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 asked you to pray .
One year later on 23 April 2021, no celebrations outside due to lokckdown but we can still pray in our Heart and Remember Him
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)
The Passion of St george:
The legend of St George is extant in the medieval manuscripts in a variety of forms, as with most major saints’ “lives”. This is a translation into English of the oldest form of the St George legend, most likely 5th century in date, and condemned as foolish and heretical by the church in the 6 th century Decretum Gelasianum. In his study of the various forms of the text, Matzke chose to give this original form the slightly confusing label of “the apocryphal text”. A later revised form, purged of the worst excesses of the original, he called “the canonical text”. The Greek text of this original form is mostly lost, but a palimpsest in Vienna contains some 5th century leaves.
April 23 – The passion of the Martyr George
The emperor Datianus orders everyone to sacrifice to the gods on pain of torture At this time the devil took hold of Datianus, king of the Persians and king over the four corners of the world, which are above all the kings of the earth; and he sent out an edict that all the kings should gather together. And when the kings were assembled, to the number of seventy-two, and seated before his tribunal, with the senators in a circle and innumerable soldiers, the emperor Datianus ordered that every kind of torture, which he had prepared, should be gathered together in the sight of all the people. Among these were brass boxes , in which were twice-sharpened swords, frying-pans, cooking pots, very sharp saws, bronze bulls, fiery hooks fixed into boots, iron wheels and many other types of torments, without number. And he began to say, “If I find anyone who speaks against the gods and does not sacrifice to them, I shall cut out their tongue, I shall pluck out their eyes, I shall make their ears deaf, I shall split their jaws, I shall pluck out their teeth, I shall tear their brain from their head, cut off their arms, bruise their neck, sever their upper arms and shins , cut the nerves of their feet, rake out their bowels, and whatever is left I will hand over to the worms!” On seeing these torments displayed, many who were thought to believe in God recoiled in fear, and no-one was heard to say that he was a Christian.
An army officer from Cappadocia named George appears, and tells them not to. And while innumerable people were assembled, behold the saint of God, George, bright as the middle of heaven and earth, a native of Cappadocia, and an officer over many soldiers, a recipient of the gold many times, came to the emperor Datianus; so that he might serve him while the sun was visible. George saw the many kings assembled around the emperor Datianus with his army, blaspheming Christ and worshipping demons. Then all the gold which the servant of God carried with him, he gave it to the poor, he took off the cloak that he was wearing, and threw himself on the ground, and he began to say to himself, “The devil has closed their eyes so that they might not recognize the Lord.” Then he in a loud voice he said, “Throw down your coins, O kings, which are worthless, and do not call on the gods, who are not gods but the work of men. For let the gods, who did not create heaven and earth, be destroyed.”
The emperor questions St George On hearing this, the emperor was silent and looking to him, said, “Man, you have not only offended us, but you lessen all the gods. They are gods who give favour to everyone. Therefore, advance and give sacrifice to Apollo who preserves the whole earth and governs the whole world. Now tell me from what city are you? What is your name, or for what reason have you come here?
St. George replied to him, “I am a servant of God. The name which I have from men is George and in Christ I am a Christian, a Cappadocian. I was over a large number of soldiers, and well have I laboured in the service of Christ. I was also in the province of Palestine. Tell me, O emperor, to which of the gods do you advise me to sacrifice?” The emperor said, “To Apollo, who oversees the sky, or at least to Neptune, whom we say established the earth.” St. George replied, “I do not worship those of whom you speak, the old serpent. But to the people who are ever awaiting the mercy of God I speak, in the names of saints. I send away many and a few by name, so that I may describe the works of your gods. Which of these do you make me similar to: Eve, or Jezebel, the murderess of the prophets? or instead Mary, who gave birth to the Lord? Be ashamed, O emperor. Those in whom you believe are not gods, but idols, deaf and blind, the works of the hands of men.
St George is tortured, without effect. Then the angry emperor ordered that he should be suspended on the rack and scraped with [metal] claws so that his intestines came out and his whole body was wounded; and he endured this punishment in Christ. He then ordered him to be taken down and taken outside the city, and stretched out with four windlasses and the parts of his body which remained to be bloodied with clubs, and salt scattered into his wounds, and his stripes rubbed down with coarse goat-hair cloths. And then he ordered iron military boots to be brought, and once they were put on, his [bare] foot began to press on the spikes and the blood flowed from his feet like water from a spring. Read more here
Saint George (Greek: Γεώργιος, Geṓrgios; Latin: Georgius; d. 23 April 303 was a Roman soldier of Greek origin and a member of the Praetorian Guard for Roman emperor Diocletian, who was sentenced to death for refusing to recant his Christian faith. He became one of the most venerated saints and megalo-martyrs in Christianity, and was especially venerated by the Crusaders. Orthodhttps://maypoleofwisdom.com/saint-georges-day/ox Christians commemorate his feast day on April 23rd.
Saint George’s Day is normally celebrated on 23 April. However, Church of England rules denote that no saints’ day should be celebrated between Palm Sunday and the Sunday after Easter Day so if 23 April falls in that period the celebrations are transferred to after it. 23 April is the traditionally accepted date of the saint’s death in the Diocletianic Persecution of AD 303.[1] The fame of St. George increased throughout Europe in 1265 by publication of the Legenda Aurea (The Golden Legend) by James of Voragine, a collection of stories which included that of George and the Dragon. Actual origin of the legend of George and the Dragon is unknown. It may have been begun by the Crusaders when they returned home but was not recorded until the sixth century. St. George was a prominent figure in the secular miracle plays performed in the springs of medieval times. Some hold the story to be a christianized version of the Greek legend of Perseus said to have rescued a princess near the Lydda where St. George’s tomb is located. A poll published last week by the IPPR, a Left-leaning think tank, suggests that seven out of 10 people living in England want Saint George’s Day to be a public holiday. Well, on Ethiopia’s Saint George’s Day they surely have a public holiday, as it falls on the same day as Labor Day.
Looking to the Spiritual vertical way, as the Maypole do, gives us an opportunity of discerning an understanding between Non-Virtues and Virtues, developing Spiritual values needed in our times.
The Choice – Y :
The Corona virus is taking 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. “
We need to be sincere with our selves , to be “upright” strictly honourable and honest, as the symbol of the Maypole is.it is the Axis Mundi, also called the cosmic axis, world axis, world pillar, center of the world, or world tree — was greatly extended to refer to any mythological concept representing “the connection between Heaven and Earth” or the “higher and lower realms.
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 allday lives. 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 Path to the Maypole of Wisdom –Forum for Ethics, Virtues and Uprightness.
Master of the Assumption of the Magdalene, Assumption of Mary Magdalene, ca. 1506-1507
The Choice for Spiritual Ethics,Virtues and Uprightness in our times
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. “
In his book Man and Nature: The Spiritual Crisis in Modern Man
Seyyed Hossein Nasr explores the relationship between the human being and nature as found in many religious traditions, particularly its Sufi dimension. The author stresses the importance of a greater awareness of the origins of both the human being and nature as a means of righting the imbalance that exists in our deepest selves and in our environment. Read more
The letter “Y”, in antiquity, has often represented a “bivium” (a fork in the road); a point in life where we have to make a vital decision. According to Pythagoras, it represents the paths of virtue and vice.
The letter Y is also symbolic of looking within, Inner contemplation, Meditation and inner wisdom.
The Garden of Forking Paths
Our earliest source for the poem is an eleventh-century manuscript, although the version I quote is taken from a modern edition of the Anthologia Latina:
A prose translation of a prosaic verse: The Pythagorean letter, divided into two horns, seems to present an image of human life. For the steep way of virtue, to the right, offers the viewer a difficult approach up a mountainside, but at the top it provides the weary with rest. The left way shows a pleasant journey, but at the end it hurls down the trapped traveller among rough rocks. For whoever has conquered hardship from his love of virtue will be rewarded with praise and honour. But he who follows a life of idle decadence, thoughtlessly skiving, will spend eternity [or, ‘a lifetime’] poor, ugly and miserable.
This piece is about that very littera Pythagorae, the ‘Pythagorean letter’.
Classical ethics has as its foundation the concept of free will, liber arbitrium; the quintessence of free will is an individual’s choice between right and wrong. One of the key tasks of a moral teacher was to persuade his student that virtue, though difficult, was in the student’s best interest in the long term. One finds this in Plato, for instance, all the time. Thus the path of virtue was portrayed as harsh or steep, and the primrose path of vice as easy and gentle.The dualism of this choice, between vice and virtue, was traditionally symbolised by the left and right hands. The right hand, with which one fought and wrote, has always been positive in connotation; its counterpart the left, weak hand. If one surveys the words for ‘left’ and ‘right’ in European languages, one finds that the latter are groups of cognates—dexios, dexter, destra and diritto, dereche, direita, droit, rechte, right, deis—and the former mostly unrelated—laios, sinister, lasciato, izquierdo, linke, gauche, left, clé. This is because words for ‘left’, with their negative connotations, have undergone taboo-substitution from foreign sources; izquierdo, for instance, is Basque. To call someone gauche or sinister is to insult him—whereas to call him adroit or dextrous is high praise. It is no coincidence that right should have its two primary meanings, nor that left should come from a root meaning ‘lame’. The moral dualism of the hands is not left linguistically implicit among the Greeks, but explicitly formulated; a passage in Aristotle (Metaphysics, I.5.985) describes a Pythagorean table of opposites
A different party in this same school says that the first principles are ten, named according to the following table:
finite and infinite, even and odd, one and many, right and left, male and female, rest and motion, straight and crooked, light and darkness, good and bad, square and oblong.
For years, normality has been stretched nearly to its breaking point, a rope pulled tighter and tighter, waiting for a nip of the black swan’s beak to snap it in two. Now that the rope has snapped, do we tie its ends back together, or shall we undo its dangling braids still further, to see what we might weave from them?…
Covid-19 is like a rehab intervention that breaks the addictive hold of normality. To interrupt a habit is to make it visible; it is to turn it from a compulsion to a choice. The phenomenon follows the template of initiation: separation from normality, followed by a dilemma, breakdown, or ordeal, followed (if it is to be complete) by reintegration and celebration. Now the question arises: Initiation into what? What is the specific nature and purpose of this initiation? The popular name for the pandemic offers a clue: coronavirus. A corona is a crown. “Novel coronavirus pandemic” means “a new coronation for all.”
Already we can feel the power of who we might become. A true sovereign does not run in fear from life or from death. A true sovereign does not dominate and conquer (that is a shadow archetype, the Tyrant). The true sovereign serves the people, serves life, and respects the sovereignty of all people. The coronation marks the emergence of the unconscious into consciousness, the crystallization of chaos into order, the transcendence of compulsion into choice. We become the rulers of that which had ruled us. The New World Order that the conspiracy theorists fear is a shadow of the glorious possibility available to sovereign beings. No longer the vassals of fear, we can bring order to the kingdom and build an intentional society on the love already shining through the cracks of the world of separation. Read more: The Coronation with Charles Eisenstein
Text of TERRA PACIS and commentary relating to ideas of the Perennial Philosophy and to paintings by Peter Bruegel and Joachim Patinir .
N.B. The writer has kept the 17th century spelling.
The Spiritual Land of Peace of the “Holy Refugees”
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.
It brings us to immediate and direct influences on Bruegel. These were free thinking humanists and mystics who occupied the no-man‟s-land between Catholics, Lutherans and Calvinists; men like Sebastian Franck, Dirck Volckertz Coornhert and Abraham Ortelius were adherents of the „invisible church‟ where God was understood as „an event in the soul‟ which could be independent of external forms, rites and doctrines. Many of them, such as Ortelius, Christophe Plantin and perhaps Justus Lipsius belonged to the sect known as the Family of Love whose leader, Hendrik Niclaes, was the author of the mystical allegory Terra Pacis that recounts the journey from the „Land of Ignorance‟ to the „Land of Spiritual Peace‟. Bruegel was closely associated with, if not a full member, of this group.
Look and behold: there is in the world a very unpeaceable Land and it is the wildernessed land wherein the most part of all uncircumcised, impenitent and ignorant people do dwell and in which is, the first of all needful for the man; to the end that he may come to the Land of Peace and the City of Life and Rest.
The same unpeaceable land hath also a City, the name of which they that dwell therein do not know, but only those who are come out of it, and it is named Ignorance.
The people that dwell therein know not their original or first beginning; also they keep not any Genealogy or Pedigree; neither do they know from whence, or how, they came into the same. And moreover then, that they are altogether blinde, and blinde-born.
The forementioned city, named Ignorance, hath two Gates. The one standeth in the North, or Midnight, through the which men go into the city of darkness or ignorance.
This gate now, that standeth to the North, is very large and great, and hath also a great door, because there is much passage through the same; and it hath likewise his name, according to the nature of the same city.
Foreasmuch as that men do come into Ignorance through the same gate, therefore it is named Men Do Not Know How to Do. And the great door, wherethrough the multitude do run is named Unknown Error; and there is else no coming into the City named Ignorance.
The other gate standeth on the one side of the City, towards the East or Spring of the Day, and the same is the Narrow Gate, through the which, men travel out of the city and do enter into the Straight Way which leadeth to Righteousness.
Now when one travelleth out through the same Gate, then doth he immediately espie some Light, and that same reacheth to the Rising of the Sun.
Here the symbolism, taking up the theme of the ‘bread of life’, i.e. spiritual nourishment, employs the images of ‘corn’ and ‘seed’ whose esoteric meaning was discussed earlier and which will be met again in the paintings by Bruegel of the Harvest and the Ploughman (Fall of Icarus).
The importance of spiritual nourishment – or rather the lack of it – is discussed in the section dealing with the Peasant Wedding Feast (Marriage at Cana) where the lack of wine is shown to correspond, by rhetorical imitation, with famine imagery in the Old Testament where the sense is that of ‘famine for the word of God’. look also :
In this land of Ignorance, for the food of men, there groweth neither corn nor grass. The people of this land live in confusion or disorder and are very diligent in their unprofitable work and labor. And although their work be vain or unprofitable yet hath everyone notwithstanding a delightful liking to the same.
Forasmuch as they all have such a delight to such unprofitable work, so forget they to prepare the Ground for Corn and Seed to live thereby. And so they live not on the manly food but by their own dung, for they have no other food to live by, for their stomach and nature is accustomed and naturally inclined thereto.
They make there diverse sorts of Puppet works for Babies for to bring up the children to vanity. There are made likewise many kinds of Balls, Tut-staves, or Kricket-staves, Rackets and Dice; for the foolish people should waste or spend their time therewith in foolishness.
There be made also Playing Tables, Draft-boards, Chess-boards, Cards and Mummery or Masks, for to delight the idle people with such foolish vanity. There are made likewise many Rings, Chains, and Gold and Silver Tablets and etc … all unprofitable and unneedful merchandise.
They build there likewise divers houses for common assembly, which they call Gods houses; and there use many manner of foolishness of taken on Services which they call religious or godservices whereby to wave or hold forth something in shew before the ignorant people.
In this manner are the vain people bewitched with these things, wherethrough they think or perswade themselves that their godservices, and knowledges, which they themselves do make, or take on in their hypocrisie, that must needs be some holy or singular thing, and so honor the works of their own hands.
They make there also many Swords, Halberds, Spears, Bows and Arrows, Ordinance or Guns, Pellets, Gunpouder, Armor or Harness, and Gorgets and etc., for that the tyrannical oppressors, and those that have a pleasure in destroying, should use war and battel, therewithal, one against the other.
This could be a description of part of Bruegel’s Adoration of the Kings(1564) or The Triumph of Death There the imagery of swords, halberds and etc., conveys the corrupt state of the world in contrast to the purity of the innocent naked Christ child.
The people of this strange land have strange names, according to their nature. As their nature is such are their names written upon them. Whosoever can read the writing let him consider thereon. They are gross letters; whoso hath but a little sight and understanding, he may read them, whose names are there. Highmindedness, Lust of the Eyes, Stoutness, Pride, Covetousness, Lust or Desire to Contrariness, Vanity or Unprofitableness, Unnaturalness, Undecentness, Masterfulness, Mocking, Scorning, Dallying, Adultery or Fornication, Contemning, Lying, Deceiving, Variance, Strife and Contention, Vexing, Self-seeking, Oppression, Indiscreetness, etc.
Identically named people are to be seen populating any of Bruegel’s ‘crowd scenes’, in particular the Numbering at Bethlehem (1566) in Brussels which has already been discussed and the Road to Calvary (1564) in Vienna.
Their dealings or manner of life is also variable; for now they take on something, then they leave somewhat else; now they be thus led, then they be so driven; now they praise this, then they dispraise that. So, to be short, they are always inconstant.
Their Religions or godservice is called the Pleasure of Men. Their doctrine and ministration is called Good Thinking. Their King is called the Scum of Ignorance.
Whosoever findeth himself in this dark land full of ignorance and desireth to go out of it, and forsake the same, and hath a good liking towards the good land of Rest and Peace; he must go through the other gate that lieth towards the East, that is named Fear of God.
“The Rest on the Flight into Egypt” by Joachim Patinir
But in travelling forward upon the Way for to come to the good land of Peace, so do the perils first make manifest themselves. Therefore must the Traveller keep a diligent watch in the said grace of the Lord; otherwise he becometh hindered and deceived upon the Way. So we will mark out both the perils of seduction, and also the means unto preservation for that no man should err upon the Way, nor be seduced or deceived by any false ends.
Here the text describes how the traveler has to pass the first three stages of his journey:
1. Fear of God;
2. Beginning of Wisdom;
3. Grace of the Lord in the Confession of Sins. But he is still ‘young’ and needs instruction form the wise Elders of the Family of Love. There are two instructors.
One is described as outwardly having a form that is…
… not very amiable or pleasant (according to the minds of the flesh) to behold, nor yet his sayings and counsels to be obeyed, because that he is contrary to all minds and knowledge of the flesh (notwithstanding, if the traveller have no regard for him, neither daily receive any counsel of him unto obedience, nor yet follow his counsel, then shall he not come to the Rest). And he is named the Law or Ordinance of the Lord.
The other wise one cometh before him out of the thoughts of mans good thinking, to draw him away from the Way that directeth to the Land of the Living. And his form is sweet and friendly (according to the minds flesh) to behold, and his sayings and counsels delightful. And he is named the Wisdom of the Flesh.
These two wise ones do give the traveller several counsels.
The traveller who abjures the Wisdom of the Flesh and who accepts the discipline of the Law or Ordinance of the Lord receives ‘two instruments’: a compass called the Forsaking of Himself for the Good Lifes Sake. The other instrument overcomes temptation and hindrance and it is called Patience or Suffrance.
Now the text gives instructions about ‘meate and drink’ which are the body and blood of Jesus Christ. The traveler accepts to find himself on the Cross from whence comes
… the death and burial of all the lusts and desires of the sinful flesh and all the flesh’s wisdom or good thinking.
Again, this should not be understood literally but seen as the transition from the material to the spiritual, the soul’s liberation from its entanglement in the world.
Now the ‘traveller’, following the counsel of the Law of the Lord, finds himself
…in an unpathed land where many manner of temptations and deceits do meet with him, and coming into the same there appeareth unto him immediately a star out of the East, named Belief and Hope. This great unpathed land is named Many manner of Wanderings. And there is not one plain paved way.
The names of the Travellers are:
Stricken in Heart, Cumbered in Minde, Wofulness, Sorrowfulness, Anguish, Fear, Dismaidness, Perplexitie, Uncomfortablness, Undelightfulness, Heavy-mindedness, Many Manner of Thoughts, Dead Courage.
This is reminiscent of the group consisting of Jesus’ mother and her entourage in the foreground of Bruegel’s Road to Calvary (1566) in Vienna. There we see the expressing just these emotions while the vast crowd constituting the main descriptive parts of the picture are oblivious and display all the characteristics, described by H. N., of those who live in the Land of Ignorance or, as he says elsewhere, the ‘Land of Abomination and Desolation’. But also the Flight or Refuge to Egypth:
This land is an open and weak, or unwalled land; and is like unto a barren wilderness, wherein there is little joy to be found; but it is full of perils and deceits, because of the sundry sorts of temptations that do come to Travellers through perplexitie.
For if they (according to the Law of the Lord) have not a sharp watch unto the compass, nor hold them fast on the Cross, and also do not still mark the leading star, then they may soon be led into a by-way. For the wisdom of the flesh doth also come forth there oftentimes very subtilly, with her self-seeking, to point the traveller aside. But the traveller that passeth through the land of Mortyfying and, abstaining from all things, in patience, and seeketh not his own selfness; but (under the obedience of the Love) hath a much more desire to do the Lords will, he obtaineth a good salvation of the peaceable life. He shall be saved and rejoyce in the Everlasting Life.
Moreover, in this land, there is no perfect satisfying of hunger and thirst to be found, nor come by. For the herb wherewith they be sustained, and the fountain wherewith they be refreshed, do make them still the longer and more hungry and thirsty: as long as they are travelling towards the good Land of Peace.
Here the writer openly reveals the meaning of the available food.
The Herb wherewith the travellers be sustained is named the Serviceable Word of the Lord, and the fountain waters wherewith they be refreshed are named the Promise of Salvation in the New Testament of the Blood of Jesus Christ.
***
In this land there lie also fair hills that seem to be somewhat delightful of which the traveller must beware, for it is nothing but deceit, vanity and seducing. These hills are garnished with divers trees which do likewise bring forth vain and deceitful fruits [causing] travellers to leave the forsaking of themselves, taking on their self-seeking (that is, they take on their own righteousness and made holiness, or their ease in the flesh.) They do likewise leave the Patience and become negligent towards the Law of Ordinance of the Lord, wherewith they be drawn away by the deceit of the wisdom of the flesh.
The hills are named Taken on wit, or Prudence, Riches of the Spirit, Learned knowledg, Taken on Freedom, Good-thinking Prophesy, Zeal after Chosen Holiness, Counterfeit Righteousness, New-invented Humility, Pride in Ones Own Spiritualness, Unmindful of any better, and etc.
The trees that grow on the hills are named Colored Love, Literall Wisdom, Greedy towards Ones Own, Flattering-Alluring, Reproving of Naturalness, Promises of Vanity, Exalting of his Own Private Invention, Pleasing in Chosen Holiness, Greatly Esteeming his own Working of Private Righteousness.
The name of their fruits is Vain-Comforts [and] the people, having left forsaking of themselves, and the Cross, with the Meate-offering and Drink-offering, make their dwelling among these deceitful hills [and] let themselves be fed. They get some satisfaction from the Vain-Comforts and are also at first somewhat glad therethrough, also singing and crying: We have it, We have it, We are illuminated, Born anew and Come to Rest.
But (alas) when the sun riseth somewhat higher, then do the fruits wither. And when the Winter cometh, then stand the trees barren, and all is deceit and seducing.
***
The whilst then that the traveller doth travel towards this good land by the leading star (named Belief and Hope) so cometh he clean through all the deceit by means of forsaking himself. For that is a good compass unto him which pointeth to the good land.
And, with Patience, he likewise overcometh all assaults.
For there are many molesters and destroyers to be found, which do grievously vex the travellers in this land. But they do fear and tremble before the Holy Cross. [They] are named Trying of the Belief, Doubt or Distrustfulness to Come to the Good Land, Tempting with a Chosen Appeasement to the Flesh, Proving of the Belief with a Shew of Comforting with the Worldly Beauties, Proffering of the Possession of all the Riches of the Earthly Corruptibleness.
Here the traveller is exhorted in various ways not to forsake the holy Cross. It may help him to understand the idea that on the spiritual journey he must not seek to escape from the impossible contradictions he experiences in himself. Indeed he should welcome the pain of seeing all his folly, weakness and inadequacy.
In respect of that which he longs for, only an unflinching confrontation with the impossibility of his situation will show him that, in order to understand this lesson, he has to abandon all judgment and opinion of himself.
The ‘travellers’ on the journey are told to ‘forsake [them]selves’ as Niclaes so often reminds them. The traditions have special exercises associated with the disciplines of meditation, contemplative prayer and various forms of inner and outer work to help us here. Such labour introduces us to our personal, psychological cross. It is an inner state that, if we wish to continue, we cannot forsake.
Therefore be not afraid of your enemies, for God hath made them all dismaid through the Holy Cross of Christ.
