‘War in Heaven’…

*

… We have to wait until the final book of the ‘New Dispensation’ before we

encounter a Dragon.

*

“And there was war in heaven:

Michael and his angels fought against the dragon…”

*

The Dragon in question, though, is red and, “… has seven heads,

and ten horns, and seven crowns upon his heads…”

*

This being the Book of Revelation we may well wonder about the symbolism…

*

Unusually for this text we do not have to wonder for very long for we are told,

“… and the Great Dragon was cast out, that old serpent called the Devil, and Satan…

he was cast out into the earth and his angels were cast out with him.”

*

At which point we realise that although the book purportedly deals with ‘last things’,

this particular vision has to do with ‘first things’, the Third Day of Creation to be precise,

and the expulsion from Heaven of Lucifer and the Fallen Angels…

*

Why this Dragon should have seven heads is an interesting question made all the

more interesting by the fact that few if any of the depictions of St Michael

show him in combat with a seven headed Dragon or accompanied by any other angels!

*

Also worth consideration is the attempt to visualise ten horns on seven heads…

*

It can be done thus: the two ‘end-heads’ and the ‘central-head’ have two horns each,

and the other four heads have only one horn each.

*

In this context the phrase, ‘for a time, times and half-a-time,’

which was first brought to our attention

in the Book of Daniel, and is again utilised

later in this Chapter of Revelation, springs to mind.

*

It is possible that the Seven Headed Dragon is a symbol of time.

Satan is earlier described as the one, “…which deceives the whole world.”

A description which could also serve for time…

*

The Creation, in this schemata, takes seven days to complete,

and seven is the basis for a number of natural rhythms and cosmic cycles,

and is the symbolic number used throughout the text of Revelation…

*

Obviously, we still, in some part, retain this rhythm by following a seven day week.

*

For the ‘Old Dispensation’, Friday, Saturday and Tuesday,

which is Venus, Saturn and Mars would represent, ‘times’,

whilst Sunday, Monday, Wednesday and Thursday,

that is, Sun, Moon, Mercury and Jupiter would be, ‘half-times’.

*

And for the ‘New Dispensation’, Saturday, Sunday and Wednesday,

and their corresponding Planetary Cycles would be considered, ‘times’,

whilst Monday, Tuesday, Thursday and Friday and their

corresponding Planetary Cycles would be the ‘half-times’.

*

But does any of this really matter?

Over such things, traditionally, are wars fought and countless lives lost…

*

With regard to this particular stained glass window we might wonder

why Michael needs to be armoured, with a hand resting on the

pommel of his sword, in order to weigh

the souls of the dead?

 

Mimir’s Bubbling Head…

*

We seem to have finally lost the Hawks.

The day feels somehow empty.

But for Wen the day is still young and she is keen to introduce me to another chalk figure. This one is much later than the Uffington Dragon and, I have to say, a lot less impressive. The chalk does not even appear particularly white just a sort of dirty grey colour.  It now seems to depict an equal armed cross surmounting an upward pointing triangle but Wen thinks it may have been a phallus and keitis in its earlier days. One thing is for sure it is clearly visible from the road. When we get up onto the top of the hill the sky has darkened with cloud cover and the earlier highs on Hawk Hill are beginning to feel like a hallucinatory lapse in time. Happily there are a couple of burial mounds on the hill which reinforces Wen’s contention about the antiquity of the place if not the figure. It is a nice enough spot, if a tad exposed, and Wen finds a landscape feature which could well be a naval. It seems beyond doubt that the ancients did this type of thing. Seeing bodies in the earth or seeing the earth as a series of sleeping bodies needful of awakening to animation. Two ravens land simultaneously on the top of the barrow which reminds me of Castle Rigg when two ravens did something similar as we approached the entrance stones and that in turn reminds me that Wotan’s birds were ravens known has ‘Memory’ and ‘Mind’… Nine nights he hung there and he sacrificed an eye in order to comprehend occult wisdom… I wonder if it was pecked out by the ravens… or whether that is merely a clever blind for spiritual insight and make a mental note to re-read the story and meditate on it. I wander out to the edge of the hill just past the scouring poles and my heart leaps. On the plain below walking across a field two figures are discernable and just above them quite close to their heads a Red Kite circles, although the figures themselves appear to be totally oblivious of the bird above them.

