Heroes in a Landscape (5) River and Cave

(Above: The Lacy Caves above the River Eden)

It seemed we were learning anew, each day…

The decision to abandon the walk along the long ridge path to Ashness Bridge had been forced upon us by time constraints. It had cost us the boat ride back to Keswick – something that had immense emotional appeal – but, instead, it had given us back… calmness.

After a snack lunch by the lake shore in Keswick, , the group travelled to the Eden Valley in three cars. One of the companions lives near to our destination, in Penrith, and would not be returning to Keswick at the close of the day.

Stuart and I were eagerly anticipating this next part of the workshop with. The caves we were to visit had been researched by Sue Vincent. She and Stuart had planned to incorporate them into a landscape weekend, but the sad events of 2021 overtook this.

(Above and below: Long Meg and her daughters – the second largest stone circle in Britain)

There was the light of a personal pilgrimage in Stuart’s eyes when we all arrived at the stone circle of Long Meg, the start of our Eden Valley adventure. With some regret, we were not able to spend long, here, as the walk along the River Eden would be a substantial – needing to represent the Hero’s challenge as they sought to inherit the ‘magical reward’ promised by the quest – in reality a change of consciousness.

During our recce day, we had evaluated two routes. Now, siding with caution and calmness, we set off on the shorter one…which turned out to be a blessing – and one not related to the weather!

(Above: the path by the River Eden, an easy walk along most of its length…)
(Above: The beautiful River Eden. photo taken in April)

The Lacy Caves are located directly above the River Eden. It had taken us about ninety minutes to get there, a half hour longer than forecast. The difference was down to an oversight on our part.

This workshop was the first after the Covid period. Though everyone was delighted to be out in the countryside, again, not all had recovered their former walking stamina.

(Above: the rock structure begins to change to the sandstone as found in the Lacy caves)

By the time we were halfway to the caves, two of the companions were experiencing tiredness. With one it was affecting her walking. We stopped to allow a period of rest, but the signs were not good – we had travelled a long way into the valley and, regardless of the drama we were about to enact as the day’s exciting finale, we still had the journey back to Long Meg Stone Circle where the cars were parked.

(Above: The entrance to the Lacy Caves)

Our pace slowed and, as group leader, I had to take some decisions. The companion in question said she would be okay, as long as the caves were close. They were just around the next curve in the river.

I walked at her side, my arm ready to give support if the going got too difficult. Unlike our recce day, most of the route had been dry, but the final few hundred metres were muddy; adding to the difficulty.

But everyone was happy to continue, and we reached our destination without further difficulty.

(Above: Inside the complex cave structure)

Colonel Lacy, a wealthy landowner of Salkeld Hall, owned the land on which the Long Meg stone circle lies. He wanted to clear the circle to make it usable as pasture. On the night he set dynamite to the first stone, a devastating storm developed which caused considerable damage to his nearby farm.

Immediately relenting, he repaired the damage and thereafter swore to protect the ancient circle.

Lacy switched his attentions to the sandstone cliffs a mile away as the crow flies, alongside the river, where he engineered a cave system for parties and entertaining. It was fashionable to have such a folly at the time, and the place was decked out with furniture and had extensive gardens sweeping down to the river.

Having said that, Stuart and I think there was a parallel with Francis Dashwood’s ‘hellfire caves’ at High Wycombe… The truth is lost to history. There is certainly an air of mystery about the place.

We both had suitable outfits to complete the dramatic effect. We were not seeking to make it macabre, simply to shift the mood to a deeper contemplation of two of the remaining Tarot cards: Death and the Hermit.

Stuart prepared for the drama to come, in which we used two parts of the cave system: a well-lighted entrance chamber and a much deeper and darker passageway leading to the innermost space in the complex.

At the entrance, Stuart’s figure of Death called forward each of the companions in turn. showing them the card and asking them to seek the deeper meaning. He then made a loud signal and I appeared – as The Hermit – at the end of the dark passageway, hooded and with a torch illuminating my face from beneath. I am told the combined effect was dramatic…

The companion had to choose to ‘go beyond death’ to find that the inner room actually looked out over the river (of life).

We had completed our tasks for the day. Outside the caves, in the last of the sunshine, we laughed and shared impressions of the Hero’s journey so far.

My rucksack contained a large flask full of still-hot tea, and some chocolate. These were shared out: appropriate provisions for this stage of the journey.

All we had to do to finish the day was to get back to the cars and then drive to the nearby village of Langwathby and the comfort of the Shepherd’s Inn, where we had an early dinner booked.

Our rest complete, we set off… to find that our companion in difficulty was having trouble walking at all…

We took stock of the situation. There seemed no way she could make it back to the village on foot. My only choice was to leave her in the capable hands of the group and walk as fast as I could back into the village and up the steep road to the Long Meg circle. It had taken 90 minutes the other way, perhaps I could do it in half that, if I walked at a fast pace.

Once there, I could drive the car back to the farm track and hopefully get the car within striking distance of the lady – even if it meant reversing the car for half a mile or so.

