Contemplative Inquiry

This blog is about contemplative inquiry

Tag: Contemplative Druidry

ENDING ‘CONTEMPLATIVE INQUIRY’

This blog began in support of a new, specifically contemplative thread within modern Druidry. Over time, this ceased to be the dominant theme and I have looked at many approaches to contemplative spirituality. Gradually, my own approach has clarified as a Sophian Way. At this stage I am not using the metaphor of a path or journey. I am describing a way of life. This includes formal practice, whilst permeating everything. Practices drawn from a variety of sources (including Druidry) now feel naturalized. They have become Sophian. I feel complete.

It is time to let go of this blog. Writing it has helped me a lot. I am grateful to everyone who has companioned me along the way. Letting go is hard, yet also an opening to something else. I will continue to be contemplative and inquiring. Over time I will continue to write. But the forms will change, and for now I look forward to a period of fruitful silence. Within my Sophian Way, I have found healing and grounding in a flowing now, the site of an unexpected At-Homeness. Everything else grows out of that – personal well-being, right relationship, life and expression in the world. It is the fountain that nourishes them all. All it needs is my attention.

This blog will stay public for as long as people continue to read posts. If I start a new project, I will provide a link.

 

ATHENE: PRACTICAL WISDOM

In Greek tradition, Athene is Goddess of Wisdom. Hers is a pragmatic wisdom – “good counsel, thinking through, or practical foresight – the capacity to reflect” (1) In a contest for the rulership of Attica, Poseidon shows that he rules the waves; Athene constructs the ship to ride them. Poseidon provides a horse; Athene bridles it and builds a chariot. Poseidon makes a salt spring gush up from the depths of the earth; Athene offers the carefully cultivated olive. Athene blends creative imagination with dexterity and skill. “She teaches weaving, wool-working, carpentry and all manner of handicrafts whose success depends on holding in the mind an image of the end”.

She also combines her Wisdom role with a Warrior one, where “even in war, she is controlled, in contrast to Ares’ savage and indiscriminate rage, and she easily defeats him in combat. She comes to the side of Achilles when he needs self-discipline, and to Odysseus when he needs strategy and foresight. Here, in the Iliad, Achilles is deliberating whether to reach for his sword in his quarrel with Agamemnon:

Now as he weighed in mind and spirit these two courses

and was drawing from his scabbard the great sword, Athene descended

from the sky.

The goddess standing behind Peleus’ son caught him by the fair hair,

appearing to him only, for no man of the others saw her.

Achilles in amazement turned about, and straightway

knew Pallas Athene and the terrible eyes shining.

“Significantly it is in a moment of reflection occasioned by his conflicting impulses that Athene appears, as the epiphany of his victory over unbridled instinct…. The quality of restraint is the value she embodies, and her ‘flashing eyes’ are the emblem of a lucid intelligence that can see beyond the immediate satisfaction.

The word metis was linked to this kind of wisdom, and it was highly valued. With metis, a person could chop wood better than through strength alone; pilot a ship through storms in the dark; or win a hotly contested chariot race. However, the word could also have overtones of shrewdness or craftiness or thinking too much on an event. Odysseus was known as polymetis (he of many counsels), with both Athene and Hermes to guide him.

At first glance, this seems a long way from the world of Sophia (Hokhmah) in Jewish and Gnostic tradition. But there are certain parallels. Three years ago (2), I wrote, “I am drawn to Sophia because for me she is fully in and of nature yet not locked in to the role of earth mother”. As an Olympian, Athene’s formal relation to nature is ambivalent, but she certainly has worldly concerns. Whilst also not locked into the role of earth mother, she too is willing to support and mentor humans. Sophia stands for awareness, which includes a willingness to see the world as clearly as possible and a capacity to hold and manage a measure of self-aware suffering. Athene, too, in a more pragmatic way, asks for an increase in awareness and a less impulsive response to experience. Sophia represents the energies of creativity and love as well as of wisdom. Athene is highly creative, and has her own wisdom, here based on skill, inventiveness and a capacity to be intentional and strategic. Although universal love and compassion feature little in the Homeric world, she is loyal to those she cares about and engaged with their fortunes. As a lens on how contemplation informs creativity and action, the archaic Athene extends and enriches my understanding of the Sophian archetype.

