Sacred Places and Pilgrimage

At the end of November I'll be going to southern England, near Avebury, to attend the Gatekeeper Trust Annual Conference  ‘DREAMING the LAND’:  Working with the Consciousness of Nature,  24 - 25 November 2018.  I'll then be spending some time in Salisbury, and in Glastonbury, where I will be giving a talk about the Masks of the Goddess Project, sponsored by the Temple of the Goddess of Glastonbury.

I spent time in southern England in 2011 when I attended the Goddess Conference, an event that was truly transformative for me.    


http://gatekeeper.org.uk/events/annual-conference-2018

NUMINA:  Sacred Places and Pilgrimage

"To the native Irish, the literal representation of the country was less important than its poetic dimension.  In traditional Bardic culture, the terrain was studied, discussed, and referenced:  every place had its legend and its own identity....what endured was the mythic landscape."

    R.F. Foster

The Romans believed that special places were inhabited by intelligences they called Numina, the "genius loci" of a particular place.   I believe many mythologies are rooted in actual experiences of "spirit of place", the "living landscape", a conversation within which we also participate.  

Myth is, and always has been, a way for human beings to become intimate and conversant with what is vast, deep, and ultimately mysterious. Our experience changes when Place becomes "you" or "Thou" instead of "it".   There are many disciplines now writing about the importance of place, asking, in essence, “how can we renew our ancient conversation with the Earth"?  As pagans I believe we are uniquely able to answer that question, and lead the way into re-mything our culture.  In the past, "Nature" was not just a "backdrop" or a "resource"...........nature was a relationship within which cultures were profoundly embedded.  Whether we speak of the aborigines of Australia, Celtic fey folk, or the agrarian roots of Rome, the landscape was spiritually personified.  Every valley, orchard, healing spring or womb-like cave had its unique quality and force - its Numina.   Cooperation and respect for the Numina was essential for well-being.  And some places were places of special power, places of pilgrimage.

With the evolution of monotheism and religions that increasingly removed divinity from Nature and the body, and in the past century, the rise of industrialization, we have looked at the world primarily from a "users" point of view.  This  screen tends to frame the world as an object.  Yet every culture, including ours, has insisted throughout its pre-industrial stages that the world is alive,  and responsive to what human beings do upon it.   From katchinas to the Orisha, naiads to dryads, the Australian Dream Time to Alchemy's Anima Mundi,  every local myth reflects what the Greeks and Romans knew as the resident “spirit of place”, the Genious Loci.

Contemporary Gaia Theory proposes that the Earth is a living, self-regulating organism, responsive and evolving.  If one is sympathetic to Gaia Theory, it follows that everything is responsive and conversant in some way, visible and invisible.     Sacred places may be places where the potential for revelation, healing, or transpersonal experience is especially potent.  Ancient Greeks built their Oracle at Delphi for this reason, and certainly early Christians knew this when they built churches on existing pagan sites.  There is a geo-magnetic, terrestrial energy concentrated at certain places on our planet that throughout the millennia catalyzes spiritual insight, healing, visionary experience, even prophecy.  Before they became contained and mythologized by  religions or marked by prehistoric monuments, these sites were intrinsically places of numinous power and presence in their own right.  They radiate their powers to all who visit, and ultimately, no practice of a particular religion or belief system is needed for them to have a transformative effect, although human architecture and the accumulation of human psychic energy and visitation may amplify this effect.  

Roman philosopher Plinius Caecilius commented that:

  "If you have come upon a grove that is thick with ancient trees which rise far above their usual height and block the view of the sky with their cover of intertwining branches, then the loftiness of the forest and the seclusion of the place and the wonder of the unbroken shade in the midst of open space will create in you a feeling of a divine presence, a Numina."