I made good time to the edge of the village, only to find that the large gate to the main road was locked. We had earlier passed through the footpath space. All I could do was continue to the car, then try to locate the farmer or another keyholder and explain the emergency.

The day that had gone so well was ending with peril… And it had nothing to do with our planning.

I remember looking up at the sky and asking, silently, for help…

To be continued in Part Six.

Other parts in this series:

Part One, Part Two, Part Three,

Part 4,

This is Part Five

©Stephen Tanham 2022

Stephen Tanham is a Director of the Silent Eye, a journey through the forest of personality to the dawn of Being.

http://www.thesilenteye.co.uk and http://www.suningemini.blog

A spiritual ostrich

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The ‘selfie’ that… really isn’t

There was an idea that has had me playing around with a digital painting programme. It also got me thinking. So, last night I toyed with an image from the last annual workshop that shows me in the ritual role of Isis. I ran it through on an ‘oil painting’ setting, then added a soft filtered bronze lighting effect over it.

Of course, the resulting image isn’t ‘me’. Not by any stretch of the imagination!

I don’t, more’s the pity, get to wander around in gorgeous robes and high headdresses every day… I’m more a leggings and comfort woman. Nor do I wear heavy Egyptian make-up as a rule. The clothes and draperies change the shape of the face, the state of mind changes the expression and the make-up brush can do strange and wondrous things. Add to that the painting effect that smooths things out a bit, including…apparently…the nose, a soft focus through which the world seldom sees me and a bit of dramatic coloured lighting … And the results?

Well… if that’s me then I’m an ostrich!

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Yet, although the image is no more than an illusion, it began as a captured reality… it began with a photo of me; a quick picture taken long before dawn one Sunday morning last April, when the day was almost unborn and hours had been spent in solitary meditation preparing for the day. Even the original snap didn’t look like ‘me’ and yet the woman in the image wore my features, looked out through my eyes… eyes my own hands had gilded and painted with kohl just moments before.

It seems rather strange that in an odd sort of way I have come full circle with this image.

The aim of the ritual workshops that we run is to create an illusion and make it reality, not the other way round like the picture, yet in both cases the results can hold a beauty that was not present before.

The rituals we craft for those who attend our workshops take a spiritual idea and weave it into a story. This tale is then played out within the reality of a sacred space. In many respects it is a bit of ‘sympathetic magic’. In just the same way that the shamans of old painted animals upon the walls of deep caverns to ensure the presence of game on the plains, so we ritualise the human experience and play it out from a spiritual perspective in terms the psyche can understand. The aim is to reach for the emotional and spiritual connection to this deep level of understanding… to seed awareness into consciousness… allowing the surface barriers of logic to be breached.

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It isn’t mere playacting because the intent is focused on the spiritual journey shared by the companions. The resulting learning experience can be very powerful and such ritual weekends evoke deeply emotional responses from those who attend… and it is here that the real magic happens. Within each of us; for the ritualised experience shared in the temple space must be taken out into the world and applied to life; it must be lived.

It is not enough to merely attend any spiritual event and think that by our presence we have done enough, any more than it is enough to take up the attitude of prayer before an altar while mentally going over the shopping list. The opening of the self within the temple, where the experience is emotive and touches the roots of being is only part of the story. It is little more than a seed planted in the life of earth.

No matter how deeply we feel those moments, no matter how vivid the experience, it serves no purpose if it is discarded with the robes or left in the dark closet of memory with the script. It is never enough to pay lip service to a spiritual ideal, nor, by simply playing them out in ritual form can they ever change our lives. What is born in the sacred spaces has to be taken out into the world. The inner reality of what we learn there has to be allowed to put out shoots into our own lives, growing up through our own characters and flowering as a personal understanding that changes the way we can be in the world. And that is where the beauty lies.

Otherwise here too we risk being ostriches… or peacocks whose glorious feathers hide little more than a chicken beneath them.

So in some ways perhaps it is fitting that the photo holds more beauty than I will ever see in the mirror of my days; a reminder that when  the seeds sown by Working with the School take root, they may, if tended, flower into a beauty unseen by the eye, but known by the heart.

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emerging from the mist…

There’s a certain amount of ‘fighting back’ in this. The long period of Covid restrictions, followed by a summer in which we all got a taste of gentle freedom again; the sad death of the ‘third musketeer’, Sue Vincent, in March of this year, the inability to hold our regular workshops in the mystical landscapes of Britain…

But then there were positive things: learning – and continuing to learn – the techniques that make Zoom a powerful tool for holding get-togethers across the planet in a way that eliminates cost and distance – though not time; the emergence of new people, in particular a lady from Canada who we will be introducing as part of the team in the next few months. Caroline is already at work updating the three-year course with which we literally accompany those willing to work on themselves and their relationships to ‘the world’, in order to enter a new land of the mind and heart.

And finally, the sheer sense of determination and creative energy that we all feel, the flush of new ideas, and an absolute conviction that we need to not just carry on, but expand the work of the Silent Eye.