  1. Anne Baring Anne and Jules Cashford The Myth of the Goddess: Evolution of an Image London: Penguin, Arkana Books, 1993
  1. https://contemplativeinquiry.wordpress.com/2015/08/21/sophia-hohmah/

SOPHIA SOURCE OF WISDOM

“The Holy Spirit of Wisdom as the guiding archetype of human evolution is one of the great images of universality. Transcending the limitations of any one religious belief, it is an image that embraces all human experience, inspiring trust in the capacity of the soul to find its way back to the source.  … To discover the root of the idea of Wisdom we have to go back once again to the Neolithic era, when the goddess was the image of the Whole, when life emerged from and was returned to her, and she was conceived as the door or gateway to a hidden dimension of being that was her womb, the eternal source and regenerator of life … the idea of Wisdom was always related in the pre-Christian world to the image of the goddess; Nammu and Inanna in Sumeria, Maat and Isis in Egypt, and Athena and Demeter in Greece. Even the passages in the Old Testament that describe Hokhmah, the Holy Spirit of Wisdom, powerfully evoke her lost image, though here the image is dissociated from the world.

“But as we move into the Christian era there is a profound shift in archetypal imagery as Wisdom becomes associated with Christ as Logos, the Word of God, and the whole relationship between Wisdom and the Goddess is lost. Now, the archetypal feminine is finally deleted from the divine, and the Christian image of the deity as a trinity of Father, Son and Holy Spirit becomes wholly identified with the masculine archetype. … This theological development effectively erased the ancient relationship between Wisdom and the image of the goddess. Gnostic Christianity, however, retained the older tradition and the image of Sophia as the embodiment of Wisdom survived. Here she was the Great Mother, the consort and counterpart of the God head. When the Gnostic sects were repressed by the edicts of the Emperor Constantine in AD 326 and 333, the image of Sophia as the embodiment of Wisdom was again lost. However, after an interlude of several hundred years, it reappeared in the Middle Ages, in the great surge of devotion to the Virgin Mary and the pilgrimages to the shrines of the Black Virgin … then, in the sudden manifestation of the Order of the Knights Templar, the Grail legends, alchemy, the troubadours and the Cathar Church of the Holy Spirit, Sophia, or Sapientia, as the image of Wisdom, became the inspiration, guide and goal of a spiritual quest of overwhelming numinosity.” (1)

I am committed to a Sophian Way. My view and practice are largely settled. I have worked, studied and sometimes simply surrendered over a long period, exploring methods and movements and gaining insights from them. That phase is done. On several occasions now, the phrase ‘it’s over’ has flashed into my mind, imprinting itself with the force of command. A quest is fulfilled. I know how best to maintain (to use my own language) a sense of At-Homeness, a living ‘not-I-not-other-than-I’ interconnectedness with the Divine. With this, my contemplative inquiry has reached the high-water mark of ‘contemplative’. It is therefore set to become a contemplation-and-action inquiry, in which I will, among other things, look at my understanding of ‘action’ at this time in my life.

One concern, given this confirmation of personal path, is the question of affiliation, and of social identity in the spiritual domain. How do I place myself in culture and community? Merely to name a ‘Sophian Way’ is an invocation of sorts, yet I am neither a Christian nor a Gnostic in the sense of the old movements. My valuing of a wisdom text like the Gospel of Thomas is on a par with my valuation of texts from other traditions – the Prajnaparamita Heart Sutra, the Tao Te Ching, or Rumi’s poetry. I don’t have a category called ‘scripture’. I value the concept of gnosis, especially as defined by Baring and Cashford: “knowledge in the sense of insight or understanding, which requires participation not merely of the intellect but of the whole being. It is knowledge discovered with the intuition – the eye of the heart – which has no need of the intermediary of a priesthood”. But people in many spiritual movements would stand by this definition, and I have limited resonance with the specific frameworks of the ancient and medieval movements that we call Gnostic.

