Contemplative Inquiry

This blog is about contemplative inquiry

Tag: Contemplative Druidry

GLASTONBURY REMEMBERED

I am five or six years old, the year 1954/1955. I live in Yeovil, Somerset. My mother wants me to have proper shoes. When my feet are measured up in the local Clark’s shop, we find that I need a broad fitting (E) and they don’t have quite the right shoe for me in stock. After talking to the manager, who makes a phone call, my mother decides we are going to the factory shop in Street.

A day or two later, we walk to the Yeovil Town railway station and board a train for Glastonbury & Street. We are going to make a half day of it. So leaving the train  we first take a short bus ride from the station to Street and get the shoes. Then we take a longer bus ride to Glastonbury and I get my first glimpses of the Tor and Abbey. Somewhere in town, we stop for tea and cake, possibly ice cream. Then a brief bus ride back to the station and the journey home. I remember liking the visit. It was a bit special, but I don’t remember it being particularly magical or numinous.

Two years ago I gave a talk in the Glastonbury Assembly Rooms to the OBOD Winter Gathering about contemplative Druidry and my book of that name. Later in that day I found myself in the car park in town. I remembered childhood visits to the town and, looking up, I saw the railway station roof. And I thought, ‘how did that get here?’ (I have since discovered that it was moved there as a means of conservation).  I  felt a pang of loss for industrial age Glastonbury, with its good railway connections and neighbouring Street with its solid manufacturing base. (Yeovil Town was closed in 1962. Glastonbury & Street went in 1966.) Clarks shoes were a highly respected local employer, with a national and indeed international name. They are still around, still respected, but no longer a local (or national) manufacturer.

It’s happened before of course. For many centuries, the Abbey, as landowner and pilgrim destination, was the economic centre of the town as well as the spiritual one. Henry VIII’s re-arrangement of his own and the nation’s life ended that at a stroke. But the Abbey will always be remembered. Glastonbury is a pilgrim’s town again, though after another fashion. I just wonder if the culture of my childhood, of easy local train rides and proud local shoe making, will be remembered in quite the same way. At least the station roof is something.

REFLECTION: THE IMAGE OF SOPHIA

bcf2c26ec7720ed734fccc2b13534310Pay attention, those that meditate

Upon me, and listen well!

All of you who are patiently waiting,

Take me to yourself!

Don’t dismiss me from your mind

And don’t let your inner voices

Despise me; don’t forget me at any

Time or place; be watchful!

 

 

I am both the first and the last,

I am both respected and ignored,

I am both harlot and holy.

I am wife and virgin, mother and daughter.

I am the unfathomable silence,

And the thought that comes often,

The voice of many sounds,

And the word that appears frequently.

I have been hated everywhere

But also adored.

I am that which people call

Life and you call death.

I am called the Law

And lawlessness.

I am the hunted and the captured.

The dispersed and the collected.

I don’t keep festivals

But have many feasts.

I am ignorant, yet I teach.

I am despised, yet admired.

I am substance

And insubstantial.

I am the union

And the dissolution.

For I am the one

Who alone exists

And I have no-one

Who will judge me.

The lines above have been extracted from an old Gnostic text usually known as Thunder: Perfect Mind. It is part of a collection of fourth century texts known as the Nag Hammadi library, discovered in Egypt in 1945 though not published until 1978. They were buried towards the end of the fourth century, a time of intensified Christian Orthodoxy in the Roman Empire when it had become dangerous to own them. As well as Thunder, the collection includes the Gospel of Thomas, the Gospel of Mary Magdalene and the Gospel of Philip. After over 1500 years of burial, these texts are now once again widely known and appreciated. They might not have appeared at all but for the staunch championship of C. J. Jung towards the end of his life.

Generally, Thunder is thought to be about Sophia, who despite her Greek name is a figure from Jewish tradition – a disregarded voice of wisdom, culturally descended from the dethroned Goddess of Israel. In Christian Gnostic tradition, she is partly reinstated both in the myth of Sophia as a cosmic figure and alternative understanding of Mary Magdalene as a human one. This is one of the main reasons why these texts were suppressed. Thunder goes furthest, in identifying her as supreme being and beyond judgement –  unusual even in the paganism of the day. She also says, “I am the bride and the bridegroom”, calling to mind the Gnostic valorisation of the androgyne as symbol of aware wholeness.