The Holy Cross shall be unto you an Altar of the true burnt offering, and the serviceable gracious word of the Lord a safe-keeping gift or offering of Christ upon the same altar in the holy of the true Tabernacle of God and Christ, upon which Altar your gift becometh sanctified. [It is] kindled or set on fire for a burnt offering to the consuming of all the enemies of the good life, wherethrough then, likewise, your willing Dept-offering, Sin-offering and Death offering shall be acceptable to the Lord.
***
In this same throughfaring land, men also find a crafty murderer, that both high and low, wide and far, runneth all over this same land and he is named Unbelief. Of this wicked villain it behoveth us to be very wary, for by him there are many murdered. Forsake not the Holy Cross, nor the serviceable gracious word of the Lord.
[Also in this land there runs] a dangerous river where many travellers be drowned and choaked. It is named Desire and Pleasure in the Flesh.
The traveller is warned not to catch or eat the fishes that swim in the river whose names are:
Meate of the Temporal Delights instead of the Everlasting Good, Ease in the Flesh instead of Zeal to the Righteous, Honor of the World instead of Rest in the Spirit and Honor of God.
It seemeth indeed to be a very pleasant water for one to refresh and recreate himself in, but it is all meer deceit: vain and nothing.
[Also there are] thistles and thorns named Uncertain Consciences. Likewise divers natures of beasts named Envy, Wrath, Churlishness or Unfriendliness, Cruelty, Offensiveness, Resistance of Disobedience, Craftyness, Greedy Desire of Honor, Subtilty of Deceit, and Violence. And also one of the most detestable beasts (that will worst of all give way) is named Hypocrisie or Dissimulation, where under all manner of naughtiness is covered up with a colored vertue, or made holiness, and he is indeed the subtillest beast who provoketh the other beasts to devour travellers. Of which wild beasts the travellers must take heed with great foresightfulness, that they run not into the mouth of them and be swallowed up.
The story of the Tower of Babel (like that in The Suicide of Saul, Bruegel’s only other painting with an Old Testament subject) was interpreted as an example of pride punished, and that is no doubt what Bruegel intended his painting to illustrate. Moreover, the hectic activity of the engineers, masons and workmen points to a second moral: the futility of much human endeavour. Nimrod’s doomed building was used to illustrate this meaning in Sebastian Brant’s Ship of Fools. Pieter Bruegel’s Tower of Babel , originally displayed in the suburban villa of Antwerp entrepreneur Niclaes Jonghelinck as an image that fostered learned dinner conversation (convivium) about the well-being of the city. Looking at various sources, the author analyzes how the theme of the painting, a story of miscommunication and disorder, resonated with the challenges faced by the metropolis. Antwerp’s rapid growth resulted in the creation of a society characterized by extraordinary pluralism but with weakened social bonds. Convivium was one of the strategies developed to overcome differences among the citizens and avoid dystrophy of the community.Read more Here
[There are] three castles [upon which] are subtile watchers which are very crafty and wily.
The traveler is advised not to fear the castles though their powers are apparently very terrible. It is necessary to negotiate carefully, but once passed them he will see that they are
Nothing at all but deceit, vanity and bewitching. [They are named] The Power of Devils Assaulting, The Forsaking of Hope, Fear of Death.
The watchers, who try to capture people, are named ‘according to their natures’:
Appearing like Angels of Light, Indeavoring to Stealing of the Heart, Appearance of Vertue, Subtil Invention, Confidence in Knowledg, Made Laws and Imagined Rights, Disguised or Unknown Holiness, Self-framed Righteousness, and etc.
Now one cometh by the Good Land and approacheth neer unto the understanding of God. But many do run past the entrance thereof. For the neerer one cometh the more subtilly the deceits assault him; for beside the entrance there lieth [joyned to it] also a way that leadeth to an abominable or horrible land and the same way is a pleasant way to behold and pleasant likewise to enter into, wherewith many be deceived.
This pleasant way is named Knowledg of Good and Evil.
[Having] come into the pleasant way of the Knowledg of Good and Evil, and which in itself is ful of contention, ful of great and grievous incumbrances, then do appear in them an inward or spiritual pride, and they suppose they are somewhat singular and above other people because they have so much knowledg to talk of the truth, perswading themselves that the riches of knowledg is the very light of salvation.
Therefore this land is called the Abomination of Desolation. Howbeit it is all false and meer deceit.
In this land there is also a false light. The people do not know the true light, therefore they be all deceived and corrupted in this wilderness by the same false light, besides the which they know no other perfect good. [And so they have] nothing else but destruction and disturbance or dispensing of mindes and thoughts.
This same land of Desolation is like unto the intangled Babylon, because the knowledges do there run one against the other and cannot understand each other.
Here the author gives extended lists of psychological and moral disorders. We are given to understand that all these result from too much attachment to ‘knowledg’ i.e. ‘made knowledg’ (man-made knowledge) as opposed to revealed knowledge. There follows this insight
Many do chuse a way unto themselves, according to the knowledg of theirown minde, to the intent to live to themselves therein: and thus doth everyone walk there according as his knowledg imagineth him.
Everyone is resistant against each other with the knowledg. And the false light shineth upon them all, quite over the whole land. Therefore everyone supposeth that he must needs have the right, or cannot err, in his knowledg, and that he is illuminated by the Lord. But it is all dust, which dust scattereth abroad all over the whole land, like unto a drift-sand and is named Self-Wils Chusing.
***
The following is one of many passages whose psychological, moral and spiritual meaning has universal application. The description of the human condition, where things go ‘wonderfully absurdly’ seems close to Bruegel’s vision of the ‘upside down’ world. See also Rene Guenon “inversion of symbols” and “carnivals”
Behold in this land, the Abomination of Desolation, it goeth very strange and wonderfully absurdly. For every man seeth that another mans foundation is vain and meer foolishness, but there is no man there, or very few, that can marke their own vanity or foolishness. Everyone doth very gladly thrust off another from his foundation to the end to advance his own. Yet are all their foundations, notwithstanding, Self-Wils Chusing; and are everyone uncertain and unstable and all their work is very feeble or weak. They strive and contend, and with high knowledg they caste down anothers work and turn up the foundations of it.
For whoever hath the highest mounting knowledge, or is the richest in spirit, or hath the most eloquent utterance of speech, he can there bear the sway, or get the chief praise, and can overthrow many other firm foundations and works which are also vain. And when any mans foundation or work is overthrown through any manner of knowledg, then is the same a great delight and glory unto the other that getteth the victory and an advancement of himself. So (contending or taking part, one against the other) do they likewise divide themselves into many several religions or God-services.
But although they be partially affected, as also have severall religions, and many manner of God-services, yet do they, notwithstanding, give their Religions and God-services one manner of name. Everyones Religion or God-service is named Assured Knowledg that is Right and Good. And everyone liveth in his own God-service, thinking and perswading himself assuredly that his religion or God-service is the best or the holiest above all other.
They have a fair-spoken tongue; but commonly they are not loving, nor friendly of heart, but ful of envy and bitterness, soon stumbling and taking offence by reason that they stand captive under the knowledg and not submitted under the Love, nor under the obedience of his service.
They are also generally covetous of the earthly riches.
Their inclination is to speak false against others, also to blaspheme, oppress, persecute, betray and kill, and yet do know how to excuse all the same with the knowledg that they do right and well therein.
They use not any common brotherhood.
***
Note: Yet there is one story more, which shows some connexion with our subject, sounding worth being reported.
It concerns the Netherlandish artist Pieter Aertsen, a religious painter. When the sacred figurative art began to be contested and destroyed by an extreme Protestant iconoclasm, he changed his residence town and converted his works into genre scene. Very strange ones, indeed, since a scrupulous spectator can discern small holy scenes dissimulated in the background.
His Butcher’s Stall with the Flight into Egypt or A Meat Stall with the Holy Family Giving Alms, which we have in two copies (1551; Uppsala University Art Collection and North Carolina Museum of Art, Raleigh) is the most ever disconcerting “Flight into Egypt”.
Here Niclaes expands this theme, pointing out how the absence of brotherhood and love extends to their various different religious sects and especially how they are ‘unmerciful’ to anyone who offers them the truth.
***
The next chapter further analyses man’s spiritual or psychological condition with the imagery of the inner ruler or king and his constitution.
[They] have also a king who reigneth very cruelly over them named Wormwood or Bitterness. His sceptre is named Great Esteeming of the Vain and Unprofitable Things. His crown is named Honor and Glory in Evil Doings. His horses and chariots are named Treaders Down or Oppressors of the Simple People. His council is named Subtil Invention. His kingdom is Unfaithfulness, All his nobility, horsemen, soldiers and guards are named Disorderly Life. His decrees or commandments are Self-Wil. His dominion or Lordship is Violence.
The kings subjects are called Craftiness, Arrogant Stoutness,
Stubbornness, Violence, Harmfulness, Spight, Sudden Anger, Greedy of Revenge, Gluttony, Cruelty, Bloodthirstyness, Resistance against the Love and her Service, Despising of Naturalness, Disobedience to Equity, Accusation over the Righteousness, Betrayers of Innocency, Oppressors of Humility, Killers of Meekness, Enviers of the Lovers of Unity, Exalters of Chosen Holiness, Usage of Falsehood, Own-selfness, Self-Wils Desire, Self-seeking etc.
And when one presenteth or profereth any better thing unto them, then rises up, by and by in them, their king of Bitterness, for to defend their causes, and judg him to be naught that loveth them to the best good.
***
A false prophet bewitches them with many longings and so he leadeth their hearts, mindes and thoughts into captivity of the knowledg and not into the truth. This false prophet is named Presumption whereof cometh Nothing.
Forasmuch as he hath allured the people unto him with such a presumption of boasting that they likewise in their unregenerate state, do boast them of the Light and the Word of Life; so perceive they not that they are bewitched by him.
It seemeth sometimes indeed, as though it would be somewhat, but it is all vain and presumption and nothing else but knowledg whereof cometh nothing.
The false prophet has a horrible beast with him named Unfaithfulness [who] maketh all the people utterly divided.
Niclaes’ psychological insights are the observations of a specialist. Here, for example, developing themes he has introduced, he describes how ‘the people’ cover their inner nakedness with ‘Garments named Fear of Being Despised’. His analysis of the spiritual condition of humanity – perhaps as relevant today as ever – brings light to the subconscious and shadowy parts of our inner landscape with the sure hand of a master.
This horrible beast, Unfaithfulness; this false prophet, Presumption; and the cruel king, Wormwood, have a great dominion in this same desolate abominable land.
***
Note: POWAQQATSI
POWAQQATSI’s overall focus is on natives of the Third World — the emerging, land-based cultures of Asia, India, Africa, the Middle East and South America — and how they express themselves through work and traditions. What it has to say about these cultures is an eyeful and then some, sculpted to allow for varied interpretations.
Where KOYAANISQATSI dealt with the imbalance between nature and modern society, POWAQQATSI is a celebration of the human-scale endeavor the craftsmanship, spiritual worship, labor and creativity that defines a particular culture. It’s also a celebration of rareness — the delicate beauty in the eyes of an Indian child, the richness of a tapestry woven in Kathmandu — and yet an observation of how these societies move to a universal drumbeat.
POWAQQATSI is also about contrasting ways of life, and in part how the lure of mechanization and technology and the growth of mega-cities are having a negative effect on small-scale cultures. https://www.dailymotion.com/embed/video/xthzhl
The title POWAQQATSI is a Hopi Indian conjunctive — the word Powaqa, I ( Ego),which refers to a negative sorcerer who lives at the expense of others, and Qatsi –i.e., life.
Several of “POWAQQATSI’s” images point to a certain lethargy affecting its city dwellers. They could be the same faces we saw in the smaller villages but they seem numbed; their eyes reflect caution, uncertainty. https://www.dailymotion.com/embed/video/xti3jt
And yet POWAQQATSI, says Reggio, is not a film about what should or shouldn’t be. “It’s an impression, an examination of how life is changing”, he explains. “That’s all it is. There is good and there is bad. What we sought to capture is our unanimity as a global culture. Most of us tend to forget about this, caught up as we are in our separate trajectories. It was fascinating to blend these different existences together in one film.”
To be certain, POWAQQATSI is a record of diversity and transformation, of cultures dying and prospering, of industry for its own sake and the fruits of individual labor, presented as an integrated human symphony — and with Philip Glass’ score providing the counterpart, performed with native, classical and electronic instruments, its tribal rhythms fused by a single majesterial theme.
NAQOYQATSI –
More important than empires, more powerful than world religions, more decisive than great battles, more impactful than cataclysmic earth changes, NAQOYQATSI chronicles the most significant event of the last five thousand years: the transition from the natural milieu, old nature, to the “new” nature, the technological milieu. https://www.dailymotion.com/embed/video/xtmtai
Nature has held earthly unity through the mystery of diversity. New nature achieves this unity through the awesome power of technological homogenization. NAQOYQATSI is a reflection on this singular event, where our subject is the medium itself, the wonderland of technology. The medium is our story. In this scenario human beings do not use technology as a tool (the popular point-of-view), but rather we live technology as a way of life. Technology is the big force and like oxygen it is always there, a necessity that we cannot live without. Because its appetite is seemly infinite, it is consuming the finite world of nature. It is in this sense that technology is NAQOYQATSI, a sanctioned aggression against the force of life itself – war life, a total – war beyond the wars of the battlefield. https://www.dailymotion.com/embed/video/xtnedl
NAQOYQATSI takes us on an epical journey into a land that is nowhere, yet everywhere; the land where the image itself is our location, where the real gives way to the virtual. As the gods of old become dethroned, a new pantheon of light appears in the integrated circuit of the computer. Its truth, becomes the truth.
Extremes of promise and spectacle, tragedy and startling hope fuse in a digital tidal wave of image and music. In a poetic nanosecond, NAQOYQATSI give utterance to a new world coming, a new world here.
***
[The traveller] perceiving that these abominations of desolation do stand in the place where Gods Holy Beeing ought to stand [must] immediately flie out of the same and submit himself under the obedience of Love, and not have any regard any more to the Knowledg of Good and Evil, nor to Boasting of the Knowledge, nor to Assured Knowledg, nor to Presumption, nor yet to Unfaithfulness. [And thus he frees himself from] bondage to Bitterness, the king of that detestable land.
[The traveller] must at the end of his journey find himself altogether turned about.
Hendrik Niclaes is making it quite clear that there can be no half measures for seekers on the spiritual path. To be ‘altogether turned about’ is nothing less than the ‘dying to oneself’ in order to be ‘reborn from above’ that is taught in all traditions. He refers here to the necessarily arduous methods of spiritual work, symbolized in the text as ‘the Compass’, ‘the Cross’ and ‘Patience’. As “The Rest on the Flight into Egypt” , the “rest” place is a place where the dead people are buried. The word cemetery (from Greek κοιμητήριον, “sleeping place”. It is the place of Transformation where the “old man” is left behind and the “new man” is born.
Note: Similarity between The Family of Love and Sufism
In our daily life we come up against situations that we cannot overcome in our own strength, or with our own wisdom. We need a strength and a wisdom that comes from Above, that comes from Beyond, that comes from Another outside of us and yet rises up from within us.“Do you not know that to whom you present yourselves slaves to obey, you are that one’s slaves whom you obey, whether of sin leading to death, or of obedience leading to righteousness?” This transformation – sometimes called rebirth – is maybe difficult to achieve and costs a man dearly because it takes place in opposition to everything he values in material life;but that is an illusory life which he mistakes for the other.The seeker of truth begins to see the contradiction between what he is at present and what he is called to become and, seeing this, he cannot avoid suffering. If he has the courage to continue and if, in spite of suffering and other difficulties, he remains on the true path, he will eventually come to what tradition refers to as ‘dying to oneself’ – in Sufism, ‘die before you die’We find the same principle in Islam and Sufism : “la ilaha illallah ” : “there is no God but God” , it is part of theShahada.The Shahada has been traditionally recited in the Sufi ceremony of dhikr (Arabic: ذِکْر, “remembrance“), a ritual that resembles mantras found in many other religious traditions.
But we have forgotten the Traditional concept of who Man is:
Adam, Muḥammad, and the View of Man The Islamic view of man may best be defined and exemplified in relation to these two poles, Adam and Muḥammad, the first prophet and the last, the beginning of the story and the end of it. To lay stress upon the “closing of the circle” represented by Muḥammad’s mission is to stress also the primordial nature of this mission. History had unfolded and humanity had pursued its predestined course. There had to be—and there was—a return to the origin,insofar as such a return might be possible at so late a stage in the cycle. Islam justifies itself as the dīn al-fiṭrah, which might be translated as “the religion of primordiality” or even as “the original religion.”The perfect Muslim is not a man of his time or indeed of any other specific historic time. He is man as he issued from the hand of God. “You are all the children of Adam” (or “the tribe of Adam”) as Muḥammad told his people. In relation to man as such, the word fiṭrah may be taken to refer to the human norm from which, according to the Quran, humanity has fallen away.But the word is derived from a verb meaning “he created” or “he cleft asunder” (the act of creation being described as a cleaving asunder of the heavens and the earth)—hence, its reference back to the origins. It follows that the image of human perfection (or, quite simply, of human normality) lies in the past, not in the future, and theway to its attainment lies not in an aspiration focused on a distant goal or in any miraculous redemption from inherent sinfulness but rather through the removal of accretions and distortions that have both corroded and twisted a perfection that is, in essence, natural to mankind.It is a question not of leaping over the world or of being rescued from it but of retracing, in an upward direction, the downward slope of time. We have here a sharp contrast to the Christian view, which posits a primordial corruption of the innermost core of the human creature. But not with the view of Bruegel, the Family of Love and Hiel. Their message is : ” In our daily life we come up against situations that we cannot overcome in our own strength, or with our own wisdom. We need a strength and a wisdom that comes from Above, that comes from Beyond, that comes from Another outside of us and yet rises up from within us”.For Islam this core remains sound and cannot be otherwise. Neither time nor circumstance can totally destroy what God has made, but time and circumstance can cover it with layer upon layer of darkness.This offers a clue to the deeper meaning of the termkāfir, usually translated as “infidel,” “unbeliever,” or “denier of the truth.” The word kafara means “he covered,” in the way that the farmer covers seed he has sown.In fallen man—man at the bottom of the slope—there has taken place a covering of the Divine “spark” within and, as a direct result of this, he himself covers (and so ignores or denies) the Truth,which has been revealed with dazzling clarity and which is, at the same time, inherent in the hidden “spark.”Islam envisages this man as imprisoned in a cell the walls of which he reinforces by his own misguided efforts, the cell of the ego, which sets itself up as a little god and isolates itself from the stream of Divine Mercy which flows at its doorstep.The guidance provided by the Messenger of God offers him the opportunity, if he will take it, to come out into the open, the sunlight, which is his natural environment.The command inherent in this message is: Be what in truth you are! From this point of view it may be said—and has often been said although seldom with full understanding—that the Islamic concept of man is “static.” All is here and now, neither distant nor in another time. His way is upwards, vertically with “Uprightness”, not downwards or horizontally, predending we can overcome in our own strength, or with our own wisdom. Read more here
Blessed Virgin Mary – Mystical Commentary
by Sheik Muzaffer Ozak Al-Jerrahi
To advance along the ascending way, one enters solitude and seclusion – not necessarily in a literal sense, but even while remaining within the context of family and social responsibility. These communal responsibilities are the sacred temple of human existence. However, solitude alone will not be sufficiënt.
One must remain oriented toward the mystic east, the direction of prayer. One must learn to gaze at the perpetual dawn of Divine Wisdom. This implies full participation in the science of prayer, as expressed within an authentic sacred tradition.
After entering that “solitary room facing east”, which is inwardness and simplicity of mind and heart, one can contemplate Divine Beauty manifest through the transparent creation – the universe in its pristine nature, untouched by conventional conceptuality but illumined instead by prophetic revelation.
Gradually, one’s being becomes more peaceful, harmonious, integrated. Divine Light begins to manifest directly.
Within this ineffable brightness, the conventional structures of society and our own habitual forms of perception are no longer visible. Within this dimension of sheer radiance, both waking visions and mystical dreams occur.
These subtle experiences are indications of progress along the evolutionary way, the steep path spoken of by Allah Most High in His Holy Quran. They can be accurately interpreted by a sheikh, or spiritual guide, who has received empowerment from a previous guide in the unbroken lineage of the Prophet Muhammad to carry on this sacred task of dream interpretation.
The combined inspiration and intention of disciple and guide, murid and murshid, sparks the alchemical process which is called inward. Read more here
The birth of Jesus in man
Faouzi Skali in his book Jesus and the Sufi Traditon explains in the 10 chapter,The birth of Jesus in man:
The soul of the mystic, Rûmi teaches us, is similar to Mary: “If your soul is pure enough and full of love enough, it becomes like Mary: it begets the Messiah”.
And al-Halláj also evokes this idea: “Our consciences are one Virgin where only the Spirit of Truth can penetrate”
In this context, Jesus then symbolizes the cutting edge of the Spirit present in the human soul:“Our body is like Mary: each of us has a Jesus in him, but as long as the pains of childbirth do not appear in us, our Jesus is not born” ( Rumi, The Book of the Inside, V).
This essential quest is comparable to suffering of Mary who led her under the palm tree (Koran XIX, 22-26): “ I said:” 0 my heart, seek the universal Mirror, go towards the Sea, because you will not reach your goal by the only river! ”
In this quest, Your servant finally arrived at the place of Your home as the pains of childbirth led Mary towards the palm tree “(RÛMi, Mathnawî, II, 93 sq.)
Just as the Breath of the Holy Spirit, breathed into Mary, made him conceive the Holy Spirit, as so when the Word of God(kalám al-haqq) enters someone’s heart and the divine Inspiration purifies and fills his heart (see Matthew V, 8 or Jesus in the Sermon of the Mountain exclaims: “Blessed are pure hearts, for they will see God! “) and his soul, his nature becomes such that then is produced in him a spiritual child (walad ma’nawî) having the breath of Jesus who raises the dead.
“Human beings,” it says in Walad-Nama ( French translation, Master and disciple, of Sultan Valad andKitab al-Ma’ârif the Skills of SoulRapture), must be born twice: once from their mother, another from their own body and their own existence. The body is like an egg: the essence of man must become in this egg a bird, thanks to the warmth of Love; then it will escape its body and fly into the eternal world of the soul, beyond space. ”
And Sultan Walad adds: “If the bird of faith (imán) is not born in Man during its existence, this earthly life is then comparable to a miscarriage.”
The soul, in the prison of the body, is ankylosed like the embryo in the maternal womb, and it awaits its deliverance. This will happen when the “germ” has matured, thanks to a descent into oneself, to a painful awareness: “The pain will arise from this look thrown inside oneself, and this suffering makes pass to beyond the veil. As long as the mothers do not take birth pains, the child does not have the possibility of being born (. Rumi, Mathnawî, II, 2516 sq.) (…) My mother, that is to say my nature [my body], by his agony pains, gives birth to the Spirit … If the pains during the coming of the child are painful for the pregnant woman, on the other hand, for the embryo, it is the opening of his prison ”(Ibid., 3555 sq)
Union with God, explains Rûmi, manifests itself when the divine Qualities come to cover the attributes of His servant:
“God’s call, whether veiled or not, grants what he gave to Maryam. 0 you who are corrupted by death inside your body, return from nonexistence to the Voice of the Friend! In truth, this Voice comes from God, although it comes from the servant of God! God said to the saint: “I am your tongue and your eyes, I am your senses, I am your contentment and your wrath. Go, for you are the one of whom God said: ‘By Me he hears and by Me he sees!’ You are the divine Consciousness, how should it be said that you have this divine Consciousness?Since you have become, by your wondering, ‘He who belongs to God’.
I am yours because ‘God will belong to him. Sometimes, I tell you: ‘It’s you!’, Sometimes, ‘It’s me!’ Whatever I say, I am the Sun illuminating all things. “(Mathnawî, I, 1934 sq).
Once the illusion of duality has been transcended, all that remains in the soul is the divine Presence:the soul then finds in the depths of its being the divine effigy.
It has become the place of theophany. This is what Rumi calls the spiritual resurrection: “The universal Soul came into contact with the partial soul and the latter received from her a pearl and put it in her womb. Thanks to this touch of her breast, the individual soul became pregnant, like Mary, with a Messiah ravishing the heart. Not the Messiah who travels on land and at sea, but the Messiah who is beyond the limitations of space! Also, when the soul has been fertilized by the Soul of the soul, then the world is fertilized by such a soul “( Ibid., II, 1184 sq.).
