shaken from a crane’s bill.

I particularly love this poem. The apparent naturalism of the imagery makes it powerful and accessible to anyone. Yet for me, this poem also brings up wider issues about reading and interpretation. The poet’s location in place, time and culture do make a difference. Ehei Dogen (1200-1253) was one of the first to transmit Zen Buddhism from China to Japan and was founder of the Soto School. His poem is a waka – a 31 syllable form predating the invention of haiku. Dogen is a key figure in both Japanese Buddhism and Japanese literature.

In Mahayana Buddhism, the Buddhism of all Japanese schools including Zen, the moon stands for Buddha-nature. So the poem teaches a familiar Mahayana truth that the moon (Buddha-nature) is completely reflected in every one of the countless dew drops (all things) without discrimination, namely one in all, all in one. This understanding is accompanied by a sense of fragility and impermanence within nature – strongly present in Japanese culture independently of Buddhism and reinforced by Buddhist teaching. Dogen gives us elegance and complexity in a 31 syllable form.

Hee-Jin Kim*, a modern Zen scholar, takes this further, bringing out Dogen’s sensitivity to history as well as to nature. He draws attention to the word ‘shaken’: each dew drop holds a full yet shaken reflection of the moon. Dogen lived in what was seen as a dark and ill-starred time in Japanese history. Many Buddhists thought that even their path was compromised and talked of degenerate dharma (mappo). Kim understands Dogen as resisting this ideology of despair whilst fully aware of the collective turmoil. On this reading, the poem asserts that timelessness is experienced within, and only within, momentariness, even when the times are stressed.

To what shall

I liken the world?

Moonlight, reflected

In dewdrops,

Shaken from a crane’s bill.

* Hee-Jin Kim Dogen on meditation and thinking: a reflection on his view of Zen Albany, New York: State University, 2007 (At the time of publication Hee-Jin Kim was Professor Emeritus of Religious Studies at the University of Oregon. He is also the author of Dogen-Kigen: Mystical Realist).

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November 30, 2015

THE WOODCARVER

Khing, the master woodcarver, made a bell stand

Of precious wood. When it was finished,

All who saw it were astounded. They said it must be the work of spirits.

The Prince of Lu said to the master carver:

“What is your secret?”

Khing replied, “I am only a workman.

I have no secret. There is only this:

When I began to think about the work you commanded

I guarded my spirit. I did not expend it

On trifles, that were not to the point.

I fasted in order to

Set my heart at rest.

After three days fasting,

I had forgotten gain and success.

After five days,

I had forgotten praise and criticism.

After seven days

I had forgotten my body

With all its limbs.

By this time al thought of your Highness

And of the court had faded away.

Al that might distract me from the work

Had vanished.

I was collected in the single thought of the bell stand.

Then I went into the forest

To see the trees in their own natural state.

When the right tree appeared before my eyes,

The bell stand also appeared in it, clearly, beyond

doubt.

All that I had to do was to put forth my hand

And begin.

If I had not met this particular tree

There would have been

No bell stand at all.

What happened?

My own collected though

Encountered the hidden potential in the wood;

From this live encounter came the work

Which you ascribe to the spirits.”

Merton, Thomas (1965 & 2004) The Way of Chuang Tzu Boston & London: Shambhala.

Chuang Tzu, one of the great figures of early Taoism, lived around 300 BCE. The frontispiece of this edition says: “He used parables and anecdotes, allegory and paradox, to illustrate that real happiness and freedom are found only in understanding Tao or Way of nature, and dwelling in its unity. The respected Trappist monk Thomas Merton spent several years reading and reflecting on four different translations of the Chinese classic that bears Chuang Tzu’s name. The result is this collection of poetic renderings of the great sage’s work.

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November 23, 2015

STOCKTAKING

In 2014 The Order of Bards Ovates and Druids (OBOD) celebrated its 50th anniversary. It’s now just over 22 years since I first joined. Where am I now?

I remember being reassured by the way in which OBOD was able to hold a point of tension between two seemingly competing narratives. The first was the sense of living relationship with the land and the inheritance of ancestral stories. The second was an open and generous universalism. Without the first, the second could be vague and vapid. Without the second, the first could become culturally inward-turning and defensive. I’ve always been grateful for this balance.

As part of the 50th anniversary year, Sharon Zak and Maria Ede-Weaving put together The Golden Seed: Celebrating 50 Years of OBOD as “an anthology of prose, poetry, images and crafts” (including a DVD) created by OBOD members and friends. It is still referenced at http://www.druidry.org though currently unavailable. In my own entry I said I was more comfortable with a language of “practising OBOD Druidry” than “being an OBOD Druid”. That’s how I still see it and I would now want to add that this practice itself sits within a (for me) larger framework that I would name as the Way of Sophia. This has been true for quite a while, and I will write about it more in the future. Here I just want to say where my Druidry continues to fit.