Thunder has many themes: the Goddess and what she stands for; contested understandings of gender, social relations  and religious expression; recognition and non-recognition; the vulnerability of wisdom and spiritual insight in human communities; dualities and the non-duality they are seen to be hiding. In the historical life of Thunder, one toxic duality was to be the co-arising of widespread literacy and systematic censorship. For the Gnostics, there was no redemption to be had in history – only in the transcendent light of a realised Divine identity.

I don’t fully know why Sophia became a numinous image for me. Culturally her Gnostic story is compelling. I notice that I am not interested in the Sophia of Orthodoxy, where wisdom is the wisdom of submission (to God, church and Christian monarchy). Nor am I drawn by Sophia as a Romantic, or Jungian, symbol of the ‘divine feminine’ – with archetype as stereotype writ large. The image of the Gnostic Sophia came to me when I was working within a Pagan context and feeling uninspired by gendered north European deities, with the partial exception of Brigid. In any case, I didn’t want to lose touch with the near eastern traditions, especially in this dissident form from Alexandria, which I felt to be part of my spiritual culture. Whatever the reason, Sophia entered my heart and imagination in a way that no other named and anthropomorphised deity has ever done. She became the perfect patron for a contemplative inquiry, taking on especial significance in the final year, when I talked about a ‘Way of Sophia’.

I still keep the icon close to me, and intend to continue doing so. But two recent dreams suggest some withdrawal of presence and energy. Not in a bad way – it’s more like fare-welling a companion or guide at the end of a journey. I am left with gratitude, inspiration, memory – and some continued sense of connection. This post is a way of honouring her.

Mostly I have selected the text above from the Alan Jacobs translation in The Gnostic Gospels published in London by the Watkins Press in 2005 as part of a series entitled Sacred Texts. However this translation is both free and  incomplete, and for my last four lines I went back to the third revised edition of The Nag Hammadi Library in English published by Harper San Francisco in 1990, with James M. Robinson as general editor.

Artist Hrana Janto at http://hranajanto.com/ (The image at the top of this post is used with her permission.)

 

POEM: COMMUNICATION

Another poem from the English poet and mystic Clare Cameron (1896 – 1983).

 

I beg you, do not speak,

For then I shall not hear what you are saying.

I beg you, do not move,

For then the recognition of what we know

In these arrested moments of our vision

Will fall apart, disintegrate,

And again we shall be ordinary.

 

Let the silence touch the chords of your heart

To its own deep music

And mine will thrill in unison

In the symphony where all chords blend.

You move towards me, as I to you,

Though a hairsbreadth or seas divide.

 

Through us the spirit moves,

Quickens and embraces,

Bringing the comfort, the wisdom and the joy

Of the whole …

And now the words will come

Falling gaily in crystal drops

From the bright torrent of the waterfall

Whose spring is in the mountains.

 

Clare Cameron Memories of Eden London: the Mitre Press, 1976

 

 

POEM: THE GREAT MOTHER

“If we think with the Earth spirit, our souls become populous with beauty, for we turn the cup of our being to a spring which is always gushing.” A.E.

The Great Mother sustained me at that time

Of the bare earth and the cold rime

With the purity of her clear air,

The acceptance of the seasons year by year,

The serenity of patience in her face

That soothed the heart and slowed my pace.

Wher’er I walked, by hill or field or shore,

In summer time she never gave me more.

 

Her calm, her majesty and powers

Strengthened me and taught me in those hours.

Under the open sky, or through the shadowed wood

New truths were given and were understood.

Vast and deep her wisdom. With her lore

Our souls are fed, perhaps as ne’er before.

In winter quiet, where frozen is the rill

Herself she gives, our emptiness to fill.