“It’s not only us they follow,” I point out to Wen with some satisfaction.

“It probably thinks they are us” says Wen as the hawk keens, wheels, turns and heads directly for our position on the hill.  They do appear to have phenomenal hearing as well as their legendary eyesight.

“It cannot know we are here,” I say with total conviction as the hawk labours to climb towards our position.

“It cannot know we are here” I say with less conviction as the hawk showing no inclination to alter its course is now two thirds the way to our position and is still working terribly hard to reach us.

“It cannot know…”

“Wound round the hanging tree…I sacrifice… myself… to myself… and now seek wisdom’s word from the breach in Mimir’s bubbling head,” says Wen as the hawk flies directly above our standing position on the hill-top and then screeches, loudly.

The ravens cackle in unison fly up and off from the barrow and head into the tree cover, their wings moving in lazy unison.

“How do you do that?”

“I don’t know what you mean.”

That’s a reference to Yggdrasil, who is an eight-legged horse but also a tree spanning the three worlds and I was just thinking about that very story how do you know all this stuff?”

“I didn’t know I knew it until a moment ago, it just sort of emerged,” Wen smiles apologetically.

“It’s only the same as you and the birds, how do you do that?”

“I don’t do anything, it happens naturally.”

“We must be chosen ones,” says Wen as an icy blast of wind gusts over the hilltop.

“… or frozen ones,” I reply, zipping up my jacket and heading back to the car.

*

Quest for a Quest: The Initiate’s Story

Aylesbury, Buckinghamshire

17-19 April 2020

A Living Lore Workshop.

Contact us at Rivingtide@gmail.com for more details. Click below to
Download our Events Booking Form – pdf

Keys to Heaven: Planning…

Image result for odin's cross

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Baldrick, famously, hatches cunning plans which always back-fire.

*

Dick Dastardly, equally famously, hatches devious plans which always back-fire,

and he usually has to be saved from destruction by his pet dog, Muttley.

*

So, what is it that they are doing wrong?

The plans they hatch purport to deliver the best possible outcome

but from their own, limited perspective, alone.

*

But surely, having some form of plan

is better than having no plan at all?

The key may be in the phrase, ‘some form of plan’.

Meticulous planning to the ‘nth’ degree is destined to fail

if it leaves no space for spirit…

*

Before we convened on Runswick beach at dusk, for our

inaugural ‘ritual’, the first of four, we visited St Oswald’s Church in Lythe.

*

We had been to St Oswald’s before, one bitterly cold January day,

on our way back from our first stone inspired foray

into Scotland, which was now, almost five years ago…

*

Curiously, neither of us recognised the spire of the church,

even though we, were on the right road and, were

expecting it to be where it was.

*

St Oswald’s is famous for its ‘Ginger-Bread-Man’.

A depiction of the Norse God, Odin, swallowed by wolves

at Ragnarok, carved onto a Viking, Hog-Back, gravestone.

*

The image is justly iconic and we speculated on its relevance to one

of our themes for the weekend: Unity from Duality.

*

Were the wolves, swallowing, or regurgitating the Wide Wanderer?

And does it have to be wolves, in the well known fable it is a fox?

*

Alongside the display of old stones were photographs

of the old church with its old spire, which, almost impossibly

is how we had remembered the church even though it had

not looked like that for over one hundred years.

*

Image result for odin's cross

The Quest for Immortality: Gods…

 

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The workshops serve as a Celtic Cauldron of Plenty…

Everyone gets what they most need.

How is this possible?

How is it possible that three years on

from first tentatively considering the Epic of Gilgamesh

as a potential subject for treatment at such an event

it can still be teaching us things?

