Contemplative Inquiry

This blog is about contemplative inquiry

Tag: Poetry

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/ )

 

WHAT IF …?

In my first post of 2018, I said, ‘I have woken from my hibernation but am not yet out of my cave’ (1). Getting out of the cave has been a slow and tentative process this year. We have reached Beltane, and I can at last say that I have done it. Gratitude to the Merry Month!

In the same post I also sensed that I had ‘reached peak inquiry’. It looked that way at the time. But now I find myself unsatisfied with the place that I have reached. I have a vision of an abundance in simplicity, reached through a closer focus on direct experience, and better ways of writing about it. I ask myself: what will happen if I identify myself as a ‘secular contemplative’, centring myself within a space of ‘bio-spirituality’?

Following on from this, I ask, ‘how much continuity will I find, and how much change? What new possibilities will open? Will a stance of ‘spirituality without religion’ support the simplicity and closeness to experience that I aim for?

There are certainly points of continuity. The Contemplative Druid Group* (disbanded early in 2017) used simple, flexible methods. These were meditative, without featuring long meditations, and modelled a minimalist approach to ritual. The project saw itself as an innovation within modern Druidry and did not claim the mantle of Celtic language speakers in ancient or medieval times. Above all, it was nature-oriented, an Earth spirituality, and followed the wheel of the year as it happened – in and out of festival times.

This blog was linked to that culture, whilst always reaching out to other traditions as well. It has been an exploration of contemplative spiritualities, where ‘contemplative’ points to practices that train attentiveness, open spaces for wonder, and provide opportunities to reflect. When I looked at posts which people were reading, I identified a universalist rather than tribal approach, and ‘a readership more inspired by poetry and parables rather than sermons and sutras. Poetry tends to be suggestive rather than dogmatic and speaks directly to the heart’.

Going forward, I will continue to give Druidry and other traditions space in this blog, drawing on their creativity, healing power and wisdom. I have thoughts about new kinds of material to include as well. I’ll be looking at the same view from a different seat and using a slightly different language to describe what I see. That is my direction for contemplative inquiry now.

(1) https://contemplativeinquiry.wordpress.com/2018/01/05/contemplativeinquiry-setting-a-direction/

*The story of the development of Contemplative Druidry, its views and practice, is told in my book, Contemplative Druidry: People, Practice and Potential, published in October 2014.  https://www.amazon.co.uk/contemplative-druidry-people-practice-potential/dp/1500807206/

URSULA LE GUIN: HYMN TO TIME

Time says “Let there be”
every moment and instantly
there is space and the radiance
of each bright galaxy.

And eyes beholding radiance.
And the gnats’ flickering dance.
And the seas’ expanse.
And death, and chance.

Time makes room
for going and coming home
and in time’s womb
begins all ending.

Time is being and being
time, it is all one thing,
the shining, the seeing,
the dark abounding.

Quoted by Maria Popova in https://www.brainpickings.org/newsletter/

POEM: HERMITAGE HOSPITALITY

At dusk I came down from the mountain,

The mountain moon as my companion,

And looked behind at tracks I’d taken

That were blue, blue beyond the skyline;

You took my arm, lead me to your hut

Where small children drew hawthorn curtains

To green bamboos and a hidden path

With vines to brush the travellers’ clothes;

And I rejoiced at a place to rest

And good wine, too, to pour out with you:

Ballads we sang, the wind in the pines,

Till our songs done, Milky Way had paled;

And I was drunk and you were merry,

We had gaily forgotten the world!

Li Po and Tu Fu Harmondsworth: Penguin, 1973 (Poems selected and translated with an introduction and notes by Arthur Cooper)

 The poem above was written by Li Po (701-762) and its full title is ‘Coming down from Chung-Nan Mountain by Hu-Szu’s Hermitage, he gave me rest for the night and set out the wine’. The editor says: “this is typical of Li Po’s occasional poems, a ‘bread-and-butter letter’ to a friend who had entertained him. The ‘hermitage’ is not to be taken too seriously and need mean no more than a country cottage. In a world of intriguing courtiers, everyone was pleased to be called a retired hermit; though the word used for ‘hermit’ here is in fact also a high Taoist Degree of Initiation. (‘The world’ at the end of the poem, though a fair translation of the word used, translates something that can itself mean ‘intrigue’.)

METAPHOR: A MODERN TAOIST’S PERSPECTIVE

“Spirituality is applied Poetry. Metaphysics is applied Metaphor.