Clare Cameron Memories of Eden London: The Mitre Press, 1976

downloadClare Cameron (1896 – 1983) was an English poet and mystic, whose life spanned much of the twentieth century. In 1930 her Green Fields of England, centred on footpath travels in the English countryside, was compared to the work of Richard Jefferies and Edward Thomas in the previous generation. At this period, she was involved with the Hermetic Order of the Golden Dawn. For two years the noted occultist Israel Regardie worked for her husband Thomas Burke and wrote the first of his books on the Kabbalah at their home. Later, Clare became associated with the London Buddhist Society under the leadership of Christmas Humphries and formed a friendship with the young Alan Watts, who she succeeded as editor of the journal Buddhism in England (later The Middle Way) when he left for the U.S. in 1938. Gradually Clare moved in a more Christian direction, and for over 20 years she edited The Science of Thought Review, based on the ideas of the mystical teacher Henry Hamblin.

clare-cameron0001Throughout all these changes Clare drew on her experience of nature as sacred within a spirituality that emphasized the sanctity of existence and the silent background of being. Politically she championed women’s empowerment, non-violence in both aims and methods, the view that interdependence applies to countries as well as people, and the growing attention to environmental causes. She also supported the early development of interfaith dialogue.

POST INQUIRY: SACRAMENT OF THE PRESENT MOMENT

I don’t have to share a person’s cosmology and beliefs to learn from them. Right now, I am thinking of Martin Pegler’s book (1) on the modern Christian mystic Martin Israel. It was recommended to me by my Druid friend Rosa Davis and I realised that it helps me to articulate something important even though I do not share its faith framework.

Pegler and Israel both use the term ‘sacrament of the present moment’. This isn’t just about being awake and attentive. Talking about ‘contemplative prayer’, Pegler says: “Reality need not be attained since it is an already accomplished fact, but it still needs to be recognised and then made our own if it is to mean anything. With an open mind and heart, it is best to forget everything we have learned and begin again just where we are … we wait patiently in the stillness of attentive trust for Truth to reveal itself”.

Pegler is a former follower of Ramana Maharsi who came back to the Anglican Church, so he is speaking of a Divine Truth. But his approach does not require this understanding to make sense. “Making a solemn pledge to honour everything in our experience is enough to allow the waters of Life to flow unencumbered … To know the true self … requires a radical acceptance of ourselves as we really are, of our whole personality in fact. As the outer layers are recognised and put in proper perspective, so the core or centre of the psyche is revealed. How radiant and warm it is but how few of us know it! We are deterred from this knowledge by the surrounding layers of cold and darkness. Many people strive for this central place of warmth, of which they are intuitively aware and may even have touched momentarily during meditation or during some great aesthetic experience. But few will attain comfort until they have made the surrounding darkness their own possession also.”

I find these reflections helpful. Treating present moment awareness as a sacrament, rather than an attainment or skill is helpful. Allowing the ‘moment’ to be reflective – to have depth and interiority – is helpful. Recognizing ‘light’ and ‘dark’ alike is helpful: nothing gets airbrushed out.  The sacrament of the present moment is a full recognition of who I am and the context in which I find myself.

This radical acceptance paradoxically opens space for change. I find limited value in approaches that say, ‘don’t be like that. Be like this instead’. But the sacrament of the present moment is different. I think I’ve been celebrating it for a long time without naming it. Each experience is what it is, and remains sacramental in despair and joy alike. Cumulatively I have been finding it naturally easier to access a felt sense of inner freedom and peace. I recognize this heart space, or heart-wisdom space, as my true home. This place, or state, is also the centre from which I operate best in the wider world. It is my reason for maintaining a personal contemplative practice.

(1) Philip Pegler Meeting evil with mercy: an Anglican priest’s bold answer to atrocity Winchester & Washington: Christian Alternative, 2016 (Reflections on the Ministry of Martin Israel)

BOOK REVIEW: ZEN FOR DRUIDS

jhp574843867221aIn this user-friendly book, Joanna van der Hoeven further develops ideas already present in her earlier ones, especially Zen Druidry. On my reading, this book will work best for Druids committed to a modern eco-spirituality. I imagine readers already re-enchanted by their experience of the natural world, who want a harmonious relationship with that world, and to honour, protect and preserve it. Zen for Druids confirms this stance and adds something else: the interwoven ethical and attentional training of the Buddhist tradition.

The author draws specifically on Thich Nhat Hanh, the Vietnamese Zen Master who founded the Community of Interbeing and is a leading model and exponent of ‘engaged Buddhism’. This cultivates personal, social and ecological levels of awareness. It recognizes the radical interdependence of all beings and a need to make ethical/political choices in line with this interdependence. Such Buddhism is not in any way world denying, in the way that Buddhist tradition has at times been in the past. I see Thich Nhat Hanh as a perfect source of influence for this book, and several of his own works are cited in the bibliography.