Lots of things!

Like a Celtic Cauldron of Plenty it keeps on giving…

*

Quite early on we wondered about the conception of the Sumerian ‘Gods’,

and precisely how they could be said to ‘move amongst the people’?

And when our numbers grew,

we knew that we had to embody them in the East of our Temple.

One by one we lost them,

to illness or circumstance or both…

Before we had quite lost them all,

it had become inevitable that the East would be populated by a vacuum…

*

…And then during the preparation for, ‘The Bull of Heaven’,

one of our Companions suggested that the Fates could also play the Gods…

And people who had initially shrunk from playing one role,

eagerly took on two…

And brought them both home!

*

The workshops serve as a Celtic Cauldron of Plenty.

Nobody gets everything.

Everybody gets something.

And we now know how the Sumerian ‘Gods’

can be said to move amongst the people…

*

The Quest for Immortality: Dreams…

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When the people of Uruk rebel against the tyranny of Gilgamesh,

they petition the Gods…

*

Hearing their plea the Goddess, Aruru, fashions the twin of Gilgamesh

from the clay of her heart

and sets him loose in the wilderness

where he lives and runs with wild animals…

*

Then Aruru sends Gilgamesh a dream.

*

Although vivid the dream is obscure to Gilgamesh

so he seeks an interpretation from his mother, the Goddess Ninsun…

*

In this dream Enkidu, the wild man, is likened to a boulder

which falls to earth from the sky.

*

The people of Uruk adore this fallen sky-stone

and treat it as though it were a divine-child.

*

Costumes…

*

“So what’s it all about, then?”

“Oh, lots of things, like, duty and service, and honour, and love, and friendship, and devotion and good government, and bad…”

“But ultimately?”

“Ulitmately it’s about the need to balance polarity.”

“Is that an individual polarity or a collective polarity?”

“Somewhat inevitably, it is both the polarity of an individual psyche and the polarity of a collective state.”

“And erm, do we touch upon Matriarchy and Patriarchy at all?”

“Given that brief it would be very difficult not to.”

“And we seek balance in this sphere too?”

“But of course…”

“So, how come Aruru, the Mother-Goddess, gets to wear a delicate tiara of jewelled flowers,

while Anu, the Father-God, gets a plant pot plonked on his head?”

“It’s just the nature of things.”

*

*

Lord of the Deep – Workshop April 2019

The Silent Eye’s Spring workshop for 2019

*

The glories above were unamed.

The word for that world beneath, unuttered.

Source and time, unfettered, merged…

From the mingling waves-of-water came mud and slime.

Enshar and Kishar, twin halves of the globe, shone out of them.

*

A DRAMATIC ADAPTATION OF THE EPIC OF GILGAMESH

The Oldest written story known to man…
What spiritual treasures lie hidden in this, five thousand-year old, Epic?
What can this ancient civilisation teach us about the questions of existence?
Join us on the quest of a life-time, this month, to find out…

*
‘Gilgamesh is among the greatest things that can ever happen to a person.’
– Rainer Maria Rilke.

Fully catered weekend package, including room, meals and workshop: £235 – £260

Click here to download the Booking Form

For further details or to reserve your place: rivingtide@gmail.com

Lord of the Deep: The quest for Immortality

26-28 April, 2019 – Great Hucklow, Derbyshire

Dancing with the ghost in the machine

If you’ve ever been involved with anything of an ‘amateur dramatic’ nature, you will know that moment: the protagonist, hated until the final few moments (when the greater picture is revealed) shuffles off, in rags, to his doom; and the shared and questioning silence longs for the gentle and poignant soothing that only the right music can bring….

Screech, click, screech, ping, wheeeeeedle…. .

Frantic sound of fingers fiddling.

Screech, click, screech, ping, wheeeeeedle…. and then the final piece, a gentle Sufi melody cuts in… only it’s about twenty decibels too high in the flying fingers’ frantic search for sound… any sound.