The first of these was the Healing Circle, a combination of group meditation and focus, and the mental and emotional creation of a place of working. We had the help of a lovely artist and friend, Giselle Bolotin, who lives in Australia, to paint a beautiful motif for the endeavour, reproduced below. Our own Barbara Walsh stands guard and guide as our high priestess of a beautiful and gentle place that does not physically exist in this realm, but is a solid reality in another – as many who have received its healing assistance will testify.

(Above: the Healing Circle motif, created by Giselle Bolotin for the Silent Eye)

And then Stuart returned from many years working in South Yorkshire to his native Lancashire, meaning that, with me just over the northern edge of that fine county, the two of us could meet on a much more regular basis, and perhaps over the odd glass of Guinness or two…

These more regular meetings have enabled us to focus on the immediate needs of the School, particularly in dovetailing what we do on our monthly Silent Eye Explorations evening, held over Zoom, on the third Saturday of each month. It’s a coming together of interested people – not all from the Silent Eye’s world – but people who understand the importance of such a gathering, regardless of time or place. It builds an ‘egregore of the mind and heart’ as an old mentor and friend once said… The Zoom meetings – Silent Eye Explorations (a Facebook Group) is open to all. We welcome new visitors.

The third is the return of the workshop. We cannot predict what the currently increasing Covid rates will do to restrictions in the coming winter, where Zoom meetings may again be the only way of meeting, but we can look forward to the spring and the potential for having a completely new style of workshop; one that does not rely on the use of a hall, or conference location. We dearly miss our visits to the heart of Derbyshire, and the Nightingale Centre, but Covid and understandable inability to travel has forced us to look at a different formula. That ‘old style’ of hands-on workshop may have become a luxury that few can take advantage of. It’s our duty to explore the alternatives.

Our landscape weekends, which did not rely on a certain number of attendees to play the dramatic roles we had scripted, have always been popular and financially viable. So, we thought, let’s combine the two ideas and have a big one, where people don’t take on dramatic personas but play… themselves. Our last Zoom meeting was inspired by the work of Joseph Campbell, who used the word ‘monomyth’ to show that the world’s myths and legends had a commons meta-story at their heart. This generic ‘journey of the hero’ will be the basis for next May’s journeys in the landscape in the northern Lake District. Each person will become their own hero, during several experiences over the weekend of 6-8 May 2022,

(Above: The Journey of the Hero – weekend of 6-8 May, 2022)

Viruses willing, we will emerge from next winter to a bright May morning where an international gathering of spiritually inclined people will follow a mysterious trail through lakes, mountains, waterfalls and, most of all, a silent language of ‘movements’, each one building on the previous until we culminate the power of this in a final visit to the magical stone circle of Castlerigg, high in a natural ring of mountains and surrounded by nature’s grandeur.

Our final project is in honour of our departed Director, Sue Vincent. The three of us often discussed the power of the traditional Tarot images to convey many of the deeper aspects of the mystical journey towards the deeper Self. We wondered if we had the capacity to create a set of ‘oracle cards’ for use by ourselves and our student/companions. The Silent Eye uses the enneagram, rather than the Kabbalistic Tree of Life as its teaching basis. Any such project would have to reflect the unique and circular basis of the enneagram, rather than the vertical down-up structure of the Tree of Life.

(Above: the Silent Eye’s Teaching Enneagram – the basis for the coming Oracle)

At the time, we parked it. Sue was uncertain that she had the artistic skills to do it, and we decided that we would be better equipped to scope it when we had a generation of companions who had made the three-year journey with us. We are in discussions with an artist of great skill, whose work has often been this type of vivid depiction. By the time of the spring workshop in the northern Lake District, we should be well on with the project and ready to give an update. Who knows, we might even be able to use some of the prototypes oracle cards for the weekend…

The mist is certainly clearing. It appears there is a lot to do… wish us luck!

©Stephen Tanham 2021

Stephen Tanham is a Director of the Silent Eye, a journey through the forest of personality to the dawn of Being.

http://www.thesilenteye.co.uk and http://www.suningemini.blog

Links:

Contact points and web addresses for the Silent Eye’s work:

Click the link below to go to the Healing Circle page:

The Silent Eye Healing Circle

Silent Eye Explorations (Facebook Group page)

The monthly Silent Eye Explorations Zoom meetings are open to all. The documentation for this is on the Facebook Group ‘Silent Eye Explorations’. As Facebook is a closed environment, you will need to click the link requesting to join the group. We will then authorise you, and you will be able to see the previous meetings and join us in meetings to come. These are held on the third Saturday of the month at 8:00 pm.

For more information on any of the above, email us at rivingtide@gmail.com

WHAT’S UP DOC? Lines of communication V…

*

…Cara… ‘I reign over you, saith the God of Justice.

ELEXARPEH

COMANANU

TABITOM.

Move therefore and show yourselves.

Appear unto us; open the mysteries of your Creation, the balance of

Righteousness and Truth.’