This birth of the spiritual Child occurs out of time, and therefore it occurs in each man who receives him with all his being through this “Be!” that Marie receives during the Annunciation: “From your body, like Maryam, give birth to an Issa without a father! You have to be born twice, once from your mother, another time from yourself. So beget yourself again! If the outpouring of the Holy Spirit dispenses again his help, others will in turn do what Christ himself did: the Father pronounces the Word in the universal Soul, and when the Son is born, each soul becomes Mary (Ibid., III, 3773.)
So Jesus can declare: “O son of Israel, I tell you the truth, no one enters the Kingdom of Heaven and earth unless he is born twice!By the Will of God, I am of those who were born twice: my first birth was according to nature, and the second according to the Spirit in the Sky of Knowledge! » (Sha’ranî, Tabaqat, II, 26; Sohrawardî, ‘Awarif, I, 1)
The second birth corresponds to what we also gain in Sufism as the “opening (fath) of the eye of the heart“: “When Your Eye became an eye for my heart, my blind heart drowned in vision ; I saw that You were the universal Mirror for all eternity and I saw in Your Eyes my own image. I said, “Finally, I found myself in His Eyes, I found the Way of Light!” (Rumi, Mathnawî, II, 93 sq.)
This opening is the promise made by God to all those who conclude a pact with the spiritual master, pole of his time, like the apostles with Jesus or the Companions when they pledged allegiance to Muhammad: “God was satisfied with believers when they swore an oath to you under the Tree, He knew perfectly the content of their hearts, He brought down on them deep peace (sakina), He rewarded them with a prompt opening ( fath) and by an abundant booty which they seized ”(Coran XLVIII, 18-19).(The abundant loot indicates Divine Knowledge (mari’fa)
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With the help of these, having come thus far he now
cometh before the city gate of the Holy Land and stands in submission like unto a good willing one to the Lords will. [This] is called the Burying of the Affections and Desires. He findeth, through the same submission, the key for to enter therewithal through the gate into the City where the Everlasting Life, Peace and Rest is. This key is called Equity.
In the City of Peace he is lovingly received:
Even thus one becometh as they, incorporated to the body of the same true king, Gods True Beeing, with all the people of the same good land.
The names of the saints [there] are Meekness, Courtesie, Friendliness, Longsuffrance, Mercifulness, etc.
The city, we are told, has strong fortress-like walls and a watchman who ‘keeps a diligent watch’, who never sleeps and who
Overlooketh all things, namely, Good and Evil, Light and Darkness. His trumpet, wherethrough he playeth his song is named After this Time no More.
There follow several chapters consisting almost entirely of quotations from both Old and New Testaments in the celebratory style reserved for praising God, his creation and all his works. The author then returns to describing details of the city’s layout and structure. We learn, for example, that situated on the walls is an ordinance called Power of God.., and from the city
floweth an unsearchable or infinitely deep river with also a very tempestuous winde [that] devours all the enemies of the same good City. [The river and the winde] are called Righteous Judgment of God and the Spirit of the Almighty God. [Protected by these] the children of the City learn Understanding and Knowledg, which wisdom (that they learn thereout) is also an holy wisdom and that Understanding is Godly knowledg.
Note: We are not the first generation to know that we are destroying the world. But we could be the last that can do anything about it, not with the vanity of earthly knowledge and so called democratic solidarity and wisdom here on earth as this commercial of WWF wants to convince us, but with asking humbly the help of Divine Wisdom so realising in us the image of the man who painfully transcends his material ego: The birth of his soul. It is a test. It’s time to decide!
***
For without this City there is no understanding, wisdom or knowledg of God, or of Godly things; no not at all. All else is foolishness and hypocrisie.
Niclaes emphasizes the absolute newness of everything in this place. He tells us that we have to be ‘new-born in the spirit’ and that this new birth takes place only through ‘Love and the service of Love’. For Niclaes and the Familists the definition of love is that given in the New Testament: ‘God is Love’.
– ‘steady manifestation of love…nobody has ever expressed in equal perfection and beauty the fervor and enthusiasm of the initiated mystic, inspired by union with God, as Paul has expressed them in his two hymns of love ― the hymn on the love of God (Rom. viii. 31 ff), and the hymn on the love of men (1 Cor. xiii. 13- 15. Love is the Kingdom of God.
His remarks here remind us that what he describes in an entirely inner experience.
The City is a spiritual City of Life
The nature and minde [of the inhabitants] is nothing else but love, like those that are risen from the death with the Resurrection of the Righteousness in the Everlasting Life.
The God whom we serve is a secret God. He is the substance of all substances, the true life of all lives, the true light of all lights, the true mind of all minds.
Whosoever now forsaketh all the desolate lands and people [and] also hath his respect diligently bent upon the leading star in the East, and walketh on rightly according to the compasse, as likewise, forsaketh not the Crosse, and so cometh to the Submission, by him shall be found the equity, with the which he entereth into Gods nature. And so he cometh into the good Citie, full of riches and joy.
The traveler, having reached his goal, is free to go anywhere he wants. He may even wish to return to his previous abode in order to help those still there to make their escape.
He now therefore, that is, in this manner come thereunto, may, as then, in the love and in the unity of peace, go out and in without any harme, and may walk through all Lands, Places and Cities; bring unto all lovers of the good land, that are seeking the same, good tydings, give them good incouragement, as to respect all enemies like chaffe, and as nothing, show them the next way into the life, and so lead them with him into the good land.
Whosoever now is under the obedience of the love doth flow out of and into the same secret kingdome, even like unto a living breath of God. And [he] can very well walk in freedome, among all people, and also remaine still free.
For the knowledg separateth nor hurteth not him
The serpents deceit nor her poison cannot kill him
The foolishness allureth not him
The chosen righteousness snareth not him
The deceitfull hills seduceth not him
The ignorance blindeth not him
Nor the leaders of the blind doe not lead him
And even thus is God with him and he with God
We praise thee O Father for thou hast hidden these things from the proud-boasting wise, and the prudent understanding ones, and revealed them to the little humble ones. The rich in spirit, nor the great, wise or industrious scripture-learned ones, have not understood the same; but to the poor in spirit, and to the simple of understanding, has thou given it.
There follow here several chapters in the form of hymns of praise and rejoicing, very much in the style of – if not actually quoting from – the Psalms and the Old Testament prophets.
Hendrik Niclaes.now lays out his justification for speaking so openly ‘because of the great need of the times’. Yet he regrets that he is so little heard. Again and again he emphasizes the fact that a man cannot come to God through his ordinary mind, however well educated and well developed.
But oh, Alas! We have now in this rebellious time, very speciall cause to sigh and mourn grievously, over the blindness of many people and to bewaile the same with great dolour of our hearts. And that chiefly, because there is now in the same day of love and of the mercy of God, so little knowledg of the good life of peace and of Love to be found among them. And also, for that the same knowledg is desired of so few, and yet much lesse loved. But they do almost everyone delight to walk in strange waies that stretch to contention and destruction, by which occasion they live in molestations and deadly afflictions everywhere.
Therefore may we, with wofulness and sighing hearts, very justly say, that it is now a perilous time to be saved, and to escape or to remain over to preservation. Oh, what venomous windes do there blow to the desolation and destruction of men! Yea, it seemeth almost unpossible for the man to come to his salvation, or preservation in Christ, or the lovely life of peace.
Yet have some, notwithstanding, according to the imagination of their knowledg, run on, or labored for the spiritual things, for that they would understand them; also many have, according to their understanding of the flesh, testified of them.
But seeing they have not sought their knowledg of spiritual things in the obedience of the Christian doctrine of the service of love, but in their knowledg of the flesh, and so have taken on their understanding of the knowledg of spiritual things out of the imagination of their own knowledge; therefore they have likewise understood those same spiritual things according to the mind of their flesh, and witnessed of them in the same manner also. For that cause likewise the right knowledge of spiritual things and heavenly understanding hath not in the cleernesse of the true light shined unto them.
Wherefore it is in like manner found true, that the fleshly-minded ones, which sow upon the flesh or which build upon the foreskin of their uncircumcised hearts, doe mow the corruption and inherit the destruction. But those that are circumcised in their hearts, in the laying away of the fore-skin of the sinfull flesh, and in the obeying of the requiring of our most holy service of Love, are become spiritually minded and so then do sow upon the spirit, or build upon the spirituall, which is the true being itselfe.
For all flesh, although it does speak of spirituall and heavenly things, through knowledg, yet it is doubtlesse nothing else but like the grasse of the field, and all his garnishing of beauty and holiness is like the unto the flowers of the field; behold the grasse drieth away, and the beauty of the field withereth and decayeth.
But the spirituall good, the power of God and his living being (whereof all what is good standeth firm, and floweth thereout) remaineth stedfast, unchangeable for ever and in the same, or through, the manifestation of the same being, the Kingdome of God of heavens, cometh inwardly in us, and that is the true light of everlasting life.
Whose naked cleernesse, although the same be nothing else but light and life, is hidden, shut and covered from all understandings and wisdomes of the flesh, or that build thereon.
But it is manifest and shineth bright to the circumcised heart, and to the upright spirituall minded ones, in a spirituall heavenly understanding. And the same cleerness is the beeing of God from heaven, the upright righteousness and holinesse, and the life of God in eternity.
Wherefore the doore of life is now opened unto us, the Kingdome of the God of heavens and the Heavenly Jerusalem, or the City of Peace, descended downe to us and come neerby.
But not according to the thinking-good, or imagination, of our own hearts, nor according to the mind of the earthly wisdome, wherethrough many have estranged them from the truth of life.
Therefore can no man see the kingdom of God except that he becometh born anew in the spirit and is become plain, and just, and simple like unto a new-born babe.
***
We have signified or shewed in writing all of what the lover of the kingdom must forsake; if he will come to the good land of Peace, or enter into the rest of all the holy ones of God.
But not that the lover of the good land shall therefore think that he must first come to everyone of the forementioned horrible places, or that must pass through them all, before he can come to the good city of Peace. O no, ye dearly beloved, but the cause why we have marked out all the abominations and desolation is, for to make knowne every place of deceit and all the seducing or leading away from the good land of life.
The choice of the “Refugee”:
Meaning of Jesus Infancy
Note: COMMENTARY ON THE JOHANNINE PROLOGUE by Hildegard of Bingen
“ In the beginning was the Word( Logos) , and the Word was with God, and the Word was God” John 1-1
“For we are the image of God, Hildegard tells us, and if we wish to see God we need look no further than our souls and bodies, ourselves and our neighbors.”
Few of us have been blinded by the reverberating light of Christ or seen the shimmering form of Lady Wisdom spinning her cosmic wheel. But then, we do not need to: For we are the image of God, Hildegard tells us, and if we wish to see God we need look no further than our souls and bodies, ourselves and our neighbors. “God willed that his Word should create all things, as he had foreordained before the ages. And why is it called a Word? Because with a resounding voice it awakened all creatures and called them to itself.” In the same way, human beings, formed in the Creator’s likeness, are inescapably creative, for we work with our hands and command with our voices. “What was made in the Word was life”: Like our Creator, we too live by the works that we create. By our making, we reveal ourselves to ourselves, and, what is more, we reveal God to one another. God’s rational word echoes in our speech, his praise resounds in our songs, and his creativity is declared in our creations.
“The living Light that made us is the singing Word that took our flesh; he made us because we were eternally his and he wished to be revealed as ours. We are his mirrors, his marvels, his fellow workers, and the work of his hands.” Read HILDEGARD’S COMMENTARY ON THE JOHANNINE PROLOGUE
Jesus – The Paradigm of a Pilgrim in God
Jesus, the physical embodiment of the divine Breath
For Ibn ʿArabī, Jesus is an exceptional being. As the Andalusian author relates, Jesus was his first master and was decisive in his entry into the way of Sufism. This personal relationship, similar to a first love, encouraged him to hope that he would be a witness to the day of Jesus’s coming, and perhaps this motivated him to live his final years in Damascus, the place of his descent.
Jesus follows a path from God, and returns to God, without ever having been away from God; his descent into this world is followed by his ascent to the second Heaven (the one of Mercury), waiting to descend again to the great mosque of Damascus, before making the final ascent to Paradise. His vertical movement combines with a horizontal movement – that is, he travels ceaselessly [his ceaseless travelling] across the world as a wanderer with no place to rest his head. This constant travel is a manifestation of the constant activity of God and reveals the nature of all reality. Every creature is a word that comes from God and is destined to return to Him. In addition, Jesus, by means of his preaching centred on asceticism and the reminder of death, and through his alchemical spiritual and health-giving activity, he helps human beings on their path of return to the Creator.Read more…
Viriditas: the greening power of the Divine (or Divine Healing Power of Green)
Viriditas is one of the most recognizable contributions of Hildegard of Bingen.
For Hildegard, viriditas encapsulated the divine force of nature, the depth and breadth of which is reflected in the various translations. These words within the word are laden with meaning; with lively, powerful connotations that capture the essence Hildegard had conceptualized so long ago.
The origin of Viriditas,” Viridity” may be the union of two Latin words: Green and Truth. (Latin viridis (source of Spanish, Italian verde), related to virere “be green, and Old English triewð (West Saxon), treowð (Mercian) “faith, faithfulness, fidelity, loyalty; veracity, quality of being true; pledge, covenant,” from Germanic abstract noun *treuwitho, from Proto-Germanic treuwaz “having or characterized by good faith,” from PIE *drew-o-, a suffixed form of the root *deru- “be firm, solid, steadfast.also *dreu-, Proto-Indo-European root meaning “be firm, solid, steadfast,
But like most Latin words, Viriditas does not easily translate into convenient, straightforward English. While being difficult to translate may be frustrating to some, there is beauty in this complexity.
The Basic Definition and Origin
The definition is both literal, as in “green”, “greenness”, and “growth”, yet also metaphorical, as in “vigor”, “verdure”, “freshness” and “vitality.” For Hildegard, the spiritual aspects were just as essential as the physical meaning. In much of her work, viriditas was “the greening power of God.” It was in everything, including humans.
This “greenness” was an expression of heaven, the creative power of life, which can be witnessed in the gardens, forests, and farmland all around us. And like those lands, she saw viriditas as something to be cultivated in both our bodies and our souls.
What is it? Hildegard says it is God’s freshness that we receive as spiritual and physical life‐forces. This is vivid imagery that probably came to her simply as she looked around the countryside. The Rhine valley is lush and green and as we know today, a wonderful place, flourishing in fruit and vineyards. This greening power mysteriously is inherent in animals and fishes and birds, in all plants and flowers and trees, in all the beautiful things of this world.
Human flesh is green she says and our blood possesses this special greening power. The “life force of the body” (the soul) was green. Whenever sex was involved—she said there was a particular brightness in the green. This greening power was at the heart of salvation and the reality of the Word was verdant life. This greenness connects us all together as humanity and shines forth giving us common purpose. It is the strength within us that manifests as a strong and healthy life. This greenness originates in the four elements: earth and fire, water and air. It is sustained by the four qualities: by dry and moist, by cold and hot; not only the body—but greenness of soul as well.
Hildegard contrasts greening power or wetness with the sin of drying up (one of her visions.) A dried‐up person or a dried‐up culture loses the ability to create. Hildegard saw this as a grave sin and a tragedy. It also describes how she felt about herself during those years when she was refusing to write down her visions and voices. Her awakening did not occur until she embraced her own viriditas. From then on Hildegard was constantly creating.
This is in contrast to greening— dry straw, hay or chaff representing dried up Christians who are scattered and cut down by the just Divinity of the Trinity.
‘O most honored Greening Force, You who roots in the Sun; You who lights up, in shining serenity, within a wheel that earthly excellence fails to comprehend.
You are enfolded in the weaving of divine mysteries.
You redden like the dawn and you burn: flame of the Sun.” – Hildegard von Bingen, Causae et Curae
Hildegard gives an interesting image about greenness stating that it drenches all things in this world and then gives the tree as an example. The function of the tree’s sap [its life blood that we know as its essential oil] falls to the soul in the human body. Its powers or abilities enable us to unfold or develop form just as it does in the tree. In other words, the tree’s essential oil gives life and nourishment— moistness to humans. She goes on to make comparisons between the tree’s branches, leaves, blossoms, and fruit with various stages within human life. For Hildegard, viriditas is that natural driving force, the life force that is always directed toward healing and wholeness. Love, too, is the breath of the same vital green power that sustains all life’s greenness. She sees the Holy Spirit as that power that gives human beings the green and open space where they are capable of responding to the Word and joining in all of creation. The Spirit purifies the world, scours away all guilt, and heals all wounds and sadness. So, green is not a mere color for Hildegard—it is an attitude and purposeful intent. It is the permanent inflowing and outflowing of viriditas. Ultimately—we are talking about physical health from the inexhaustible fountain of life’s living light. It is the very joy of being alive.
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.
The Goddess of what is now May Day goes back to ancient times, in Anatolia, Greece, and Rome. Spring goddesses came to be venerated at two Roman holiday festivals that led to our May Day. The Roman Empire is important here because it took over much of Europe and the British Isles. Its mythology, associated rituals, and holidays spread there and merged with local conditions, mythologies, holidays, and customs.
The first of these goddesses of spring holidays was the Hilaria festival (from Greek hilareia/hilaria (“rejoicing”) and Latin hilaris (“cheerful”), held between the vernal equinox and April 1. It goes back to when the Phrygian goddess Cybele was introduced to Rome, at the end of the 3rd century BCE. In her myth, she had a son-lover, Attis, a dying-and-rising god who was mortally gored by a boar. Cybele knew that he had not died for eternity but that his spirit simply had taken refuge in a tree for the winter, and that he would be reborn from the tree in the spring, on the vernal equinox. When Cybele was introduced in Rome, she was given her temple of Magna Mater on the Palatine hill and a also a holiday with corresponding rituals. In her festival, a pine tree (that of Attis) was cut and stripped of its branches, wrapped in linen like a mummy, and decorated with violets (Cybele’s flower, because in the myth violets were said to have sprung from the blood of Attis).
It was then brought before Cybele’s temple on wagons in what resembled a funeral cortege, since Attis was “dead” inside the tree. This was followed by days of frenzied grief and mourning (including scourging) known as the “blood days,” when the tree was symbolically buried in a “tomb.” Attis then resurrected (rose out of the tree) on the day of Hilaria and was reunited with Cybele, symbolizing the beginning of spring. The tree was then erected before Cybele’s temple, and the people celebrated around it. The celebrations ended on April 1, which may be the origin of our April Fool’s day (the people were having a “hilarious” celebration). This has obvious parallels with the Maypole and May Day celebrations.
The second of these holidays was the Floralia, named after Flora, goddess of flowers and spring. Originally she may have been a Sabine goddess, about whom we know nothing other than that she had a spring month named after her on the Sabine calendar (Flusalis, linguistically related to Floralia) and that supposedly an altar to her in Rome was established by the Sabine king Tatius during the legendary period of his joint rule of Rome with Romulus. But none of her Sabine mythology has survived. In Rome Flora acquired her entire surviving mythology from the Greek spring goddess Chloris (from chloros – “pale green”),
who, as Ovid tells us, was originally a beautiful nymph in the Elysian Fields catering to the pleasures of the fortunate dead. There she also attracted the attention of Zephryos, the god of the West Wind and of spring, who quickly had his way with her. But then he married her, in what turned out to be a happy, loving marriage. As a wedding gift he filled her fields (her dowry in the marriage) with a flower garden, the flowers in which were said to spring from the wounds of Attis and Adonis. Zephyros, as the West Wind, brings the spring rains that grow the flowers. Thus, Virgil wrote that “the meadows ungirdle to Zephyros’s balmy breeze; the tender moisture avails for all.” Chloris also bore from Zephryos a son, Karpos, in Greek meaning “fruit” or “crop.” Through Zephyros’s wedding gift she became the goddess having jurisdiction over flowers, which she spread (by spreading their seeds) all over the earth, which until then was monochrome. She became goddess of spring. As Flora in Rome, in the late 3rd century BCE a festival was instituted in her honor that lasted from April 28 to May 2. It included theater, a sacrifice to Flora, a procession in which a statue of Flora was carried, as well as competitive events and other spectacles at the Circus Maximus. One of these involved releasing captured hares and goats (both noted for their fertility) into the Circus, and scattering beans, vetches, and lupins (all fertility symbols) into the crowd. The celebrants wore multi-colored clothing symbolizing flowers and spring, as later was customary on May Day in Europe. It was a time of generally licentious behavior. Flora also had a rose festival on May 23.
The spiritual man is one who transcends himself and loves to transcend himself;the worldly man remains horizontal and detests the vertical dimension.
Frithjof Schuon
The principle of verticality, which is a fundamental principle of traditional wisdom, is based on the affirmation of transcendence as an aspect of a comprehensive and integrated reality that is Absolute.
According to this understanding, reality has both a transcendent Origin and an immanent Center, which are one, rather than being reduced to the merely horizontal dimension of its existential or quantitative elements.
Verticality implies both Heaven and Earth, a worldview in which meaning and purpose are defined principally by both height and depth,and secondarily by breadth – that is, principally by man’s relationship to God, who is simultaneously ‘above’ and ‘within’ creation, and who there-fore governs all creaturely relationships – rather than by breadth alone –that is, solely in terms of the relationship between the subject and the world.
It also implies that the horizontal is subordinate to the vertical,that is to say, the relationship between man and the world is premised on the primary relationship between God and man: to restate this in Christian terms, the love of one’s neighbor is premised on one’s love for God. According to the traditional worldview, existence is transcended by a supreme reality, which, whether expressed in theistic or non-theisticterms, is Absolute, and which, without derogating from its unity, is si-multaneously (at the level of the primary hypostasis) expressed by the horizontal ternary, Truth or the Solely Subsistent Reality, Goodness or the Perfection and Font of all Qualities, and Beauty or Abiding Serenity and the Source of its Radiant Effulgence: in Platonic terms, the True, the Good and the Beautiful.
All creation is prefigured in this supreme reality,which projects existence out of its own Substance into a world of form (hence etymologically, ex-stare, to stand out of, or to subsist from, as the formal world of existence stands out of, and subsists from, the Divine Substance) through a vertical ternary comprising, first, the Essential or Principial Absolute (which is Beyond-Being), second, the Relative-Absolute Source of Archetypes (which is the primary hypostasis of Being), and third, the realm of Manifestation (which is Existence).
Tree of Life and Death Flanked by Eve and Mary-Ecclesia
Description: This image precedes the liturgy for the feast of Corpus Christi in a missal created for the Archbishop of Salzburg. The central roundel depicts a tree that bears both fruit and sacramental hosts. It thus combines the paradisaical Tree of Life and the Tree of Knowledge from Eden. On the right is Eve, who hands a forbidden fruit to a man kneeling at her feet. A death’s head appears among the fruits on her side of the tree. The tempting serpent winds around the trunk, and offers Eve another piece of fruit from its mouth. On the left side is Mary-Ecclesia. Rather than a death’s head, a crucifix hangs on this side. Instead of fruit, Mary-Ecclesia administers one of the hosts to a kneeling man who opens his mouth to accept it, and she is in the process of plucking yet another wafer. She is presented as a mirror image of Eve and thus the salvific antidote to the Fall. An angel accompanies Mary-Ecclesia on the left and Death accompanies Eve on the right. Both hold banderoles bearing text. Adam reclines in a gesture of sorrow at the base of the tree and also holds a banderole. In the upper two roundels are princely figures who hold banderoles bearing the text of Psalm 77:25 on the left ( ” Man ate the bread of angels: he sent them provisions in abundance”).and Psalm 36:16 on the right ( “Better is a little to the just, than the great riches of the wicked”). Three shepherds depicted below illustrate Thomas Aquinas’s Corpus Christi sequence “Lauda ducem et pastorum,” but they also embody the virtues expected of a good ruler. The one on the left is the personification of “Prudentia,” the one in the center is “Regalitas,” and the one on the right is “Verus Pastor.” All are accompanied by banderoles.
Inscription: Angel: ecce panis angelorum factus cibus viatorum [behold the bread of angels made food for pilgrims]; Death: mors est malus vita bonis inde [death is evil, life therefore is goodness]; Upper left prince: Panem angelorum manducavit homo
The world itself,and its creatures, including man, as such, are therefore of derivative significance and are accidental in relation to the supreme reality, which alone is substantial.The world is transient, ephemeral and illusory.