I have talked recently about being ‘spiritual but not religious’, but this now feels somehow weak and lacking in content. My sense is that both words have lost precise definition in the English language. Thinking of my commitment, and conscious of the Baring and Cashford passage above, I feel Pagan, and still held within modern Paganism. Baring and Cashford describe a twelfth century image of Mary in her Sophia aspect at an Oxfordshire church. It is in a Christian setting but for me works most powerfully with a Pagan understanding. She is “seated on a lion throne, as were all the goddesses before her. The divine child is held on her lap and her right hand holds the root of the flower, which blossoms as the lily, disclosing that she is the root of all things. The dove, for so many thousand years the principal emblem of the goddess, rests on the lily, and a stylized meander frames the right-hand side of the scene. All these images relate the medieval figure of Sophia to the older images of the goddess, which reach back into the Neolithic past. But in her the goddess is given a specific emphasis, which offers an image of wisdom as the highest quality of the soul, and suggests that, evolving from root to flower, the soul can ultimately blossom as the lily and, understanding all things, soar like a bird between the dimensions of earth and heaven. Nor is this Christian image unrelated to that of the shaman lying in trance in the cave of Lascaux, for there, also, the bird mask he wears and the bird resting on his staff symbolize the flight his flight into another dimension of consciousness”.

From about the twelfth century, people in the West have increasingly made themselves creators of their own mythology (2), at an increasing rate. As a modern Pagan I know this and respond to the challenge. As a modern Pagan I can honour the tree of life, which is also the tree of knowledge, one tree, the Goddess’s tree, from root to crown. I can be At Home.

(1) Anne Baring & Jules Cashford Sophia, Mother, Daughter and Bride, Chapter 15 in The Myth of the Goddess: Evolution of an Image London” Arkana Penguin Books, 1993

(1) Joseph Campbell The Masks of God: Creative Mythology Harmondsworth: Penguin, 1976 (First edition published 1968 in New York by the Viking Press. Creative Mythology is fourth in a series of The Mask of God)

PSYCHIC GARDEN: BLACKBIRDS

My wife Elaine and I have a blackbird pair, now with two fledglings, almost at our back door. They have created a precarious nest in a jasmine bush just outside. We have halted all clipping for the time being. Blackbirds have also appeared in Sophia’s garden, my Innerworld sanctuary and space for insight and healing.

The garden, which shifts over time, is now a place of midsummer twilight. It has a fountain at its centre. Water jets high into the air before cascading through a succession of bowls into a wide and shallow pool at the bottom. In the twilight, I find it hard to see clearly, though easy enough to hear. The perpetual movement of water makes its music. Otherwise, the garden is at first quiet.

I hear the blackbirds, two of them, without seeing them. This follows a visit in August last year, when there was only one. At that time, I wrote a post about blackbirds as birds of Rhiannon and other aspects of their place in Welsh mythology and modern Druidry: https://contemplativeinquiry.wordpress.com/2017/08/04/a-bird-of-rhiannon/

Shortly after writing the post, I discovered that Jean Markale, the sage of Broceliande, links the blackbird with Merlin, since merle is the French for blackbird and Geoffrey of Monmouth’s spoken language was French. (It was he who introduced the world to the name Merlin.) Without wanting to debate this derivation, I enjoy the sense of this common, plebeian bird, having such resonance and capacity. It contrasts with the image of the noble, highly trained predator – the merlin hawk – which I grew up with.

Somehow, through this discovery, I feel confirmed and affirmed as a civilian, rather than saint or sage, monk or magician. Those paths are fine, but not my own. Blackbirds are anchored in ordinary life. Yet they do sing at twilight, in ways that move and inspire us.

I take my seat, on the bench that’s offered, recognizing my entry into the fourth quarter of my life, with this lesson in mind.

(1) Jean Markale Merlin: Priest of Nature Rochester, VT: Inner Traditions (Kindle edition) Translated by Belle N. Burke

 

LIGHT VERSE 2: ALL HOP IS GONE

In the canal zone,

Talking walls.