*

Bugs: The three names are the Angels who rule over the Tablet of Union in the Enochian System devised by Doctor John Dee and Edward Kelley…

Cara: So, some questions… What are Angels? Anybody… (discuss)

Bugs: Who numbers them? (we do…)

Cara: Who gives them names? (we do…)

Bugs: What is the Angelic function?

Cara: So… Horizonal polarity, the mundane oppositions of the world which as we have seen are interchangeable and are ever flipping, versus… Vertical polarity… World/Otherworld… Heaven/Earth… Human/Divine, we’d like to propose two definitions.

Bugs: Horizontal Polarity encompasses, ‘Everything we know or think we know.’ … which is mutable.

Cara: Vertical Polarity encompasses, ‘Everything we don’t know or don’t think we know.’ … which is immutable.

Bugs: The Angelic function is to mediate between the poles of a vertical polarity.

Cara: From whom to whom? (discuss)

Bugs: From here to where? (discuss)

Cara: Angelos means, ‘messenger’.  In Christian Mysticism where the divine is regarded as the beloved, the angel is the lovers ‘chaperone’

Bugs: In Sufi Mysticism where the divine is spoken of in terms of an intoxicating beverage

The ‘Wine-house dispenser’, or ‘bar-tender’, is the angel.

Cara: Also, in Islamic mysticism we have Al Khidr –  who is Another Green or Verdant Man…

And, somewhat inevitably, an angel.

Bugs: The function of al-Khiḍr as a ‘person-archetype’ is to reveal each companion to

themselves, to lead each companion to their own theophany, because that theophany

corresponds to their own ‘inner heaven,’ to the form of their own being, to their eternal

individuality.

Cara: This latter, then, conforms to the idea of ‘contact’.

Bugs: And in Magical Tradition to, ‘Conversation with the Holy Guardian Angel’….

Cara: Where language fails in its attempt to adequately describe this state…

Art… Dance…Music… may succeed…

Intro music…

Bugs: So, we would like to conclude this presentation with a piece of music.

This piece of music, in our opinion, possesses the ability to make the ‘beyond’ tangible.

Before we do that for you we would like to rearrange things slightly as a symbolism and an act of sacrifice

Cara: As you move your intent should be ‘I move, in order, to achieve my vertical polarity.’

(seat swap) S1-N9, N8-S2, S3-N7, N6-S4, (S5-N5, already accomplished) S6-N4, N3-S7, S8-N2, N1-S9)

Bugs: (closes curtains and dims any lights.) Explain meditation… Seed thoughts. ‘Never perfect always changing. Ever changing always perfect.’

Music…O Holy One… by John Tavener…

Cara: reads… (over start of music)

Most subtle of the shifting forms and yet most constant too.

Whose moonlit transformation cannot change the heart that’s true.

It harkens to each season’s turn and reads the twilight air

And listens to the inner song and knows both foul and fair.

Between two worlds It journeys and in both It can be seen

In adoration of the moon yet always clothed in green…

END

Rabbit Excerpt abridged from ‘Watership Down’ – by Richard Adams

Thanks to those Companions who acted as Adjudicators, and all those whose contributions to this presentation helped make it work…

WHAT’S UP DOC? Lines of communication II…

*

…Cara: If we can’t trust the written word what can we trust?

Bugs settles at the West and Cara at the East.

Bugs: Vertical Polarity!

Cara: recites…

OL SONUF VAORSAGI GOHO IADA BALTA.

ELEXARPEH COMANANU TABITOM. ZODAKARA,

EKA ZODAKARE OD ZODAMERANU. ODO KIKLE

QAA PIAP PIAMOEL OD VAOAN.

Bugs: (Addressing the Companions) Don’t say what this is but if anyone does know what it is please raise your hands. (If any hands are raised to each of those who raised their hands) – Just say ‘yes’ or ‘no’. Do you know what it means? (if so) – Please don’t take part in the next bit. So, everyone else.  Those of you who feel that this piece holds power, raise your hands.  (If any hands are raised) Would anyone like to expand on that? Would anyone like to categorise how that made them feel.  In a general way was that feeling Good or Bad? We’ll come back to this…

Cara: But first…

Cara walks to the central altar and removes the cover from the Top Hat and Ears, lifting out the rabbit ears in time honoured fashion they are revealed to be part of two rabbit masks…

Bugs: For those with ears to hear…

Bugs walks to the central altar. Cara hands one of the rabbit masks to Bugs (Black) and keeping the other for herself (White) they both don them.

Cara (now wearing a white rabbit mask) … A story about rabbits…

Bugs: (now wearing a black rabbit mask) … ‘What’s up Doc!’

Bugs explains that the cards have two inscriptions, one on either side but that the companions must not turn the cards over to read the second inscription until directed to do so by the utterance of the ‘Trigger’ word- ‘Carrots’ as Cara hands out the cards. After handing out the cards Cara returns to the central altar. Bugs and Cara circle the altar and then Bugs retreats to the east, while Cara retreats to the west.

TO EACH READ, IN TURN, WHILE CIRCLING…

*

Bugs… The primroses were over…

The May sunset was red in clouds, and there was still half an hour to twilight.