Dream of the Virgin:
This small panel painting shows the Virgin lying asleep while a companion reads to her at the foot of her bed. Above her, Christ is crucified not on the cross, but on a golden Tree of Life that rises from the Virgin’s womb, while below her, a hand reaching down from the bed opens the gates of Limbo to release Adam and Eve.
The subject makes explicit the idea of the redemption of mankind through the intercession of the Virgin.
The Blessed Virgin Mary fell asleep on Mt. Rahel, Jesus came to her and asked; Mother are you asleep? I did sleep but you my Son awakened me, said the Blessed Virgin Mary.
She continued telling him this; I saw you in the Garden, stripped of your clothes, you were led to Caiphas to Pilate, from Pilate to Herode. There your Holy face was spat on (upon) and they crowned you with thorns.
Sacrifice : the hidden meaning of easter and the ressurection of Nature in the month of May
“Death is not the opposite of life. The opposite of death is birth. Life has no opposite.” — Eckhart Tolle
What if the story of Jesus isn’t about Jesus at all?
To re-cast a famous Joseph Campbell saying, what if each of us is the dying god of our own lives? What riches are uncovered if we read the dying god stories not as literal, historical events but as metaphors for our own evolution from material, biological beings bound by instinctual conditioning into spiritual beings of awakened consciousness? Is it any wonder then that the dying god is so often born of a virgin or through some other non-biological process? Horus was conceived as his mother Isis hovered in the form of a hawk over the dead body of her husband Osiris. Mithra was born spontaneously from a rock. Adonis, Attis, Dionysus, Jesus, Quetzalcoatl and many others were born of virgins. The hero, the gift-giver and the dying god live and have their being in higher consciousness, not in the lower realms of ego, competition and conflict. In the Gospel of John, when Nicodemus asks for Jesus’ advice, Jesus simply says, “you must be born from above.” In other words, each of us must shift from lower consciousness to the higher plane of God-consciousness within. The virgin birth signifies that each of us, at the level of our divine essence, was not born from the union of sperm and egg but are identical and unified with the eternally Real, what Krishna called “the unborn” and what Jesus called “everlasting life”. Shifting out of body and ego identification is the work of every spiritual tradition.
If the purpose of myth is to teach us how to live our own lives, then what have we learned?
In Buddhism the central metaphor is that of awakening from the sleep of ignorance, suffering and conditioning. In Christianity the central metaphor is death and rebirth, coming out of our animal nature with its instinctual drives of acquisition and conflict and rising into the unitive experience of God-consciousness, transcending all boundaries and limitations. Resurrection is transformation. Rebirth signifies death to the ego, to limitation, to space and time. Rising from the “grave” of our lower nature embodies the realization of awakening.
Beneath the crests and troughs of the ocean’s waves lies an immense stillness, a stillness that is both the source of the waves and their destination. Is it not true that we “die” every night? Were it not for sleep, this cyclical, recurring “death”, this immersion into the sea of unconsciousness, our life would cease. Just as the silence between notes makes music possible, so too the empty formlessness of the Void makes possible the vibrant fullness of our conscious, waking life. In the end, the inner and the outer are the same. The surface mirrors the depth. The tomb is a womb. Nirvana is samsara, and the kingdom of heaven is lying all around us, only we do not see it. Not only is there a correspondence, there is an identity. Life, in essence, is synonymous with the eternal Ground of Being, the Real, what we in the west call God, and as such it is ultimately untouched by death. “Death is not the opposite of life,” Eckhart Tolle writes in Stillness Speaks. “The opposite of death is birth. Life has no opposite.” Despite centuries of theological calcification it is still possible for us to exhume the universal spiritual wisdom of the Christian story, that each of us is the presence of God-consciousness in the field of forms. Only, as Buddha pointed out, we don’t know it. Like the sun breaking over the horizon at countless sunrise services throughout Christendom this Easter, we too are gradually dawning to the truth of our divine nature. Dare to say it out loud. Let your sun rise. Let the wisdom within you shape your thoughts and words and actions. Become, finally, who you really are. This is the hidden meaning of Easter and the Maypole
The large carved stone sarcophagus lid in the Temple of Inscriptions is a unique piece of Classic Maya art. Iconographically, however, it is closely related to the large wall panels of the temples of the Cross and the Foliated Cross centered on world trees. Around the edges of the lid is a band with cosmological signs, including those for sun, moon, and star, as well as the heads of six named noblemen of varying rank.[18] The central image is that of a cruciform world tree. Beneath Pakal is one of the heads of a celestial two-headed serpent viewed frontally. Both the king and the serpent head on which he seems to rest are framed by the open jaws of a funerary serpent, a common iconographic device for signalling entrance into, or residence in, the realm(s) of the dead. The king himself wears the attributes of the Tonsured maize god – in particular a turtle ornament on the breast – and is shown in a peculiar posture that may denote rebirth.[19] Interpretation of the lid has raised controversy. Linda Schele saw Pakal falling down the Milky Way into the southern horizon.
Germinate osiris:
Beginning in Dynasty 18, beds were made on which soil was molded into the shape of the god of regeneration and ruler of the dead, Osiris. Thickly sown with grain and kept moist until the grain sprouted and grew, then left to dry again, these figures were created as part of a ritual carried out in association with the Osirian Festival of Khoiak. They magically expressed the concept of life springing from death, symbolizing the resurrection of Osiris. Some examples are also seen in tomb contexts, as the deceased was identified with this god.
In later periods, pottery Osiris bricks were most likely used during the Khoiak Festival as planters; this example was empty, but others contained soil mixed with cereal grains and linen. Here Osiris is shown in his typical form as a mummy, wearing the tall crown of Upper Egypt flanked by ostrich plumes. In his hands he holds the crook and flail of kingship. See : The Corn Osiris of Isis Oasis
Many scholars suggest that Quetzalcoatl of Mesoamerica (also known as the Feathered Serpent), the Maya Maize God, and Jesus Christ could all be the same being. By looking at ancient Mayan writings such as the Popol Vuh, this theory is further explored and developed. These ancient writings include several stories that coincide with the stories of Jesus Christ in the Bible, such as the creation and the resurrection.
The symbol of the serpent has long been associated with deities of Mexico and Guatemala. In the Aztec language, the word “coatl” means serpent. By placing the Aztec word “quetzal” in front of the word “coatl” we have the word, “Quetzalcoatl”. The word “quetzal” means feathers. A beautiful bird, native to Guatemala, carries the name quetzal. Quetzalcoatl, therefore, means, “feathered serpent,” or serpent with precious feathers. (See our web site for illustration} The word quetzal is the name of the coin in Guatemala and also is the national symbol of the country.
Throughout pre-Columbian Mexican history, scores of individuals, both mythological and real, were given the name or title of Quetzalcoatl. Attempts also have been made to attribute the name Quetzalcoatl to only one person. The following quotations are indicative of what is said about Quetzalcoatl
The role that both Quetzalcoatl and the Maize God played in bringing maize to humankind is comparable to Christ’s role in bringing the bread of life to humankind. Furthermore, Quetzalcoatl is said to have descended to the Underworld to perform a sacrifice strikingly similar to the atonement of Jesus Christ. These congruencies and others like them suggest that these three gods are, in fact, three representations of the same being. Read more here: Quetzalcoatl the Maya Maize God and Jesus Christ
In the sacred history of Meso-America, a Christ-like figure dominates the spiritual horizon. His name is Quetzalcoatl, which means the Plumed Serpent. Quetzalcoatl is one of the most ancient concepts of God in this region. He reconciles in himself heaven and earth. He is the creator of humankind and the giver of agriculture and the fine arts.
In the tenth century, a Toltec priest named Quetzalcoatl acquired a large following in the Valley of Mexico. He opposed both human sacrifice and warfare, promoting instead the arts and self-discipline as a means for coming closer to God. This made him many enemies among the ruling classes. They brought about his downfall, but he confounded them by rising from the dead, after being consumed in a sacred fire. His heart became the morning star, and he himself became young once again. He promised to return one day to his people.
The stories of Quetzalcoatl and Christ are so similar that it is easy to see one in the other. In this icon, both Quetzalcoatl and Christ are depicted in the same guise. It is a resurrection icon, with their heart ascending from the flames of death and rebirth. Around the edge, in gold leaf, is an ancient Aztec depiction of the Plumed Serpent. Red and black are the colors the Aztecs associated with the morning star.
Quetzalcoatl and Christ bring us the same timeless message: God is closer to us than we are to ourselves. In both their lives, our human condition has been joined inseparably to the divine. Each proclaims to us a simple gospel of compassion, and invites us to dance with God in the divine fire burning in each of our hearts.
TheDivine Substance alone is permanent and real. This view of the transcendent, supreme and substantial reality of the Absolute (which, according to the principle of verticality, is described in terms of its elevation orperfection in relation to creation) finds its expression in all religious traditions:
“O Arjuna! There is nothing higher than Me; all is strung uponMe like pearls on a string.” (Bhagavad Gita, vii. 7);
“It may be considered the mother of the universe./I do not know its name; I call it Tao./If forced to give it a name, I shall call it Great.” (Tao-te-Ching xxv);
“His greatness is unsearchable.” (Psalm cxlv. 3);
“In the world, inclusive of its gods, substance is seen in what is insubstantial. They are tied to their psychophysial beings and so they think that there is some substance, some reality in them. But whatever be the phenomenon through which they think of seeking their self-identity, it turns out to be transitory. It becomes false,for what lasts for a moment is deceptive. The state that is not deceptiveis Nirvana: that is what the men of worth know as being real. With this insight into reality their hunger ends: cessation, total calm.” (Sutta Nipata756-58);
All flesh is grass, and all its beauty is like the flower of the field.The grass withers, the flower fades, when the breath of the Lord blowsupon it…The grass withers, the flower fades, but the word of our Godwill stand forever.” (Isaiah xl. 6-8);
“Therefore you must be perfect, as your heavenly Father is perfect.” (Matthew, v. 48);
“Glory to God, the Lord of the Throne; high is He above what they attribute to Him!” (Qur’an,xxi. 22)
This is an impressive image by Rumi, for it portrays the human condition, the fact that the only creature with a certain amount of free will is situated between beast and angel, between the world of pure matter and that of pure spirit. If he follows his lower instincts, he will fall deeper than any animal, for the animals are constrained in their actions and have no choice. If, however, he purifies himself and develops his God-given spiritual qualities, he will reach a station higher than the angels, for angels, too, cannot act according to their own inclination; their role of constant worship and obedience is once and for all prescribed. Humans, however, have to wander along an extremely narrow path as they choose between good and evil, matter and spirit; they are, as Maulana says, like ducks, which belong to both water and earth; or else they are half honeybee, half snake, capable of producing both honey and venom. Did not the angels cry out in horror when the Lord told them at the beginning of time that He would place a vice-regent on earth, whereupon they foresaw that the new creature would he “bloodshedding and ignorant” (Sura 2/31)?
But God knew better what He was planning, and so the angels had to prostrate themselves before the newly created Adam, who thus became masjud al-mala’ika, “the one before whom the angels fell down.” He was singled out by the Divine Word in the Koran: karamna, “We have honored the children of Adam” (Sura 17/70). Maulana reminds his listeners time and again of this Divine Word, and he sees the greatest danger to humanity in the risk of their forgetting the high position allotted to them by God. God “taught Adam the names” (Sura 2/32). Read more here….
The undeniable truth is that for Christianity Jesus is the personification of the central sun of our solar system. Perceived from the northern hemisphere, and particularly from between the latitudes of the Tropic of Cancer and the Arctic Circle, the celestial arc-shape path of our Light Bringer becomes in the fall each day a little smaller. But on (about) December 21, this daily shrinkage comes to stand still. In other words, the daily changing in the size of the Risen Savior’s arc has then stopped, or “died”. However, after three natural days, in which the nights lasted the longest of the year, this heavenly motion comes back to life again, starting with the sunrise on December 25. We celebrate this annual rebirth of Jesus with the Light Feast as a continuation of the Germanic Midwinter Festival.
As the Roman deceivers want this to be hidden from the uninitiated, they moved Jesus’ day of death from December 21st to “Good Friday”, that is, the Friday before Easter, which is today. Furthermore, they changed the meaning of this Passover to the resurrection of the Savior, which in reality occurs every year on December 25th.
Just like Christmas, also the Passover is originally a Germanic feast. As we celebrate during the Midwinter Feast our survival of the year’s darkest part, we celebrate during the Eostre Festivalthe fact that within a natural day the day time period has again become longer than the night time period. In other words, the light of the day has again overtaken or passed by the darkness of the night. The official version of the origin of the name “Passover” tries to fool us by pointing to the Hebrew word “Pesach”, but that is like putting the world upside down. In reality, the name “Passover” originates from the old Germanic verb for ‘passing by’. Somehow ‘passing by’ and ‘taking over’ merged into “Passover”. Another myth is that the name “Easter” is referring to the East. This is nonsense, as it is derived from the Old English “Eostre”. Actually, it is all quite straightforward, only by examining these names.
This (long) weekend, we celebrate the fact that the daily lighter period has taken over or passed by the nightly darker period. In other words, the entire period of natural day is again ruled by Light, and no longer by Darkness. We can also examine the way we still use the verb ‘pass’ in our contemporary language. For instance, we pass a deed. After this deed is passed, the previous owner passed it on to the following one. Similarly, we also pass a ball from the previous player to the next in various ball sports.
When we imagine a full year as a circle, then the straight lines that connect the starting points of opposing seasons form a cross within that circle. This is the true Cross of Jesus, as shown in the figure on the right-hand side. Opposite to the beginning of winter on (about) December 21st lies on this circle the beginning of summer on (about) June 21st. These two points are called ‘solstices’ from solstitium in Latin, literally meaning ‘solar standstill’. However, it is not the standing still of the Light Bringer, but the standstill of the daily growing (or shrinking) of its arc-like path. Likewise, opposite to the beginning of spring on (about) March 21st lies on this circle the beginning of autumn on (about) September 23rd. These two points are called equinoxes from aequinoctium in Latin, literally meaning ‘night getting even’ (with day). On these two days a year, the nocturnal darker period and the diurnal lighter period indeed get even.
Furthermore, in case you want to learn more about the original Germanic holidays, then study the Germanic Moon Calendar.
Resurrection and the Feminine Divine The Christian holiday of Easter is the archetypal summit of the year, where rebirth and resurrection are venerated in the mystery of Jesus Christ’s awakening from the tomb. In Christian orthodoxy, Easter is known as pascha, the Greek and Latin term referring to the Jewish Passover. The Apostle Paul uses this word as a title for Christ, “For Christ our Passover lamb [pascha], has been sacrificed” (1 Cor. 5.7). By the end of the first century CE early Christians had reinterpreted the Exodus story and the Passover ritual as a prototype for the sacrifice of Christ.
The word “Easter” itself, however, is Old English, from Eastre or Eostre, a title derived from an old English month now known as April. Christian Easter is celebrated on the first Sabbath after the first full moon after the spring equinox. This holy-specific day most often occurs in April and is representative of the most fertile time of the year, when sun, moon, and earth are all in their phases of rebirth and awakening. Easter is therefore the day of resurrection, in heaven and on earth. And this heaven-earth relationship is only an archetypal symbol for the heaven-earth awakening that occurs in the soul of God, or in the spirit and breath of each mortal man and woman. In Christian rite and belief, every soul will arise like the sun, moon, and earth, to a new immortal dwelling. Despite this traditional context, historically, Easter had feminine roots. Significantly, the old English month of Eostre was itself named after a goddess whose rites of rebirth were celebrated at the same time among the early inhabitants of Britain and Northern Europe. Eostre was a Germanic goddess whose name is cognate with the Proto-Germanic austrôn, meaning dawn or to shine. This deity belongs to a long line of female divinities who are goddesses of the dawn, and are found in various forms throughout Indo-European cultures as beings who bring light and life to the world. For thousands of years before Christianity the divine being who brought forth resurrection was represented as a goddess. Inanna, Isis, Rhea, Cybele, and Demeter are beings with the divine stewardship over rebirth.
The Japanese Amaterasu is a goddess of the dawn who also brings light and life to the world. While these deities were seen as the powers behind the fertility of all things on earth, they also held stewardship over the mysterious cosmic principle of heavenly life. In the Greco-Roman mystery religions, the revitalization of the initiate was promised via the gifts and boons of the goddess. This should make sense as in fact it is only woman who can bring forth life from her womb. In many respects, the rites of rebirth analogized the tomb with the womb, so that those going into the beyond could be reborn by a Heavenly Mother whose womb was the cosmic precinct of immortality.
The Goddess in Prehistory “As far back as the Paleolithic Age,” writes Maarten J. Varmaseren, “one finds in the countries around the Mediterranean a goddess who is universally worshiped as the Mighty Mother” . From 30,000 to 10,000 BCE, adds Joseph Campbell, “the [Goddess] is represented in those now well-known little ‘Venus’ figurines” . A limestone relief found in southwestern France in the Pyrenees is illustrative in this regard. Dating to 25,000 BCE, an engraved Venus image is shown holding a bison horn inscribed with thirteen vertical strokes. This is the number of nights between the first crescent and the full moon .
The Goddess figure is holding her swollen belly with her other hand, suggesting that at this early date, the lunar and menstrual cycles were connected, and that the Goddess figure was symbolic of the whole archetypal complex of the feminine divine: life, birth, and death.
According to Joseph Campbell, the goddess has three functions:
“one, to give us life; two, to be the one who receives us in death; and three, to inspire our spiritual, poetic realization” Read more here
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
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”.[4] 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.
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
In the begin of “Modernity”, Goethe warns us in his poem Zelige Sehnsucht–Blessed Longing
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
Maypole
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.
—Hildegard, Scivias
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.
—Hildegard, Scivias
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
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,
therefore, esoteric.
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
To See Yourself within It: Bruegel’s Festival of Fools by Todd MarlinRichardson
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
his death.
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)
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.
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.
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
During the autumn equinox light and darkness are precisely in balance with each other. Subsequently the influence of the darkness begins to increase more and more as the power of the light is fading. The darkness is the deepest around Christmas and we can only wait in confidence until the light is born again. That is how people of yore experienced the alternation and struggle between the light and the darkness in their own lives.
Before villages and towns were bathed in electric light, the increasing darkness was almost tangible to the inhabitants and they could not help but eagerly await the new light. They heard stories about the miraculous birth that took place in this darkness in the distant past: God’s son was born in a hidden place in order to liberate humanity from the darkness. The light that would soon become stronger again was a sign of this birth. It was not only an external light but could also be experienced as an inner light that pierced the darkness of everyday life. Christmas has always been interpreted in a spiritual way in the Christian mystical movements. It is not so much important whether the son of God ever came to be born on earth or not; what matters is that his birth is going to take place within us. Not until the increasing influence of the writings of Jacob Boehme was the inner meaning of Christmas discussed more and more outside the monastery walls: Christmas is not so much the commemoration of an historical event but rather a miracle that can happen to all of us:
it is the birth of this son within us.
The Christian Theosophical tradition of Jacob Boehme relates that we are living in darkness as long as there has not been an inner transformation or rebirth. What to our ordinary eyes is light, is deep darkness to the inner being.
This tradition emphasizes that we should make a radical distinction between the outer and the inner man. We are the outer being, as it is functioning in our daily lives. Our attention is constantly drawn to our sensory experiences.
But above all we are governed by the incessant flow of our thoughts, feelings, fantasies and desires. Although we believe that we ourselves are the source of this continuous flow, we are unable to stop it.
Consequently we are determined by this stream, rather than the opposite.
Since this condition is comparable to the dream state, most traditions emphasize that we are not awake in our daily lives, but rather still asleep. The only difference between daytime sleep and the ‘normal’ night time sleep is that during the former we do respond to all kinds of sensory stimuli. And just as during sleep we believe to be awake, even in our so-called waking state we are still in a kind of sleep.
But what or who, then, is the inner man? It is the soul which can be born within us. Just as Jesus was born of Mary, so may the soul be born of us, external people. For that reason, Angelus Silesius, a pupil of the Christian Theosophical and Rosicrucian tradition , wrote:
What good does Gabriel’s “Ave, Mary” do Unless he give me that same greeting too?
We can – like Mary – learn to no longer identify ourselves with the incessant flow of thoughts, feelings and desires. But that implies that we, outer beings, need to wake up and be willing to listen to the words that Gabriel and other messengers speak to us. Living in our darkness, but awakened by these messengers, we learn to say in complete self-surrender: let it be to me according to Your word. Therefore, Angelus Silesius said:
Be silent, silent, dearest one, Only be silent utterly. Then far beyond thy farthest wish God will show goodness unto thee
In order to receive this message, it should become silent within us so that we can become focused. It means that we no longer automatically respond to whatever we are being told, but that we are really going to listen, and – like Mary – keep the words in our hearts like a seed that will later be able to unfold.
This attentive attitude of life is a necessary condition for the inner man – the Son of God – to be born within us. Such an attitude to life means that we learn to listen and observe in a responsive manner. Usually, however, we have already made up our minds before the other person has finished speaking and we do not really listen to what he or she is telling us. Only rarely do we let ourselves be surprised by what presents itself to us in the world. For we have seen it all so many times; by now we know what the world looks like.
A receptive mode of perception, however, suddenly allows the everyday things to present themselves to us in new and refreshing ways.That is the beginning of the return of the light! When we are waiting, being quiet and receptive, then the light can penetrate into the darkness of our waking consciousness; then the moment of the inner Christmas has arrived.
The outer human being lives mainly from the head; hence the incessant stream of thoughts that constantly drags us along. On the other hand, the heart takes the central place, often symbolized by the rose. The heart will open, to the extent that we learn to live our lives with attention. As Angelus Silesius said: Thy heart receives God’s dew and all that with Him goes When it expands toward Him as does an opening rose.
Dew is an alchemical symbol. When the dew descends from heaven on the outer man who has died, then the resurrection will take place: the soul – the son of God – will arise from the earthly shell of the outer man.
Indeed, this process means that the outer man must die. If we no longer speak and act from our own will and desire, but instead become attentive and receptive to the soul, then the outer man actually begins to die. Without this process of dying – without the darkness that precedes the birth of the light – the birth of the soul cannot take place: If He should live in you, God first Himself must die. How would you, without death, inherit His own life? Without this birth, our life as an outer human being is infertile. The outer man is composed of dust and will return to dust. This ‘dust’ refers not only to the physical body but to our entire personality, to everything with which we usually identify ourselves. We should learn to let go of all this, because: Though Christ a thousand times in Bethlehem were born, but not within thy self, thy soul will be forlorn.
That sounds serious, and it is. But the annual return of the light which we celebrate at Christmas reminds us ever again of the light that can be born within us. The annual – and daily – return of the outer light nourishes our hope and our confidence that the miracle of the birth can also take place in us.
In English, the time period following Christmas has a meaningful name: ‘holidays’, which literally means ‘holy days’, days that can be seen as a gift to focus on healing in the broadest sense of the word. These days, when you can be ‘vacant’ from all your usual worries, allow you to be filled with healing powers. The word ‘vacant’ means ‘empty’, while the word ‘holy’ is related to ‘being whole’.
PLATO’S Cosmic X: Heavenly Gates at the Celestial Crossroads
Zodical light , crossroads to Heaven
Zodiacal light, band of light in the night sky, thought to be sunlight reflected from cometary dust concentrated in the plane of the zodiac, or ecliptic. The light is seen in the west after twilight and in the east before dawn, being easily visible in the tropics where the ecliptic is approximately vertical. Sunlightscattered by interplanetary dust causes this phenomenon. Zodiacal light is best seen during twilight after sunset in spring and before sunrise in autumn, when the zodiac is at a steep angle to the horizon. However, the glow is so faint that moonlight and/or light pollution often outshine it, rendering it invisible.See Plato’s Visible God: The Cosmic Soul Reflected in the Heavens
Plato describes gates to the afterlife in the Myth of Er at the end of Republic – infernal gates like the cave of Hades at Eleusis, as well as celestial portals that would be located at the intersections in the sky that he describes in Timaeus. The initiated Cicero’s translation into Latin of a section of Timaeus – The initiated Cicero’s translation into Latin of a section of Timaeus – the part with Plato’s celestial X – suggests an astronomical aspect to the Mysteries. Read more here
The Twelve Holy Nights
According to several traditions the cosmic ‘gates to the divine’ are wide open during the period from December 24 until January 6. This time period from Christmas until Epiphany is also referred to as the twelve holy nights.This idea is not based on historical events of more than two thousand years ago; rather it concerns cosmic processes. Where did the idea of the twelve nights originate?