No through road suitable for vehicles

Keep clear

Legalize THC

SPLINTA

∞ Infinite

Be aware

This is an ecology area

Chelsea ♥ Jamie

Security surveillance in operation

All hop is gone

POEM: FIELD AND SKY

At the sallow’s* gap

we step through the hedge

and are nothing but field and sky.

Hares race, lurching

to a tussle,

their frenzy printed in the soil.

The kestrel soars –

pausing, head down,

to sew with the finest needle.  (1)

I like this poem for two reasons. The first is as a beautifully written nature poem. The second is the experience it triggered for me in the second and third lines:

we step through the hedge

and are nothing but field and sky.

It is as if the hedge is a portal, and stepping through it takes us into another world, changing us into field and sky. Yet it is the same world, experienced differently. In this version we contain the natural world, holding the lives of hare and kestrel.

Contemplative moments like this – whether directly in nature or evoked in poetry – can take me out of my  boundaried sense of self and place me more fully in the flow of experience and relationship. In their afterglow, I feel a certain poignancy at the fragile, ephemeral, not-to-be-taken-for-granted quality of such connections.

*salix caprea, also called pussy willow

(1) Colin Oliver High River Sudbury: Downstream Press, 2006 (Available from poetry section of the shop at http://www.headless.org/ )

 

BEING IN TRANSIT

If I ask myself, ‘where is my spiritual centre?’ I do not find an answer within any named tribe. Spiritual friendships, communities of practice and generic webs of connection can all help, and I hope that I give something back. But my path is fundamentally solitary. Perhaps even the notion of having a centre is limiting.

I’ve learned a lot from Druidry. Partly thanks to Druid practice, I experience myself as more fully alive on a living Earth. I honour the wheel of the year as it turns in my locality. In Druidry, I’ve been enabled to explore a contemplative dimension within Earth spirituality. I have also connected with ancestral threads I might otherwise have neglected. But I’m not a polytheist Pagan and I have never felt attracted to Shamanism. I’ve learned from Buddhist tradition too. I’m a meditator. I have a deepened sense of interconnectedness and the call to kindness that goes with it. But I have not adopted the four noble truths as the basis of my path, and I do not seek refuge in Buddha, Dharma and Sangha. I am grateful for my connections to Druidry and Buddhism and will continue to take an interest in their literature. I also sense that, with certain understandings and practices now ingrained, their active roles in my life are over.

My creative edge has for some time been elsewhere. I have been working with the insight that perceptions, apparently of the world, do not establish the existence of a world, but only of perceiving (or awareness, or being). Sensations, apparently of a body, do not establish the existence of embodiment, but only of sensing (or awareness, or being). Thoughts, apparently of a mind, do not establish the existence of a mind, but only of thinking (or awareness, or being). This can seem destructively sceptical, even solipsistic. Yet for many people it signals the possibility of a ‘more than’ (or awareness, or being), rather than a dissociated ‘less than’. Mind, body and world can return enhanced rather than diminished by this kind of exercise, with a sense of a ‘not I not other than I’ connection with primordial awareness or being.

This is the basic stance of nondualist traditions, ancient and modern. In Indian culture, the stripping down and reduction to nothingness is sometimes identified as Vedantic, and the subsequent return and flowering in everything as Tantric. In the Gospel of St. Thomas, a Christian Gnostic text, Yeshua (Jesus) says: “I come from the One who is Openness” and the aspiration of disciples is to make themselves “the abode of Openness, a house that welcomes the breeze, a body that has become transparent, like a crystal flooded with light”. Here, a metaphor concerned with transparency emphasizes power and energy rather than vulnerability and exposure.

I am not a member of a nondualist group, or a Christian Gnostic. But I am moved by these spiritual currents. I am in dialogue with them. I think that ‘being in dialogue’ is a good place to be. For me, certainly now, it has more integrity than formal membership or adherence to a system.