The dry slope was dotted with rabbits…

Here and there one sat upright on an ant-heap and looked about:

ears erect

nose to the wind.

The blackbird, singing undisturbed on the outskirts of the wood, gave lie to their caution.

There was nothing to alarm the peace of the warren.

*

Cara… At the top of the bank where the blackbird sang was a group of holes hidden by brambles.

In the green half-light, at the mouth of one of these holes, sat two rabbits side by side.

The larger of the two came out of the hole, slipped along the bank, hopped down into the ditch and then ambled up into the field…

A few moments later the smaller rabbit followed.

The first rabbit stopped in a sunny patch and scratched an ear with rapid movements of a hind-leg.

He looked as though he knew how to take care of himself.

There was a shrewd, buoyant air about him as he sat up, looked round and rubbed both front paws over his nose.

Once satisfied that all was well he laid back his ears and set to work on the grass.

His companion seemed less at ease.

He was small, with wide eyes and a way of raising and turning his head which suggested a sort of ceaseless nervous tension.

His nose moved continually and when a bumble-bee flew, humming, to a thistle bloom behind him he jumped and spun round with a start…

*

to be continued…

The Flickering Present

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(Above: Castlerigg Stone Circle, Cumbria… and the mysterious ‘green flame’)

I’ve taken a lot of photographs during the past ten years, but none of them like the one above. Taken at Castlerigg Stone Circle, near Keswick, in December 2018, it depicts what I’ve called the ‘green flame’.

The photo was part of a set taken during the ‘Full Circle’ Silent Eye weekend. Sue and Stuart had created the weekend and were doing the detailed write ups, so I just filed the photos away without really looking at them. Recently, I was searching for a photo of Castlerigg to use on a blog, when I came across this… and just stared.

First reactions. It reminds me of ‘Kirlian’ photography, where subtle electromagnetic fields around living things are photographed using special cameras. But this is a stone circle, not a living thing.

Castlerigg – one of the oldest stone circles in Europe – is a place of intense ‘spiritual’ focus, and has been so for thousands of years. The presence of the ‘green flames’ would immediately be seized on as evidence of the paranormal by some… I’m open to its vital connections, but I prefer to remain objective about what else it might be…

Many photographs taken in bright sunlight contain chromatic aberrations. These range from mists or fogs, through shadows that look like ghosts, to single or multiple ‘orbs’ that fill part or all of the image with bright and colourful spheres. There are many more types of photographic interference.

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(Above: The Hypostyle Hall of columns at Karnak, Egypt. Image Wikipedia, Licence Public Domain)

For one photo I took, years ago, in the Hypostyle Hall in the Karnak temples of Egypt, I used a flash in total darkness. When I looked later at the image, it was packed with the most gloriously coloured ‘orbs’ filling the space of the columned temple in a 3D progression. The photo is long lost to a system crash on my old PC, but I remember it well. At the time, I dismissed it a pleasing set of orbs.

But when I saw the above photo from Castlerigg, I began to consider alternatives…

At first glance, the photo is so convincing that you wonder if it’s been manipulated in a computer application such as Adobe’s Photoshop. The green flames rising from the winter ground follow the basal contours of all the stones they appear to touch; even changing intensity from a white to green as they leave the earth and lick the stones. I can assure anyone reading this that the photo is completely unretouched, apart from my addition of the copyright to this low-resolution copy.

The green flames are transparent. They vary in ‘density’ and this allows us to see the stones and other features behind them. If I’d had the skills to do this in Photoshop, I’d be proud of the results…

Let’s consider the other side of the argument: that they are a satisfying chromatic aberration. The first thing to note is the position of the sun. It’s almost opposite the camera. It could be argued that this gives the potential for a mysterious accident of the light. But, in years of deliberately using too much sun to create background images, I’ve never seen any such ‘effect’ appear to wrap itself around a set of objects.

The green flame seems to be around the leftmost of the two portal stones – and the small stone on the ground next to it. The portal stones are the entrance to the circle and the place of alignment with the midwinter sunset. The honouring of the shortest day and longest night was a celebration of the initiation of the journey towards the light, rather than away from it, as at the summer solstice. It was a time of profound importance to the ancient priests.

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(Above: Sue Vincent’s photo, from the December 2018 Workshop, shows (bottom centre) the location of the portal stones which were aligned with the winter solstice.

I’ve gazed at the photo for a long time. When I first started to do this it suggested itself as a good illustration of a pet theory of mine: that of the flickering present.

Imagine that each of us is a lighthouse, and our beams of light rotate, not to be seen by ships at sea, but to light up a landscape that is our world. Our brains assemble the flickering images and create something apparently seamless – our lives – from what is seen. Things that are dangerous or very beautiful require us to spend time studying the landscape so that we can spot their patterns in the future.