Long before Christianity arrived in Europe, the Germanic and Celtic peoples celebrated a midwinter feast (or Jul-feast) sometimes lasting eleven days and twelve nights, following the winter solstice.
That time period is exactly the difference between twelve revolutions of the moon around the earth, in 29.5 days (354 in total), and the 365 days it takes the earth to complete one rotation around the sun: 365-354 = 11 days and 12 nights.
The number twelve expresses fullness and completeness. Think of the 12 signs of the Zodiac, the 12 hours of the day and the 12 hours of the night. Consider also the 12 tribes of Israel, the 12 disciples of Jesus and the 12 Knights of the Round Table. Twelve is the product of three and four: 3 x 4 = 12. The twelve holy nights can be seen as stages along the path of spiritual development, symbolically indicated in the twelve hours of the Nuctemeron of Apollonius of Tyana, the twelve labours of Hercules and the thirteen songs of repentance in the Gospel of the Pistis Sophia.
In many traditions three is considered a divine number, while four is considered an earthly number. From this point of view the number 12 encompasses both the earthly and the divine. Humanity also holds both the earthly and the divine within itself. Human beings as we know them are indeed manifestations of the divine, but they themselves are not divine and never will be. Our physical bodies will eventually die. The physical body is dust and will return to dust.
The bridge between time and eternity
Several wisdom teachings speak about an immortal divine principle, lying dormant in every human being, that is just waiting to wake up and be active. Based on that awakened and active divine principle, the human being can become a bridge between time and eternity. What matters is not that we will enter eternity, but that the eternal being within us may be vivified. That is the core of all Gnostic teachings and also of esoteric Christianity: the human being is twofold.
“The sleep of the body becomes the sobriety of the soul” are the profound words of Hermes Trismegistus. By directing ourselves inwardly, the quiet of the body can become the freedom of the soul. In the spatiotemporal nature there is no place of rest for the soul.
During sleep, however, it may travel to the place where the turmoil of the opposites cannot exist: the Temple of Silence. In that sacred place, it is nourished with the essence of a higher human life and receives the rich teachings of universal wisdom. Upon awakening, the soul will transfer the inner certainty obtained to the physical human being. In this way sleep can be a blessing for those who seek for the truth. Read more Here
Draumkvedet and the medival English Dream Vision
Draumkvedet” (“The Dream Poem”; ) is a Norwegian visionary poem, probably dated from the late medieval age.[ It is one of the best known medieval ballads in Norway. The first written versions are from Lårdal and Kviteseid in Telemark in the 1840s.
The protagonist, Olav Åsteson, falls asleep on Christmas Eve and sleeps until the twelfth day of Christmas. Then he wakes, and rides to church to recount his dreams to the congregation, about his journey through the afterlife. The events are in part similar to other medieval ballads like the Lyke Wake Dirge: a moor of thorns, a tall bridge, and a black fire. After these, the protagonist is also allowed to see Hell and some of Heaven. The poem concludes with specific advice of charity and compassion, to avoid the various trials of the afterlife.
The Medieval English dream vision evidence influences from a variety of earlier vision literature, notably the apocalyptic vision and narrative dream. Philosophical visions by Plato, Cicero and Boethius, and Christian revelations of John and Paul contain traits that found their way into the dream poems by Langland, the Pearl poet and Chaucer. The Norwegian ballad Draumkvedet exhibits features that mirror these English visions. Notable characteristics pertaining to the character of the dreamer, the interplay between dreamer and dream, imagery of the vision, and structure, point to a common set of generic influences. Comparing Draumkvedet with its English counterparts demonstrates that they stem from the same tradition. Draumkvedet bares special resemblance to the Dream of the Rood, Piers Plowman and Pearl in its exploration of Christian doctrine and its appeal to the audience. Read more here…
The Mystical Nativity is a painting of circa 1500-1501 by the Italian Renaissance master Sandro Botticelli, in the National Gallery in London. Botticelli built up the image using oil paint on canvas. It is his only signed work, and has a very unusual iconography for a Nativity.
It has been suggested that this picture, the only surviving work signed by Botticelli, was painted for his own private devotions, or for someone close to him. It is certainly unconventional, and does not simply represent the traditional events of the birth of Jesus and the adoration of the shepherds and the Magi or Wise Men.
Rather it is a vision of these events inspired by the prophecies in the Revelation of Saint John. Botticelli has underlined the non-realism of the picture by including Latin and Greek texts, and by adopting the conventions of medieval art, such as discrepancies in scale, for symbolic ends. The Virgin Mary, adoring a gigantic infant Jesus, is so large that were she to stand she could not fit under the thatch roof of the stable. They are, of course, the holiest and the most important persons in the painting. Read more here
The Prayer of the Heart in Hesychasm and Sufism
Dear friend, your heart is a polished mirror. You must wipe it clean of the veil of dust that has gathered upon it, because it is destined to reflect the light of divine secrets.”
Symbol of Divine Child, Peace and Mercy in Islam and Sufism.
We can find the same Symbol of Divine Child, Peace and Mercy in Islam and Sufism:
Bism ‘Lláh al-Rahmán al-Rahim
In the Name of God, the Compassionate, the Merciful
Bismillah
Now the letter بba’of the bismillah (meaning in) implies connection, and it is itself connected (directly) to God (‘Llah); the word ‘Name”(Ism) does not separate them, since it is identical with the Named according to the Sufis as well as most of the Ash’aris.
Note: When the bismillah اسم الله,is written in Arabic, the letter ba’ ‘in’, is directly connected to the word ism, ‘Name’.ب س م لWhat the Shaykh al-Alawi is saying is that since the Name (Ism) is identical with the Named, i.e. God Himself Ism does not really separate the letter bá’ from the Divine Name Allah. الله
Thus the beginning is in God (bi’llah): from Him all begins and to Him all returns.
JURIDICAL :Four rulings can be deduced from the basmala:
Firstly, all who write or recite the Qur’án must begin with the bismillah; this is inferred from that fact that the Almighty Himself begins the Book with it.
Secondly, we understand from this that God wishes us to praise Him for His Beauty more so that His Majesty ; this is inferred from how He begins with the two Holy Names ‘the Compassionate’ (al-Rahmán) and ‘the Merciful’(al-Rahim), describing His Essence (Dhát) thereby.
Thirdly, we learn that there is a difference between the two Names, though they are derived from a single Quality (They are both derived from rahma); for otherwise, to list both ‘the Compassionate’ and ‘the Merciful’ would be nothing but repetition.
Fourthly, we learn that the Name is identical with the Named; otherwise, it would not be proper to seek aid in it rather than its object, God (Allah).
ALLEGORICAL : The way the letter ba’ is fastened to the Divine Name(Ism al-Jalála, the ‘Name of Majesty’ ), though it is not part of it, inspires in us a consciousness of how everything in existence, with all its different realities and divergent paths, is fastened to God.
Do not imagine that it touches Him—for in His transcendence, our Lord is not touched by any contingent thing, and such could not occur without the contingent thing vanishing altogether because of its lack of permanence in the presence of Him who is Eternal—rather, we mean that it is connected to Him and given being through Him: it subsists through God; not through itself. Its being is borrowed from that of its Being-Giver (mujid), as it has been said:
That which has no being in and of itself Could not be at all, were it not that He is.
The way the ba’ of the bismillah is lengthened where otherwise it is not, is because it is connected to the Name, and the one who is connected to the Named—and is thus one of God’s Folk—is worthy of being raised above the other members of his kind. As for the lengthened bá”s standing in for the elided letter alif of the word ism, it symbolises the representationi of God by he who possesses the Muhammadan inheritance: 0 David, We have made you a vicegerent on earth [Q.38- 26]; Whoso obeys the Messenger has obeyed God [Q.4- 8 0] .
Note: In the bismillah, the first downward stroke of the letter ba’ is often lengthened, particularly in North African orthography, so that it is as tall as a letter alif, because it serves the function of representing both the letter bei’ and the alif of the word ism, ‘Name.’ See Martin Lings, A Sufi Saint, p. 156.
We have translated the word niyába as both ‘standing in’ and ‘representation‘. The Shaykh is saying that the letter ba’ is lengthened to represent the alif in the same way that a prophet or saint is God’s intermediary and His representative .
As for the position of the bismillah at the head and summit of the Book, it symbolises how God is raised above His Throne; and since this `rising’ (istiwa ) does not mean, as ordinary people think, that He is `contained’ by the Throne, but rather that He is present in every element of existence, the bismillah is placed at the head of every Chapter of the Qur’án (Sura), whether short or long: And Heis with you, wherever you are [Q.57-.4]. (In fact it is placed at the head of all Chapters but one, the exception being Surat al-Tawba – Chapter9)
Traditions affirm that everything in the Book is encapsulated in the words ‘In the Name of God, the Compassionate, the Merciful’ ; this symbolises how all things are contained in the Being of their Being-Giver; that is, that everything in them branches from what is in Him: Nor is there anything but with Us are the treasuries thereof [Q.15.21]. That the Divine Name (Allah] comes before the other Beautiful Names symbolises the precedence of the Essence, and how the Names and Qualities are contained in Its treasury.see Commentary on the Bismillah.
“Peace” shall be the word conveyed to them from their Merciful Lord.” Surah yasin 36-58
Surah Yasin: Heart of the Quran
It has been proposed that yā sīn is the “heart of the Quran”.The meaning of “the heart” has been the basis of much scholarly discussion. The eloquence of this surah is traditionally regarded as representative of the miraculous nature of the Qur’an. It presents the essential themes of the Qur’an, such as the sovereignty of God, the unlimited power of God as exemplified by His creations, Paradise, the ultimate punishment of nonbelievers, resurrection, the struggle of believers against polytheists and nonbelievers, and the reassurance that the believers are on the right path, among others. Yā Sīn presents the message of the Qur’an in an efficient and powerful manner, with its quick and rhythmic verses. This surah asserts that Muhammad was not a poet, rather he was the greatest and the Last Messenger of Allah (the “Seal of the Prophets”)
There are three main themes of yā sīn: the oneness of God (tawhid); Risala, that Muhammad is a messenger sent by God to guide His creations through divine revelation; and the reality of Akhirah, the Last Judgment.[12] 36:70 “This is a revelation, an illuminating Qur’an to warn anyone who is truly alive, so that God’s verdict may be passed against the disbelievers.” [13] The surah repeatedly warns of the consequences of not believing in the legitimacy or the revelation of Muhammad, and encourages believers to remain steadfast and resist the mockery, oppression, and ridicule they receive from polytheists and nonbelievers.[14] The arguments arise in three forms: a historical parable, a reflection on the order in the universe, and lastly a discussion of resurrection and human accountability.
The chapter begins with an affirmation of the legitimacy of Muhammad.[12] For example, verses 2-6, “By the wise Qur’an, you [Muhammad] are truly one of the messengers sent of a straight path, with a revelation from the Almighty, the Lord of Mercy, to warn a people whose forefathers were not warned, and so they are unaware.”[15] The first passage, verses 1-12, focuses primarily with promoting the Qur’an as guidance and establishing that it is God’s sovereign choice who will believe and who will not. It is stated that regardless of a warning, the nonbelievers cannot be swayed to believe. 36:10 “It is all the same to them whether you warn them or not: they will not believe.”[15]
Surah Yāʾ-Sīn then proceeds to tell the tale of the messengers that were sent to warn nonbelievers, but who were rejected.[12] Although the messengers proclaimed to be legitimate, they were accused of being ordinary men by the nonbelievers. 36:15-17 “They said, ‘Truly, we are messengers to you,’ but they answered, ‘You are only men like ourselves. The Lord of Mercy has sent nothing; you are just lying.”[16] However, a man from amongst these people beseeched them to believe in the messengers. “Then there came running, from the farthest part of the City, a man, saying, ‘O my people! Obey the messengers: Obey those who ask no reward of you (for themselves), and who have themselves received Guidance.’”[Quran36:20] Upon his death, the man entered Paradise, and lamented the fate of the nonbelievers. 36:26 “He was told, ‘Enter the Garden,’ so he said, ‘If only my people knew how my Lord has forgiven me and set me among the highly honored.”[17] This surah is meant to warn the nonbelievers of the consequences of their denial. Verse 36:30 goes on to state: “Alas for human beings! Whenever a messenger comes to them they ridicule him.”[18] Ultimately, it is God’s will who will be blind and who will see.[12]
The following passage addresses the signs of God’s supremacy over nature.[12] This is presented by the sign of revived land, the sign of day and night, the sign of the arc and the flood, and the sign of the sudden blast that arrives on the day of judgement. 36:33-37 The sign of revived land follows:
There is a sign for them in this lifeless earth: We give it life and We produce grains from it for them to eat; We have put gardens of date palms and grapes in the earth, and We have made water gush out of it so that they could eat its fruit. It is not their own hands that made all this. How can they not give thanks? Glory be to Him who created all the pairs of things that the earth produces, as well as themselves and other things they do not know about.[17]
The disbelievers do not recognize God’s power in the natural world, although He is the one Creator.[12]
The surah further addresses what will happen to those who reject the right path presented by Muhammad and refuse to believe in God. On the last day, the day of reckoning, the nonbelievers will be held accountable for their actions and will be punished accordingly.[12] God warned the nonbelievers of Satan, and yet Satan led them astray. 36:60-63 “Children of Adam, did I not command you not to serve Satan, for he was your sworn enemy, but to serve Me? This is the straight path. He has led great numbers of you astray. Did you not use your reason? So this is the fire that you were warned against.”[19] Although God warned them against following Satan, the nonbelievers were deaf, and so now they will suffer the consequences of their ill judgements. 36:63 “So this is the Fire that you were warned against. Enter it today, because you went on ignoring [my commands].”[19]
The surah proceeds to address the clear nature of the revelation and assure that Muhammad is a legitimate prophet.[12] 36:69 states, “We have not taught the Prophet poetry, nor could he ever have been a poet.”[13]Yāʾ-Sīn concludes by reaffirming God’s sovereignty and absolute power. 36:82-83 “When He wills something to be, His way is to say, ‘Be’—and it is! So glory be to Him in whose Hand lies control over all things. It is to Him that you will all be brought back.” [13] It is to God, the one Creator who holds everything in His hands, that everything returns. The closing passage is absolute and powerful and carries an essential message of the Qur’an. Read more : Commentary of surah Yasin or Heart of the Qur’an: A Commentary to Sura Yasin
“All that is on the earth will perish: But the face of thy Lord willabide forever – full of Majesty, Bounty, and Honor.” (Qur’an, lv. 26-27).
The birth of Jesus in man
Faouzi Skali in his book Jesus and the Sufi Traditon explains in the 10 chapter,The birth of Jesus in man:
The soul of the mystic, Rûmi teaches us, is similar to Mary: “If your soul is pure enough and full of love enough, it becomes like Mary: it begets the Messiah”.
And al-Halláj also evokes this idea: “Our consciences are one Virgin where only the Spirit of Truth can penetrate”
In this context, Jesus then symbolizes the cutting edge of the Spirit present in the human soul:“Our body is like Mary: each of us has a Jesus in him, but as long as the pains of childbirth do not appear in us, our Jesus is not born” ( Rumi, The Book of the Inside, V).
This essential quest is comparable to suffering of Mary who led her under the palm tree (Koran XIX, 22-26): “ I said:” 0 my heart, seek the universal Mirror, go towards the Sea, because you will not reach your goal by the only river! ”
In this quest, Your servant finally arrived at the place of Your home as the pains of childbirth led Mary towards the palm tree “(RÛMi, Mathnawî, II, 93 sq.)
Just as the Breath of the Holy Spirit, breathed into Mary, made him conceive the Holy Spirit, as so when the Word of God(kalám al-haqq) enters someone’s heart and the divine Inspiration purifies and fills his heart (see Matthew V, 8 or Jesus in the Sermon of the Mountain exclaims: “Blessed are pure hearts, for they will see God! “) and his soul, his nature becomes such that then is produced in him a spiritual child (walad ma’nawî) having the breath of Jesus who raises the dead.
“Human beings,” it says in Walad-Nama ( French translation, Master and disciple, of Sultan Valad andKitab al-Ma’ârif the Skills of SoulRapture), must be born twice: once from their mother, another from their own body and their own existence. The body is like an egg: the essence of man must become in this egg a bird, thanks to the warmth of Love; then it will escape its body and fly into the eternal world of the soul, beyond space. ”
And Sultan Walad adds: “If the bird of faith (imán) is not born in Man during its existence, this earthly life is then comparable to a miscarriage.”
The soul, in the prison of the body, is ankylosed like the embryo in the maternal womb, and it awaits its deliverance. This will happen when the “germ” has matured, thanks to a descent into oneself, to a painful awareness: “The pain will arise from this look thrown inside oneself, and this suffering makes pass to beyond the veil. As long as the mothers do not take birth pains, the child does not have the possibility of being born (. Rumi, Mathnawî, II, 2516 sq.) (…) My mother, that is to say my nature [my body], by his agony pains, gives birth to the Spirit … If the pains during the coming of the child are painful for the pregnant woman, on the other hand, for the embryo, it is the opening of his prison ”(Ibid., 3555 sq)
Union with God, explains Rûmi, manifests itself when the divine Qualities come to cover the attributes of His servant:
“God’s call, whether veiled or not, grants what he gave to Maryam. 0 you who are corrupted by death inside your body, return from nonexistence to the Voice of the Friend! In truth, this Voice comes from God, although it comes from the servant of God! God said to the saint: “I am your tongue and your eyes, I am your senses, I am your contentment and your wrath. Go, for you are the one of whom God said: ‘By Me he hears and by Me he sees!’ You are the divine Consciousness, how should it be said that you have this divine Consciousness?Since you have become, by your wondering, ‘He who belongs to God’.
I am yours because ‘God will belong to him. Sometimes, I tell you: ‘It’s you!’, Sometimes, ‘It’s me!’ Whatever I say, I am the Sun illuminating all things. “(Mathnawî, I, 1934 sq).
Once the illusion of duality has been transcended, all that remains in the soul is the divine Presence:the soul then finds in the depths of its being the divine effigy.
It has become the place of theophany. This is what Rumi calls the spiritual resurrection: “The universal Soul came into contact with the partial soul and the latter received from her a pearl and put it in her womb. Thanks to this touch of her breast, the individual soul became pregnant, like Mary, with a Messiah ravishing the heart. Not the Messiah who travels on land and at sea, but the Messiah who is beyond the limitations of space! Also, when the soul has been fertilized by the Soul of the soul, then the world is fertilized by such a soul “( Ibid., II, 1184 sq.).
This birth of the spiritual Child occurs out of time, and therefore it occurs in each man who receives him with all his being through this “Be!” that Marie receives during the Annunciation: “From your body, like Maryam, give birth to an Issa without a father! You have to be born twice, once from your mother, another time from yourself. So beget yourself again! If the outpouring of the Holy Spirit dispenses again his help, others will in turn do what Christ himself did: the Father pronounces the Word in the universal Soul, and when the Son is born, each soul becomes Mary (Ibid., III, 3773.)
So Jesus can declare: “O son of Israel, I tell you the truth, no one enters the Kingdom of Heaven and earth unless he is born twice!By the Will of God, I am of those who were born twice: my first birth was according to nature, and the second according to the Spirit in the Sky of Knowledge! » (Sha’ranî, Tabaqat, II, 26; Sohrawardî, ‘Awarif, I, 1)
The second birth corresponds to what we also gain in Sufism as the “opening (fath) of the eye of the heart“: “When Your Eye became an eye for my heart, my blind heart drowned in vision ; I saw that You were the universal Mirror for all eternity and I saw in Your Eyes my own image. I said, “Finally, I found myself in His Eyes, I found the Way of Light!” (Rumi, Mathnawî, II, 93 sq.)
This opening is the promise made by God to all those who conclude a pact with the spiritual master, pole of his time, like the apostles with Jesus or the Companions when they pledged allegiance to Muhammad: “God was satisfied with believers when they swore an oath to you under the Tree, He knew perfectly the content of their hearts, He brought down on them deep peace (sakina), He rewarded them with a prompt opening ( fath) and by an abundant booty which they seized ”(Coran XLVIII, 18-19).(The abundant loot indicates Divine Knowledge (mari’fa)
Twelve Days of Christmas Predict the Future… Weather or more
Just about everyone has heard The Twelve Days of Christmas song: that one about partridges and pear trees. And maybe you’re familiar with Shakespeare’s play entitled, Twelfth Night. But during the Middle Ages the twelve days of Christmas were also important for predicting the weather in the coming year.
If you thought the Christmas season ended on December 25, you would be wrong: That’s just the beginning of the twelve days of Christmas.
In the sixth century, the days between Christmas and Epiphany (6 Jan) were set aside for sacred festivities. It was a reminder of the Biblical Nativity story and a celebration of the time between Jesus’ birth and the visit of the kings (or magi). So Christmas day, 25 Dec, is the first day of Christmas and the day before Epiphany, 5 January, is the twelfth (and last) day of Christmas.
Medieval Predictions
Today we mostly associate partridges and pear trees with the twelve days of Christmas, but according to Medieval tradition, these twelve days would forecast the weather for the entire coming year: The first day of Christmas gives us an indication of the weather in January, the second day for February, the third day for March, and so on…
But in addition to predicting the weather, the 12 days of Christmas also foretold of economic fortunes, health, political unrest, crop success, etc. with the main indicators being wind, sunshine, and thunder.
25 December – First Day of Christmas The weather on this day is a forecast for the month of January. Wind: A windy Christmas means there will be good weather in the year ahead. But it could also indicate a financially difficult year for the wealthy. Sun: Sunshine means everyone will enjoy a happy and prosperous year.
26 December – Second Day of Christmas The weather on this day is a forecast for the month of February. Wind: Wind means it will be a bad year for fruit. Sun: Sunshine on the second day of Christmas is a good sign: money will come easily in the new year.
27 December – Third Day of Christmas The weather on this day is a forecast for the month of March. Wind: If it’s windy, the coming year will be good for cereal crops. Sun: A sunny day means economic gain. However the poor will fight among themselves while the rulers make peace.
28 December – Fourth Day of Christmas The weather on this day is a forecast for the month of April. Wind: If it’s a windy day, it’ll be a bad year for cereal crops and finances. Sun: Sunshine predicts wealth and plenty in the coming year.
29 December – Fifth Day of Christmas The weather on this day is a forecast for the month of May. Wind: Strong winds mean the coming year will bring many storms at sea. Sun: Sunshine forecasts plenty of flowers and fruit.
30 December – Sixth Day of Christmas The weather on this day is a forecast for the month of June. Wind: A windy day predicts political unrest and scandal. Sun: Sunshine means it will be a good year for dairy cattle
31 December – Seventh Day of Christmas – New Year’s Eve The weather on this day is a forecast for the month of July. Winds: A windy day means there is a high risk of fire in the first half of the coming year. Sun: Sunshine means it’ll be a good year for trees. Thunder: Thunder toward the end of the day, bad times are on the way.
If New Year’s Eve night’s wind blows south It betokeneth warmth and growth; If west, much milk and fish in the sea; If north, much cold and storms there will be; If east, the trees will bear much fruit; If north east, flee it man and brute.
1 January – Eighth Day of Christmas – New Year’s Day The weather on this day is a forecast for the month of August. Wind: A windy day means ill health for the elderly. Sun: Sunshine means that mercury will be easy to get in the coming year. (This must have been important in medieval times.) Thunder: Thunder during the early part of New Year’s Day means good times, and afternoon thunder means successful crops.
2 January – Ninth Day of Christmas The weather on this day is a forecast for the month of September. Wind: Strong wind means damaging storms. Sun: Sunshine on this day predicts a very good year for our feathered friends. Thunder: is same as New Year’s Day.
3 January – Tenth Day of Christmas The weather on this day is a forecast for the month of October. Wind: Storms are in the forecast. Sun: Sunshine foretells a prosperous year with a good supply of fish. Thunder: Thunder is the same as on New Year’s Day.
4 January – Eleventh Day of Christmas The weather on this day is a forecast for the month of November. It seems that wind, sun and thunder all predict terrible events on this day. So let’s hope for a nice mild, cloudy day.
5 January – Twelfth Day of Christmas The weather on this day is a forecast for the month of December. Wind: A windy day means political troubles. Sun: A sunny day means a year of hard work is ahead. Thunder: Thunder warns of mighty storms.
