The Choice – Y :
The Corona virus has taken a toll on all of us, especially those least able to retreat into their homes until the worst is over.
But, beyond the health and humanitarian measures urgently needed for those affected, it also offers a chance to right historical wrongs – the abuse of our earthly home and of marginalised societies, the very people who will suffer most from this pandemic. This viral outbreak is a sign that by going too far in exploiting the rest of nature, the dominant globalising culture has undone the planet’s capacity to sustain life and livelihoods. The unleashing of micro-organisms from their animal hosts means that they must latch on to other bodies for their own survival. Humans are a part of nature – and everything is connected to everything else.
The spiritual potential of quarantine
Being alone in quarantine, devoid of friends, family, co-workers and community, a person is truly lonely. Talking on the phone, messaging and even video chatting is no substitute for being in the physical presence of others. There is no replacement for the hug, kiss or even the handshake. Just having others around gives a person a sense of security and comfort. Quarantine forces a painful loneliness.
Yet the loneliness of companionship can also create an opportunity. The loneliness of others creates the solitude of the person with God. All alone, a person is able to commune with God as never before. God is eternally listening to our voices, and God awaits our prayers.
The silence of prayer/meditation provides a person the opportunity to connect to God on the deepest of levels. Without the pressures of work, a schedule or family chores, a person can turn to God, pour their heart out and deepen their relationship with the Creator. The gaping hole of spirituality left by the absence of ritual can be filled with a more unique connection to God.
Quarantine is a challenge previously unthought of by our Sages. It is lonely and depressing. Those feelings are natural and valid. All of us in quarantine are feeling them. But taken in the right way, it can provide time and opportunity to connect with God, rethink values and recommit to the priorities that are important to us.
The bivium of Pythagoras, this sign which leaves us free to choose the path of good or the path of evil.
“The letter” Y “represents the symbol of moral life. The question of good and evil arises before the free will of man: two roads open before him: the left, the thick branch of the “Y”, is wide and easy to access, but leads to the chasm from shame, that of the right, the thin branch, is a steep and painful path, but at the summit of which one finds repose in honor and glory. “
The Choice Y
Presenting the Website Path to the Maypole of Wisdom:
- Crisis of the modern world
Ego rules the world: Anti-“God”, Anti-“Humanity”, Anti-“Nature
Our civilization is in decay. Because we have blown-up our ego. Cosmic Balance has been disturbed. The Origin – Cosmic Womb/Vacuum – “doesn’t tolerate” this. With the help of Her two Cosmic Forces of “Death and Rebirth” (“Stirb und Werde” – “Die and Become”-J.W. von Goethe) She breaks down our ego-accumulations, thus restoring the Original Balance. Read More
- Life out of Balance: the Qatsi trilogy
The Qatsi trilogy:
- Koyaanisqatsi: Life Out of Balance (1982)
- Powaqqatsi: Life in Transformation (1988)
- Naqoyqatsi: Life as War (2002)
The titles of all three motion pictures are words from the Hopi language, in which the word qatsi translates to “life.” The series was produced by the Institute For Regional Education, who also created the Fund For Change
Qatsi Director Godfrey Reggio: We Are in the Cyborg State!
Naqoyqatsi is a Hopi word (more correctly written naqö̀yqatsi) meaning “life as war”. In the film’s closing credits, Naqoyqatsi is also translated as “civilized violence” and “a life of killing each other”. While Koyaanisqatsi and Powaqqatsi examine modern life in industrial countries and the conflict between encroaching industrialization and traditional ways of life, using slow motion and time-lapse footage of cities and natural landscapes, about eighty percent of Naqoyqatsi uses archive footage and stock images manipulated and processed digitally on non-linear editing (non-sequential) workstations and intercut with specially-produced computer-generated imagery to demonstrate society’s transition from a natural environment to a technology-based one. Reggio described the process as “virtual cinema”.