(1) Jean-Yves Leloup The Gospel of Thomas: The Gnostic Wisdom of Jesus Rochester, VA: Inner Traditions, 2005 (English translation and notes by Joseph Rowe. Foreword by Jacob Needleman)

BOOK REVIEW: AUSTRALIAN DRUIDRY

Highly recommended. Australian Druidry is a great introduction to modern Druidry in Australia. It describes the author’s journey to develop a Druidry for her needs. It shows all of us how to deepen into the wheel of the year, looking for cues in natural shifts rather than our calendars. As part of Moon Books’ Pagan Portals series, it is clearly and succinctly written.

For author Julie Brett, “modern Druidry is a path of nature-based spirituality being walked by many people over the world today. It centres on an understanding that is the ‘wisdom of the trees’ as the messengers of the natural world that can help us find guidance in our lives for peace, learning and personal development”. These principles can be taken to every part of the world, including the huge diversity of Australia itself, and customised to work any specific landscape.

Druidry is also a spirituality of recognition of our ancestors. Describing the people of Australia as “diverse as the landscape”, she defines the ancestors as “all the people who have come before us whether in our family or the lines of teachings we have received in our lives, or those who came before us in the land we live on”. This being the case, Australian Druidry is a not only a path “applicable to the Australian landscape and its inhabitants” but also an “invitation to explore and create”.

The author’s story shows a deep personal commitment to this path. This included ten month’s living in the UK, and particularly Glastonbury, England, where she tuned into the traditional landscape of Druidry, and apprenticed herself to local practitioners, before going on to develop her own distinctive practice in Australia. Returning home, she immersed herself in her own landscape, eventually creating a ‘coastal Sydney wheel of the year’. It is based around eight festivals, but with a distinctive resonance, not just up-ending the North European ones: Fire Festival, Storm Festival, Peace Festival, Moon Festival, Hardening Festival, Flower Festival, Wind Change Festival, Barkfall Festival.

The book includes sections on keeping a nature diary, animal symbolism, tree and plant symbolism, and forms of ritual practice. The emphasis is on offering possibilities rather than laying down a new template for people in the coastal Sydney area, or anywhere else. Having unleashed her own creativity, Julie Brett wants readers to unleash their own. At the end of the book, she invites us into the Druids Down Under Facebook group in the belief that sharing experiences inspires us. Australian Druidry is an inspired and inspiring book.

Julie Brett Australian Druidry: Connecting with the Sacred Landscape Winchester, UK & Washington, USA: Moon Books, 2017 (Pagan Portals)

PRESENT MOVEMENT

“We have been taught to think of ‘the present moment’ as an infinitesimally small slice of time, sandwiched between the past and the future, but that is not quite right. Instead of calling it ‘the present moment’, let’s call it ‘the present movement’ and see it differently: as the present dance of life, this real-time, immediate, vibrant, ever-changing dance of thought sensation, feeling, sounds, smells, urges, impulses, images, memory and dreams.

“When we take a fresh look at where we are, all we ever find is this present movement, not ‘in’ the past or future, but alive and happening Now. Of course, past and future appear here, too, as images and feelings, as memories and projections. There is only this present movement, inclusive of ‘your’ past and future, and it’s all you’ve ever known, and all you will ever know, for it includes all knowledge and doubt, too.

“Now is not a tiny slice of time between past and future, but the capacity for past, present and future, the unlimited potential for experience, and so we can say this:

“You cannot go ‘in’ or ‘out’ of the Now. You are the Now.”

Jeff Foster The Way of Rest: Finding the Courage to Hold Everything in Love Boulder, CO: Sounds True, 2016. (Extracted from a longer piece entitled In and Out of the Now.)

 

SWEENEY’S SHAPESHIFT

Two extracts from Sweeney Astray, Seamus Heaney’s version of the medieval Irish work Buile Suibhne. Reflecting a time of religious change in Ireland, the first beautifully describes a shapeshifting transformation whilst making it the result of a curse. In the second, there is at least a suggestion that it might, rather, have been another route to holiness. Meanwhile Christian priests have taken on Druid powers and roles, – non-canonical forms of cursing and binding, the support of animal allies and directing peace negotiations.