And then there are some general predictions:
If it rains much during the twelve days of Christmas, the coming year will also be a wet one.
If there’s thunder during Christmas week, The winter will be anything but meek.
If it’s dark and foggy between Christmas and Epiphany, there will be a lot of sickness next year.
Thunderstorms on any day in late December could be a good omen for the coming year. But it depends on when the thunder booms: Early-afternoon thunder is the best, mid-afternoon is still good, but thunder later in the day just indicates storms.
Personal Good Luck
If the twelve days predict dire things for your part of the world, there’s a delicious and easy way to guarantee your own personal good luck: Eat mince pies. A medieval legend says that for every mince pie you eat during the twelve days of Christmas you will have one month of good luck in the new year.
the Yule Log
The Yule log, Yule clog, or Christmas block is a specially selected log burnt on a hearth as a winter tradition in regions of Europe, particularly the United Kingdom, and subsequently North America. The origin of the folk custom is unclear. Like other traditions associated with Yule (such as the Yule boar), the custom may ultimately derive from Germanic paganism.
American folklorist Linda Watts provides the following overview of the custom:
The familiar custom of burning the Yule log dates back to earlier solstice celebrations and the tradition of bonfires. The Christmas practice calls for burning a portion of the log each evening until Twelfth Night (January 6). The log is subsequently placed beneath the bed for luck, and particularly for protection from the household threats of lightning and, with some irony, fire. Many have beliefs based on the yule log as it burns, and by counting the sparks and such, they seek to discern their fortunes for the new year and beyond.[1]
Watts notes that the Yule log is one of various “emblem[s] of divine light” that feature in winter holiday customs (other examples include the Yule fire and Yule candle).[1]Read more here
Historical and archaeological evidence suggests ancient pagan and polytheist peoples varied in their cultural observations; Anglo-Saxons celebrated the solstices and equinoxes, while Celts celebrated the seasonal divisions with various fire festivals.[4] In the tenth century Cormac Mac Cárthaigh wrote about “four great fires…lighted up on the four great festivals of the Druids…in February, May, August, and Novembe
– Blowing mid-winter horns to ward off evil spirits
Did you know that it is a long time tradition in parts of the rural east of the Netherlands to blow mid-winter horns between the first Sunday of Advent and Epiphany?
During sunset farmers take long horns made from hollow elder-tree branches and blow them while standing over water wells to amplify the sound. Some say the mid-winter horn is used to herald the coming of Christ while others believe it is blown to ward off evil spirits.
The yule goat
The Yule goat is a Scandinavian and Northern EuropeanYule and Christmas symbol and tradition. Its origin may be Germanic pagan and has existed in many variants during Scandinavian history. Modern representations of the Yule goat are typically made of straw.
The Yule goat’s origins go back to ancient Pagan festivals. While its origins are unclear, a popular theory is that the celebration of the goat is connected to worship of the Norse god Thor, who rode the sky in a chariot drawn by two goats, Tanngrisnir and Tanngnjóstr, it goes back to common Indo-European beliefs. The last sheaf of grain bundled in the harvest was credited with magical properties as the spirit of the harvest and saved for the Yule celebrations, called among other things Yule go at (Julbocken).[2]
This connects to ancient proto-Slavic beliefs where the Koliada (Yule) festival honors the god of the fertile sun and the harvest. This god, Devac (also known as Dazbog or Dažbog), was represented by a white goat,[3] consequently the Koliada festivals always had a person dressed as a goat, often demanding offerings in the form of presents.[4] A man-sized goat figure is known from 11th-century remembrances of Childermas, where it was led by a man dressed as Saint Nicholas, symbolizing his control over the Devil.[2]
Other traditions are possibly related to the sheaf of corn called the Yule goat. In Sweden, people regarded the Yule goat as an invisible spirit that would appear some time before Christmas to make sure that the Yule preparations were done right.[2] Objects made out of straw or roughly-hewn wood could also be called the Yule goat, and in older Scandinavian society a popular Christmas prank was to place this Yule goat in a neighbour’s house without them noticing; the family successfully pranked had to get rid of it in the same way.
– The World Turned Upside Down: Feasts of Fools, Lordsof Misrule
Taylor’s almost 900-page long A Secular Age (2007) . I would highly recommend it to anybody who is seriously interested in the past five hundred years of Western history and culture – whatever their belief system and persuasion. If you can’t afford to buy it, try locating it in a library.
The central story and question of the book goes something like this: “how did man go from purposefully living in an enchanted cosmos” to “being merely included in an disenchanted universe”? This main strand branches into several sub-themes and the author makes use of a variety of disciplines as he puts forward his ideas – philosophy, theology, sociology, science and technology, art and aesthetics.
There’s a lot in A Secular Age that I find interesting, for example, the porous v/s buffered self distinction – more on that sometime later perhaps. For now, I want to concentrate on one particular topic in the book that I keep thinking of again and again and from which, I believe, we can learn something for our time – Taylor’s discussion of a set of medieval European feasts of “misrule” during which “the world was turned upside down”, that is, strict social hierarchies were subverted in some way or another, the ordinary order of things was inverted, and a temporary sense of equilibrium was achieved. These events were certainly Carnival-like in their theatrical display of mockery and mayhem but not necessarily celebrated immediately before Lent. Many were observed around December or January. Among these festivities were the Feast of Fools (rooted in the Roman Saturnalia), the Feast of the Ass, the customs of the Boy Bishop, the Lord of Misrule or the Abbot of Unreason and, to an extent, Charivari. The primary logic was this – parodying the religious and political authorities and/or catapulting into limelight for just a day those who lived in subordinate positions, flipping the high and low ranks.
Rene Guenon. The message of French Sufi
Guenon is the founder of a unique direction in metaphysics – integral traditionalism. The main concept of his teachings is Primordial (lat. Primordialis) Tradition. And pathos of teachings is a tradition against the modern world. Tradition is a single truth from which secondary truths – all world religions originate. But the fragmentation of the original tradition into secondary religious forms was regarded by Genon as a fall, a degradation that, after all, led humanity to a modern world of antitradition, profanation and lies.
From this position, progress is an illusion, and history develops from better state to worse. Guenon took this idea from Hinduism, according to which the whole human cycle steps through four epochs: golden, silver, bronze and iron ages. You and I live in the Iron Age or otherwise in Kali Yuga. In this dark era of total oblivion of tradition, “the profane considers itself entitled to evaluate the sacral, the lowest judges the highest, ignorance evaluates wisdom, delusion dominates the truth, human displaces the divine, the earth puts itself above heaven, etc.”
In short, in the modern world everything is put upside down, the highest principles are violated, spiritual criteria are lost. Because of this radical nonconformism Guenon’s contemporaries tried to ignore him, were afraid and silenced the works of this mystic. But his criticism of the modern world from the position of tradition is logically verified, mathematically accurate, ethically impeccable and relies on strict and pure truths of ancient teachings. And if we take into account the current global crisis of capitalism, which affects the foundations of the world view of the new time (and it is from the 16th century that European civilization broke up with spiritual tradition), now is the time to turn to the message of the great French Sufi, to his fundamental works, where you can also find an answer to the always relevant question “what to do?” In brief, to stand on the path of tradition revival. To tirelessly explore yourself here and now, to go from the outside world, where noise is terrorizing, to the royal silence of the inner universe, to listen to the whisper of intuition and the beat of your own heart, to understand that the core of tradition is not somewhere, in the outer mazes of the historical past, but in the caches of our genetic memory, in the spiritual nerves of each individual soul… read more here
The Feast of Fools
The Feast of Fools (Latin: festum fatuorum, festum stultorum) was a feast day celebrated by the clergy in Europe during the Middle Ages, initially in Southern France, but later more widely. During the Feast, participants would elect either a false Bishop, false Archbishop or false Pope.[1][2] Ecclesiastical ritual would also be parodied and higher and lower level clergy would change places.[2][1] The passage of time has considerably obscured modern understandings of the nature and meaning of this celebration, which originated in proper liturgical observance, and has more to do with other examples of medieval liturgical drama than with either the earlier pagan (Roman) feasts of Saturnalia and Kalends or the later bourgeois lay sotie.[3]Read more here
This feast mLord of Misruleay represent a Christian adaptation of the pagan feast, Cervulus, integrating it with the donkey in the nativity story.[2] In connection with the biblical stories, the celebration was first observed in the 11th century, inspired by the pseudo-AugustinianSermo contra Judaeos c. 6th century.
In the second half of the 15th century, the feast disappeared gradually, along with the Feast of Fools, which was stamped out around the same time. It was not considered as objectionable as the Feast of Fools. Read more Here
here the concert René Clemencic – La Fête de L’ Âne : Procession (IV)
Lord of Misrule
In England, the Lord of Misrule – known in Scotland as the Abbot of Unreason and in France as the Prince des Sots – was an officer appointed by lot during Christmastide to preside over the Feast of Fools. The Lord of Misrule was generally a peasant or sub-deacon appointed to be in charge of Christmas revelries, which often included drunkenness and wild partying. In the spirit of misrule, identified by the grinning masks in the corners, medieval floor tiles from the Derby Black Friary show a triumphant hunting hare mounted on a dog.
The Church in England held a similar festival involving a boy bishop.[1] This custom was abolished by Henry VIII in 1541, restored by the Catholic Mary I and again abolished by Protestant Elizabeth I, though here and there it lingered on for some time longer.[2] On the Continent it was suppressed by the Council of Basel in 1431, but was revived in some places from time to time, even as late as the eighteenth century. In the Tudor period, the Lord of Misrule (sometimes called the Abbot of Misrule or the King of Misrule)[1] is mentioned a number of times by contemporary documents referring to revels both at court and among the ordinary people.[3][4][5]
In the spirit of misrule, identified by the grinning masks in the corners, medieval floor tiles from the Derby Black Friary show a triumphant hunting hare mounted on a dog.
Boy bishop is the title of a tradition in the Middle Ages, whereby a boy was chosen, for example among cathedral choristers, to parody the adult Bishop, commonly on the feast of Holy Innocents on 28 December. This tradition links with others, such as the Feast of Fools and the Feast of Asses.
The commemoration of the massacre of the Holy Innocents, traditionally regarded as the first Christian martyrs, if unknowingly so,[20][b] first appears as a feast of the Western church in the Leonine Sacramentary, dating from about 485. The earliest commemorations were connected with the Feast of the Epiphany, 6 January: Prudentius mentions the Innocents in his hymn on the Epiphany. Leo in his homilies on the Epiphany speaks of the Innocents. Fulgentius of Ruspe (6th century) gives a homily De Epiphania, deque Innocentum nece et muneribus magorum (“On Epiphany, and on the murder of the Innocents and the gifts of the Magi”).[c]
In the Middle Ages, especially north of the Alps, the day was a festival of inversion involving role reversal between children and adults such as teachers and priests, with boy bishops presiding over some church services.[25] Bonnie Blackburn and Leofranc Holford-Strevens suggest that this was a Christianized version of the Roman annual feast of the Saturnalia (when even slaves played “masters” for a day). In some regions, such as medieval England and France, it was said to be an unlucky day, when no new project should be started.[26]
There was a medieval custom of refraining where possible from work on the day of the week on which the feast of “Innocents Day” had fallen for the whole of the following year until the next Innocents Day. Philippe de Commynes, the minister of King Louis XI of France tells in his memoirs how the king observed this custom, and describes the trepidation he felt when he had to inform the king of an emergency on the day.[27]
In Spain, Hispanic America, and the Philippines,[28] December 28 is still a day for pranks, equivalent to April Fool’s Day in many countries. Pranks (bromas) are also known as inocentadas and their victims are called inocentes; alternatively, the pranksters are the “inocentes” and the victims should not be angry at them, since they could not have committed any sin. One of the more famous of these traditions is the annual “Els Enfarinats” festival of Ibi in Alacant, where the inocentadas dress up in full military dress and incite a flour fight.[29]
Tudor Lord of isrule: How Edward VI Resurrected a Raucous Christmas Tradition
Antiquary John Stowe wrote of the popular Medieval tradition of the Lord of Misrule, explaining that:
“In the feast of Christmas, there was in the King’s house, wheresoever he was lodged, a Lord of Misrule, or Master of merry disports, and the like had ye in the house of every noble man of honour, or good worship, were he spiritual or temporal.”
He went on to explain that the Mayor of London and his sheriff also had their Lords of Misrule and that these lords would begin their ‘rule’ and organise “the rarest pastimes to delight the beholders” on All Hallows Eve (Hallowe’en) and end their rule on the day after Candlemas Day, at the beginning of February. The revelry, Stowe explained, consisted of “fine and subtle disguisings, maskes and mummeries, with playing at cards for counters, nails and points in every house, more for pastimes than for gain.”
Oxford and Cambridge universities, and Lincoln’s Inn, would also appoint Lords of Misrule, as would the royal court, although their ‘rule’ tended to be limited to the 12 days of Christmas. Henry VII, the first Tudor monarch, continued the Medieval tradition, electing a Lord of Misrule for every Christmas of his reign. His son, Henry VIII, also embraced the tradition, going so far as to appoint a separate Lord of Misrule for the young Princess Mary’s household at Christmas, 1525. However, it was in the reign of Henry VIII’s son, the boy king Edward VI, that the tradition reached its zenith under the patronage of John Dudley, Duke of Northumberland, who was Lord President of the Privy Council from 1550 to 1553. The tradition had declined in the latter years of Henry VIII’s reign – an ambassador to Edward VI’s court remarked in January 1552 that a Lord of Misrule had not been appointed for “15 or 16 years” – but it was resurrected with great gusto at the royal court in the Christmas seasons of 1551-1552 and 1552-1553, the final Christmases of Edward’s reign.
Portrait miniature of Edward by an unknown artist, c. 1543–46
While the king’s uncle, Edward Seymour, Duke of Somerset and former Lord Protector, languished in the Tower of London awaiting execution as a traitor to the crown, the Duke of Northumberland sought to distract and divert both king and court with a programme of entertainment and revelry for the 12 days of Christmas. In December 1551, Northumberland appointed George Ferrers, a lawyer, courtier, MP, former servant of Somerset and a poet of some renown, as Lord of Misrule. Sir Thomas Cawarden, Master of the Revels, was informed of the appointment and asked to do all he could to aid Ferrers. Cawarden, who may well have felt slighted by the appointment of Ferrers instead of himself, had to be spurred into action by letters of complaint from both Northumberland and Ferrers regarding his inaction and the quality of items he had provided. In Cawarden’s defence, he was expected to provide a long list of apparel and items at very short notice indeed.
Although the Revels Accounts in the Loseley Manuscript are incomplete, they do show that the revels of these two Christmas seasons took the tradition of Lord of Misrule to new heights. Never before had the Lord of Misrule entered the City of London in a huge and elaborate procession that mimicked the procession of a monarch. Ferrers demanded a large retinue which, in January 1553, included no fewer than six councillors, a ‘dizard’ (talkative fool), jugglers, tumblers, a divine, a philosopher, an astronomer, a poet, a physician, an apothecary, a master of requests, a civilian, friars, two gentleman ushers and “suche other” as he needed. The fools included the “Lord Misrule’s ape”, his “heir apparent” and children. Both of Edward VI’s final Christmases were spent at Greenwich Palace, the 15th century abode situated on the bank of the River Thames. Ferrers made his entry to the royal court at the palace under a canopy, presumably like a royal canopy of estate, and in one piece of pageantry at court he appeared “out of the moon”.
On 2 January 1552, Ferrers presided over a drunken mask at court for which he was furnished with eight “visars” (perhaps vizards or masks), eight swords and daggers, headpieces decorated with serpents and clubs that were full of “pykes” (spikes). The Christmas festivities also included the “Tryumphe of Horsemen”, in which 18 answerers ran six courses each against the Earl of Warwick, Henry Sidney, Sir Henry Gates and Sir Henry Neville as challengers. “Rich hangings” from the “King’s timber houses” were cut up and used for 12 bards for the challengers’ great horses, and caparisons and trappings for their eight light horses. A mock Midsummer Night festival was held that night and the furnishing of “as many Counterfett harnesses & weapons as ye may spare and hobby horsses” suggests that the entertainment included a mock joust. According to the Revels Accounts, other entertainment over the Christmas period included a mask of “Greek worthyes”, a mask of apes, a mask of bagpipes, a mask of cats and “a mask of medyoxes, being half man, half deathe.”
Two masked revellers by Jacob de Gheyn, circa 1595. Courtesy of the Rijksmuseum
On the night of 3 January 1552, there was a mock midsummer that required six hobby horses to be supplied, and then on 4 January the Lord of Misrule made his entry into the City of London. WR Streitberger points out that this entry was not only a parody of traditional royal entries into the capital but also “partly a burlesque of the power vested in royalty to dispense justice”. Diarist and merchant Henry Machyn gives a detailed contemporary account of Ferrers’ entry, writing of how Ferrers landed at Tower Wharf with a great number of young knights and gentlemen on horseback, “every man having a baldric of yellow and green about their necks”. They went first to Tower Hill, accompanied by a procession consisting of a standard of yellow and green silk with St George, guns and squibs, trumpet players, bagpipe players, flautists and other musicians, morris dancers, and the Lord of Misrule’s councillors in “gownes of chanabulle lyned with blue taffata and capes of the same”. Then came the Lord of Misrule, apparelled in a fur-trimmed cloth of gold gown, 50 men of the guard dressed in red and white, and a cart carrying a pillory, gibbet and stocks. The procession then made its way to the Cross at Cheapside where a great scaffold had been erected. There, a proclamation was made of Ferrers’ “progeny”, his “great household” and his “dignity”, before a beheading took place. Thankfully, it was a symbolic beheading; the ‘head’ of a hogshead of wine was “smitten out” for everyone to drink. After that, the Lord of Misrule enjoyed a sumptuous feast with the Lord Mayor before visiting the Lord Treasurer at Austin Friars and then taking a barge back from Tower Wharf to Greenwich.
As well as the pillory, gibbet and stocks described by Machyn as being part of the Lord of Misrule’s entry into London, the Revels Accounts list joints for a pair of stocks with hasps and staples, locks for the pillory and stocks, keys, manacles with a hanging locks, a “hedding ax” and “hedding block”. As well as symbolising the power of the monarch – or the Lord of Misrule at Christmas – to dispense justice, these items and the scaffold at Cheapside my well have alluded to the forthcoming execution of the Duke of Somerset.
On Twelfth Night 1552, a tourney was held during the day, and that evening, following a play performed by the King’s Players, there was a contest or feat of arms between Youth and Riches, with them arguing over which of them was better. It is thought to have been devised by Sir Thomas Chaloner, the statesman and poet. Sir Anthony Browne, Lord Fitzwater, Ambrose Dudley, Sir William Cobham and two other men fought on Youth’s side against Lord Fitzwarren, Sir Robert Stafford and four others on the side of Riches. “All these fought two to two at barriers in the hall. Then came in two apparelled like Almains [Germans]. The Earl of Ormonde and Jacques Granado, and two came in like friars, but the Almains would not suffer them to pass till they had fought. The friars were Mr Drury and Thomas Cobham.” It is not clear whether this contest between Germans (Protestants) and Catholic friars was, in fact, devised to ridicule the Catholic Church. This mock combat was followed by a mask of men and a mask of women, and then a banquet of 120 dishes. “This was the end of Christmas”, is how the account ends.
Two masked musicians perform for a noblewoman, by Jacob de Gheyn, circa 1595. Courtesy of the Rijksmuseum
The allusion to the Duke of Somerset’s scheduled execution was not the only controversial element of the Lord of Misrule’s programme of entertainment that year. Jehan Scheyfve, the imperial ambassador, recorded what he obviously saw as an anti-papist display. According to Scheyfve, a procession of mock priests and bishops “paraded through the Court, and carried, under an infamous tabernacle, a representation of the holy sacrament in its monstrance, which they wetted and perfumed in most strange fashion, with great ridicule of the ecclesiastical estate”. He wasn’t the only one upset about this affront to the Catholic Church; he wrote that “Not a few Englishmen were highly scandalised by this behaviour; and the French and Venetian ambassadors, who were at Court at the time, showed clearly enough that the spectacle was repugnant to them”. One can only assume, however, that the king was happy with this procession and the programme of festivities, for, as historian Jennifer Loach points out, the Revels Accounts show that the king took an active involvement in directing the entertainment and that changes were often made as “declared and commaunded by his highenes or his pryvie counsell” in order “to serve the kinge and his counsells pleasure and determinacion”. The King’s Printer, Richard Grafton, in writing about how well Ferrers was received at court as the Lord of Misrule, commented that he was “very well liked… But best of al by the yong king himselfe, as appered by his princely liberalitie in rewarding that service.” Ferrers was rewarded for his service with a payment of £50 from Northumberland and in September 1552 was appointed as Lord of Misrule for the 1552-1553 Christmas season.
The Christmas season of 1552-1553 began on with Ferrers sending his “solemn ambassador” to court, accompanied by a herald, trumpeter, “an orator speaking in a straunge language” and an interpreter. The ambassador’s mission was to speak to the king and ask for an audience for the Lord of Misrule. This audience was granted and the next day, Ferrers travelled to court along the Thames in the king’s brigantine, which was decorated in blue and white, escorted by other vessels and boys dressed as Turks and playing drums. At Greenwich, he was met by Sir George Howard, the Lord of Misrule’s Master of the Horse, who had come with a horse for Ferrers and who was accompanied by four pages of honour carrying Ferrers’ headpiece, shield, sword and axe. Ferrers writes of how he had taken Hydra, the serpent with seven heads, as his coat of arms, a holly bush as his crest and ‘Semper ferians’ (always keeping the holiday) as his motto.
Entertainments over Christmas and New Year included a pageant in which Ferrers emerged from “vastum vacuum” (a vast airy space), which must have been some kind of pageant car; a feat of arms; a mock midsummer show and joust of hobby horses, presumably like the previous year; a day of hunting and hawking, and masks of “covetus men with longe noses”, “women of Diana hunting”, “babions faces of tinsel black and tawny”, “pollenders”, “matrons” as well as soldiers.
University of Leicester Special Collections. ‘Lord of Misrule’ from: William Sandys, Christmastide: its History, Festivities and Carols, (London, [1852], SCM 12913.Ferrers ordered five different suits of apparel via Cawarden for the festive season: one to wear on both his entry to court and his entry into London, two for the next “hallowed daies”, another for New Year and a final one for Twelfth Night. He also ordered a fool’s coat and hood for John Smith, who was playing the Lord of Misrule’s “heir apparent”, a hunting costume consisting of a coat of cloth of gold decorated with red and green checkerwork, a cloth of gold hat decorated with green leaves, and six sets of outfits complete with horns for his attendants. Other items included “Irish apparel” for both a man and woman, costumes for members of his retinue, maces for his sergeant-at-arms, and hobby horses, one of which he ordered to be made with three heads.
Henry Machyn records the Lord of Misrule’s entry into London on 4 January 1553, writing that he was met at Tower Wharf by the Sheriff’s Lord of Misrule, who took a sword and bore it before Ferrers, who was dressed in royal purple velvet furred with ermine, his “robe braided with spangulls of selver full”. Ferrers was accompanied by a large retinue dressed in a livery of blue and white. As well as musicians, fools and morris dancers, there were once again gaolers armed with a pillory, stocks, an axe, shackles and bolts, and prisoners, presumably actors, who were “fast by the leges and sum by the nekes”. They processed through Gracechurch Street and Cornhill, and once again made their way to a scaffold. After a proclamation had been made, Ferrers gave the Sheriff’s Lord of Misrule a gown of gold and silver before knighting him. The two Lords of Misrule toasted each other and as they proceeded onwards, Ferrers’ cofferer distributed silver and gold. The day ended with a feast at the Lord Mayor’s home, a visit to the Sheriff’s house and a banquet course at the Lord Treasurer’s house. Twelfth Night was celebrated with “The Triumph of Cupid, Venus and Mars”, which, according to Cawarden’s correspondence, was a play devised by Sir George Howard, who was also Master of the Henchmen. Enid Welsford believes that this play was an imitation of the Italian ‘trionfi’, a triumphal procession, and it appears that Venus did indeed enter in a triumphal chariot accompanied by a mask of ladies followed by the marshal and his band. Venus rescued Cupid from the marshal with some kind of mock combat, and at some point, Mars also made his triumphal entry. Thus ended the Twelve Days of Christmas. Once again, the King was pleased his Lord of Misrule and George Ferrers was granted an estate at Flamstead in Hertfordshire.