The much maligned King Gilgamesh (who turns out to be only 99% schmuck) looks to the heavens in an unscripted gesture. Everyone is stunned… but for all the wrong reasons.

It didn’t happen, not yet… but it’s time to make sure it can’t…

Amateur actors – our annual workshop participants – such as the Silent Eye seems to be able to attract year on year, are wonderful people. They are enthusiastic, flexible and multi-tasking. They stand, clutching their scripts, in the middle of a space invested with spiritual emotion, power and purpose and give their all… to such an extent that, come the start of Sunday afternoon, no-one wants to leave and break up the intense camaraderie that these warm and mystical adventures generate.

There are no mistakes, just real-time variations in the script. Like Jazz, the best bits can be improvised, often with humour from above… Ask Barbara, who we once completely lost, Schrödinger-like, in the middle of Act Three in the centre of the room. To this day, no-one knows where she went.

Being the technician can be a difficult job. And, it’s near impossible to be one of the characters in the mystery play and the technician. So, the partial answer is to make the soundtrack as free-standing as possible.

The problem is the technology, or, rather, the combination of technology and the media – sound – that is required to be ‘piped’ through the technology. Most domestic music players are just not up to the job.

The epic stories of Gilgamesh the King are the oldest known legends on Earth. Using this as a basis, Stuart France has re-envisaged the story in five acts of ritual drama, where everyone attending plays their part, large or small. Stuart and Sue Vincent have crafted a workbook of nearly two hundred pages of beautifully laid out script.

I have been volunteered to play the part of Gilgamesh, but since I have taken our technology forward, too, I’m taking no chances…

Gone are the multiple CD machines, laid out at strategic points in the temple space of the mystery play; each one involving a lightning sprint from compass point to compass point. Gone, even, is the use of an uncooperative Apple iTunes with its incomplete staging of cues. Gone is any notion of carrying around the sound with a portable speaker – one of the past’s more heroic failures…

Instead of Screech, click, screech, ping, wheeeeeedle…. or just plain silence, we have this on the iPad screen:

It’s a deck… a sound-deck in software. It’s what professionals use to control the music and lighting for stage shows, moving with consummate timing from event to event as the production progresses. If you were into William Gibson’s sci-fi (Burning Chrome etc) it’s what the pre-internet generation used to ‘jack into’ the ‘net and control the world with…

Tired of playing games that couldn’t really argue back, they began to design real software; masterpieces that really could kick-ass… but in a good way.

This scaled down masterpiece of software, called iMiX Pro, runs on an Apple iPad – mine. This is not to say that it does all the work for you. Oh, no… shoot, man, there’s a bucketload of stuff y’all need to do up frooont! (Sorry, that’s my inner Texan coming out). I’ve been sitting at this ‘deck’ for two days and only now… am I winning. And that’s the thing with these systems, you have to get the music into the machine before the ‘ghost’ that is the combination of producer and good software design come together in glorious expletives that do sound decidedly Texan.

In the beginning, there is the raw music, or other sound files; so, as before, you have to get them onto (in my case) your Mac and into… Hmmmm iTunes.

In the process, you have to re-name the tracks you want to use so that, when they re-appear in the iMiX software, they are recognisable. So, lovingly and carefully, you work out a naming scheme that shortens the track names in order to see something of their name in the individual panels on the iPad screen. The above first window is the result.

Next, you need to take the original files and convert them into one of Apple’s ‘Playlists’. These are just collections of songs. So it’s easy. You group all the original tracks and select ‘Add to Playlist’… and off she goes. You then have all your music in a second and more pliable container.

The use of a Playlist is essential because they have to be in this format to get the group of tracks across to the iPad. Along the way you get to put them in order – no mean feat with over twenty tracks. But, finally, they are ready to be beamed (okay, wired) across to their new portable home – a bit like the NASA lunar lander making a bid for freedom from the orbiter module. Once you’ve set off for the weekend, the iPad is on its own.