Many years ago I lived in Vermont, and one fall morning I stumbled down to the Inn for a cup of coffee to discover a group of people about to visit one of Vermont's mysterious stone cairns on Putney Mountain.  Among the researchers was Sig Lonegren, a well known dowser and researcher of earth mysteries.  Before I had my second cup of coffee I found myself on the bus, and then at a chamber constructed of huge stones, hidden among brilliant foliage, with an entrance way perfectly framing the Summer Solstice.  No one knows who built these structures, which occur by the hundreds up and down the Connecticut River, but approaching the site I felt such a rush of vitality it took my breath away.  I was stunned when Sig placed divining rods in my hands, and I watched them open as we traced the ley lines that ran into this site.   Standing on the top of the somewhat submerged chamber, my divining rod "helicoptered", letting me know that this was the crossing of two leys, a potent place. 

Months later 13 friends gathered in the dark to sit in that chamber and watch the sun rise through its entrance way.  We were not a coven, I had not even heard of such a thing, but we all felt the power of the deep, vibrant energy there, and awe as the sun rose illuminating the chamber.   None of us knew what to do, so we held hands and chanted Aum.  We were all as high as a kite when we left, and this was the beginning of a life long journey for me, a journey that led me here. 

Earth mysteries researchers like John Steele and Paul Deveraux in their book EARTHMIND have written that we suffer from "geomantic amnesia".  We have forgotten how to listen to the Earth, to engage in "geomantic reciprocity", instinctively, mythically, and practically, to our great loss and endangerment. 

We disregard or destroy for short term economic gain places of power, and conversely, build homes, even hospitals, on places that are geomagnetic ally toxic.  The ancient Greeks built their shrine for Gaia at Delphi because the unique personality of that place was divined to be especially suited to Gaia residing there. They also sited their healing Dream Temples according to the auspiciousness of place.  Honoring what inspired the early Greeks to decide on a particular place may be important not only to pilgrims, but to something at the base of building future sustainable human societies.

The act of making a pilgrimage is among the oldest human endeavors. Recent discoveries at Gobekli Tepe in Turkey include a landscape of monolithic  temples that peoples journeyed to 12,000 years ago.    The Eleusinian Mysteries  combined spirit of place and mythic enactment to transform pilgrims, and enact the death/rebirth cycle of nature, for almost 2,500 years.  I believe there are both leylines and mythic “songlines" that trace ancient pilgrimages to the Black Madonnas of Europe (which are still going on).One of the most famous is the "Camino" which concludes at the Cathedral of Santiago at Compostella.  Some believe the earliest Camino was to the “Black Madonna of Compostella", a very ancient effigy. Compostella comes from the same root word as "compost",  the fertile soil created from rotting organic matter, the "dark matter"  to which everything living returns, and is continually resurrected by the processes of nature into new life, new form.  Pilgrims finally arriving in  Compostella after their long journey were being 'composted' in a sense.  Emerging from the  dark confines of the cathedral they were ready to return home with their spirits reborn. 

In 2011 I visited the ancient sacred springs of Glastonbury, the Chalice Well and the White Spring as well as participating in the Goddess Conference there.   Making this intentional Pilgrimage was life changing, and I had a profound, personal sense of the "Spirit of Place", what some call the "Lady of Avalon".  Pilgrimage opens one to blessing, vision, and reverence.  

As a dowser myself, I've experienced shifts in energy - which means also shifts in  consciousness -many times when visiting areas that are geomantically potent, be it the henge of Avebury,  or the labyrinth at Unity Church in Tucson, Glastonbury, or even a crop circle in Wiltshire.  Freddy Silva is an Englishman who has spent many years researching authentic Crop Circles. He has found that they have unique phenomena, including magnetic and energetic properties, which have been documented to alter consciousness and affect the health of some individuals.  The vast majority of the documented authentic crop circles have occurred near prehistoric standing stones, Silbury Hill, and other places of geomantic potency near by.  Silva believes they are not only communicating through the universal language of symbol and Mandela but they are also, speaking in terms of subtle energies, changing the land and underground water tables  in some way - perhaps, an infusion, a "pollination".  He calls them "Temporary Temples".