The speed of rotation of our lighthouse and the brightness of our light determine how well we can see the ‘reality’ of our existence – our ‘out there’. Certain phenomena are rarely seen and appear to be in the ‘wrong’ place in our world. We may call these ‘psychic phenomena’ and they may be frightening – the unknown often is, especially when we are taught fear of it by our elders or forebears. But such things may simply ‘be there’, but not often seen in our ‘beams of light’.

If the green flame is real, then I may just have got lucky with the microsecond timing of pressing the shutter, aided by the brightness of the sun, opposite us in the sky. Certainly, I did not see the green flame at the time of taking the photograph. The green flame may be there all the time… or it may be present at periods of high energy related to its original use, during the Stone Age.

Or it may be an illusion, happily fitting into the contours of the stones in question.

Castlerigg is around 5,000 years old and is one of Britain’s earliest stone circles. Its 38 stones, some as high as three metres, have seen a lot of solstices… Whatever is in the photo, it’s in good company…

[For more information on the Silent Eye’s ‘landscape weekends’, click here]

©Stephen Tanham

Stephen Tanham is a Director of the Silent Eye School of Consciousness, a not-for-profit teaching school of modern mysticism that helps people find a personal path to a deeper place within their internal and external lives.

The Silent Eye provides home-based, practical courses which are low-cost and personally supervised. The course materials and corresponding supervision are provided month by month without further commitment.

Steve’s personal blog, Sun in Gemini, is at stevetanham.wordpress.com.

Our Blue Chapel…

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*

…Wen and I are discussing plans for the morrow over supper.

I for my part am keen to spend as much time in Our Blue Chapel as humanly possible and to that end have come up with a task that can be performed there. We were supposed to have a system of Oracle Cards in place for the launch but since we will not actually be utilising them in the lessons until the second year, work on them has been temporarily put to one side. However, since the weekend’s events I have been itching to try out the new energies for divination and since the year one glyph gives scope for the utilisation of twenty-two personality types all told it makes sense to try to map them onto the Major Arcana of the Tarot…

*

…The door swings open.

It is like stepping into a warm bath.

We take another tour, slowly examining the new discoveries and soaking up the atmosphere of the place as we go… noticing yet more depth to the wall paintings, including a depiction of Catherine’s beheading and a couple of stray heads… which do not seem to belong to any personage in particular. Whatever the deeper meaning of the ‘head theme’, it does not seem to have fazed the local populace, they almost seem to be celebrating its existence… It is with some reluctance that we finally set too on our respective missions…

I had not really thought too much about mine beyond the actual idea itself and it suddenly strikes me that this could be a mammoth task and worse, that the two systems might not map onto each other at all…

Undaunted, I start at one of nine… Ego-Resentment or ‘The Queen in winter’ whose negative aspect is… The High Priestess and whose positive aspect is… Strength.

Two of nine…  Ego-Flattery or ‘The Proud Physician’ whose negative aspect is… The Hermit and whose positive aspect is… The Star.

Three of nine… Ego-Vanity or ‘The Famous Dancer’ whose negative aspect is… The Universe and whose positive aspect is… The Hanged-Man.

Four of nine… Ego-Melancholy or ‘The Tragic Actor’ whose negative aspect is… The Devil and whose positive aspect is… The Lovers.

Five of nine… Ego-Stinginess or ‘The Jewel Merchant’ whose negative aspect is… The Blasted Tower and whose positive aspect is… The Chariot.

Six of nine… Ego-Cowardice or ‘The Fugitive’ whose negative aspect is… Judgement and whose positive aspect is… The Sun.

Seven of nine… Ego-Planning or ‘The Chancellor’ whose negative aspect is… The Hierophant and whose positive aspect is… The Emperor.

Eight of nine… Ego-Revenge or ‘The Tyger-Lady’ whose negative aspect is… The Moon and whose positive aspect is… Temperance.

Nine of nine… Ego Indolence or ‘The Exiled King’ whose negative aspect is… The Wheel of Fortune and whose positive aspect is… Justice.

For a reading the above eighteen cards should be shuffled and the top four then placed as a cross around a circle starting at North for the Ascendant, East for the Upper Mid Heaven, South for the Descendant and West for the Lower Mid Heaven.

The indicator cards below should then be shuffled with one of them being placed in the middle of the circle.

The Indicator cards are as follows; The Fool for matters of the Soul, The Magician for matters of the Intellect, The Empress for matters of the heart and Death for worldly matters…

*

… “That didn’t take long.”

“I know. It proved to be ridiculously easy.”

I hand Wen the eighteen personality cards to shuffle.

“So, what’s the question?”

“What heals here?”

Wen hands them back to me and I pass her the Indicators…

…And start to lay out the cards:

Ascendant: Negative Ego-Resentment or, ‘The High Priestess’.

Upper Mid-Heaven: Negative Ego-Melancholy or, ‘The Devil’.

Descendant: Positive Ego-Cowardice or, ‘The Sun’.

Lower Mid Heaven: Negative Ego-Stinginess or, ‘The Blasted Tower’.

Wen places a card in the centre of the cross:

Indicator: Matter of the Heart or, ‘The Empress’.

Reading: The Chapel in the Vale of the Sun emotionally heals personality types four, five, and six.