Thirty years after “Koyaanisqatsi,” Godfrey Reggio—with the support of Philip Glass and Jon Kane—once again leapfrogs over earthbound filmmakers and creates another stunning, wordless portrait of modern life. Presented by Steven Soderbergh in stunning black and white 4K digital projection, “Visitors” reveals humanity’s trancelike relationship with technology, which, when commandeered by extreme emotional states, produces massive effects far beyond the human species. The film is visceral, offering the audience an experience beyond information about the moment in which we live. Comprised of only seventy-four shots, “Visitors” takes viewers on a journey to the moon and back to confront them with themselves.
More info here
- Rediscovering the Sacred in our Lives and in our Times
The conference was introduced by HRH the Prince of Wales who, in a specially videotaped message recorded earlier at St. James’ Palace, spoke of the Sacred as the essential dimension of truth and therefore of understanding, and of the “crisis of perception” in the modern world:
“We have lost our way because we can no longer see clearly. And so we have forgotten. A world of parts has replaced a world of wholeness. A world of separation has replaced a world of connectedness and entanglement. The secular has pushed aside the Sacred.” Read more here
- Because Dante is Right
The incomparable greatness of the Divine Comedy shows itself not least in the fact that, in spite of the exceptionally wide range and variety of its influence—it even shaped the language of a nation—its full meaning has seldom been understood.
At the time of the Renaissance, however, people did at least still debate as to whether Dante had actually seen Heaven and hell or not. At a later date, concern with the Divine Comedy dropped to the level of a purely scientific interest that busied itself with historical connections, or of an esthetic appreciation that no longer bothered about the spiritual sense of the work at all.
Thus, people fundamentally misunderstood the source upon which the poet drew for his work of creation, since the multiplicity of meaning in it is not the result of a preconceived mental construction grafted onto the actual poem; it arises directly and spontaneously out of a supra mental inspiration, which at one and the same time penetrates and shines through every level of the soul—the reason, as well as the imagination and the inward ear.
It is not “in spite of his philosophy” that Dante is a great poet; he is so thanks to his spiritual vision, and because through his art, however caught up in time it may be as regards its details, there shines forth a timeless truth, at once blissful and terrifying—in short, it is because Dante is right. Read more
- Goethe , the “refugee”
Zelige Sehnsucht –Blessed Longing, Goethe
Tell no one else, only the wise
For the crowd will sneer at one
I wish to praise what is fully alive,
What longs to flame toward death.
When the calm enfolds the love-nights
That created you, where you have created
A feeling from the Unknown steals over you
While the tranquil candle burns.
You remain no longer caught
In the peneumbral gloom
You are stirred and new, you desire
To soar to higher creativity.
No distance makes you ambivalent.
You come on wings, enchanted
In such hunger for light, you
Become the butterfly burnt to nothing.
So long as you have not lived this:
To die is to become new,
You remain a gloomy guest
On the dark earth.
It is the story of moth and the candle, found first in the Kitáb at-tawasin of the martyr mystic al-HalIáj (d. 922) and then taken over by the poets of Iran and Turkey, that forms the bridge between the poezie worlds of Iran and Germany. Goethe found it in a translation of Persian verses and transformed it into one of the most profound poerns in the German language, Zelige Sehnsucht (Blessed Longing). “Stirb und werde,,‘ “Die and become,” is Goethe’s advice to the reader in this poem, and this idea of dying and being reborn on ever rising levels of existence permeates large parts of classical Persian poetry. It is the song of the never-ending quest, the fulfillment of Love through suffering and deathi expressed in images of the journey through rnountains and deserts to end only in paradise, as Goethe says at the end of the Book of Paradise in the West-Ostlicher Divan:
Bis im Anschaun ew’ger Liebe
wir verschweben, wsr verschwinden . .
Contemplating Love eternal
we float higher and dissolve .
This poem is an example of the “helplessness that sometimes accompanies love.” He offers it as an example of the way passion causes us to surrender our “common sense, rationality and normal serious reserve;” to awaken to the creative energies, the desires and longing emmanating from the heart.