Sacred Sites are able to raise energy because they are intrinsically geomantically potent, and they also become potent because of human interaction with the innate intelligence of place.  My teacher, spiritual dowser Sig Lonegren, has spent many years exploring sacred places, and commented that possibly, as human culture and language became increasingly complex, we began to lose mediumistic consciousness, a daily, conversational Gnosis with the "subtle realms". 

 With the gradual ascendancy of left-brained reasoning he suggests the ancients were concerned with how to continue contact with the gods, the ancestors, the numina of the land.  According to Sig, Stonehenge may represent a "last ditch effort" to keep in touch with the spirit world with communal experience.   As the rift between personal gnosis and spiritual contact deepened with the development of patriarchal institutions, tribal and individual Gnosis was replaced by complex religious institutions that rendered spiritual authority to priests who were viewed as the sole representatives of the Gods or God.  

Perhaps this capacity is returning to us now, a new evolutionary balance. As crisis engulfs us, we need, once again, to re-member how to “speak to the Earth", to make pilgrimage to the Source, by whatever name. 

 References:

***Sig Lonegren:

http://www.sacredsites.co.uk  ©1998

http//:www.geomancy.org
http//:www.sunnybankglastonbury.co.uk

*** EARTHMIND: Communicating With the Living World of Gaia, by John Steele, Paul Deveraux, and David Kubrin (1989) 

***Freddy Silva:  http://www.invisibletemple.com/

Creativity and Divinity........Reflections

One of the things I have been thinking about is what kind of world would it be if our value system revolved around Creativity and Co-operation, instead of power, money, and dominance.  What kind of world..............Well, a world that could endure and be sustainable, among other things.  A world children could grow to their potential in.  A world where the resources of the collective and the planet went to something other than war and violence.  

Creativity.  Personally, my notion of a Deity, or Deities, is that She is an artist.  And a Mother.  That is a very different way of looking at the Divine from a great deal of what I see often.    We all have instrinsic expressive and communicative gifts in life, which I think come down to the same thing:    One is the eternal, seamless creative and receptive source, the other the mortal (and hence not immortal)  means.  When we are creating, the Divine expresses through each of us, whether we're making a mathematical theorem or a new recipe for lemon cake.  We're engaged in the Long Dance.

How can anyone look at an orchid, shamelessly pretending, in the hope of being pollinated, that it is a bevy of  magenta tipped butterflies in flight......without seeing the Goddess/God  at Her easel?  Without appreciating, indeed being in awe, of  the gorgeous humor, and creative intelligence, behind all things visible?  How miraculous is a spider in its perfect web?  The extraordinary way in which a sage plant knows exactly when to send up purple flowers, along with every other sage plant in the garden?  I do not believe any gardener who loves his or her work could fail to see that "nature" is both intelligent, responsive to love and appreciation, and communicative.  It's not a human language, but language it is.  

When I was a kid in a long-ago confusing Bible classes, I had an early  "ah-ha" experience. In fact, that might have been at the root of what became my personal quest in life.  I was told, over and over, that "God loves us".  Yet  I could not understand how this  "God" that was so often described to me as we plowed through the Book, could be so cruel if He really "loved us".  He seemed a God of terrible vengence and capricious cruelty.   Even now, I shudder to think of children, like the child I was,  internalizing some of these stories as "divinely inspired". How about this, for example, from the Holy Book?

"And  the Lord spake unto Moses, saying "Avenge the children of Israel"..............and Moses said unto them, "Have ye saved all the women alive?.......Now therefore kill every male among the little ones, and kill every woman that hath known man by lying with him.  But all the women children, that have not known a man by lying with him, keep alive for yourselves."   

  Num. XXXI, 1-18

I remember reading this, and trying to fathom how the noble Moses, made so visible by Charleton Heston delivering the 10 Commandments......could be involved in what was actually being described here.  