Although Sydney Anglo makes the point that few records survive detailing the Lord of Misrule’s entertainments in other years, we know from the accounts of Edward VI’s reign that £500 was spent on the revels of Christmas 1551-1552 and £400 on that of 1552-1553, compared to £150 in 1547-1548 and £11 in 1548-1549. The entertainment of George Ferrers’ time as Lord of Misrule was pageantry at its most lavish. Historian Ronald Hutton concludes that the spectacle of Ferrers’ entries into London, for example, “was one of the most elaborate in Tudor history”. It is a shame that the incomplete records only give us a tantalising glimpse into the revelry.
January 14 is “Feast of the Ass” Day
On January 14, medieval Christians celebrated Feast of the Ass Day, although perhaps not the type of “ass” you may be thinking of! It actually celebrated the various accounts in the Bible where a donkey (or ass) is mentioned, especially the one that supposedly carried Mary and the baby Jesus to Egypt.
Digging Deeper
Not surprisingly, like many or even most Christian holidays, the Feast of the Ass had its origins in Paganism, being derived from the religious feast called Cervulus.
Flight into Egypt by Gentile da Fabriano
During this bestial-based holy day, a ceremony often took place in which a girl with a baby (or a pregnant girl) was led through a village on a donkey, followed by churchgoers answering the priest with “hee-haws” during the related church service or Mass. In some accounts, the priest himself would bray.
Amazingly, this nifty holiday fell out of favor around 1500 along with its sister feast, the Feast of Fools. Apparently some thought the titles and actions of these two celebrations were less than “Christian.”
Perhaps they should bring this particular feast back and give people a valid excuse, at least one day a year, to make an “ass” / donkey of themselves and ourselves in church or everywhere else in life outside.
Landscape as an Image of the Pilgrimage of Life :
Look at the donkey in The Rest on the Flight into Egypt of the “Holy Refugees” by Joachim Patinir…
..he is smiling in his heart…
It depends of the sturburness of our Ego, the Donkey.
In the Spiritual Land of Peace, the donkey, our ego is quiet, he submits totally to the “Holy Refugee” and eats the “Greenness” of the spiritual field of the Land watered by the Eternal Water of Life….
Corona or Covid- is like a rehab intervention that breaks the addictive hold of normality. To interrupt a habit is to make it visible; it is to turn it from a compulsion to a choice. The phenomenon follows the template of initiation: separation from normality, followed by a dilemma, breakdown, or ordeal, followed (if it is to be complete) by reintegration and celebration. Now the question arises: Initiation into what? What is the specific nature and purpose of this initiation? The popular name for the pandemic offers a clue: coronavirus. A corona is a crown. “Novel coronavirus pandemic” means “a new coronation for all.” A Choice or a possible migration to the Spiritual Land of Peacet
To become a Refugee, a Holy Refugee through an emigration to Sincerity or uprightnees of Love
We are not the first generation to know that we are destroying the world. But we could be the last that can do anything about it, not with the vanity of earthly knowledge and so called democratic solidarity and wisdom here on earth as the commercial of WWF wants to convince us, but with asking humbly the help of Divine Wisdom so realising in us the image of the man who painfully transcends his material ego: The birth of his soul. It is a test. It’s time to decide!
Treatise on Unification by Ibn al Arabi In the name of God, the Merciful, the Compassionate. Blessings upon our master, Mu¢ammad, and upon his family and companions. This is a noble treatise in which I have consigned a tremendous discourse. From my incompleteness to my completeness, and from my inclination to my equilibrium From my grandeur to my beauty, and from my splendour to my majesty From my scattering to my gathering, and from my exclusion to my reunion From my baseness to my preciousness, and from my stones to my pearls From my rising to my setting, and from my days to my nights From my luminosity to my darkness, and from my guidance to my straying From my perigee to my apogee, and from the base of my lance to its tip
From my waxing to my waning, and from the void of my moon to its crescent From my pursuit to my flight, and from my steed to my gazelle From my breeze to my boughs, and from my boughs to my shade From my shade to my bliss, and from my bliss to my wrath From my wrath to my likeness, and from my likeness to my impossibility From my impossibility to my validity, and from my validity to my deficiency. I am no one in existence but myself, so – Whom do I treat as foe and whom do I treat as friend? Whom do I call to aid my heart, pierced by a penetrating arrow, When the archer is my eyelid, striking my heart without an arrow? Why defend my station? It matters little to me; what do I care? For I am in love with none other than myself, and my very separation is my union. Do not blame me for my passion. I am inconsolable over the one who has fled me.
In this book I never cease addressing myself about myself and returning in it to myself from myself. From my heaven to my earth, from my exemplary practice to my religious duty,
From my pact to my perjury,
from my length to my breadth.
From my sense to my intellect and from my intellect to my sense, – From whence derive two strange sciences, without doubt or confusion. From my soul to my spirit and from my spirit to my soul, – By means of dissolution and coagulation, like the corpse in the tomb. From my intuition to my knowledge and from my knowledge to my intuition, – Continuous is the light of knowledge; ephemeral the light of intuition. From my sanctity to my impurity and from my impurity to my sanctity, – Sanctity is in my present and impurity is in yesterday.
From my human-nature to my jinn-nature, and from my jinn-nature to my human-nature, – For my jinn-nature seeks to disquiet me and my humannature seeks to set me at ease. From the narrowness of my body to the vastness of my soul, And from the vastness of my soul to the prison of my body, – For my soul denies my intellect and my intellect my soul. From my entity to my nonentity, and my nonentity to my entity, – Where I rejoice to find my composition and lament to find my dispersion. From my likeness to my opposite and from my opposite to my likeness, – Were it not for Båqil no light of excellence would shine in Quss. From my sun to my full moon and from my full moon to my sun, – So that I might bring to light what lies hidden in night’s core. From Persian to Arab and from Arab to Persian, – To explain the mysteries’ roots and express the realities’ enigmas. From my root to my branch and from my branch to my root,
For the sake of a life that was buried in death, animate or inanimate. Pay no heed, my soul, to the words of that jealous spitemonger, Or to the remarks of that ignorant presumer, O myrtle of my soul! How many ignoramuses have slandered us spiritual beings! While my revelation descends from the Spirit of inspiration and sanctity, He is like a man possessed by a demon whose touch makes him tremble.18 On the matter of spiritual realization mankind does not cease to err, For God’s secret is poised between the shout and the whisper. I have called this treatise “Cosmic unification in the presence of essential witnessing, through the assembling of the Human Tree and the Four Spiritual Birds.” I have dedicated it to Ab¬ al-Fawåris Íakhr ibn Sinån, master of the reins of generosity and eloquence. I seek help from God. He is my support and my assistance, glory be to him!
The Mystical Nativity is a painting of circa 1500-1501 by the Italian Renaissance master Sandro Botticelli, in the National Gallery in London. Botticelli built up the image using oil paint on canvas. It is his only signed work, and has a very unusual iconography for a Nativity.
It has been suggested that this picture, the only surviving work signed by Botticelli, was painted for his own private devotions, or for someone close to him. It is certainly unconventional, and does not simply represent the traditional events of the birth of Jesus and the adoration of the shepherds and the Magi or Wise Men.
Rather it is a vision of these events inspired by the prophecies in the Revelation of Saint John. Botticelli has underlined the non-realism of the picture by including Latin and Greek texts, and by adopting the conventions of medieval art, such as discrepancies in scale, for symbolic ends. The Virgin Mary, adoring a gigantic infant Jesus, is so large that were she to stand she could not fit under the thatch roof of the stable. They are, of course, the holiest and the most important persons in the painting.
The angels carry olive branches, which two of them have presented to the men they embrace in the foreground. These men, as well as the presumed shepherds in their short hooded garments on the right and the long-gowned Magi on the left, are all crowned with olive, an emblem of peace. The scrolls wound about the branches in the foreground, combined with some of those held by the angels dancing in the sky, read: ‘Glory to God in the highest, and on earth peace, goodwill toward men‘ (Luke 2:14).
As angels and men move ever closer, from right to left, to embrace, little devils scatter into holes in the ground. The scrolls held by the angels pointing to the crib once read: `Behold the Lamb of God, which taketh away the sin of the world‘ the words of John the Baptist presenting Christ (John 1:29).
Above the stable roof the sky has opened to reveal the golden light of paradise. Golden crowns hang down from the dancing angels’ olive branches. Most of their scrolls celebrate Mary: ‘Mother of God’, ‘Bride of God’, ‘Sole Queen of the World’.
The puzzling Greek inscription at the top of the picture has been translated: ‘I Sandro made this picture at the conclusion of the year 1500 in the troubles of Italy in the half time after the time according to the 11th chapter of Saint John in the second woe of the Apocalypse during the loosing of the devil for three and a half years then he will be chained in the 12th chapter and we shall see […] as in this picture.‘
The missing words may have been ‘him burying himself’. The ‘half time after the time’ has been generally understood as a year and a half earlier, that is, in 1498, when the French invaded Italy, but it may mean a half millennium (500 years) after a millennium (1000 years): 1500, the date of the painting. Like the end of the millennium in the year 1000, the end of the half millennium in 1500 also seemed to many people to herald the Second Coming of Christ, prophesied in Revelation.
In the ‘Mystic Nativity’ he went further, beyond the old-fashioned to the archaic, to express spiritual truths – rather like the Victorians who were to rediscover him in the nineteenth century, and who associated the Gothic style with an ‘Age of Faith’.
The painting emerged from the city of Florence in a time when the fanatical preacher Savonarola held the city in its grip. There is no documentary evidence to prove whether or not Botticelli was one of Savonarola’s follower. But certain themes in his later works – like the Mystic Nativity – are certainly derived from the sermons of Savonarola, which means that the artist was definitely attracted by that personality so central to the cultural and political events of Florence during the last years of the fifteenth century.
The painting is on canvas – normally he would have used wood panel – perhaps for a painting with a dangerous message, canvas had the advantage that it could be rolled up and hidden. With his canvas prepared he would sketch a detailed design on paper, then he transferred this to canvas. He drew on many sources – the dancing angels echo his own three graces of Primavera, the scurrying devil was inspired by a German woodcut. X-rays show that very little of the original design changed – only an angel’s wing was adjusted and trees added over the roof of the stable. Botticelli was now ready to build up the image using oil paint – like canvas an experimental medium. To create the heavenly dome Botticelli called on the goldsmith’s craft he had learned as a boy. “The symbolism of the gold is to do with the unchanging, untarnished nature of heaven – gold doesn’t decay, it doesn’t darken like silver. Botticelli would have used an adhesive layer made of oil mixed with resin – not burnished , the gold just patted down on to the surface, following the surface irregularities of the canvas – a glitter, intricate, it would have helped the jewel like quality of the painting – it would have drawn the eye upwards from the Nativity into Heaven. Faith, hope and charity,[the angels clothed in] white, green and red – but the copper based green pigment has discoloured with time, to bronze. Originally it would have been vibrant.”
Botticelli died in 1510. The Mystic Nativity remained hidden for another three centuries. Rome at the end of the 18th century was very different to Renaissance Florence – except for the presence of French invaders. Many foreigners left, but not a young Englishman, William Young Ottley. He was an art lover, and wealthy with a slave plantation in the Caribbean. He bought up many paintings cheaply. At the Villa Aldobrandini he saw a small, unknown work, Botticelli’s Mystic Nativity. Botticelli was then in obscurity.
It arrived in London where Ottley’s house became in effect a private museum of Italian masterpieces. After Ottley’s death William Fuller-Maitland of Stansted picked up the painting at an auction for £80. When he loaned it to the Art Treasures Exhibition, Manchester 1857, it was now on open display. The Exhibition’s newspaper the Art Treasures Examiner printed a new engraving of it.
The ideas of Savonarola in Sandro Botticelli’s ‘The Mystical Nativity’.
Experts mean that the ideas of Savonarola are illustrated in the painting of Sandro Botticelli ‘The Mystical Nativity’, circa 1500-1501; tempera on canvas, 108,5 x 75 cm, preserved in the National Gallery, London. The board of the National Gallery wrote:
‘Sandro Botticelli painted the ‘Mystic Nativity’, dated 1500, at the turn of the half-millennium. At first glance the painting seems to show a conventional Nativity scene. Shepherds and wise men have come to visit the new-born king, while angels in the heavens dance and sing hymns of praise. However, the text at the top of the picture, veiled in scholarly Greek, provides a key to further layers of meaning.
The Greek inscription has been translated: ‘I Sandro made this picture at the conclusion of the year 1500 in the troubles of Italy in the half time after the time according to the 11th chapter of Saint John in the second woe of the Apocalypse during the loosing of the devil for three and a half years then he will be chained in the 12th chapter and we shall see […] as in this picture.’ ‘
The missing words may have been ‘him burying himself’. The ‘half time after the time’ has been generally understood as a year and a half earlier, that is, in 1498, when the French invaded Italy, but it may mean a half millennium (500 years) after a millennium (1000 years): 1500, the date of the painting.
Savonarola had arrived in Florence in 1490 but had been repelled by the artistic glory and enormous wealth that so impressed the world. He preached that this was a corrupt and vice-ridden place. A great scourge was approaching – and then his words had assumed a terrifying reality. In 1494 a huge French army invaded Italy and 10000 troops entered Florence so that the Florentines feared the King of France meant to sack the city. Savonarola stepped into the political vacuum, he met with the French king and persuaded him to leave Florence peacefully. In their gratitude and relief the Florentines increasingly saw the friar as a prophet and his preaching attracted huge crowds to Florence Cathedral. Savonarola claimed that Florence could become the new Jerusalem if the citizens would repent and abandon their sinful luxuries – and that included much of their art. His beliefs were made real as groups of evangelical youths went on to the streets to encourage people to part with their luxuries, their lewd pictures, and books, their vanities, combs, mirrors. Botticelli may well have seen his own paintings fed to the flames. Yet the artist might not have objected because, like much of the city, he too had come under the sway of Savonarola. It seems that a sermon preached by Savonarola bears directly upon the Mystical Nativity.
In one sermon Savonarola preached he set forth a vision that had come to him in which he saw an extraordinary heavenly crown. At its base were twelve hearts with twelve ribbons wrapped around them and written on these in Latin were the unique mystical qualities or privileges of the Virgin Mary – she is ‘mother of her father’, ‘daughter of her son’, ‘bride of God’ etc. Though much of the writing on the ribbons held by the dancing angels is now invisible to the naked eye, infra-red reflectography has shown that the original words on the angels ribbons correspond exactly to Savonarola’s 12 privileges of the Virgin. In his sermon, preached on Assumption Day, Savonarola went on to explore the 11th and 12th chapters of the Book of Revelation – the precise chapters mentioned in the painting’s inscription. He connected the glory of Mary with the imminent coming of the power of Christ on earth.
Years Savonarola held Florence in his hand but his hard line charismatic rule made him powerful political enemies. He was challenged to prove his holiness by walking through fire and when he refused the tide of opinion turned against him. He was arrested, and under torture confessed to being a false prophet. On 23 May 1498 he was hanged with two of his leading lieutenants, their bodies burnt and their ashes scattered in the River Arno. Some see the figures of the three men at the bottom of the painting as representatives of the three executed holy men, raised up and restored to grace – but persecution not peace awaited Savonarola’s followers and it was in an atmosphere of oppression that Botticelli set out to create the Mystic Nativity.
The painting has some dark symbolic premonitions, including:
the baby Jesus rests on a sheet that evokes his death shroud;
the cave echoes his tomb;
the Kings on the left bear no gifts;
at the bottom of the painting, three angels embrace three men, seeming to raise them from the ground;
at the very bottom of the canvas, seven devils flee to the underworld; and
some of the devils impaled on their weapons.
On the reassuring side, the painting includes the following:
at the top of the picture twelve angels dressed in the colors of faith, hope and charity dance in a circle;
the angels are holding olive branches;
above the angels, heaven opens in a great golden dome;
the symbolism of the gold is the unchanging, untarnished nature of heaven; and
the angels at the bottom are holding scrolls which proclaim in Latin, “Peace on earth to men of goodwill.”
The painting uses the medieval convention of showing the Virgin Mary and infant Jesus larger than other figures. This emphasis was certainly done deliberately for effect, as earlier Botticelli nativity paintings used the correct graphical perspective. The Greek inscription at the top translates as:
“This picture, at the end of the year 1500, in the troubles of Italy, I Alessandro, in the half-time after the time, painted, according to the eleventh [chapter] of Saint John, in the second woe of the Apocalypse, during the release of the devil for three-and-a-half years; then he shall be bound in the twelfth [chapter], and we shall see [him buried] as in this picture”.
Savonarola’s Impact
This painting may be connected with the influence of Savonarola, whose influence also appears in some late pictures by Botticelli. The painting emerged when the fanatical preacher Savonarola held the city of Florence in his grip. He had arrived in Florence in 1490 but had been repelled by its artistic glory and wealth. He preached that this art was corrupt, and a great scourge was approaching. His words became a terrifying reality during the Italian War of 1494–1498. In 1494 a vast French army invaded Italy, and 10,000 troops entered Florence, and the citizens feared the sack of their city. Savonarola stepped into the political vacuum; he met with the French king and persuaded him to leave Florence peacefully. In their gratitude, and relief, the Florentines increasingly saw the friar as a prophet, and his preaching attracted huge crowds.
Savonarola claimed that Florence could become the new Jerusalem if the citizens would repent and abandon their sinful luxuries, including their art. His beliefs were made real as groups of evangelical youths went on to the streets to encourage people to part with their luxuries, their pictures, and books, their vanities, combs, mirrors. Botticelli may well have seen his paintings thrown into the flames. The artist might not have objected because, as much of the city, he too was fearful of Savonarola. Savonarola’s fearful sermons must have affected the Mystical Nativity.
For years Savonarola held Florence in his grip, but his hard-line rule made him powerful enemies. He was challenged to prove his holiness by walking through fire, and when he refused, the tide of opinion turned against him. He was arrested, and under torture, confessed to being a false prophet. In 1498 he was hanged with two of his lieutenants. Their bodies were then burnt.
Bonfire of the Vanities
The ‘bonfire of the vanities’ usually refers to the fire of 1497, when supporters of Savonarola collected and burned thousands of objects such as cosmetics, art, and books in Florence. The focus of this destruction was on objects that might tempt one to sin, including vanity items such as mirrors, cosmetics, elegant dresses, playing cards, and musical instruments. Other targets included books that were deemed to be immoral, manuscripts of secular songs, and artworks, including paintings and sculptures.
Great Tribulation
The Great Tribulation is a period mentioned by Jesus as a sign that would occur in the time of the end. In Revelation, “the Great Tribulation” is used to indicate the period spoken of by Jesus, however, in the context of those hard-pressed by siege and the calamities of war. Christian eschatology is the study of ‘end things.’ The study includes the end of an individual life, the end of the age, the end of the world, and the nature of the Kingdom of God.
There are many passages in the Bible, which speak of a time of terrible tribulation, such as has never been known. Time of natural and human-made disasters on a grand scale. Jesus said that at the time of his coming, “There will be great tribulation, such as has not been since the beginning of the world to this time, no, nor ever will be. And unless those days were shortened, no flesh would be saved; but for the elect’s sake, those days will be shortened.” [Mt 24:21-22]
Botticelli’s Mystic Nativity, Savonarola and the Millennium
….Already by 1400 the theme of the reconciliation of the heavenly virtues was
being used for reform propaganda. According to the chronicler Luca Dominici,
notices relating to the Book of Revelation (so he says) were posted on the doors of
the main churches of Bologna, reading:
Through the world a multitude of the peoples dressed in white and shining stoles, shouting, ‘Lord, grant us peace and mercy’. And at last, when Righteousness and Peace had
descended from heaven, they kissed each other. And Truth and Peace arose upon the earth, and the true shepherd of all will become known, and the righteous king will arise on earth …
The purpose of such notices was to encourage the Bianchi, then converging in
great numbers upon Rome for the Jubilee.16 We encounter three of the heavenly
virtues in a song by Girolamo Benivieni, one of Savonarola’s closest followers, in
which he describes a visit by Christ to Florence in order to see and judge the newly
reformed city. Mercy and Righteousness come before him and embrace each other
and are then joined by Peace. The song, published in 1500, was probably written
during Savonarola’s lifetime, to be sung by groups of his most ardent followers.’
In a sermon given in December 1494 Savonarola himself used the image of the
heavenly virtues to illustrate how great God’s love was for Florence:
I have told you several times in the past, Florence, that even though God has everywhere prepared a great scourge, nevertheless on the other hand he loves you and is fond of you.
And so it can be said that in you has been realised that saying, ‘Mercy and truth are met
together’, that is, Mercy and Righteousness [sic] have come together in the city of Florence.
From the one side came the scourge, and Mercy came towards it from the other side, and, ‘righteousness and peace have kissed each other’, and have embraced together, and God has wished to show you justice and on the other hand be merciful to you, and save you…
This passage appears to bear not only on the Mystic Nativity but on the Mystic Crucifixion as well.
Each of the twelve angels in the circle at the top of the Mystic Nativity has at least one ribbon bearing an inscription in Latin or sometimes Italian . Each of the seven surviving
inscriptions conforms exactly to one of what Savonarola, in his Compendio di revelatione, first published in 1495, calls the twelve ‘privileges’ of the Virgin.
The twelve ‘privileges’ of the Virgin
The ‘privileges’ are part of an allegorical crown offered to Mary by the Florentine people, and occur on banderoles surmounting the twelve hearts in the lowest of its three tiers .
In the which banderoles were written twelve privileges of the Virgin with words of prayer,
which are these:
Two in relation to the Everlasting Father: The first: Sposa di Dio Padre vera, because God the Father and she have one and the same son. The second: Sposa di Dio Padre admiranda, because just as the Father gave birth from eternity to his Son in heaven without a mother, so she gave birth on earth to that same Son without a father.
Two others in relation to the Son: First: Madre di Dio. Second: Madre del suo padre, because Jesus Christ was the Son and is God the Creator of the Universe, who created her.
Two in relation to the Holy Ghost: First: she is Sacrario dello Spirito Sancto singulare, because by it she was singularly full of all of the graces. Second: Sacrario ineffabile, because the Holy Ghost made her fit to be the mother of the Creator of the Universe.
Two in relation to her virginity: First: she is Vergine delle vergine, because no other virgin can be compared to this one, who was never spotted by any venial or mortal sin. Second: she is Vergine fecunda, because she alone is virgin and mother.
Two in relation to the Church Triumphant and the whole universe: First: that she is Regina sola del mondo, because she is the true Spouse and Mother and Shrine of the King of the World, who is God Threefold and One. Second: Regina sopra tutte le creature honoranda, because … she is honoured much more highly than all the saints, and with an honour that is called ‘hyperdulia’.
Two last ones in relation to the present Church Militant: First: she is Dolcezza di cuore delli giusti, because through her they beg for many favours from God, and her love is ‘sweeter than honey and the honeycomb’, which love amazingly makes their souls and bodies chaste. Second: that she is Speranza delli peccatori et delle persone miserabili, because through her prayers and merits they hope to beg for mercy from God. These twelve privileges, then, were written on those twelve banderoles in this form: Sponsa Dei Patris vera, ora pro nobis; Sponsa Dei Patris admiranda, intercede pro nobis. And thus also followed all the others.
There is good reason to believe that there is a tropological dimension to the
painting. The known Savonarolan sources on which the Mystic Nativity draws are all
moral in intent, and the painting exhorts us to worship the Child truly and become
reconciled with our brothers. Unlike most Italian pictures of the time, it is clearly
structured into groups of significant numbers and combinations of white, green,
and red. Significant numbers were the almost irresistable cue for late-medieval theologians to list a set of moral precepts, and Savonarola was no exception to this
rule. White, green, and red usually symbolise Faith, Hope, and Charity respectively.
That perhaps is what they do in Botticelli’s painting also. But caution is necessary.
For Savonarola Faith may be green and Hope sky blue,’ whereas white, green, and
red may stand for any number of other things.
To conclude, I shall propose three possible interpretations of the painting, taking them in ascending order of probability, before ending with an observation about its theme.