*

kites 464

*

The Incomparable Comper…

*

…The nearest church is St Nicholas’ of Great Kimble so we head off there.

“Why blue specifically do you think?”

“Well, we’re sort of assuming that it’s a healing energy but if we follow the Theosophists then I suppose it could be devotional.”

“And what are we expecting at St Nicholas’s?”

“To be honest I’ll be surprised if there is anything.”

“What, nothing at all?”

“We were given Our Blue Chapel, remember and I just think that it is special.”

“Well it certainly feels special but it will not be the only church built on an old site, I mean it went out as a definitive edict, to ensure the populace kept coming to the old sites they built their churches on top of them.”

“It very much depends on what has happened in the meantime.”

*

I hasten along the gravel path, and enter the church porch, pause, look back at Wen as mysteriously as I can, and then twist the iron door ring with a yank and lean into the heavy oaken door.

The door yields…

The door is open…

We step inside.

Now it is a curious thing that since experiencing Our Blue Chapel, we tend to judge all other churches by its incredibly exacting standards and if it does not immediately have the same feel, there is a definite sense of disappointment, which is palpable here, yet this is not a disappointing church by any means. It is well kept. It is obviously well attended and it has some wonderful features, a lovely little side chapel and some quite astonishing stained glass windows, Wen even picks up a bit of colour around some of the side aisles although to my eye there looks to be green mixed in with the blue which sets me thinking…

Wen is quite vociferous in her disappointment. She has appropriated the ‘corporate’ word for use in her appraisal of the place. If you know Wen, you know that ‘corporate’, is a bad, bad word…

“What if the colour is linked to the name?”

“Go on…”

“…Blue for All Saints, Green for St. Nicholas…  I don’t know… purple for Our Lady?”

“You are aware that there were tinges of purple in the central isles of Our Chapel and that the blue from the windows is a different blue to the blue on the walls and floors?”

“I was not aware of that no…It did seem though that the more I looked at the photos the more blue there was.”

“That’s probably just you attuning. The blue from the windows is a lapis blue, whereas the earth blue if that is where it comes from is more of a royal blue.”

“This is crazy…crazy… but true…possibly.”

“And how do they name the churches anyway?”

“There’s a special office, they’re called ‘planters’ but I suppose it’s like priests. There are good ones who know what they’re doing and there are those that don’t. Get a good planter, he tunes into the energy vibration of the place, sees the colour, or feels it and gives it the correct name.”

“It’s a stunning idea but I’ll be amazed if it works like that even though it evidently should.”…

*

… “And for a long time that is all we had.”

“That, and the Green light of the Lady Chapel.”

“That, and the Gold-Green light of the Lady Chapel.”

“And, when that is all you’ve got you tend to attend to it.”

“Enjoyed ‘tend to attend’ but what did we in fact, have?”

“Well, even that’s not certain.”

“So, what did we appear to have?”

“We appeared to have the head of Christ, which appeared to be floating.”

“I may have to take issue with ‘floating’. I may even have to take issue with ‘head’. I am duty bound to take issue with ‘Christ’.”

“Oh dear, taking issue with Christ is not a happy place to be. Is there a particular reason?”

“Red hair.”

“Ah, well, yes, red hair for Christ is, perhaps, not a familiar attribute, but he is wearing a crown of thorns and he is affixed to a cross.”

“‘He’ is wearing a green crown of thorns and the cross may be a halo and appears to be feathered.”

“Floating?”

“Carried, or ‘raised’ by angels. Carried, or ‘raised’ by red haired angels to be precise.”

“Do we ‘know’ any red haired angels?”

“Michael has red hair.”

“That’s that then, but what about the head?”

“It looks more like the angels are carrying or raising a banner with the representation of a head on it.”

“Or, an icon! Is there such a thing in the tradition?”

“There is such a thing, although, whether or not it can be regarded as traditional is very much open to question.”

“Pray, tell of this thing?”

“The Veronica.” …

*

… “The Veronica?”

“It is one of the ‘Stations of the Cross’. One of Christ’s female adherents approaches her Lord and wipes the sweat from his face as he struggles to Calvary under the back breaking load of the cross. When he has gone, Veronica looks at the cloth, she has used to administer to her Lord, and it bears the imprint of his visage upon it.”

“Another miracle? But of questionable traditional authority you say?”

“The ‘Stations of the Cross’ are supposed to represent Christ’s journey to the cross and beyond as related in the Gospels.”

“Supposed?”

“The Veronica does not occur in the any of the four canonical gospels.”

“And the apocryphal gospels?”

“It is not in any that have so far come to light.”

“So where did it come from?”

“It was ‘made up’.”

“By whom?”

“If he had a name it has long since been lost to the annals of time, but it is ten-to-one-on that we know not who he was but what he was.”

“You are starting to make less and less sense, ten-to-one-on?”

“He was a Jesuit.”

“Okay… Why would a Jesuit make up something like that?”

“Why, indeed?”