All those women, old ladies, babies  and little boys hacked up with swords,  the little girls carried off to be raped, sanctified by "God" and His prophet.   How could I reconcile this horror?   Other options were needed.  And I never failed to try to find them in future years.  I am fortunate that I've come up with some pretty good answers.

And how sad, and conflicting, that a fragmented history of the bloody genocide practiced in ancient battles, fought beneath the banner of a tribal war god sometimes called Yahwah........should appear within the same book as  "Love your enemies, do good to those who hate you" (Luke 6:27). 

Or, and this passage, a favorite of mine, which is not from the Bible at all, but rather from the long hidden and lost  Nag Hammedi Gospels, attributed to Jesus from the Gnostic Gospel of Thomas (the Twin)*** :

"If you bring forth what is within you, what you bring forth will save you.  If you do not bring forth what is within you,  what you do not bring forth will destroy you." 

There it is!  The Divine Creative Force, expressing in everything and everyone. Early Christians called it "gnosis", knowledge of God within.   Joseph Campbell called it your personal  "bliss"......... it's the joy of creation,  and if we bring it forth, it energizes and informs and expands our lives and our vision, a ripple that spreads out not only from our lives but in a circle to the lives of many others.  If not expressed or known, the same reservoir of energy contracts, turns self-destructive, dark, stagnant.  Maybe, that's even one of the places tumors can come from. 

Be that as it may, I think it's so important to not "give your power away" as the popular saying goes, alhtough it can take time and the growth of self-awareness  to learn how not to do  that.  It's important to appreciate, in fact thoroughly enjoy,  the gifts that life has put on your banquet plate.

There's a wonderful passage in the ancient Sumarian stories of the goddess Inanna where she goes to visit Enki, the head of the Gods.  In a celebratory mood, he calls forth some heavenly beer, and the two get drunk together.   Enki gives Inanna many empowerments or gifts (called a "me") -  from the art of sexual seduction to the governing of cities to the making of cheese. At an event I attended in the 90's I saw this  cycle was enacted in participatory ritual theatre.  As  Enki offered each "me" (I always found that word for gift or power interesting), Starhawk, who led the group  in the role of Inanna, said loudly with conviction and gusto:  "I'll take it!"

Inanna with lion, ancient Sumarian tablet

We so often are afraid to say "I'll take it!"    Life continually gives us opportunities, afirmations, passions for making and creating, for "bringing forth that which is within".  But we are "embarroused", we decline because we think we're not "worthy", we don't want to seem "selfish".  And before you know it, the opportunities are gone, the well has dried up, passion has become something else.  

There are so many forces that discourage both creativity and talent  - one does not necessarily get love or acceptance for being "gifted".   I think of my own family, and the kind of "dumbing down" or "becoming invisible" dynamics I had to do in order to avoid my fathers abuse, or to be  tolerated by my envious brothers, who felt that any form of success on my part somehow diminished them. It was a way to survive as a child  that became a great disadvantage as an adult.   I still can witness myself going into  "invisibility" mode when encountering a field of competition or jealousy.

I've seen this operate in groups as well, groups that do not know how to facilitate or address this unconscious collective shadow aspect (a friend who prefers to remain anonymous calls it the "mediocrity prerequisite" for membership).    I do not mean to sound harsh, but many people live in toxic spheres where they are being energetically rewarded for being stupid, uncreative, or a "victim", and punished for not being so.  For not using their divine "Me"'s.   And I guarantee that if you live that way long enough, you will forget your "me"'s and begin to  demand the same currency from others.   It can take a long time to heal.........

Well.........I am grateful indeed to know so many  inspiring people  who are busy expressing the Divine Creative Force  joyfully - may we all, like Inanna, loudly proclaim:  "I'll take it!"

Here is an old interview with my favorite writer, Ursula Kroeber Leguin, on writing and creativity.  Indeed,  Leguin is one who held out both hands in her extraordinary creative life to "take it".  