Zen for Druids is divided into five parts. The first is a clear exposition of Buddhist basics, helped by that tradition’s own style of clear exposition and list making. It includes chapters on the three treasures, the four noble truths, the five basic precepts for lay Buddhists, the eightfold path and the sixteen Bodhisattva precepts. By age-old Buddhist design, there is a certain amount of repetition in these lists, with the same issues coming up again in slightly different contexts. Each individual chapter ends with a set of questions designed to engage the reader in their own reflections.

The second part moves through the eightfold wheel of the year, frequently found as a festival year in Druid and Pagan communities. Each festival is given its own chapter, and each chapter combines traditional Druid and Pagan themes with a principle from the Buddhist eightfold path. The author starts at Samhain (right effort), moves on to the Winter Solstice (right mindfulness), Imbolc (right concentration), Spring Equinox (right intention), Beltane (right view), Summer Solstice (right action), Lughnasadh (right speech) and the Autumn Equinox (right livelihood). Each section is followed by a list of suggestions for practice.

The book’s remaining three parts are shorter. They concern, respectively, meditation, mindfulness and integration. In two chapters on meditation, the first explores ‘mind traps’ – “those little prisons of our own making. We are constantly hijacked by our thoughts and feelings, attachments to them and our egos, such that we spin endlessly in circles until we fall down”. The second shows us to how do a brief meditation session in the Zen manner. The following section, concerning mindfulness in the world, suggests a practice of ‘mindful Mondays’ and explores the relationship between present time awareness and an animist world view. The final section, on integration, focuses on our integration with nature, looking at the issue of ‘ego, self and identity’ before reflecting on ‘awen and relationship’. For Joanna van der Hoeven, indeed, “awen is relationship and integration, the connecting threads that bind us soul to soul”.

In Zen for Druids, one Druid shows how she has taken an iteration of Zen Buddhism into her life and practice, combining them into one path. She sets out her stall very clearly and offers the reader specific opportunities and resources for practice and reflection. This book does a valuable job well.

Joanna van der Hoeven Zen for Druids: a further guide to integration, compassion and harmony with nature Winchester & Washington: Moon Books, 2016

BOOK REVIEW: THE BROKEN CAULDRON

14606507_342051356186231_2360625875228974566_nHighly recommended. Author Lorna Smithers describes The Broken Cauldron as “a fragmentary collection of essays, stories and poems”. Yet I experienced this book as a unity, a poet’s meditation even when presenting technical information about fracking and nuclear power. For it is built around a compelling core image, made visible in Tom Brown’s striking cover illustration.

At its fullest and most majestic, that image is “a cauldron full of stars”, the womb of Ceridwen, Old Mother Universe, and traditionally the source of inspiration, wisdom and rebirth. Yet here the cauldron lies shattered, the universe is fragmented, and the world is out of kilter. Smithers takes myth out of archetypal romance and into the wounded world of history, making it awkward, jarring – and dynamic. She confronts us with where we are and transmits a warning wake-up call from gods and storytellers.

In her introduction, Smithers explains how she was led into a quest to understand the significance of the broken cauldron in ancient British history. The myths she studied were penned in medieval Wales but are rooted in an older oral tradition. All tell the story of the cauldron. When it is broken or stolen, cataclysmic consequences are unleashed. Smithers was particularly drawn “to the violence of Arthur’s raid on Annwn (the Otherworld) and assault on its inhabitants. The moment Lleog thrusts his flashing sword into the cauldron came to symbolize the patriarchal world view … founded on oppression of the Other”. In her poem about this she writes:

“The sinking blade lit like lightening.

Reflected in it faces of a million million souls,

Eyes melting, disintegrating like shadows

Into pure white light.”

Lleminog, another of Arthur’s companions, carries the broken prize away:

“Lleminog scooped the cracked cauldron

Into his hand,

Escaped like a thief into the night

With moon, stars, sun, broken pieces

Of Old Mother Universe jangling in his pocket.”