This awakening is the threshold of “salvation.” To make the realization that you are part of something so vast and lovely, it transcends form and time is like falling in love. It IS falling in love…it is seeing “sameness,” recognizing yourself in the other – realizing that you are One with the Other, falling into the universal mystery that is the Love of God! Love is the nature of this cosmic Spirit-relationship. Love is all there is. Love is who you are, where you came from, how you are to live, and that to which you will return. Read More here
The maypole is a symbol of the Tree of Life and by extension the Tree. It is cut and used in celebrations in early Spring when plant life is just starting to become abundant again, in effect when life is regenerating. The custom is to be found from Scotland and Sweden to the Pyrenees and Slav countries.
The time when the maypole is brought in depends on the place because, being symbolic of new life, it is cut when life is at its most regenerative. Spring occurs in different months in different parts of the world, so in the UK and Saxony, for example, it is generally cut on the 1st May; in the Vosges it is the first Sunday of May; in Sweden it is the Summer solstice. Read more here
- Traditionalism and Folklore
By “folklore” we mean that whole and consistent body of culture which has been handed down, not in books but by word of mouth and in practice, from time beyond the reach of historical research, in the form of legends, fairy tales, ballads, games, toys,crafts, medicine, agriculture, and other rites, and forms of organization, especially those we call tribal.
This is a cultural complex independent of national and even racial boundaries, and of remarkable similarity throughout the world. . . . The content of folklore is metaphysical.
Our failure to recognize this is primarily due to our own abysmal ignorance of metaphysics and of doctrines are received by the people and transmitted by them.
In its popular form, a given doctrine may not always have been understood, but so long as the formula is faithfully transmitted it remains understandable;
“superstitions,” for the most part, are no mere delusions, but formulae of which the meaning has been forgotten. . . . We are dealing with the relics of an ancient folk metaphysics its technical terms. . . . Folklore ideas are the form in which metaphysical wisdom, as valid now as it ever was. . . . We shall only be able to understand the astounding uniformity of the folklore motifs all over the world, and the devoted care that has everywhere been taken to ensure their correct transmission, if we approach these mysteries (for they are nothing less) in the spirit in which they have been transmitted (“from the Stone Age until now”) with the confidence of little children, indeed, but not the childish self-confidence of those who hold that wisdom was born with themselves. Read more here
- A lifelong pilgrimage: The Mirror of Jheronimus bosch
Bosch makes art personal, on different levels, and thatmakes him modern. He was one of the first artists in the Low Countries to sign his paintings: ‘Jheronimus bosch’. It was plainly important to him that the works he left behind should be traceable to him. The Haywain (cat. 5) too was signed with his standard signature, affixed like a stamp to the bottom right of the central panel. Bosch also made his art personal, however, for those who look at it. The Haywain is so famous nowadays that it is hard to imagine that when he created it no other painting existed with this subject matter or anything remotely resembling it. We do not know of a single visual precursor for either the Haywain or the Wayfarer. Bosch created an image here that is entirely contemporary – hypermodern art from around 1510–15. Despite their moralizing content, the Haywain and the Wayfarer are not dogmatic paintings; they hold up a mirror to their viewers, to teach them to see themselves better. It was important to Bosch to make his viewers aware of how they bumble their way through life, longing for earthly things. He offered them a personal, exploratory way to realize that if they were to avoid hell and damnation they needed to turn to the good. It is also an important shift in emphasis in the approach to the question of what it means to be a good Christian. Bosch’s work is closely related in this respect to the message of the Devotio Moderna. Read more here
- Viriditas: the greening power of the Divine – Hildegard of Bingen
Let your eye live and grow in God,
and your soul will never shrivel.
You can count on it to keep you alive . . . awake . . . tender.
—Hildegard, Letter to Archbishop Arnold of Mainz
Humanity, take a good look at yourself.
Inside, you’ve got heaven and earth, and all of creation.