Firstly, the Mystic Nativity might be, along with the Mystic Crucifixion in the Fogg
Art Museum , a picture intended for the boys in the group of Bernardino
dei Fanciulli or another Savonarolan association like it. This is suggested by the
highly ‘naive’ syntax of both paintings, the great stress on angels, and the fact that
in both paintings the symbols of evil-five small and apparently self-destructed
demons in the case of the Mystic Nativity and two small and seemingly unferocious
animals in that of the Mystic Crucifixion-do not appear to be intended as frightening. As a further slight but perhaps relevant indication, in the only volume of the ‘collected works’ of Bernardino dei Fanciulli, there are just two illustrations, one showing the Nativity and the other the Crucifixion. Against the possibility that these two pictures were intended for children is of course the presence of the Greek inscription to the Mystic Nativity. But as we have seen, that inscription might have been added later; if so, perhaps it was added with the purpose of ‘redefining’ the painting. In this connection we should note that Bernardino and his group were forced into exile in 1500-and according to the inscription it was ‘at the end of the year 1500, in the troubles of Italy’ that the Mystic Nativity was painted.
Secondly, the painting might be a cryptic representation of the Millennium-or rather those features of it in which Botticelli believed and which he thought to be in harmony with the predictions that Savonarola had made. During such a Millennium those Florentines who truly believed would reign with Christ their king. As we have seen, the Millennium begins with the binding of Satan. Accepted Catholic doctrine holds that it therefore begins, figuratively, with the birth of Christ. It is even possible that the word ‘time’ in the painting’s Greek inscription means ‘millennium’, as in Francesco da Meleto’s interpretation.176 The mortals being embraced by angels and led by them to the manger would be the martyrs and saints who live again through the First Resurrection -or whomever else it was that Botticelli might have thought these Apocalyptic persons stood for. Their crowns of olive would be the crowns of martyrdom or righteousness. It at first strikes one as unlikely that Botticelli would have shown the Millennium in an age in which it was rarely mentioned. But of those persons who believed in the Millennium at the time, how many actually ventured to say so in print? If the Mystic Nativity does represent the Millennium in any real sense, firstly, the painting is in this respect unique as far as we know; secondly, it is thoroughly heretical. We recall that-if for the wrong reasons-Vasari believed Botticelli to have been a heretic.
The third possible interpretation is that the painting is a figuration of an ‘Apocalyptic’ birth of Christ, in which allusions to the reconciliation of the heavenly virtues with one another and with mankind, the ‘crown’ of Mary, and the Millennium (or the casting out of Satan) are elements of a complex and yet ‘simple’ allegory of the future in which Botticelli believed.
That future would, through the intercession of Mary, see the ‘birth’ of Christ in the hearts of the Florentines. Through the mercy of divine Grace, the Florentines would be filled with charity and love towards one another and be reconciled with the angels and their God.‘
There would thus come to pass that peace and goodness which the devil cannot abide and which would cause his downfall: ‘Now is come the power of Christ on earth; the dragon has lost’.
Whatever it is that the Mystic Nativity shows, the chances are that it took great
courage for Botticelli to paint it.
Where heaven shall touch earth
The overriding theme of the Mystic Nativity, because of the large number of olive branches in it, appears to be peace. But we should do well to remember that in
Botticelli’s time the olive was usually a symbol of mercy.
In Savonarola’s ‘1493’ Christmas sermon it is Mercy, not Peace, who holds a branch of olive. Moreover, wreaths of olive conveying thoughts of mercy and repentance had recently come into use in one of Florence’s most important public rituals, the offering of little torches by pardoned offenders at the city’s Baptistry. These persons had formerly
been led to the Baptistry in chains, but from 1493 at the latest each is described as
being led, ‘in the usual way, his head uncovered, with a crown [or garland] of olive,
with a little torch in his hands… preceded by trumpets’.
Now, one of the conditions for receiving pardon at the time was that an offender make ‘peace’ with the offended party. Perhaps onlookers remembered this as the olive-wreathed offenders were marched past them. But surely what was uppermost in their thoughts was that these transgressors had come to repent what they had done and were now receiving mercy. Indeed, what Botticelli and many others who lived during his age probably hoped for more than anything else but also in our times , was Mercy.
Before his tale, which begins with Islamic merchants carrying stories between Syria and Rome, Chaucer’s Man of Law offers this apostrophe to merchants: “Ye seken lond and see for yowre wynnynges; / As wise folk ye knowen al th’estaat / Of regnes; ye been fadres of tidynges / And tales . . .” Thus Chaucer notes that trading networks spread stories as well as merchandise, stories Chaucer himself appropriates and retells. If we take Chaucer’s remarks seriously, we need to expand the area of literary exchange beyond Western Europe. One work that may have been shaped, unexpectedly, by such exchanges is Sir Gawain and the Green Knight. Although European analogues and sources for it exist, there have been hints over the decades of possible non-European contexts for the poem. In 1916, George Lyman Kittredge noted that in a number of the analogues the supernatural challenger is black or Turkish. These analogues thus link the challenger of the beheading plot to racial otherness. In 1974, Alice Lasater, in her work on the influence of Spanish literature (Christian, Islamic, and hybrid) on Middle English literature, noted extensive parallels between a well-known popular Islamic folk figure, al-Khidr (the Green One), and the Green Knight.
Evidence for the Gawain-poet’s interest in the east has been detected in the other poems as well. The heavenly city of Pearl, as Mahmoud Manzalaoui has noted, has close parallels to the description in an Islamic text known to Europeans in Latin translation as the Liber Scalae or Book of the Ladder (a copy of fourteenth-century English provenance was found at Oxford). It recounts Mohammed’s ascent into the heavens (mi’rāj), and scholars now largely agree that this text was a source for Dante’s Commedia. Further suggesting interest in the east, Cleanness draws on Sir John Mandeville’s description of the Dead Sea. Since the poem is elusive in questions of authorship, date, and circumstances of composition, criticism has necessarily proceeded speculatively. Most critics have understandably focused on Northern European (especially Irish and French) sources and analogues.
Given recent scholarly interest in medieval romance’s engagement with the east and with Islam, however, the Green Knight’s non-European analogues and particularly Lasater’s intriguing suggestion of al-Khidr need to be reconsidered. While the poem’s many unknowns prevent any absolute identification of the Green Knight as al-Khidr, especially since the Green Knight is most probably a composite character with elements taken from several traditions as well as the poet’s imagination, the possibility that the Gawain-poet may have, in his typically allusive manner, borrowed from an Islamic figure nonetheless leads to a fruitful reexamination of the poem’s commitments and affiliations. The seminal works of Dorothee Metlitzki and María Rosa Menocal have demonstrated that Islamic literature must be taken seriously as an influence on and source for medieval Christian literature: intellectual engagement with Islam went far beyond the caricatured Muslims of bad romances.
Religious antipathy did not prevent medieval Christians from studying the sacred book of their enemies: Robert of Ketton’s twelfth-century translation of the Qu’ran circulated widely and continued to be read into the early modern period. As Thomas Burman shows in his study of Latin translations of the Qu’ran, Robert of Ketton and other translators incorporated Islamic commentary into their translations and their glosses in order to elucidate obscure Qu’ranic passages, and in so doing they strove to understand a difficult, alien text in its own terms: Christian response to the text was not simply polemical—though it certainly was that—it was also deeply philological. Since medieval engagements with Islam are starting to be understood as doing more than simply recycling old stereotypes or caricaturing Muslims, Lasater’s suggestion of al-Khidr as an analogue for the Green Knight must be more thoroughly considered. As medievalists also turn, increasingly, to questions of postcolonialism, a reconsideration of the literary markers of Sir Gawain and the Green Knight’s possible engagement with the Islamic world in relation to the likely historical and political contexts of its composition may point us to a new, international reading of the poem. Read more here: Saint_George_Islam_and_Regional_Courts
The Brabantine mysticism of Jan van Ruusbroec and the Priory of Groenendaal, the Modern Devotion of Geert Grote and the spiritual and religious thought of Erasmus and More through Utopia and other key works of Christian humanism. Maarten Vermeir -University College London
Two Renaissance work serve me well as interpretation keys for Thomas More’s book of Utopia. My first interpretation key will always remain Desiderius Erasmus’ Praise of Folly or Moriae Encomium. As you all know, Erasmus wrote his Praise of Folly in the house of More and the narrator of his Praise, Lady Stultitia or Moria, is ironically linked to the name of Thomas More. Lady Moria orates a great amount of nonsense, but through Erasmus’ fine irony at the same time a great deal of wise and rightful criticism on aspects and figures of his contemporary society. At the end of her Praise, Stultitia speaks also about a deeper mystical, Christian folly and considering similar statements by Erasmus in other works like his Enchiridion Militis Christiani, these statements of Lady Stultitia were seriously meant by Erasmus. Also in Thomas More’s Utopia we can recognize a mixture of serious ideas through the eyes of More and Erasmus (about the institution of the state and church, international relations, the division between church and state, spirituality, religion and tolerance, social care, culture/education? And matrimonial policies) with also nonsensical ideas to their opinion (the economic system, the travel restrictions inside the Utopian state). A search for their ideas on these points through other works and their personal orientations makes the recognition of such mixture unavoidable. In Utopia we can probably find more serious concepts than nonsensical, and although this partition was reversed in the earlier Praise of Folly, the family similarity on this point remains paramount and crucial to a correct understanding. The narrator of More’s Utopia, Raphael Hythlodaeus(in one of the two meanings translated as ‘Merchant of Nonsense’, in the other as ‘Destroyer of Nonsense’) is linked reciprocally to Erasmus through the figure of Saint Erasmus, as I learned recently, the patron of all sailors. Also reciprocally, Thomas More started probably writing the book of Utopia in one of the major residences of Erasmus in the Low Countries: the Antwerp house of his friend Pieter Gillis. My second preferred interpretation key for More’s Utopia consists in the 900 theses of Pico della Mirandola. Thomas More translated ‘The Life of Pico della Mirandola’ and was undoubtedly aware of della Mirandola’s philosophical program: in his famous 900 theses Pico della Mirandola intended to combine into a higher synthesis the best elements of classical traditions, especially from the philosophy of Plato and Aristotle, with aspects of the Jewish-Christian traditions, especially mystical elements like he found in the Jewish Kabbala. His great endeavor was to formulate a consistent marriage between Jewish-Christian mysticism and the rich humanistic learning by which he was surrounded in Renaissance Florence. His early death prevented him regretfully from executing this great master plan. But the Christian Humanists around Erasmus and Thomas More would become Pico’s true inheritors and take Pico della Mirandola’s scheme as a blueprint for their complete literary oeuvre and philosophical program. One of Utopia’s layers of meaning is certainly a broad defense of the Christian humanistic ideals. The serious parts of Utopia can be read as an honorary tribute to Pico della Mirandola’s audacious plans, as a literary realization of Pico’s inspiring dreams. These traces of della Mirandola’s program in Utopia will be subject of my later research.
Both works, Erasmus’ Praise of Folly and della Mirandola’s 900 theses have thus also a deeper Mystical meaning and importance.Also Thomas More’s Utopia has. As a religious community Utopia knows only a few strict and unbreakable rules for the religious life of its citizens. Next to these respected rules, there is complete liberty for personal spirituality and thus room for many different colorings, orientations and institutions of the Utopians’ personal spiritual life. In this way each Utopian is also destined and commissioned to set out on a personal spiritual journey, encouraged by the daily contact between the elder and the children or youngsters, sitting daily side by side with every meal. This is also the foundation of Utopia’s religious tolerance and freedom: the undeniable points of belief (the eternal soul, divine presence and activity in the world, the punishment of vices and the rewarding of virtues – and thus the rewarded or punished free will of men) have to be respected by all Utopians, and all personal, by definition different additions in respect of these rules, are tolerated in the Utopian state. These undeniable points were instituted by Utopus himself and public challenges outside the closed company of priests and officials, are punished severely to safeguard the common interest and public order of the state. So the gap between the institution of Utopian tolerance and later political actions of Thomas More, is therefore less deep and less broad as often depicted. In his discussion with Luther on the Free Will, Erasmus stated also that Luther shouldn’t discuss his ideas with or spread amongst the ordinary people but discuss with qualified persons. Seen the revolutionarily broad scale on which the Chrisitian humanists promoted their cultural, political and spiritual/religious agenda for the entire Respublica Christiana, the promotion of their religious and spiritual ideas is in se also revolutionary in Utopia, as stated here already, even a key manifesto of the Christian humanistic ideals and trough the force of fiction, a wide applicable exemplum for all states and peoples inspired by Thomas More’s Magnum Opus. This is why Sanford Kessler stated that ‘his reading of Utopia shows that modern religious freedom has Catholic, Renaissance roots.’ The printing scale and literary-philosophical reach of this religious and spiritual promotion was indeed unprecedented. These ideas however were not original. The roots of Utopia’s religious freedom and personal spirituality can be traced back to the great Mystical tradition of the Low Countries and the neighboring Rhineland. One of the three books anyone should read according to Thomas More, was ‘The imitation of Christ’ by Thomas a Kempis, a prominent representative of the Modern Devotion. Also Jean-Claude Margolin found striking similarities between ‘The imitation of Christ’ and Erasmus’ Enchiridion Militis Christiani, stating at the same time that a major cause of these similarities could be the shared background and shared context of the Modern Devotion, in which also Erasmus was raised and educated as a child and as a youngster – in my view decisively for his later religious and spiritual views and writings. Although he has had indeed also bad experiences with figures formally connected to the Modern Devotion, this movement started by Geert Grote was really significant and inspiring for Erasmus too. Geert Grote founded the first houses of the Brethren and Sisters of the Common Life (in 1374 and 1383), echoed in Utopia in the two religious schools and through the shared common property inside Geert Grote’s households maybe even in the entire economic institution of the Utopian state. To counter criticism on the Brehtren and Sisters of the Common Life, Geert Grote requested on his deathbed – and his successor Florence Radewyns would execute this – the foundation of the monastery of Windesheim with some Brethren taking the form of an Augustinian order, heading later the congregation of Windesheim. By doing so, they followed the example and living principles of the Priory of Groenendaal, founded by Jan van Ruusbroec, two other canons, a good cook and a layman some fourty years earlier (in 1343) in the Forêt de Soignes outside the city of Brussels. Jan van Ruusbroec, the great master of Brabantine mysticism or doctor admirabilis, constituted with his settlement in 1343 a new religious community with a less strict structure and more room for personal spiritual development in the Green tranquility of the forest around Groenendaal, taking the form of an Augustinian canon’s monastery in 1349 to counter criticism and avoid further suspicion. The reputation of Groenendaal priory and of Ruusbroec’s teachings, through his oral explanations and beautiful writings in Medieval Brabantine Dutch, would reach far inside the Low Countries and outside. Geert Grote came to visit Jan van Ruusbroec even in Groenendaal as many did (in 1378-1379). In 1413, the Windesheim congregation even absorbed the monastery of Groenendaal, turning it into a priory. This specific tradition with less stringent structures and more liberty for personal spirituality, would become defining through the spreading force of its focus on education, its great success in the Low Countries and beyond and its uniqueness inside the Catholic Church, defining for the Brabantine and Netherlandish mystical tradition and its pioneering role in Late Medieval Europe. Different translations of Ruusbroec’s works in Latin and other languages were even spread over Europe in different lines of subsequently copied manuscripts, already from the second half of the 14th century. A Latin translation of Ruusbroec’s main work ‘de geestelijke bruiloft’/ ‘the spiritual wedding’ about the different phases and risks of the evolving process of a human seeking unity with the Divine throughout his life, was printed for the first time in 1512 by Jacques Lefèvre d’Etaples. Most intriguingly, Erasmus visited this friend in 1511 and had with him ‘a number of intimate conversations’. At the end of the 15th century already, Erasmus had visited the priory of Groenendaal, learned from the living exemplum of Groenendaal’s institutions and organization and spent days there studying in its library: with his zeal he surprised even the monks, taking books with him at night to his dormitory. So it is certainly possible that around 1515, both Erasmus and Thomas More knew the works of Ruusbroec very well from first hand, not only through works of Devotio Moderna’s protagonists like Thomas a Kempis, inspired by Geert Grote and Ruusbroec himself. Also other key aspects of Utopian society can be linked to the Brabantine Mysticism of Jan van Ruusbroec. As the political system of Utopia was inspired by the Joyous Entries of Brabant from 1356, Jan van Ruusbroec received the grounds for his firstly settled community in Groenendaal directly from Duke Jan III, who would allow at the end of his life the composition of the first Joyous Entry in 1356, arranging the succession of his daughter. Dux Utopus would institute the religious freedom in Utopia immediately after his victory over the fighting religious sects he found in Utopia upon his arrival. Ruusbroec would write also his most influential book ‘de geestelijke bruiloft’ in the preceding decades. As architect of the Tower and enlargement of the city hall of Brussels, one of the four capitals of Brabant, was even chosen and appointed in the mid-15th century a Jan van Ruisbroec, by name referring to the Mystical Master. Also Pierre d’ Ailly and Jean Gerson, the fathers of conciliarism as found in the institution of the Utopian church, were directly familiar with the Brabantine mysticism of Ruusbroec: Jean Gerson had a keen interest in the teachings of the Brabantine master, and even discussed eagerly about a detailed topic. Pierre d’Ailly followed these engagements of his pupil from a first row seat, as the bishop of Cambrai under whose ecclesiastical jurisdiction the priory of Groenendaal fell, integrating into the congregation of Windesheim under his watch (till 1411). The Civic humanism – both political and religious – in Utopia was in many aspects closely related to and inspired by this Netherlandish civic humanism, and this connection will be treated in my further research exhaustively. Certain elements strengthen these bonds between ‘More’s Utopia and the Low Countries’, paraphrasing the title of my RSA conference paper for Moreana, in New York 2014. In Jean Desmarez’ prefatory poem for Utopia, the different gifts and talents of different European countries are attributed to the state of Utopia: only one country is missing in this overview, the Low Countries, showing a collision and combination into a higher synthesis of the different cultural traditions strongly present there. For Pico della Mirandola and his program, the Low Countries would have constituted a true dreamland in this perspective, a cultural laboratory Erasmus and Thomas More could encounter directly. And as Marisa Bass stated recently, the group around Gerard Geldenhouwer was excited about the discovery that ‘Roman writers such as Julius Caesar, Pliny the Elder, and Tacitus had long ago described the Netherlands as a body of land surrounded on all sides by water.’ And in Anemolius’ prefatory poem for Utopia we find the statement that ‘Utopia is a rival of Plato’s republic, perhaps even a victor over it. The reason is that what he delineated in words Utopia alone has exhibited in men and resources and laws of surpassing excellence.’ I recently counted all the places considered as real cities in the Duchy of Brabant and connected territories, this calculation resulted in the number of 54 cities, the same number as the number of cities in Utopia. Together with the political protection offered by chancellor Jean le Sauvage, this is why I believe the first edition of Utopia was printed in Leuven, also one of the four capitals of Brabant, why Utopia’s opening scenery is situated in the city of Antwerp, also a capital of Brabant and the main Brabantine port, and why Thomas More requested Erasmus to provide him also with politicians – from the Low Countries where Erasmus was staying at the moment of this request – as writers of the prefatory letters for Utopia. These places have their interpretative meaning and significance. Indeed, Thomas More’s embassy to the Low Countries was truly an ‘Utopian embassy’
“A forest is much more than what you see,” says ecologist Suzanne Simard. Her 30 years of research in Canadian forests have led to an astounding discovery — trees talk, often and over vast distances. Learn more about the harmonious yet complicated social lives of trees and prepare to see the natural world with new eyes.
How trees talk to each other | Suzanne Simard
Forests aren’t simply collections of trees, they’re complex systems with hubs and networks that overlap and connect trees and allow them to communicate, and they provide avenues for feedbacks and adaptation, and this makes the forest resilient. That’s because there are many hub trees and many overlapping networks. But they’re also vulnerable, vulnerable not only to natural disturbances like bark beetles that preferentially attack big old trees but high-grade logging and clear-cut logging. You see, you can take out one or two hub trees, but there comes a tipping point, because hub trees are not unlike rivets in an airplane. You can take out one or two and the plane still flies, but you take out one too many, or maybe that one holding on the wings, and the whole system collapses
Intelligent Trees – The Documentary
Featuring Suzanne Simard & Peter Wohlleben
Trees talk, know family ties and care for their young? Is this too fantastic to be true? Scientist Suzanne Simard (The University of British Columbia, Canada) and German forester and author Peter Wohlleben have been investigating and observing the communication between trees over decades. And their findings are most astounding.
Together, Wohlleben and Simard are a tree dream team (Melissa Breyer, “Trees can form bonds like an old couple and look after each other “, Treehugger.com).
The Magic Of Mushrooms
Professor Richard Fortey delves into the fascinating and normally hidden kingdom of fungi. From their spectacular birth, through their secretive underground life to their final explosive death, Richard reveals a remarkable world that few of us understand or even realise exists – yet all life on Earth depends on it.
When so many are struggling for connection, inspiration and hope, Fantastic Fungi brings us together as interconnected creators of our world. Fantastic Fungi, directed by Louie Schwartzberg, is a consciousness-shifting film that takes us on an immersive journey through time and scale into the magical earth beneath our feet, an underground network that can heal and save our planet. Through the eyes of renowned scientists and mycologists like Paul Stamets, best-selling authors Michael Pollan, Eugenia Bone, Andrew Weil and others, we become aware of the beauty, intelligence and solutions the fungi kingdom offers us in response to some of our most pressing medical, therapeutic, and environmental challenges.
The letter “Y”, in antiquity, has often represented a “bivium” (a fork in the road); a point in life where we have to make a vital decision. According to Pythagoras, it represents the paths of virtue and vice.
Here the text describes how the traveler has to pass the first three stages of his journey:
Several of “POWAQQATSI’s” images point to a certain lethargy affecting its city dwellers. They could be the same faces we saw in the smaller villages but they seem numbed; their eyes reflect caution, uncertainty. 
When we imagine a full year as a circle, then the straight lines that connect the starting points of opposing seasons form a cross within that circle. This is the true Cross of Jesus, as shown in the figure on the right-hand side. Opposite to the beginning of winter on (about) December 21st lies on this circle the beginning of summer on (about) June 21st. These two points are called ‘solstices’ from solstitium in Latin, literally meaning ‘solar standstill’. However, it is not the standing still of the Light Bringer, but the standstill of the daily growing (or shrinking) of its arc-like path. Likewise, opposite to the beginning of spring on (about) March 21st lies on this circle the beginning of autumn on (about) September 23rd. These two points are called equinoxes from aequinoctium in Latin, literally meaning ‘night getting even’ (with day). On these two days a year, the nocturnal darker period and the diurnal lighter period indeed get even.
The word “Easter” itself, however, is Old English, from Eastre or Eostre, a title derived from an old English month now known as April. Christian Easter is celebrated on the first Sabbath after the first full moon after the spring equinox. This holy-specific day most often occurs in April and is representative of the most fertile time of the year, when sun, moon, and earth are all in their phases of rebirth and awakening. Easter is therefore the day of resurrection, in heaven and on earth. And this heaven-earth relationship is only an archetypal symbol for the heaven-earth awakening that occurs in the soul of God, or in the spirit and breath of each mortal man and woman. In Christian rite and belief, every soul will arise like the sun, moon, and earth, to a new immortal dwelling.
The Japanese
As far back as the Paleolithic Age,” writes Maarten J. Varmaseren, “one finds in the countries around the Mediterranean a goddess who is universally worshiped as the Mighty Mother” . From 30,000 to 10,000 BCE, adds Joseph Campbell, “the [Goddess] is represented in those now well-known little ‘Venus’ figurines” . A limestone relief found in southwestern France in the Pyrenees is illustrative in this regard. Dating to 25,000 BCE, an engraved Venus image is shown holding a bison horn inscribed with thirteen vertical strokes. This is the number of nights between the first crescent and the full moon .
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.
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.
The bivium of Pythagoras, this sign which leaves us free to choose the path of good or the path of evil.
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. 
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.
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. 
Let your eye live and grow in God,
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: 
Discerning an understanding between Non-Virtues
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.
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 :
Prayers of Intercession to Saint George:
look here 
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. 
See planting 
As angels and men move ever closer, from right to left, to embrace, little devils scatter into holes in the ground. The scrolls held by the angels pointing to the crib once read: `Behold the Lamb of God, which taketh away the sin of the world‘ the words of John the Baptist presenting Christ (John 1:29).
The ‘privileges’ are part of an allegorical crown offered to Mary by the Florentine people, and occur on banderoles surmounting the twelve hearts in the lowest of its three tiers .
Path to the Maypole of Wisdom 