There are two huge lessons that I draw from Druidry. The first is about how to do solo practice. I can’t now imagine a core solo practice that doesn’t take place in a sacred circle, woven of ritual and liturgy. Allowing a slow evolution of movement and liturgy, I gain insight into my purpose and intent in a way that offers both clarity and embodiment. Within that circle, I include body and energy work and also some form of sitting meditation: the precise forms vary. There’s also an aspect of healing and blessing. Thanks to the OBOD distance learning course, this approach to practice has become second nature. Someone could have given me a list of instructions to this effect on the back of an envelope and I might have had a go with different aspects from time to time before coming across something else on the back of another envelope. But I had the chance to build an evolving practice over an extended period, in a way that was both self-directing (I have an allergy to gurus) and within a tradition that made support and guidance available (I also don’t operate brilliantly if unwitnessed and alone). This combination is quite rare in spiritual education, and it’s a great privilege to have a continuing relationship with this work on the mentoring side. The course covers a lot of other ground as well. But this was the piece that was transformational for me.

The second lesson concerns two intertwining challenges. Both are connected to the contemplative inquiry I’ve been involved in for just over four years. One is the challenge of responding to the Order’s invitation to members to take initiatives and offer varying forms of leadership, whilst still (if we so choose) being held within the collective and feeling part of it. The other is the contemplative journey itself. This has involved the further evolution of solo practice, but more importantly to the co-creation of an innovative house-style in group work and in particular of Day Retreats for small groups. I and my colleagues seem to have a good handle on this now, both within our own local group and in the wider community of Druids and fellow travellers.

These lessons are my guide as to where to put my energy within Druidry, offering contexts of connection, service and nourishment.

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November 12, 2015

POEM: A PILLOW BOOK

The wisdom of diffident humanism. Spontaneity, immersion-in-the-moment and dissolved boundaries aren’t everything. Our narrative natures may be present, self-conscious and hyper-sensitive as we negotiate connection between self and other. In my world this too has integrity, beauty, and tenderness.

I lie in bed, watching you

Dress yourself in nudity

For your part in a story

You are about to tell me.

Once upon a time, you seem to say,

There was a woman who took off all her clothes

And stood for a moment

With one hand on her hip.

You have my full attention

As you pile your hair on top of your head

And let it fall down again.

Up to this point I am familiar with the story.

Your movements suggest a possible outline,

But nothing is certain yet.

You lift your arms above your head

In a gesture of boredom or surrender.

Your hands touch in mid-air

And you turn them palm-side out

In a kind of question mark,

As you ask for help with the ending.

Hugo Williams, West End Final London: Faber & Faber, 2009. The publisher’s blurb describes this collection as a set of “sardonic investigations into the fault line between voice and projection”.

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November 5, 2015

POEM: OLDER

I was recently introduced to this poem, about being older, by my friend Rosa Davis. I’m grateful for the discovery.

It’s not quite god

Pocketed deep inside you now

This wording of your inner voice

No longer needing an answer

This chest-centred warmth

Stillness of snow

Sheltering every branch and twig

Not god, only a sense

That this is enough.

From Caroline Natzler, Only Grenadine Press, Catford: 2015

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November 2, 2015

CONTEMPLATING SOUL

What do we mean by soul? Why does it matter? For me, soul is a bandwidth of experience rather than a detachable entity. James Hillman described it as “a world of imagination, passion, fantasy, reflection, that is neither physical nor material on the one hand, nor spiritual and abstract on the other, yet bound to them both. By having its own realm psyche has its own logic, psychology – which is neither a science of physical things nor a metaphysics of spiritual things”. As Jung’s successor, he believed that “psychological pathologies also belong to this realm. Approaching them from either side, in terms of medical sickness or religion’s suffering, sin and salvation, misses the target of soul”.

As a champion of soul, Hillman is contrastingly a bit grumpy about spirit, another bandwidth of experience, which according to him “always posits itself as superior, operates particularly well in a fantasy of transcendence among ultimates and absolutes … strait is the gate and only first or last things will do … if people choose to go that way, I wish they would go far away to Mt. Athos or Tibet, where they don’t have to be involved in the daily soup … I think that spiritual disciplines are part of the disaster of the world … I think it’s an absolute horror that someone could be so filled with what the Greeks called superbia to think that his personal, little, tiny self-transcendence is more important than the world and the beauty of the world: the trees, the animals, the people, the buildings, the culture”.

Hillman’s sense of soul is deeply intertwined with “a style of consciousness – and this style should not even be called polytheistic, for, strictly, historically, when polytheism reigns there is no such word. When the daimones are alive, polytheism, pantheism, animism and even religion do not appear. The Greeks had daimones but not these terms, so we ought to hold from monotheistic rhetoric when entering that imaginative field and style we have been forced to call polytheistic”. Then, he says, soul can show its patterns through imagery, myth, poetry, storytelling and the comedy and agony of drama – releasing “intuitive insight” from the play of “sensate, particular events”.