You’re a world—everything is hidden in you.
—Hildegard, Causes and Cures
When a person does something wrong and the soul realizes this, the
deed is like poison in the soul. Conversely, a good deed is as sweet
to the soul as delicious food is to the body. The soul circulates
through the body like sap through a tree, maturing a person the
way sap helps a tree turn green and grow flowers and fruit.
Don’t let yourself forget that God’s grace rewards not only those
who never slip, but also those who bend and fall. So sing! The
song of rejoicing softens hard hearts. It makes tears of godly sorrow
flow from them. Singing summons the Holy Spirit. Happy praises
offered in simplicity and love lead the faithful to complete harmony,
without discord. Don’t stop singing.
- The Noble Colloquy between St. Francis of Assisi and Sultan al-Malik al-Kāmil
This article aims to explore a profound ethical challenge confronting heterogeneous, multi-denominational, and ethnically variegated societies as they confront modernity, seek bonding capital, and come to terms with their own diversity. It does so by deconstructing the dialogue between St. Francis of Assisi and Sultan al-Malik al-Kāmil in 1219. That striking colloquy provides intriguing insights on a wide range of issues, including celebrating transculturalism in the spirit of convivencia, advocating for mutual respect, and emboldening humanitarianism. Even more remarkably, this exchange occurred when the crusades were raging – at the apex of intense hostility between Muslim and Christian communities. At that time, Pope Honorius III demanded that crusaders, from far and wide, eradicate “evil” Muslims and liberate Jerusalem. Yet, despite that, St. Francis was eager to go among the Muslims, and eventually, met with Sultan al-Kāmil. The sultan, as Fareed Munir writes, was peace-loving, sagacious and a “man of honor,” indeed, no less magnanimous and courageous than Francis. The hospitality he showed to Francis, by hosting and attentively listening to him for nearly three weeks, is profound. Ultimately, that experience changed both men, and presumably others present. See: St Francis and the Sufi,
- Discerning Wisdom from Folly with Pieter Bruegel the Elder
Discerning an understanding between Non-Virtues and Virtues is needed in our times. And the works of Pieter Bruegel the Elder can help us to find an answer. Read more
- PETER BRUEGEL THE ELDER AND ESOTERIC TRADITION
The late paintings of Peter Bruegel the Elder (c. 1525 – 1569) are full of symbolism and allegory whose meaning has been widely and differently interpreted. Some see Bruegel as a gifted, humorous peasant, others as a satirist and political commentator and yet others as a Renaissance humanist and mystic. There is no consensus on the significance of the paintings and hardly any documents to help the historian.
This thesis considers Neoplatonic humanist ideas at the heart of the Renaissance in Italy and in Flanders in the 16th century, relating them to the historical continuum known as the Perennial Philosophy. This concept is little understood today and this work traces its history and demonstrates that it was widely, if not universally, accepted in the Hellenistic era and in the Renaissance.
It also considers the tradition of religious mysticism in Germany, the Netherlands and Flanders throughout the late Middle Ages that led up to the Reformation and points out that this movement is also an expression of the Perennial Philosophy, citing the works of Meister Eckhart, the Rhineland mystics and the schools that came out of the Devotio Moderna.
The work considers the esoteric, ‘heretical’ school called the Family of Love that claimed among its adherents a number of highly illustrious artists, thinkers and politicians. Such men as Christoffe Plantin, Abraham Ortelius and Justus Lipsius spurned the religious turmoil of the period and rejected Catholics, Lutherans and Calvinists alike in favour of an inner mystical state they called the ‘invisible church’. They were close to Bruegel, bought his paintings and, it cannot be doubted, shared his thought.
While there are no surviving documents to prove Bruegel’s personal connection with the Familists, the weight of circumstantial evidence, especially when seen in the context of the Perennial Philosophy, is compelling. However, it is the paintings themselves that open comprehensively and convincingly to an esoteric interpretation – once one has the key that unlocks their meaning. This thesis provides that key and leads the reader through an analysis of seven of Bruegel’s last paintings.