"I certainly wasn't happy. Happiness has to do with reason, and only reason earns it. What I was given was the thing you can't earn, and can't keep, and often don't even recognize at the time; I mean joy."          (Ursula K. LeGuin)

 https://youtu.be/M73cyc9lhhI

Control of Female Sexuality, Rape, War and Art

"Judith Slaying Holofernes" by Artemisia Gentilachi

"Control of female sexuality is fundamental to the patriarchal system.  This explains why there is so much controversy about the “simple matter” of access to birth control and abortion and so much anger directed at single mothers. "

~Carol Christ

I never cease to be amazed that the contemporary versions of Biblical Patriarchs continue to fight for control the bodies and lives  of the female population, even as they attempt to remove virtually all infrastructure to support or assist poor and single mothers.  Or the "right to rape" that is  so much in evidence in the power structure of our society, especially now with the so called President and his cronies  virtually celebrating their  sexual predations publicly. 

As a long time student of art and literature, the celebration of rape and war is found everywhere. The rape of young women is a prime theme in contemporary television drama, over and over and over.  And if you look back at the history of Western art, it's all over the place as well.  In fact, much of it is on plain view in our most distinguished institutions of art and culture such as the Metropolitan Museum or the Smithsonian.  High Art, High Rape, rarely examined for the message under all those pretty colors and plump, seemingly  acquiescent women.*

I remember all those paintings, for example, of the rape of various mortal women  by those manly, if naughty, Greek gods.  A perfect  co-option of myth turned religion  to justify the violence of men - the gods rape  just the same as they do, with the head god, Zeus, leading the pack.  In a popular  Renaissance theme like the painting below, "The Rape of Europa"  by Luca Giordano, the  abduction of a young girl is positively a party for all!   

"The Rape of Europa" by Luca Giordano

Or the "Rape of the Sabine Women", or the "Rape of the Trojan Women", or "the Rape of Persephone" or so on............it was  only years later, after all that Classic Arts Education, that  I finally understood that those paintings amounted to pornography for wealthy men of the time.  As well as propaganda.  

Here's a more recent painting from the end of the 19th Century:  our proud warrior sits atop his "loot" - lots of gold, spoils, and several passive, helpless  women as "loot" too, one appropriately nude with a good pair of breasts exposed.  Oh, and we have a weeping, but worthless,  old woman on the side, just to show the artist's recognition that there is a bit of suffering in war.

And then there is Atemisia Gentileschi"s "Judith Slaying Holofernes".  The daughter of a famous painter who was raped herself  as a young girl and publicly humiliated, I somehow don't think she found the subject at all sexy.   Her brilliant and disturbing painting of a powerful Judith and her maid servant severing the head of Holofernes strikes a cord in the heart of any woman who has known the suffering of sexual assault.  

"Judith Slaying Holofernes" by Artemisia Gentilachi

I decided to take the liberty of sharing a  brilliant article (2013) from  Feminism and Religion  by the marvelously articulate feminist scholar, writer,  and theologian  Carol Christ that takes a long look at the issue, so deeply embedded in the violence of our world, and so very crucial to understand if there is ever to be change.  Thank you to Dr. Christ for her words, once again.

And I also share, below, an image of what rape really looks like in war.  Because we need to remember.

  Patriarchy as a System of Male Dominance Created at the Intersection 

  of the Control of Women, Private Property, and War 

 (Part 2), February 25, 2013

by Carol P. Christ

Patriarchy is a system of male dominance, rooted in the ethos of war which legitimates violence, sanctified by religious symbols, in which men dominate women through the control of female sexuality, with the intent of passing property to male heirs, and in which men who are heroes of war are told to kill men, and are permitted to rape women, to seize land and treasures, to exploit resources, and to own or otherwise dominate conquered people.*

In last week’s blog, I explained patriarchy as a system in which men dominate women through the control of female sexuality with the intent of passing property to male heirs.