An hour later, you finally figure out how you did it last time and the transfer is complete… except the Apple transfer software has lost your carefully constructed sequencing and you’ve just got the order it decides you need on the iPad. They’re all in there, somewhere, you’ve just got to find each one again. So, you think about making paper list – or contact Sue, who recognises sleep-deprivation and provides one as a list of what should be happening in each act.

A small bottle of gin later, you realise that it doesn’t matter what the Apple software has done to your weekend’s sequence because the iMiX’s colossus of a DECK is about to rescue you!

Look back to the original diagram. Each of those vertical ‘pods’ is a beautifully programmed home for your hard-won music and sound tracks. And it offers you total control over how and when that track is played…. heaven.

You can control the volume; you can trim the clip regardless of what any other piece of software has done to it. You can select its unique fade-in and fade-out. And written up the side of the ‘pod’ is the full name of the track you so lovingly created…Texan sounds…

So, two days after I began, we have the Deck, fully programmed and ready to be operated, in lightning-fast real time, by our mega-techno dude who insists on being nameless.

But he’s related to one of the Directors.

There will be no ‘Screech, click, screech, ping, wheeeeeedle…. or just plain silence’. So, while I won’t actually be operating the Deck, I’ll be the ghost in the machine…

Houston, we’re good to go.

Now all I have to do is figure out how to best play that ego-maniac, Gilgamesh…There are lots of ego-maniacs in the world at the moment. Very timely, that, Stuart…

Wish us luck… please. Even better, come and join us. We can fit in a few more people if you’d like to join this merry but sincere band. And we promise that you, too, won’t want to leave, come Sunday lunch…

©Stephen Tanham

Stephen Tanham is a director of the Silent Eye School of Consciousness, a not-for-profit organisation 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.

The Round Ark?

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The story of Noah’s Ark is one of the first Biblical Tales that people in the western world hear.

Yet the story far pre-dates the compilation of that venerable book.

A tablet recently came to light dating back to Ancient Babylonia, that threw the Bilblical account into question.

Not only was the story of the flood far older than the Bible but it appears the Ark was round!…

*

*

Many of the tales we know from the Bible have more ancient counterparts,

including this one which in its earliest known form comprises a part of the Epic of Gilgamesh.

*

In this epic, the character we now know as Noah is named Utnapishtim

and it is he who holds the key to immortal life….

*

*

*

‘Gilgamesh is among the greatest things that can ever happen to a person.’
– Rainer Maria Rilke.

*

The Silent Eye’s Spring workshop for 2019

Full details, cost and booking form are available by clicking HERE

 

Lord of the Deep: Death of the self?…

*

‘…When Anu heard this, he called for the Bull of Heaven,

And handed its nose rope to the Princess Ishtar.

Ishtar led the Bull of Heaven down to earth.

 

*

When the Bull of Heaven snorts on the earth,

a crack will open in the land and swallow all the men-folk…

*

When the Bull of Heaven snorts a second time on the earth,

the land will crack open further and swallow all the women-folk…

*

When the Bull of Heaven snorts a third time on the earth,

the land will crack open still further and swallow all the child-folk…

 

*

I will cast your corpse down the narrow streets,

that the city orphans may gorge on it.

*

I will toss your innards to the city dogs,

that they might fight over them.

*

I will present your two horns to Shamash

to serve as a flask for his sweet oils.’

*

 

A DRAMATIC RETELLING OF

THE EPIC OF GILGAMESH

*

The Oldest written story known to man…
What spiritual treasures lie hidden in this, five thousand-year old, Epic?
What can this ancient civilisation teach us about the questions of existence?
Join us on the quest of a life-time, this coming April, to find out…

*
‘Gilgamesh is among the greatest things that can ever happen to a person.’
– Rainer Maria Rilke.

*

Fully catered weekend package, including room, meals and workshop: £235 – £260

Click here to download the Booking Form

Updated Gilgamesh booking form

For further details or to reserve your place: rivingtide@gmail.com

Lord of the Deep: The quest for Immortality

26-28 April, 2019 – Great Hucklow, Derbyshire