“There was a certain Ronan Finn in Ireland, a holy and distinguished cleric. He was ascetic and pious, an active missionary, a real Christian soldier. He was a real servant of God, one who punished his body for the good of his soul, a shield against vice and the devil’s attacks, a gentle, genial, busy man.

“One time when Sweeney was king of Dal-Arie, Ronan was there marking out a church called Killaney. Sweeney was in a place where he heard the clink of Ronan’s bell as he was marking out the site, so he asked his people what the sound was.

“It is Ronan Finn, the son of Bearach, they said. He is marking out a church in your territory and what you hear is the ringing of his bell.

“Sweeney was suddenly angered and rushed away to hunt the cleric from his church. Eorann, his wife, a daughter of Conn of Ciannacht, tried to hold him back and snatched at the fringe of his crimson cloak, but the sliver cloak-fastener broke at the shoulder and sprang across the room. She got the cloak alright, but Sweeney had bolted, stark naked, and soon landed with Ronan.

“He found the cleric glorifying the King of heaven and earth, in full voice in front of his psalter, a beautiful illuminated book. Sweeney grabbed the book and flung it into the cold depths of a lake nearby, where it sank without trace. Then he took hold of Ronan and was dragging him out through the church when he heard a cry of alarm. The call came from a servant of Congal Claon’s who had come with orders from Congal to summon Sweeney to battle at Moira. He gave a full report of the business and Sweeney went off directly with the servant, leaving the cleric distressed at the loss of his psalter and smarting from such contempt and abuse.

“A day and a night passed and then an otter rose out of the lake with the psalter and brought it to Ronan, completely unharmed. Ronan gave thanks to God for that miracle, and cursed Sweeney.

….

“After that, Ronan came to Moira to make peace between Donal, so of Aodh, and Congal Claon, son of Scannlan, but he did not succeed. Nevertheless, the cleric’s presence was taken as a seal and guarantee of the rules of battle; they made agreements that no killing would be allowed except between those hours they had set for beginning and ending the fight each day. Sweeney, however, would continually violate every peace and truce which the cleric had ratified, slaying a man each day before the sides were engaged and slaying another each evening when the combat was finished. Then, on the day fixed for the great battle, Sweeney was in the field before everyone else.

“He was dressed like this:

next his white skin, the shimmer of silk;

and his satin girdle around him;

and his tunic, that reward of service

and gift of fealty from Congal,

was like this –

crimson, close-woven,

bordered in gemstones and gold,

a rustle of sashes and loops,

the studded silver gleaming,

the slashed hem embroidered in points.

He had an iron-shod spear in his hand,

a shield of mottled horn on his back,

a gold-hilted sword at his side.

“He marched out like that until he encountered Ronan with eight psalmists from his community. They were blessing the armies, sprinkling them with holy water, and they sprinkled Sweeney with the rest. Sweeney thought they had done it just to mock him, so he lifted one of his spears, hurled it, and killed one of Ronan’s psalmists in a single cast. He made another throw with the second spear at the cleric himself, so that it pierced the bell that hung from his neck, and the shaft sprang off into the air. Ronan burst out:

“My curse fall on Sweeney

for his great offence.

His smooth spear profaned

my bell’s holiness,

cracked bell hoarding grace

since the first saint rang it –

it will curse you to the trees,

bird-brain among branches.

Just as the spear shaft broke

and sprang into the air

may the mad spasms strike

you, Sweeney, forever.

….

“There were great shouts as the herded armies clashed and roared out their war cries like stags. When Sweeney heard these howls and echoes assumed into the travelling clouds and amplified through the vaults of space, he looked up and he was possessed by a dark rending energy.

“His brain convulsed,

his mind split open.

Vertigo, hysteria, lurchings

and launchings came over him,

he staggered and flapped desperately,

he was revolted by the thought of known places

and dreamed strange migrations.

His fingers stiffened,

his feet scuffled and flurried,

his heart was startled,

his senses were mesmerized,

his sight was bent,

the weapons fell from his hands

and he levitated in a frantic cumbersome motion

like a bird of the air.

And Ronan’s curse was fulfilled.