 How did a system that identifies a man’s essence with his property and the ability to pass it on to sons come about? I suggest that the answer to this question is war and the confiscation of “property” by warriors in war. Patriarchy is rooted in the ethos of war which legitimates violence, and in which men who are heroes of war are told to kill men, and are permitted to rape women, seize land and treasures, to exploit resources, and to own or otherwise dominate conquered people.

My argument is that the origin of “private” property, defined as property owned by a single (male) individual, and as that which defines the “essence” of that individual, is the “spoils” of war, which are divided up by victorious warriors.  The “spoils” of war are the tangible treasures “looted” or taken by the victors from the conquered, such as jewelry and sacred objects.  The “spoils” of war include land “taken” as the result of warfare, along with the right to exploit resources, directly or through taxes and levies. The “spoils” of war also includes the right to “take” the women of the defeated enemy and to confirm ownership of them (and humiliate their fathers or husbands) by raping them.  The “spoils” of war also include the right to “take” these raped women and their young children home to serve as slaves and concubines.

Though many people were surprised when the rape victims of the recent war in Bosnia began to speak out about the use of rape as a tool of war by Serbian soldiers, in fact, rape has always been an “ordinary” part of war. In the “great” epic known as The Iliad which is said to be the foundation of western culture,  Achilles and Agamemnon are fighting over which of them has the right to rape a “captured” woman named Briseis.  The term “spear captive” is used to mask the reality that Briseis and other women like her were “rape victims” and that the “heroes” being celebrated were their “rapists” and “jailers.” I believe that the institution of rape and the (twisted) notion that men have a right to rape (certain kinds or types of) women originated with war.

The institution of slavery also originated in war. Both the Bible and the Greek epics testify to the ancient custom of enslaving the women and children of the enemy.  Slave women in every culture, like the slave women on plantations in the Americas, are at the mercy of their owners and his sons, who can rape them if they felt like it. The “custom” of taking slaves from the enemy and the “custom” of also taking enemy women sexually, is deeply intertwined with the history of war.  The Africans who sold other Africans into slavery in the Americas were selling Africans they had taken as the spoils of war.If we entertain the hypothesis that earlier matriarchal clan systems existed, then we can see that the notion of individual powerful men’s peri-ousia being defined as the treasures, land, and people they “stole” and then claimed to “own” would have involved a massive cultural shift.  The shift to defining men by the property they owned required that men would also ”own” and absolutely control their wives and daughters, who had previously been free.  Such a cultural shift could only have been instituted and maintained through violence.

Patriarchy is a system of male domination, rooted in the ethos of war which legitimates violence. Warriors who have learned the methods of violent domination of other human beings—not only other soldiers, but also the women and children of the people they conquer—bring the methods of violence home.  Violence and the threat of violence can then be used to control “one’s” wife or wives, in order to ensure that “one’s” children really are “one’s” own. Violence and the threat of violence can be used to ensure that “one’s” daughters are virgins who can be “given” to other men to perpetuate the system of patriarchal inheritance.  Violence and the threat of violence can be used to hold enslaved people “in line.”  In addition, violence and the threat of violence can be used to subdue those within one’s own culture who are unwilling to go along with the new system. Women who refuse to let men control their sexuality can be killed with impunity by their male relatives or stoned by communities as a whole.

How does such a violent system legitimate itself?  By religious symbols.  In Greece, warriors were “in the image” of the “warrior God” Zeus whose rape of Goddesses and nymphs was celebrated.  In Israel, the power of warriors is mirrored in a male God who is called “Lord” and “King” and who achieves his will through violence and destruction. Sadly, this is not an exclusively western problem. In all of the so-called “highly developed” cultures defined by patriarchy and war, symbols of divine warriors justify the violence of men.  Laws said to have a divine source enshrine men’s control the sexuality of their wives, permit some men to rape some women, and allow some people to own other people as slaves.