The Introduction consists of two sections; the first summarises the discoveries and
opinions of scholars and art historians during the last seventy years and their differing
and often incompatible views as to Bruegel‟s religious and social status and the
significance of his art. The second section analyses in some detail his painting The
Numbering at Bethlehem along the line of esoteric ideas and symbolism that will be
developed throughout the whole work .
The form of the ideas of this thesis could be illustrated by a picture of three concentric circles of which the outer would be the Perennial Philosophy – what Renaissance thinkers regarded as the body of truth drawn by the ancients from their knowledge of the cosmos and which, like the universe, has no external boundary. In writing about the Perennial Philosophy I have cited Plato and Hellenistic and Renaissance Neoplatonists as well as writers of the 20th-century, among whom are Ananda Coomaraswamy and René Guénon and writers associated with their ideas; I have also quoted the theosophist W. Thackara.
Within this is the second circle containing aspects of the Perennial Philosophy that found expression in the late Middle Ages and Renaissance periods and which culminated in Antwerp in the 16th-century. What may at first appear to be diverse influences are drawn from Renaissance „paganism‟, the mysticism of Meister Eckhart and his followers as well as „gnostic‟ or „heretical‟ schools such as the Adamites with whom Hieronymus Bosch was associated. At the centre of all this – in the innermost circle – is Bruegel or, rather, his paintings, for the man himself is more or less silent and invisible. Yet the testimony of the later paintings is like a kernel containing the wisdom of the Perennial Philosophy.
The paintings are there for all to see and yet their colours, forms and narratives are a veil
– albeit a veil of great beauty – that covers a high order of knowledge. They are,
In fact the form of the ideas set out here is necessarily linear but we can remind ourselves that the right to speak of the ultimate truths of Man and the universe was regarded in the 16th-century as traditionally belonging to the realm of prophets, poets, mystics and artists.
Such men spoke in multi-layered symbols and their vision is not limited to mens and
ratio only. Read more Here
- Look also: The Spiritual Message of Bruegel for our Times
- Bruegel the Apocalypse Within
- Bruegel: The Dormition of Virgin Mary
- To See Yourself within It: Bruegel’s Festival of Fools by Todd Marlin Richardson
Bruegel’s Festival of Fools
The topics of blindness and self-awareness I discussed in relation to the
Peasant and Nest Robber bring me to the focus of my fourth and final chapter,
Bruegel’s Festival of Fools . In addition, the practices of making and viewing
works of art I have described for all of Bruegel’s later peasant paintings are also
helpful in thinking about this particular design. Nadine Orenstein argues for a late
dating of the print, after the now lost drawing by Bruegel, based on the words Aux
quatre Vents inscribed at the bottom center. This is the form of the publisher’s address
used by the widow of the print’s publisher, Hieronymus Cock, following his death in
1570. Orenstein speculates the drawing was completed in the last years of Bruegel’s
life, during the same time he painted the peasant panels, and the print produced after
Although fairly subtle, the composition of the Festival of Fools stages a
procession similar to a wagon play. (Wagon plays were processional dramas that took place during Ommegangen (devotional processions) in the 1550s and 1560s. Rhetoricians conceived of wagon plays as didactic episodes that could morally
edify and educate their audience. The plays utilized overt metaphors and personifications to create allegorical productions that focused on collective civic identity.
The crowd of lively characters enters from the left, beneath the trellised pergolas, and processes to the right, before dancing hand-in-hand and meandering their way into the background where the musicians provide music. The right side of the building through which they process is a gallery for viewing. On the far left side, two men support a makeshift carriage, made just visible by the handle they carry, which bears a bald-headed fool above their shoulders holding a ball before his gaze.