Smithers works under the aegis of Gwyn ap Nudd, a god “who haunts the peripheries of the Bardic tradition”. His world is Annwn – an Otherworld described as ‘not-world’ and ‘the deep’. There he keeps a cauldron that is whole and filled with stars, “the infinite reflection of the womb of Old Mother Universe, Ceridwen”. Much of our inherited Bardic tradition is seen as problematic. In particular, “Taliesin epitomizes all that is questionable and dislikeable” about it. The poet of The Broken Cauldron.is an outsider “watching with horror as Gwion escapes with the Awen and Gwyddno’s horses perish in the poison” – paying the terrible price for three drops of inspiration. The Gwion who becomes Taliesin pays little attention to this and becomes a sycophantic court Bard as kingdoms fall.

Gwyn offers the possibility of fixing the broken cauldron by gathering the poison back into it from the land, and Lorna Smithers supports this work by telling the stories of “marginalized figures – the overshadowed, the oppressed and the slaughtered”. The Broken Cauldron is divided into five sections: The Broken Cauldron and The Flashing Sword, Ridiculous, Drowned Lands, Operation Cauldron and Uranium.  The urgency of myth trying to reconstruct itself for are times is conveyed in a number of ways. One is the striking language of set piece poems, as in Dumb Man:

You come mouthing words.

There are burnt out cities in your mouth.

The vocabulary of sign language

Cannot convey the stories

You need to tell.

There are the cumulative effects of the giant Diwrnach’s repeated death in slightly variant stories from different regions of Celtic Britain, as he defends a cauldron in a feasting hall and is slain by his own sword. Smithers describes this back-to-backing of versions as a ‘montage’. There is dark whimsical fantasy in The Day I Raised the Dead, which takes place in The Court of the Sons of the King of Suffering – a “joyless place”. There is a realistic account of a journey to find out about, and find, the drowned Porth Wyddno, once one of “the three chief ports of the island”, which Smithers places in Lancashire rather than at Borth in west Wales. There is a discussion of uranium and the nuclear power station at Sellafield aka Windscale aka Calder Hall, and its inclusion in the myth of the “cauldron which is filled with stars” and dangerously toxic when messed with.

Most poignant, for me, is the story of Morfran, which straddles time. His mother, “a scientific genius with a meticulous eye for detail” runs an award winning chemical plant. Growing up gawky and ugly as a cormorant, he has been nick-named Afagddhu (utter darkness) by a mother who is determined to fix him and make him presentable. Events occur, though not to him. At the end of his story, he muses “perhaps that’s where I’ll go, down into the deep where there is no ugliness and no perfection, surface with a fish for a clean breath or air before her child is born and the cycle begins again.”

There is much more. The Broken Cauldron is a wonderful example of the re-visioning of myth, fully immersed in the old traditions, yet bringing out new meanings and new possibilities for our time.

 

Lorna Smithers The Broken Cauldron King’s Lynn, Norfolk: Biddle’s Books, 2016 Cover art by Tom Brown.

SMALL MAGIC

 

Feeling refreshed and inspired after a contemplative day retreat yesterday. The day included a session on contemplative drawing led by artist and illustrator Tom Brown*.

The session mostly involved playing with charcoal under Tom’s twinkly enabling eye. This freed me up in a number of ways and towards the end of the session I changed medium and wrote this poem.

Treescape after rain

Blue

behind

these pinpricks of light

In a pattern of Michaelmas leaves

Still lush and green

for now.

 

Heartache

In a good way.

Nothing lost, exactly, or forgotten,

But a poignant, fragile sense.

Such vulnerability.

*To get a flavour of Tom’s work, see http://gothicmangaka.tumblr.com.

 

 

DRUID CONTEMPLATIVE DAYS

 

On 1 October Elaine Knight and I will be holding our tenth Druid contemplative retreat day since we began in July 2012. Over the years we have also offered shorter sessions and a weekend retreat (in April 2015). Yet by and large we find that day retreats are the best format for our offer to the community.

Shorter monthly sessions work fine for our local ongoing group, in a context of experience and continuity. But when new people are coming in and meeting each other, we want the spaciousness of a day. A day is enough to build the kind of experience we are aiming at. We are not offering complex teaching that needs extended time to unfold, and we don’t need the dynamics of residential community for our focused and limited purpose.

It looks as though we will have 10-12 people on 1 October and we have reached the point at which we know the day will pay for itself. This is within the ideal range for our kind of day – two or three more or less is also fine. Elaine and I will be co-facilitating this event with Nimue and Tom Brown.