Patriarchy is not simply the domination of women by men. Patriarchy is an integral system in which men’s control of women’s sexuality, private property, violence, war, and the institutions of conquest, rape, slavery arise and thrive together. The different elements are so intertwined that it is impossible to separate one as the cause of the others.  Patriarchy is an integral system of interlocking oppressions, enforced through violence.  The whole of the patriarchal system is legitimated by patriarchal religions.  This is why changing religious symbols is necessary if we hope to create alternatives to patriarchal systems.

The model of patriarchy I have proposed argues that control of female sexuality is fundamental to the patriarchal system.  This explains why there is so much controversy about the “simple matter” of access to birth control and abortion and so much anger directed at single mothers.  The model of patriarchy as an intergral system can help us to see that in order to end male domination we must also end war–and violence, rape, conquest, and slavery which are sanctioned as part of war.  We must also end the unequal distribution of wealth inherent in the notion of ”private” property, much of it the “spoils” of war, which led to the concept of patriarchal inheritance, which in turn required the control of female sexuality.  As feminists in religion we must identify and challenge the complex interlocking set of religious symbols which have sanctified the integral system of patriarchy–these include but are not limited to the image of God as male.  Ending patriarchy is no small task!

*I am offering a functional definition of patriarchy that does not address the separate question of why it originated.  I will be publishing an expanded version of this dicussion in the future.

This Article is from Feminism and Religion, February, 2013 

Carol P. Christ will be leading life-transforming Goddess Pilgrimages to Crete.  Join her and learn more about prepatriarchal woman-honoring Goddess cultures.   Her books include She Who Changes and Rebirth of the Goddess and the widely used anthologies Womanspirit Rising and Weaving the Visions. 

_______________________________________________________________

*"Rape in warfare is not bound by definitions of which wars are “just” or “unjust.” Rape was a weapon of terror as the German Hun marched through Belgium in World War I. Rape was a weapon of revenge as the Russian Army marched to Berlin in World War II. Rape got out of hand when the Pakistani Army battled Bangladesh. Raped reared its head as American GI’s searched and destroyed in the highland of Vietnam. Rape flourishes in warfare irrespective of nationality or geographic location. Rape was outlawed as a criminal act under the international rules of war. Yet rape persists as a common act of war.

Men who rape in war are ordinary Joes, made unordinary by the entry into the most exclusive male-only club in the world. Victory in arms brings group power undreamed of in civilian life. The unreal situation of a world without women becomes the prime reality. To take a life looms more significant than to make life, and the gun in the hand is power. The sickness of warfare feeds on itself. A certain number of soldiers must prove their newly won superiority – prove it to a woman, to themselves, to other men. In the name of victory and the power of the gun, war provides men with a tacit license to rape. In the act and in the excuse, rape in war reveals the male psyche in its boldest form, without the veneer of ”chivalry” or civilization."

......Against Our Will by Susan Brownmiller, 1975, Excerpts

"Mask and Myth" - My Masks Website

 Since we're a month or so away from Halloween, I thought I should post about my Masks  Websites,  MASK AND MYTH and RAINWALKER STUDIO.   

I still delight in making all kinds of masks for holidays, Renaissance Faires, and Costuming, and commissions are especially  welcome!

Goddess of the Equinox

Persephone (2016)

Persephone, it seems to me,  is truly the Goddess of the Equinoxes, because She is both symbol  of spring and life's renewal when she returns to her mother Demeter at the turning of the seasonal Wheel, and she is also Goddess of death, wife of Hades, and Queen of the Underworld in the ending and dormant times of  turning of the wheel.  

Having said this,  I allow myself here to move out of the great universal language of archetype, and will get a bit personal.  The truth of life in nature is that everything is changing, everything dies to become something else, or at least, make way for something else.  As beings embedded in nature, this is true of us as well, whether we like it or not.  The summer ends, and as we feast on the delightful fruits and breads of the harvest, we barely notice, indeed, deny, the slow creep of winter.  And yet that beautiful, or horrific, or both, Leveler is already advancing over the horizon, implacable and indifferent.    

