contemplation | Contemplative Inquiry

April 8, 2015

ABOUT THE ORAN MOR (GREAT SONG)

In my last post, I presented my Amazon review of Jason Kirkey’s The Salmon in the Spring prefaced by his view of the Oran Mor (Great Song), itself somewhat indebted to earlier work by Frank MacKeown. This followed on from my recent reading of a post involving the Oran Mor by Alison Leigh Lily at Q&A: What is the Song of the World, which I picked up through a reblog on Joanna van der Hoeven’s Down the Forest Path, and reblogged myself on https://contemplativeinquiry.wordpress.com/2015/4/2/ . Kirkey essentially sees the Oran Mor as something like the Divine Ground, or the Tao of Chinese mystical philosophy, something that includes all beings whether they be mountains, salmon, humans, midges, wolfhounds, gods or sidhe.

Soon after I read the book I discussed my take on the Oran Mor in a local radio interview, which can now be found in the OBOD website on http://www.druidry.org/druid-way/other-paths/druidry-dharma/. Those interested can scroll down to AUDIO Druidry & Buddhism Stroud FM 141210.mp3. At that time I was more involved in Buddhism than I am now, but generally I still stand by the things I said.

Concerning the Oran Mor, I focused on implications for the personal spiritual path rather than wider issues of cosmology. I suggested that we are invited to do three things:

Learn to hear the Song. This is another way of talking about re-enchantment, the beginning of the conscious journey in paths like Druidry.
Find our unique note, or sound, and sing it. Whilst each note is meaningless, indeed impossible, without the Song, the Song is itself dependent on our individual contributions.
Learn to hear the silence behind and within the Song. For without that the Song, in our perception can become just a noise, even if a beautiful one. To awakening to a full awareness and appreciation of the Song, we need the dimension of silence and stillness as well as sound.

I have noticed one strange thing. When interviewed for Stroud FM (and about half-way through the piece), I confidently attributed these last sentiments to Jason Kirkey. But I’ve looked through the book again and I can’t find them there. So it seems to have been my way of inwardly digesting his book and in a sense the emergence of my own note in relation to the Oran Mor itself as concept, image and inspiration. Still, a mystery, and quite startling when I listened to the interview and then went through the text again. My self-image is one of being careful with attributions and acknowledgements. Perhaps that’s why I felt such a strong energetic pull when the Oran Mor was brought to my attention again.

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April 4, 2015

KABIR: WATER IN THE HOLY POOLS

There is nothing but water in the holy pools.

I know, I have been swimming in them.

All the gods sculpted of wood and ivory can’t say a word.

I know, I have been crying out to them.

The Sacred Books of the East are nothing but words.

I looked through their covers one day sideways.

What Kabir talks of is only what he has lived through.

If you have not lived through something, it is not true.

Kabir Ecstatic poems Boston, MA: Beacon Press, 1992 (The English translations are free enough for Robert Bly to call them ‘versions by Robert Bly’. 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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March 27, 2015

HEAR THE STORYTELLER, NOT JUST THE STORY

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March 24, 2015

POEM: THE RAILWAY CHILDREN

When we climbed the slopes of the cutting

We were eye-level with the white cups

Of the telegraph poles and the sizzling wires.

Like lovely freehand they curved for miles

East and miles west beyond us, sagging

Under their burden of swallows.

We were small and thought we knew nothing

Worth knowing. We thought words travelled the wires

In the shiny pouches of raindrops,

Each one seeded full with the light

Of the sky, the gleam of the lines, and ourselves

So infinitesimally scaled

We could stream through the eye of a needle.

From Seamus Heaney, Station Island London & Boston: Faber & Faber, 1984

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March 21, 2015

AT TATE LIVERPOOL

I spent time at the Tate Liverpool yesterday. Currently there is an exhibition of work by Leonora Carrington the mystical surrealist and feminist. It was almost too much to take in. For me the work, among other things, aptly illustrated one of her own comments.

“One cannot understand reality. Paradigms are a transitory convention for man. It is to our advantage to believe that we know, but it is obvious that absolute truths that were accepted in the times of Newton and Euclid do not exist.

“Sorcerers and alchemists know about animal, vegetable and mineral bodies. To hack away the crust of what we have forgotten and rediscover things we knew before we were born.

“There are things that are not sayable. That’s why we have art.”

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March 16, 2015

POEM: A POSTCARD FROM ICELAND

As I dipped to test the stream some yards away

From a hot spring, I could hear nothing

But the whole mud-slick muttering and boiling.

And then my guide behind me saying,

‘Lukewarm. And I think you’d want to know

That luk was an old Icelandic word for hand.’

And you would want to know (but you know already)

How usual that waft and pressure felt

When the inner palm of water found my palm.

In Seamus Heaney, The Haw Lantern London: Faber & Faber, 1987

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March 14, 2015

HEARTFULNESS & EMBODIMENT

I decided to kindle a Mindfulness 101 book* and do a spot check out how far my own practice meets ‘mindfulness’ criteria as currently understood. I was glad to find – as a wayward intuitive Druid – that I still seem to be incorporating the essential principles. I especially enjoyed the comment: “Ask someone from Tibet where their mind is and they may point to their chest – the word for mind and heart in Tibetan, and many other eastern languages, is the same. When we practice mindfulness, we’re recalibrating our centre downwards – as such, the practice might better be described as ‘heartfulness’ or even ‘bodyfulness’.” On this reading mindfulness becomes “an open hearted awareness of what’s happening, and learning from what we find” so that something which in English sounds like a quality of thinking in fact brings us down from our heads and into our whole bodies. Body sensations are driven at a deeper level than thought, which is why we can’t change how we feel simply be thinking about it. “By bringing attention to sensations within the body … we work with them more skilfully.”

