contemplativeinquiry

This blog is about contemplative inquiry

Tag: Irish mythology

DREAMING THE MAGICAL CHILD

I often experience winter as a time of powerful dreams, and I had one yesterday night. It moved through three phases, ending with the image of a magical child as guide.

First phase: I am in a crowded place in a sizeable town. I am apparently in charge of two or three young children – close relatives, by the feel of it, though I am not clear on the specific relationships. I do know that I am of the grandparental generation. Suddenly, I notice them running off towards a stretch of park and woodland. I need to catch up and keep them safe.

Second phase: As I mobilise and follow, I am not catching up as rapidly as I had hoped. I notice that the terrain is wetter and rougher than fits with the initial image. The location feels quite different. I may have to cross water and am I not dressed for it for this eventuality. I assume that the children find this easier than I do, and I have confidence that they are OK. I am less sure about myself. This pursuit is a bit of a stretch.

Third phase: I halt at a riverbank. The boy – only one child, the others somehow no longer present or relevant to this dream – has stripped to the waist and taken like a fish to the water, swimming strongly against the current. He seems to be older than when I last looked. I have a moment of panic and dismay before leaping in after him. Fortunately for me, a sort of backpack I have been wearing turns into a comically inflatable throne. There is no doubt now that the boy knows what he is doing and is purposefully leading me upstream towards the source of the river. Paddling with my hands and arms, my task now is to follow as best I can. As I start following in earnest, I wake up.

The ‘I’ of the first phase is apparently in charge, yet vague and inattentive. Only action by the children gets me to notice and pay attention, though I continue to sport an air of responsible authority, with the felt need to keep the children safe. In the second phase ‘I’ am different, becoming aware of a more rugged environment and feeling challenged by it. I am more positive about the children’s capacity, and less so about my own. The third phase is different again. Halting at a riverbank, I recognise the boy as a version of the archetypical magical child, who naturally finds the sacred in all things, connecting us to a larger life. He is numinously present in this phase of the dream. He is the leader. I am the follower. My means of locomotion is clumsy and absurd. But at least I have one, and I do follow. The constructed ego has a significant part to play, it seems, on this journey, but not the leading role it has imagined for itself. Once I start ‘following in earnest’, I am free to wake up.

At the outer world level, culturally, perhaps the wisdom of age includes recognising and making space for the wisdom of youth. In Irish myth, the elderly poet, shaman and sage Finnegas spent seven years trying to catch the salmon of knowledge. When he finally caught the salmon, he asked his apprentice Demne to cook it. As he worked, the boy burned his thumb and instinctively sucked it – and so it was he, not his teacher, who became imbued with the salmon’s wisdom. Finnegas graciously gave Demne the whole salmon to eat, renaming him Fionn. Fionn went on to become the legendary hero Fionn mac Cumhaill (Finn McCool).

AUTUMN EQUINOX 2020: HAZEL, SALMON, AWEN

In the outer circle of my mandala of the year (1), hazel presides over the days from 16 September to 8 October.

In the middle circle, divided into quarters, the one beginning at Lughnasadh/Lammas is represented by a salmon.

In the inner circle, where there is no sub-division, I have three seed pearls standing for the Awen. The Autumn Equinox is a time when images from the three layers of the mandala line up particularly well. (See NOTE below)

The lore and legend surrounding hazel have a stronger hold on me than the physical tree, though I do find hazels in my locality. For the ancient Celts, the tree was linked with wisdom and known as the food of the gods. Irish tradition (2,3) speaks of the sacred salmon who swim in a pool surrounded by nine hazel trees. This pool was known as Conla’s Well or the Well of Segais and it is the source of the River Boyne. When the trees drop their nuts into the water below, the salmon eats them and so carries them into the sea and back in their annual spawning run. “The cycle was seen as a metaphor for the passing of wisdom from age to age and from person to person” (2). The ancient Druid temples of Newgrange, Knowth and Dowth are to be found in the Boyne Valley.

Ireland and Western Britain are watery places, well-located for intimations of wisdom in watery forms. In modern Druidry, circle work makes links between the west, water and autumn, understood as the quarter following Lughnasadh/Lammas. There are suggestions, too, of love and intuition flowing together in harmony. The Autumn Equinox stands at the point where the light half of the year gives way to the dark half – not suddenly, or violently, but as part of a gentle transition, where the qualities are more or less balanced on both sides of the divide. Tradition also gives us the image of the Well of Segais  as “a shining fountain, with five streams flowing out of it” (3). Here, the invitation, at least for ‘the folk of many arts’, is to drink from the five streams (the five senses) and from the fountain itself (the source of life). In a nutshell, our wisdom is best served by drawing on both the life of the senses and on the flow of inner inspiration (Awen). Neither needs to be sacrificed to the other.

(1) See the ‘house’ section of: https://contemplativeinquiry.blog/2020/08/12/meditation-wisdoms-house/

(2) John Matthews & Will Worthington The Green Man Oracle London: Connections, 2003. Also source of the image at the top.

(3) Philip and Stephanie Carr-Gomm The Druid Animal Oracle: Working with the Sacred Animals of the Druid Tradition London: Fireside, 1994 (Illustrated by Will Worthington)

NOTE The two pictures below give a rough sense of the mandala, and of relationships at the Autumn Equinox, though not the way it looks as a mosaic in my innerworld. The tree images are taken from The Green Man Tree Oracle (2). They stand in for the ones in my mandala, which are more naturalistic and sometimes involve more than one plant: hazel, west; rowan, west-north-west, yew, north-west; elder, north-north-west; holly, north; alder, north-north-east; birch, north-east; ash & ivy, east-north-east; willow, east; blackthorn, east-south-east; hawthorn, south-east; beech & bluebell, south-south-east; oak, south; gorse, south-south-west; apple, south-west; blackberry & vine, west-south-west. The selection as a whole is based on my personal experience of trees in the neighbourhood as well as traditional lore. The elemental images are from R. J Stewart The Merlin Tarot London: Element, 2003. Illustrated by Miranda Grey.

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

POEM: NEW GRANGE

800px-Newgrange

Picture cc by 2.5 pl – originally uploaded by Shira-commonswiki

The golden hill where long-forgotten kings

Keep lonely watch upon their feasting-floor

Is silent now, – the Dagda’s harp no more

Makes sun and moon move to its murmurous strings;

And never in the leafy star-led Springs

Will Caer and Angus haunt the river shore,

For deep beneath an ogham-carven door

Dust dulls the dew-white wonder of their wings.

Yet one may linger loving the lost dream –

The magic of the heart that cannot die;

Although the Rood destroy the quicken-rods;

To him through earth and air and hollow stream

Wild music whines, as two swans wheeling cry

Above the cromlech of the vanished gods.

New Grange is one of Six Celtic Sonnets written by Thomas Samuel Jones and included in From the Isles of Dream: Visionary Stories and Poems of the Celtic Renaissance, selected by John Matthews and with a foreword by Robin Williamson (Floris Books, 1993).

Thomas Samuel Jones (1882-1932) came from Welsh and Irish stock and was born in Oneida County, New York State, near the Adirondack Mountains. Each of the six sonnets reflects a facet of Celtic tradition. They were originally published in 1930 as part of the collection Aknahton and Other Sonnets. For those of us who resonate with Druid and Celtic spirituality, they are part of our modern cultural ancestry.

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