This is true of nature, this is true of biological life, and it's true of our psyches as well.  When Persephone sings at the balance points of the year, at the crossroads, I believe in listening to Her song,  whether it occurs in the bright lit flowering fields, or is an echo issuing from caverns deep in the Underworld.  And that is the point at which Hecate appears with her torch (but that is another story).   We all love the Song of Persephone in the spring, the song that tells us "this is the time to BE", to feel the honey sun on your shoulders, to love, to move away from the lonely tunnels of the mind and into the great Conversation of the fields, of the planet.

When Persephone calls from the caverns, not so easy.  I myself have felt that emotional frailty, anxiety, the "taste of winter" (even in Arizona!) that this time of planetary change brings.   I continue to attempt to allow those feelings to educate me by the process of their arising.   You try to discover the language and content of all the songs the Persephone sings,  what the soul is trying to tell you.  You don't "transcend" the voice of Persephone, you mature and change, you keep on moving, as She does.

This is Persephone's time of Balance, of Equinox, Her Integral being.  Which moving away from psychological jargon simply means realizing that we must, somehow, say "yes" to all of it, and keep moving, keep dancing the light and shadow dance.  Persephone will dance with us, will educate, if one can only accept this Moving Point of Balance.   We are all, in the final analysis, Wanderers.

Persephone the Wanderer
by Louise Glück,

In the first version, Persephone
is taken from her mother
and the goddess of the earth
punishes the earth—this is
consistent with what we know of human behavior,

that human beings take profound satisfaction
in doing harm, particularly
unconscious harm:

we may call this
negative creation.

I am not certain I will
keep this word: is earth
“home” to Persephone? Is she at home, conceivably,
in the bed of the god? Is she
at home nowhere? Is she
a born wanderer, in other words
an existential
replica of her own mother, less
hamstrung by ideas of causality?

You are allowed to like
no one, you know. The characters
are not people.
They are aspects of a dilemma or conflict.

Three parts: just as the soul is divided,
ego, superego, id. Likewise

the three levels of the known world,
a kind of diagram that separates
heaven from earth from hell.

You must ask yourself:
where is it snowing?

White of forgetfulness,
of desecration—

It is snowing on earth; the cold wind says

Persephone is having sex in hell.
Unlike the rest of us, she doesn’t know
what winter is, only that
she is what causes it.

She is lying in the bed of Hades.
What is in her mind?
Is she afraid? Has something
blotted out the idea
of mind?

She does know the earth
is run by mothers, this much
is certain. She also knows
she is not what is called
a girl any longer. Regarding
incarceration, she believes

she has been a prisoner since she has been a daughter.

The terrible reunions in store for her
will take up the rest of her life.
When the passion for expiation
is chronic, fierce, you do not choose
the way you live. You do not live;
you are not allowed to die.

You drift between earth and death
which seem, finally,
strangely alike. Scholars tell us

that there is no point in knowing what you want
when the forces contending over you
could kill you.

White of forgetfulness,
white of safety—

They say
there is a rift in the human soul
which was not constructed to belong
entirely to life. Earth

asks us to deny this rift, a threat
disguised as suggestion—
as we have seen
in the tale of Persephone
which should be read

as an argument between the mother and the lover—
the daughter is just meat.

When death confronts her, she has never seen
the meadow without the daisies.
Suddenly she is no longer
singing her maidenly songs
about her mother’s
beauty and fecundity. Where
the rift is, the break is.

Song of the earth,
song of the mythic vision of eternal life—

My soul
shattered with the strain
of trying to belong to earth—

What will you do,
when it is your turn in the field with the god?

“Persephone the Wanderer” from Averno by Louise Glück.
Copyright © 2006 by Louise Glück.