“All the methods that we have for knowing Tao came from observing the outside world and then applying it to the human dilemma. In the past, the body was seen as a microcosm of the universe, spiritual energy was compared to the sun, the duality of the body was matched to the duality of day and night, the habits of animals were copied for their innate wisdom, and the psychic centres of the body were imagined as opening flowers. Even if we apply these ideas today, they yield results.

“Metaphor is essentially a way to shape thoughts. The insights of poetry can often guide us out of our problems; the imagery of an opening flower is often used in meditation. Yet poetry is only a sensation of the mind and there is no opening flower inside of us. Human beings take objective reality and absorb it partially through a poetry of the mind. Without this, there could be no sense of humor, no creativity, and no spirituality. For until we make the connection between all things, we have no way out of the isolation that often infects us.”

Deng Ming-Dao 365 Tao: Daily Meditations New York, NY: HarperOne, 1992

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: A WINTER EDEN

Warmest wishes to everyone for the festive season and the coming year. Here and now I don’t have a ‘deep midwinter’ feeling, despite the short days. I’ve been walking by my local canal in a largely green world, with a defining image of sunlight on ivy. Alders are growing catkins. Midges abound. Robert Frost’s poem below, in a snowy New England setting, celebrates the exuberance of life whenever it gets a chance.

A winter garden in an alder swamp,
Where conies now come out to sun and romp,
As near a paradise as it can be
And not melt snow or start a dormant tree.

It lifts existence on a plane of snow
One level higher than the earth below,
One level nearer heaven overhead,
And last year’s berries shining scarlet red.

It lifts a gaunt luxuriating beast
Where he can stretch and hold his highest feat
On some wild apple tree’s young tender bark,
What well may prove the year’s high girdle mark.

So near to paradise all pairing ends:
Here loveless birds now flock as winter friends,
Content with bud-inspecting. They presume
To say which buds are leaf and which are bloom.

A feather-hammer gives a double knock.
This Eden day is done at two o’clock.
An hour of winter day might seem too short
To make it worth life’s while to wake and sport.

Robert Frost

KABIR: ECSTATIC FLUTE

I know the sound of the ecstatic flute,

But I don’t know whose flute it is.

A lamp burns and has neither wick nor oil.

A lily pad blossoms and is not attached to the bottom!

Where one flower opens, ordinarily dozens open.

The moon bird’s head is filled with nothing but thoughts of the moon,

And when the next rain will come is all that the rain bird thinks of.

Who is it we spend our entire life loving?

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).

POEM: WOMAN TO LOVER

I am fire

Stilled to water

A wave

Lifting from the abyss

In my veins

The moon-drawn tide rises

Into a tree of flowers

Scattered in sea-foam

I am air

Caught in a net

The prophetic bird

That sings in a reflected sky

I am a dream before nothingness

I am a crown of stars

I am the way to die.

Kathleen Raine Collected Poems Counterpoint Press, 2011

NOTE: Rupert Spira* uses this poem to illustrate “the dissolution of the separate self which is the essence of all intimacy”. Given that the poet is Kathleen Raine, I accept this as a fair interpretation of her work. But of course her own language is more resonant and compelling, and suggests more than it says – as is the way of poetry.

*Rupert Spira The Nature of Consciousness: Essays on the Unity of Mind and Matter Oxford: Sahaja Press, 2017

POEM: THE SADNESS OF THE GORGES

Above the gorges, one thread of sky;

Cascades in the gorges twine a thousand cords.

High up, the slant of splintered sunlight, moonlight;

Beneath, curbs to the wild heave of the waves,

The shock of a gleam, and then another,

In depths of shadow frozen for centuries;

The rays between the gorges do not halt at noon;

Where the straits are perilous, more hungry spittle.

Trees lock their roots in rotted coffins

And the twisted skeletons hang tilted upright;

Branches weep as the frost perches

Mournful cadences, remote and clear.

A spurned exile’s shriveled guts

Scald and seethe in the water and fire he walks through.

A lifetime’s like a fine-spun thread,

The road goes up by the rope at the edge.

When he pours his libation of tears to the ghosts in the stream

The ghosts gather, a shimmer on the waves.

Meng Chiao (751 – 814) in Poems of the Late T’ang Harmondsworth: Penguin, 1965 (Translated with an Introduction by A. C. Graham)

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