I look back and see ‘contemplative Druidry’ as a project. Retrospectively, I find project a better word than ‘inquiry’, though an inquiry element has been present. I began the project by testing the word ‘contemplative’ itself. Was it going to be resonant or even meaningful in Druidry? I wrote articles in the OBOD membership publication Touchstone asking for people to contact me with their views and, subsequently, describing our early ventures. I created the Contemplative Druidry Facebook Group in August 2012. This is still going strong with nearly 1700 members (as at 12 September 2016), though I have not been involved in moderating it for over three years. Over time it became clear that the term does mean something. Although it caused some confusion and questioning at first, it has been taken up. As we developed our practical work, it became easier to explain and discuss.

With the help of a considerable number of other people I was able to publish the book Contemplative Druidry in October 2014. It is still selling and still witnesses the life experience of real people exploring Druidry (frequently among other traditions) and explaining why a contemplative thread matters to them. As time has gone on one of the outstanding questions has been whether there is a particular group of people who can be marked out as ‘contemplative Druids’. I think at this distance the answer is a qualified ‘no’, qualified, because some are clearly contemplative in emphasis. But Druidry is such an extensive field, or interlocking set of fields, that only a few people cover everything. In the end I decided for myself that ‘Contemplative Druid’, as a description of particular people, was a splitting and otherising kind of term (potentially in both directions) and so best avoided. This is why we now talk of ‘Druid contemplative days’ rather than ‘Contemplative Druid days’.

My sense of project is coming to an end. My personal contemplative inquiry, which has always had a degree of separation from the project, is continuing with a different emphasis. But we have a group, and we have the days. Our capacity to provide days is proportionate to the demand for them: no problem there. So I expect this work to continue. For me, it will be my one active role in Druidry. It doesn’t contradict anything else I am doing or likely to be doing. So I look forward to this day, and the continuing life of the group.

Further information on the days can be found at http://contemplativedruidevents.tumblr.com/

James Nichol (2014) Contemplative Druidry people, practice and potential Amazon/Kindle (Foreword by Philip Carr-Gomm

https://www.amazon.co.uk/Contemplative-Druidry-People-Practice-Potential-ebook/dp/B00OBJAOES/ref=dp_kinw_strp_1

 

SOPHIA THE CATALYST

bcf2c26ec7720ed734fccc2b13534310In my universe, Sophia primarily acts as a catalyst for what Cynthia Bourgeault (1) calls ‘singleness’ – the spacious mind of non-dual awareness.  I find that gazing into the eyes of my icon (2), or at the image as a whole, triggers me into the Seeing state that I first fully entered with Headless Way (3) exercises. I make a slight shift into what they call the ‘one eye’ perspective, and there I am.

Of course this isn’t dependent on the icon, but the timeless, momentary, gaze in this instance connects with the imaginal realm where I find feelings and intuition to be most present, with a diminished foregrounding of the sensations and thoughts that predominate in other exercises. The experience is the same, yet the feeling-tone is different.

I am still clear awake space, and capacity for the world. I remain grounded in silent stillness. But the passing content, or form, which the changeless emptiness also is and interweaves, is different. A different constellation of human characteristics is brought into the cosmic play. I value and cherish this. The archaic Gaelic tradition spoke of the Oran Mor (Great Song, or Song of the World). I’ve always thought of a Silence being key, holding the Song, and giving it – in a sense – shape; preventing it from being just noise. Yet the distinctions between individual notes also matter – small and transient though they may be. The Song depends on them, too, for its coherence.

At the human level, I have an abiding sense that my true individual note in the Song is Sophian. I do not experience Sophia as simply an abstract Wisdom figure. Nor am I a conventional believing theist (whether unitarian, trinitarian or polytheist) – yet to a degree I am a Sophian devotee, under the tutelage of a psychopomp.

Overall, I associate the Sophian note with a modern Gnosticism, “based in an affirmation of nature and the world and a positive relation to embodiment, not the classical Gnosticism of world denial and pure transcendentalism. It is a gnosis based on bringing the world fully to life, while also enjoying the state of embodiment and sensual pleasure, without excess or obsessive appetite. This affirmation of the world also requires an affirmation of the World-Soul in all its vast complexity as the primary ground of a living and animate nature. This also includes higher orders of perception and awareness leading to more mystical states of unity and participation in the creative founding of human experience” (4).