My personal practice includes devotional, energetic and meditative elements with the meditative slightly more emphasised than the others. It includes a review of body, senses, life energy, feelings, thoughts and images. It also includes a period of either breath meditation or ‘choiceless awareness’. All of these elements are in the mindfulness book. What re-assured me most was the implicit validation of my recent choice of Duidsg mo chridhe/dooshk mo chree (awaken my heart) as an affirmation and reminder phrase during this period. This phrase comes from a Ceile De Fonn, and called to me strongly when I chose it. I’d already thought of ‘heartfulness’ as my preferred term for an awakened state – a fuller, more spacious and generous kind of presence than is conveyed to me by the term mindfulness itself. So I liked getting synchronous support from a book about mindfulness practice.

* Ed Halliwell Mindfulness: how to live well by paying attention Hay House Basics

Information about the Ceile De is available on http://www.ceilede.co.uk

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March 13, 2015

BOOKMARK

The other day I glanced at a bookmark I was using. It drew me in and I really took notice of it. I realised that this was an old bookmark, as bookmarks go, and that I’d been holding on to it and intermittently using it since about the dawn of the millennium. I know that because it advertises Banyen Books & Sound, 2671 West Broadway, Vancouver. I’ve only been to Vancouver once, for a conference in August 2001. I remember liking the city and the summer atmosphere. Retrospectively it feels like the last breath of the 1990’s, such a short time before 9/11 and all that has happened since.

One side gives the information about the store – I’ve no idea whether it’s even there now, books and music being sold so differently now. The other has a traditional Chinese picture – mountain, river, mist, all somehow spaciously portrayed within a restricted area of card – together with this quote from Joseph Campbell.

“To have a sacred place is an absolute necessity for anybody today. You must have a room, or a certain hour or so a day, where you don’t know what was in the newspapers that morning, you don’t know who your friends are, you don’t know what you owe anybody, you don’t know what anybody owes to you. This is a place where you can simply experience and bring forth what you are and might be. This is the place of creative incubation. At first you may find that nothing happens there. But if you have a sacred place and use it, something eventually will happen.”

It’s true, and a great thing to bring forward from that time.

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March 9, 2015

HAIKU BY SHIKI

Without my journey

And without the spring

I would have missed this dawn.

Zen Haiku, selected and translated by Jonathan Clements

London: Frances Lincoln, 2000

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March 6, 2015

FUINN II: THE POETRY OF PRACTICE

I’m a Pagan Druid, happily placed in a tradition that values poetry and seership over dogma and system building. I experience my practice as a sort of poetry. In this poetry of practice, I am held in a compelling myth of origin, an ever-now origin, and I have found a new way of working with it.

My new collection of Fuinn (Ceile De chants in Scottish Gaelic) includes a very simple one which goes A Hu Thi (ah – hoo – hee) repeated over and over again. The Ceile De interpretation, a Celtic Christian one, is that this chant “represents the three stages of the unfolding of creation … A– the Great Mystery draws in its breath … Hu – that breath is breathed out, and creation is born from out of the Mystery … God becomes matter … Thi – the Divine nature, beingness and intention acts within the field of intention … Some Ceile De would say that this final stage represents Christ Consciousness.”

It’s a bit different for me. I’ve been working with this Fonn daily for a couple of weeks now. I don’t chant. I use slow deep breathing with a silent awareness of the sounds. I find that for me, the A sets up a sense of latency, a subtle pulse and vibration on the brink of becoming. I feel it in the quality of my inbreath, as a kinaesthetic song. Hu the outbreath feels more vigorous and intentional; there’s a real sense of movement, expressed as exhalation – the breath moves out from my body, through my nostrils. Thi breathed in feels like the delighted expression of a new reality, one that I share in, distinct yet inseparable as a sentient being. This generally brings up feelings exhileration, gratitude and joy. It leads me on to the use of another Fonn as a contemplative and devotional prayer, which I wrote myself using my collection of Fuinn as a model.

A Brighde, A Brighde, solus an domhain; A Brighde, A Brigdhe, Brighde mo chridhe

A Vree-jah, A Vree-jah, solus an dowan; A Vree-jah, A Vree-jah, Bree-jah mo cree

Brighde, Brighde, light of the world; Brighde, Brighde, Brighde my heart

Brighde is the breath, the practice and the Fuinn. When writing my Fonn I wanted to build a felt sense of Brighde as cosmic birther, initiator into being, with a seat in my heart. Her name evokes power and the prayer invokes relationship – identified as She is with primal generativity and the deep powers of life and land, and also One who inspires skill and accomplishment in those She supports and fosters. Through my experience of relationship and connection, deep levels of feeling and intuition are satisfied, in some way met. I feel empowered, with a sense of having more resources available to me. Why would this be? I don’t really know. What I do know is the value of practice as poetry, and the magic it holds.

The Ceile De can be found on http://www.ceilede.co.uk

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Tag: contemplation