At first sight, the collection of figures seems to be rather chaotically constructed; they engage in acrobatic manoeuvres, heads swivelled awkwardly on bodies and bodies piled on top of one another. In the foreground, multiple fools play a bowling game, while in the background people on a platform strum or bang various instruments. The figures are in full costume with hood and bells; they dance, exhibit bawdy gestures and participate in proverbial activities, examples of which I will discuss shortly. All of this is mentioned in the accompanying text below the image.
The text reads, in translation, “You sottebollen (numbskulls), who are
plagued with foolishness, / Come to the green if you want to go bowling, / Although one has lost his honor and another his money, / The world values the greatest sottebollen. // Sottebollen are found in all nations, / Even if they do not wear a fool’s cap on their heads. / They have such grace in dancing that their foolish heads spin like tops. // The filthiest sottebollen shit everything away, / Then there are those who take others by the nose. / Some sell trumpets and the others spectacles / With which they deceive many nitwits. // Yet there are sottebollen who behave themselves wisely, / And taste the true sense of ‘tSottebollen (numbskulling) / Because they [who] enjoy folly in
themselves / Shall best hit the pin with their sottebollen.” Read more
- Green Man, May Day and May Pole
Mythology of May Day
First we talk about the Goddess who lies behind May Day; second will be about the bonfires of May Day Eve and third the mythology and rituals behind the Maypole.
Since May 1 lies about halfway between the vernal equinox and the summer solstice, it was considered a good time to mark the transition into summer. Indeed, in most of medieval northern Europe (meaning the Celtic calendar), May 1 was the beginning of summer. By then the seeds for crops had just been sown (so farmers and their laborers could take a short break), and it was time to drive cattle and sheep out to their summer pastures. Both the sprouting crops and the soon-to-be pastured cattle needed divine protection from the dangers of the natural and supernatural worlds, which is why May Day developed as a holiday and took on the associated rituals and mythology that it did. And a goddess was a good figure to deal with such human concerns. Read more here
- Proclaiming St George’Day ( 23rd of April): A Day of “uprightness”, and a day of remembering, sharing and of coming together, organizing “Convivium” or Forum for Ethics, Honesty and “Uprightness”
Asking St George his Intercession, protection and patronage for the project:
The saint was then beheaded on April 23, 303. And his feast day is still celebrated all over the world! 1717 years later, in the Year 2020 we ask you to pray :
The Prayer to Saint George directly refers to the courage it took for the saint to confess his Belief before opposing authority:
Prayers of Intercession to Saint George:
Faithful servant of God and invincible martyr, Saint George; favored by God with the gift of faith, and inflamed with an ardent love of Christ, thou didst fight valiantly against the dragon of pride, falsehood, and deceit.
Neither pain nor torture, sword nor death could part thee from the love of Christ. I fervently implore thee for the sake of this love to help me by thy intercession to overcome the temptations that surround me, and to bear bravely the trials that oppress me, so that I may patiently carry the cross which is placed upon me; and let neither distress nor difficulties separate me from the love of Our Lord Jesus Christ. Valiant champion of the Faith, assist me in the combat against evil, that I may win the crown promised to them that persevere unto the end.
O God! You are the Bestower of favours. No one has favour over You. O Possessor of Majesty and Nobility, You are the One Who constantly bestows His bounties. There is no deity other thanYou. You are the One who grants safety and refuge to those that seek it and to those in fear. We ask You to remove all tribulations, those that we know and those that we do not know and those about which You know more, for truly You are the Most Mighty, the Most Generous. ( From the Prayer on Bara’a Night )
Read more here: Forum for Ethics, Virtues and Uprightness
- St George and Al kidhr
At first sight there seems to be little connection between Elijah, George and Khidr, apart from the fact that in the Middle East they are frequently associated with the same place by different religious traditions. Is it then a simple case of overlapping traditions, Jewish, Christian and Muslim, all of whom focus on the Holy Land as part of their own heritage and take Abraham as their forefather?
Certainly there is a view which suggests that Khidr is to Muslims what Elijah is to Jews, in respect of them both acting as initiator to the true believer, and which in itself is testimony to attempts to find common ground between the three traditions.