Through Seeing, I have learned that the “higher orders of perception” are more accessible than usually suggested, hidden by their obviousness and simplicity, yet entering into empty awareness, recognised as original nature or divine ground. This is why it has become my primary practice. I think there is something of this in earlier Sophian tradition. In the ancient Jewish text The Wisdom of Solomon (5), characteristics of clear and empty awareness are at least intimated, and are linked to Her name.

She is the mobility of all movement;

She is the transparent nothing that pervades all things.

She is the breath of God,

A clear emanation of Divine Glory.

No impurity can stain Her.

She is God’s spotless mirror

Reflecting eternal light

And the image of divine goodness.

Although She is one,

She does all things.

Without leaving Herself

She renews all things.”

Wisdom of Solomon 7: 24-27

Cynthia Bourgeault comments: “This remarkable passage envisions Wisdom as the primordial reflective principle, simultaneously creating and created in a seamless dance of divine becoming. There is a goddess aspect to her portrayal, to be sure – the hint of a divine co-creator – but the important thing to keep in mind is that Sophia/wisdom is presented not as a divinity to be worshipped but as a transformational force to be actualized … Wisdom is about transformation and transformation is about creativity; the three form an unbroken circle.”

Moving forward into the early days of Christianity, Bourgeault says: “The logos (Word) of St. John’s Gospel is merely the grammatically masculine synonym for exactly the same job description as has already been ascribed to Sophia in The Wisdom of Solomon; or, in other words, it is wisdom minus the feminine personification. Functionally, the terms are equivalent, and the gospel text could just as easily have begun, ‘In the beginning was the Wisdom, and the Wisdom was with God, and the Wisdom was God … and the Wisdom became flesh and dwelled among us’. In so doing, it might better have conveyed the context and mystical lineage out of which this insight actually emerges. There is no ‘male’ ordering principle counterbalancing a ‘female’ ordering principle – only grammatically masculine and feminine synonyms for a single ordering principle.”

Sophian teaching stands for the transcendence of polarities, as made clear by the Jesus of the St. Thomas Gospel. “When you are able to make the two become one, the inside like the outside, the higher like the lower, so that a man is no longer male and a woman female, but male and female become a single whole … then you will enter in” (6).

Likewise, the Gospel of St. Philip says: “the embrace of opposites occurs in this world: masculine and feminine, strength and weakness. In the Great Age – the Aion – something similar to what we call embrace occurs as well, but though we use the same name for it, forms of union there transcend what can be described here. For in that place … Reality is One and Whole” (6).

‘This world’ and ‘that world’ are not different places – but the same one seen in different ways. In a similar way, Sophia can be described as “the transparent nothing that pervades all things” and also presented anthropomorphically and mythically, as in my icon. Both understandings have value to me. The world of ‘normal’ perception: embodied, of the earth – albeit ‘re-enchanted’ as we say in Druidry, and the setting for a nature mysticism (7); the world of what S. T. Coleridge called the ‘primary imagination’, and of Sophia as image of the divine (8); and the world of Seeing are the same world seen through three different lenses: all to be savoured, all to be enjoyed, all to be known as One.

(1) Cynthia Bourgeault The meaning of Mary Magdalene: discovering the woman at the heart of Christianity Boston & London: Shambala, 2010

(2) Artist Hrana Janto at http://hranajanto.com/ (This image is used with her permission.)

(3) http://www.headless.org/

(4) Lee Brown Gnostic tarot: mandalas for spiritual transformation York Beach, ME: Samuel Weiser, 1998

(5) Rami Shapiro (translator) in The divine feminine in biblical wisdom literature Woodstock, VT: Skylight Paths, 2005 (The Wisdom of Solomon was originally written in Greek, probably by a Jewish sage writing in Alexandria during the intertestamental era.)

(6) Lynn Bauman, Ward Bauman & Cynthia Bourgeault The luminous gospels Telephone, TX: Praxis Institute Publishing, 2008

(7) http://www.druidry.org/

(8) S. T. Coleridge Biographia Literaria London: Everyman’s Library, 1956 (First published 1817)

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