“His feet skimmed over the grasses so lightly he never unsettled a dewdrop and all that day he was a hurtling visitant of plain and field, bare mountain and bog, thicket and marshland, and there was no hill and hollow, no plantation or forest in Ireland that he did not appear in that day; until he reached Ros Bearaigh in Glen Arkin, where he hid in a yew tree in the glen.”

 

The second extract, where the Church is represented by the friendlier Moling, describes the end of Sweeney’s life – still as a wandering bird.

 

“At last Sweeney arrived where Moling lived, the place that is known as St. Mullin’s. Just then Moling was addressing himself to Kevin’s psalter and reading from it to his students. Sweeney presented himself at the brink of the well and began to eat watercress.

“‘Aren’t you the early bird?’ said the cleric, and continued, with Sweeney answering, afterwards.

Moling: So, you would steal a march on us, up and breakfasting so early!

Sweeney: Not so very early, priest. Terce has come in Rome already.

Moling: And what knowledge has a fool about the hour of terce in Rome?

Sweeney: The Lord makes me His oracle, from sunrise till sun’s going down.

Moling: Then speak to us of hidden things. Give us tidings of the Lord.

Sweeney: Not I. But if you are Moling, you are gifted with the Word.

Moling: Mad as you are, you are sharp-witted. How do you know my face and name?

Sweeney: In my days astray, I ested in this enclosure many a time

…..

Moling: Look at this leaf of Kevin’s book, the coilings on this psalter’s page.

Sweeney: The yew leaf coils round my nook in Glen Bolcain’s foliage.

Moling: This churchyard, this colour, is there no pleasure here for you?

Sweeney: My pleasure is great and other: the hosting that day at Moira.

Moling: I will sing Mass, make a hush of high celebration.

Sweeney: Leaping an ivy bush is a higher calling even.

Moling: My ministry is only toil, the weak and the strong both exhaust me.

Sweeney: I toil to a bed on the chill steeps of Benevenagh

Moling: When your death comes, will it be death by water, in holy ground?

Sweeney: It will be early when I die. One of your herds will make the wound.

“You are more than welcome here, Sweeney, said Moling, for you are fated to live and die here. You shall leave the history of your adventures with us and receive a Christian burial in a churchyard. Therefore, said Moling, no matter how far you range over Ireland, day by day, I bind you to return to me every evening so that I may record your story.”

 

When Sweeney is indeed mortally wounded by one of the communities’ herdsmen, the rest of the community feel anger and grief.

 

“Enna McBracken was ringing the bell for prime at the door of the churchyard and saw what had happened. He spoke this poem:

“This is sad, herd, this was deliberate,

Outrageous, sickening and sinful.

Whoever struck here will live to regret

Killing the king, the saint, the holy fool.

…..

My heart is breaking with pity for him.

He was a man of fame and high birth.

He was a king, he was a madman.

His grave will be a hallowing of earth.”

 

Sweeney lives long enough to confess and take the sacrament. “He received Christ’s body and thanked God for having received it and after that was anointed by the clerics”. Moling who “with holy viaticum” has “limed him for the Holy Ghost”, also expresses affection for Sweeney and reveals that he, too, has learned something.

 

“The man who is buried here was cherished indeed, said Moling. How happy we were when we walked and talked along his path. And how I loved to watch him yonder at the well. It is called the Madman’s Well because he would often eat its watercress and drink its water, and so it is named after him. And every other place he used to haunt will be cherished too.

“Because Sweeney loved Glen Bolcain

I learned to love it, too. He’ll miss

The fresh streams tumbling down,

The green beds of watercress.

He would drink his sup of water from

The well yonder we have called

The Madman’s Well; now his name

Keeps brimming in its sandy cold”.

 

Seamus Heaney Sweeney Astray London: Faber & Faber, 1983

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Just another WordPress.com site

anima monday

Exploring our connection to the wider world

Grounded Space Focusing

Become more grounded and spacious with yourself and others, through your own body’s wisdom

The Earthbound Report

Good lives on our one planet

Hopeless Vendetta

News for the residents of Hopeless, Maine