*

Quest for a Quest: The Initiate’s Story

Aylesbury, Buckinghamshire

17-19 April 2020

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Keys of Heaven (9): blown down the mountain

The welcoming warmth of the Lion Inn on Blakey Ridge

continued from Part 8

My companions of the Silent Eye’s ‘Keys of Heaven’ weekend were waiting when I arrived at the Lion Inn. We had coffee and biscuits and discussed the options for our last day of the workshop. Everyone was looking forward to the visit to the celebrated St Mary’s church at Lastingham – the final resting place of St Cedd.

The coffee before the storm…

There was a group excitement; a buzz. Human nature responds to being ‘on top of things’ in both a physical and metaphorical sense. We had all managed to find the Lion Inn – it’s not trivial! We were at the highest point in the North York National Park, but we weren’t here just for coffee and the views. We planned to take advantage of the rich history to be found in the immediate area of the Inn, which, although completely isolated, has a site that has been occupied for hundreds of years; and contains archeology that is thousands of years old.

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(Above) Top of the world…

There are some very special pathways that cross these high moors. Some of them link ancient sacred sites, often marked by crosses that surprise with their age – over a thousand years old in some, cases… possibly a lot older in others.

Where they cross – or meet, might be a better word – they create a special place of exchange and, often, hospitality. Years pass, then hundred of years, and there becomes established a place of meeting. In a few rare cases the meeting point defies the often hostile elements by becoming a permanent building of refuge and hospitality.

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(Above) The Lion Inn – a refuge in the sky

The Lion Inn on the top of Blakey Ridge is one such. As high as you can be in the North York National Park (1,325 feet), it sits astride a crossing of ancient ways and alongside the more modern road linking Castleton to Hutton-le-Hole. The Inn has been run by the Crossland family since 1980. Being on the highest point, it offers breathtaking views down into the Rosedale and Farndale Valleys.

The story of the inn on Blakey Moor dates back to the 16th century. During the reign of King Edward III a house and ten acres of land on Farndale Moor were given to the Order of Crouched Friars, who had been unable to find a home in York.. It is thought that the friars founded the Inn around 1554 to lighten their poverty. Friar Inns are common enough in all parts of the country – Scarborough has two. Since that time there has always been an inn here.

We were fortunate that two of the most significant historic sites are adjacent to the inn. All we had to do was take the short walk from the Inn’s door.

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(Above) The Neolithic Burial mound of Loose Howe is next to the Lion Inn

The grave at Loose Howe (above) is a short scramble up a hillock to the east of the inn. It can be seen from the windows in the bar. Here, a Bronze Age chieftain was interred in a boat-like oak coffin: armed, clothed and equipped for his voyage.

Cockpit Howe is a Neolithic burial mound just behind the inn, facing the Ferndale valley, below.

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(above) Cockpit Howe

The ancient Waymarks – standing stones and stone crosses – known as ‘Fat Betty’ and the Ralph Crosses (previous post) bear witness to the continuous tradition of passage over this pinnacle of the North York moors. The earliest history of these markers remains a mystery.

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We had a plan. Our destinations were all within a few hundred metres of the Inn – two of them much closer. The above photos (taken during our recce trip in October) show how simple it should have been…

But…

What really happened, when we stepped out of the Lion Inn on that freezing December Sunday, was this:

Loose Howe stands about twenty metres taller than the Lion Inn. By the time we had climbed half that height the winds were making it difficult to walk forward. By the time we reached the mound itself, we had to huddle or grasp the stone to stay upright.

The expressions and body language are all the narrative needed. Photo by Gary Vasey
Loose Howe – moving safely was a two-person job! The intense wind was literally tearing at our clothes.

It was no better down behind the Inn at Cockpit Howe. If anything, it was worse. The wind was so strong that it was becoming dangerous.

Even strong figures like Gary struggled to stay upright…

By the time we got to the third site, a marker stone a hundred metres down the Blakey Ridge road, only a handful of us were still able stand against the ferocious winds. We knew when to give up.

Only four of us made the final leg along the Blakey Road to the last standing stone…

My success crossing the bog, earlier in the morning, seemed a long time ago…. The winter had won. Our only choice was to abandon the peak at Blakey Moor and escape down the mountain, earlier than planned… However, wildness has its attractions and no-one seemed unhappy with the experience!

But fate and circumstance have a habit of ringing the changes… and continuing to do so. We retreated to the warmth and safety of the cars and, once warm again, drove – slowly – down to Lastingham,

Where the magic was waiting…

To be continued…

Other parts in this series of posts: Part One Part Two Part Three Part Four Part Five Part Six Part Seven Part Eight This is Part Nine

To be continued…

Stephen Tanham is a Director of the Silent Eye School of Consciousness, a not-for-profit teaching school of modern mysticism that helps people find a personal path to a deeper place within their internal and external lives.

The Silent Eye provides home-based, practical courses which are low-cost and personally supervised. The course materials and corresponding supervision are provided month by month without further commitment.

Steve’s personal blog, Sun in Gemini, is at stevetanham.wordpress.com.