A universe of soul is a pluralistic universe, a world of Eaches rather than the One or the All. For Hillman oneness can only appear as the unity of each thing, being as it is, with a name and a face – ensouled by and within its very uniqueness. He quotes William James as saying: “reality may exist in distributive form, in the shape of not of an all but of a set of eaches, just as it seems to be … there is this in favour of eaches, that they are at any rate real enough to have made themselves at least appear to everyone, whereas the absolute (wholeness, unity, the one) has as yet appeared immediately only to a few mystics, and indeed to them very ambiguously”.

For me this is where the terms Oran Mor (Great Song) and Web of Wyrd – from the Celtic and Northern traditions respectively – come into their own. The diversity and uniqueness of every note in the song, of each position within the web, are fully honoured and acknowledged. But these metaphors do also speak of a song and a web. Their unity is a unity of interconnectedness and relationship. Our current scientific metaphor of the Big Bang is a bit similar, in giving us a vast universe (or multiverse) bursting from a point at which time and space themselves originate. This image will doubtless change and may come to be seen as a ‘local’ presence/event (?) within a yet ‘larger’ system (?) ‘beyond’ our knowledge. But it offers a sense of being of the same stuff, and having a common source which in time bound 3D terms we come from and in eternal terms we simply are. Some non-dualists make much of this second aspect and frame it as an affirmation of divinity. But I see such an ultimate unity-at-source as a weak aspect of any identity I can usefully lay claim to and I’m agnostic veering sceptical about any evolutionary teleology or ‘as-if’ intentional drive. The gift – a gift, certainly, evoking deep gratitude even in the absence of a discernible giver – is my precious, vulnerable, fleeting human life, time and space bound though it is. That’s why I value Hillman’s lens of ‘soul’, whilst also choosing to incorporate ‘spiritual’ disciplines into my own life.

Hillman, James The Essential James Hillman: A Blue Fire London: Routledge, 1990 (Introduced and edited by Thomas Moore)

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October 26, 2015

SAMHAIN GIFT

A Samhain gift from Sophia. Here, the pentagram image stands for a cycle of meditations, a pathway to wisdom. We move from peace (bottom left, the earth position) to joy (right hand, the water position) to love (left hand, the air position) to healing (bottom right, the fire position) to wisdom (top, the spirit position) and back to peace again.

It seems that for me inner peace, as well as being a condition of any real peace, is also the beginning of wisdom. Inner peace is a blessing and it is also a skill. We can learn how to access and develop it, though for many of us it doesn’t come easy.

The learning and practice are likely to involve encounters with distraction, agitation and turmoil. I find that there are two ways of addressing this – one is to have ways of diminishing and dispersing them; the other is to find a still point of peace within the distraction, agitation and turmoil themselves. Peace has its place within aroused states as well as calm ones. Essentially, I experience peace as a fundamental at-homeness, an affirmative being and belonging in the world.

Peace is the bedrock. But it isn’t everything. Rather, it opens possibilities. The first is joy, a kind of joy that comes from within peace. This joy may be still. It may be flowing. It may be calm. It may also be ecstatic. Peace and joy together create a very powerful internal state and in my view form the basis for the outward turn to love and aware engagement. This in turn enables the energy of healing – in relation to self, other and world.

The step to wisdom is next, though it assumes a parallel work of knowledge-building and understanding outside the meditative setting. Wisdom depends on these, yet is qualitatively different. In my experience it’s the qualities nurtured by intentional contemplative practice that make the difference.

In this view I acknowledge the influence of the Mahayana Buddhist idea of prajna, where wisdom is a union of spiritual knowledge (jnana) and compassion. The core text of Mahayana Buddhism is the Prajnaparamita Heart Sutra (1), with prajnaparamita represented as a deep meditative state and also personified as Prajnaparamita mother of the Buddhas, just as further to the west Sophia has been represented as the mother of angels. In the text of the Heart Sutra the Buddha Gautama Siddhartha provides instruction to his disciple Avolokitesvara, who went on to develop a powerful female alter ego as the great Chinese bodhisattva Guan Yin – another Sophian figure.

The Sophian pentagram first came to me as a compelling image; then as a sequence of words. From there I quickly identified specific practices (already individually familiar) to work with the named qualities and states. It feels as if I’ve been given a direction for the next phase of my personal inquiry and practice, and it’s good to have that direction as a Samhain gift from Sophia.

The Heart Sutra: the Womb of the Buddhas Translation and Commentary by Red Pine. Berkeley, CA, USA: Counterpoint, 2004

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Contemplative Inquiry

Tag: contemplation

January 4, 2016

KEY WORDS

December 11, 2015

ST. LUCY’S DAY

December 9, 2015

POEM: WATER AND WAVE

December 3, 2015

POEM: THE MOON IN DEWDROPS

November 30, 2015

THE WOODCARVER

November 23, 2015

STOCKTAKING

November 12, 2015

POEM: A PILLOW BOOK

November 5, 2015

POEM: OLDER

November 2, 2015

CONTEMPLATING SOUL

October 26, 2015

SAMHAIN GIFT