Then there is the ancient theme of the spiritual side of man being dominant over the material, as suggested in the stories by the holy rider on a chariot or horse (or in the case of Khidr, a fish).
This is a clear picture of the divinised human, who comes to deliver mankind:
Elijah is zealous for God and the destroyer of false prophets, while St George is the conqueror of animality in the form of the dragon; Khidr’s role is rather less vividly martial – he brings real self-knowledge, delivering the individual from the false and base nature of the soul.
In all three cases one can remark the polarity of the monotheist or true believer and the pagan or ignorant: Elijah and the prophets of Baal, St George and the emperor Diocletian, for example and perhaps most strikingly in this respect, Khidr who points out the interior meaning of this opposition and is thus the educator of Moses.
However, we should note significant differences in their status, which in part reflect the religious context in which they appear: Elijah is a prophet, in a long line of prophecy; St George is a saint, martyred for his faith in the tradition of Christianity; Khidr, however, is almost a nobody – he is neither saint nor prophet, but an ordinary person graced with immortality and initiatic significance. While the first two are usually portrayed as mounted, Khidr has his feet upon the ground (or just above it in some stories) or walks on water; as we shall see, he has a most particular role to play in mystical teaching. Read more here
- The Allegory of Good and Bad Government
The “Allegory of Good and Bad Government” is a series of fresco paintings executed by Ambrogio Lorenzetti which are located in the Salon of Nine (or Council Room) in the Town Hall (Palazzo Pubblico) of the city of Siena. This famous cycle of pre-Renaissance painting is made up of six different scenes: Allegory of Good Government; Allegory of Bad Government; Effects of Bad Government in the City; Effects of Good Government in the City; Effects of Bad Government in the Country; and Effects of Good Government in the Country. Commissioned by the Council of Nine (the city council) and designed as a sort of political warning, aimed at members of the Council (drawn from Siena’s ruling families), to reduce corruption and misrule, these mural paintings offer a pictorial contrast between the peace and prosperity of honest rule, versus the decay and ruin caused by tyranny. Read more here
- Forum for Ethics, Honesty and “Uprightness”
Looking to the Spiritual vertical way, as the Maypole do, gives us an opportunity of discerning an understanding between Non-Virtues and Virtues, needed in our times.
We need to be sincere with our selves , to be “upright” strictly honourable and honest, as the symbol of the Maypole is. Together we can initiate and erect a maypole as various European folk festivals do, in respect of the safely coming of Spring. But as many Folklores in Europe did, to keep it more permantly, we can plant a Lime Tree in the center of the village of on squares in the city, to keep the remenbering of “uprightness”,of sincerity in our mind, in our heart and in our everyday lives.
See planting The Dance Lime Tree project
In this way,as in many folklores of Europe, they recognize their dependance to Nature and their submission to something Higher than themselves. And happy they danced under the Lime Tree on important opportunities. Man has always be in need of a symbol, but certainly a symbol for communality and fraternity.
The Lime Tree can become again a beautiful symbol of Fraternity, and also draw strength together to face the future and a place of remembering, sharing and of coming together. Than Maybe, this message from the Past can help us to be able to rediscover the meaning of the Eternal Spring. Or as Hildegard of Bingen call it The Greenness ( Viriditas) of our soul
The Forum for Ethics, Honesty and “Uprightness” will realize a meeting place for everybody, and for all the cultures, traditions and religions. Inviting everybody to share their knowlegde and wisdom. It will be functioning as a bridge between cultures, spiritual knowledge, folklores, art and wisdom from our interconnected world. But the project is also the intention to plan the Lime Tree of Wisdom in our heart using pollarding and pruning to make our tree stronger, with pofound roots of “uprightness”, sincerity, love and wisdom . See more about Forum for Ethics, Virtues and Uprightness
There is still more to come….
Maypole of Wisdom is a project of website Sufi Path of Love