On ‘being in uncertainties, Mysteries, doubts…’

It isn’t, to the Western mind – schooled as it is in science and reason – a comfortable place to be.  It feels risky, subversive almost. There are times when even the most hardened venturers into this zone yearn for more solid ground.  Many have teetered on the edge and scurried back to the reassurance of what, in their world, is believed to be real and provable.

The poet Keats coined the term Negative Capability to describe this other state.  He defined it thus:

Capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact and reason.

I found that quote in the second of Phillip Pullman’s His Dark Materials books – The Subtle Knife.  His character Mary sees it as the frame of mind one needs to access in order to open to communication from a level of consciousness normally concealed behind the current world view.  Lyra, his young heroine, immediately recognises it as the state she enters to read the alethiometer – her divination machine.

Fractal, Abstract, Yellow, Design, LightIf you are reading this, you have almost certainly experienced that state.  It has overtaken you as you painted, wrote, sang, created or became so absorbed in any task that you moved beyond time and rationality, lost yourself in something wider, stronger and vaster and briefly allowed it to override your thoughts and rationally derived aims.  What you created during that period of Negative Capability will have been sublime.  If it is a work of art or craft, you may have wondered where the inspiration came from and why it surpasses what you produce while striving to impose order and perfection in the accepted way.  You will be aware – and perhaps alarmed – that time has passed of which you have little or no memory.

A musician friend tells of how she would enter the space during an operatic performance and ‘come to’ afterwards in a panic, wondering whether her singing had kept pace with the accompanists.  Poets and writers are, of course, able to review the words which arrived from their sojourn in this otherworld, but are still left wondering where the inspiration came from.  I’ve often been aware that certain passages in my books ‘wrote themselves’.  They are easily the best passages – far superior to those where I’ve wrestled with syntax and thesaurus to capture the right mood.

As should be obvious, though, the ‘irritable reaching’ towards the rational and familiar is difficult to resist.  It’s like trying to remain in a dream once you have realised that you are dreaming.  There is no proof, and proof for us has become the touchstone of all that is rational and acceptable.  Whenever we stray there, despite the inspirations and gifts we receive, we must tolerate as our companions Uncertainty and Doubt.

What a choice!

Girl, Space, Mystic, Brain, MysticalFor poets and artists it’s one thing; for those who venture into the world of the seer, the channel, the diviner or the clairvoyant, the experience is harder yet.  This extract, for example, written by my friend and erstwhile collaborator William, hints at the complex balancing act involved in remote viewing:

It is necessary to be able to correctly focus at the correct time while ensuring the knowledge held is sufficiently minimalistic to avoid involuntary logical assumptions clouding the receipt of information through remote viewing, but sufficient to ensure the information received can be interpreted correctly.

So the person who strays into the realms of Negative Capability must be willing to retain only a modicum of what we commonly know as logic and fact while being prepared to accept a quite different and infinitely more nebulous source of psychological information.

The rewards can be astounding but the path takes courage and a willingness to embrace, or at least make close contact with, what Keats calls, “sensations rather than thoughts”.

Of Giants, Archaeologists and Magicians (2)

If you haven’t read my first post on this subject, you may want to check it here to find the context for this one.

IMG_20151113_084431 (1)Kate and I decided to utilise the idea pictured here (on my favourite tea towel, as it happens) to explore some of Mallorca’s most magical and ancient places.  ‘All things’ includes us, of course, as well as those who constructed and used these sacred places.  Therefore we decided to lightly look with the most delicate of our senses.  We used hunches and intuition, synchronicities, words and thoughts that appeared unbidden in our minds, dowsing and channelling, remote viewing (thanks to our friend William back in England) and meditation.

I could argue that this is far, far from simple guesswork, and some of you would believe me, while others would scoff.  That’s fine.  I’ll just report our findings and let you draw what conclusions you will.

 

The photos below show what remains of one of Mallorca’s many talayots.  Notice the huge stones compared to the far smaller ones used in habitation construction shown in my previous post on this subject.

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The entrance leads to this winding passageway, built into the wall of the structure.  The archway (visible behind the huge stone on the right) opens with a steep step down into an open circular space.  Due to the thickness of the walls, this inner area is only 3 or 4 metres across.

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This photo shows the massive column in the centre of the talayot’s inner space.  Like so many of the stones used in the ancient sites, it is riddled with veins of quartz crystal and there is a palpable energy around it.  Our minds can’t know what the original purpose of this structure was, but perhaps our subtle senses can …

From London, Will was able to tune in at once.  He remotely viewed a structure that appeared to rise suddenly out of the ground like a cliff.  He defined it as a ruin with steps and an archway.  He sensed the roundness and saw (invisible to us) writing or symbols that seemed to involve triangles.  He felt an energy signature which linked to animals.  These were not, he insisted, the sheep whose bells tinkled in the surrounding fields or passing birds or wildlife, but something connected to the original function of the place.

Kate used her dowsing rods to pick up energy lines within the talayot and beyond its walls, particularly to the left of the entrance.  She felt that this could show the extent of a nearby settlement.  A Mallorcan lady who accompanied us – one who routinely dowses her land for water sources – was able to find a much wider band of energy in the surrounding field.

We used my pendulum to reach guidance from those who were able and willing to share knowledge with us.  We were told that the talayots attached to villages were not for everyday use.  They were places of magic.  An elite group of shamanic elders travelled the island, performing ceremonies within the talayots, healing the sick and the land, observing the sun and moon’s progress through the skies, watching stars and comets, and using the structures as ‘libraries’ – repositories for knowledge handed down through the ages.  There was a connection to birds.  The idea of the shamanic ‘bird-man’ – able to shape-shift or link to the spirits of the black falcons who circle above – was a fleeting yet persistent image.

By synchronicity, I had been reading a passage from Seth Speaks on the journey out.  Seth had been describing ‘co-ordination points’ – locations where different dimensions intersected.  In these, he claimed, gravity is slightly different and anything built in such places lasts far longer than might be expected.  He cited the example of the Egyptian pyramids.  A Mallorcan man told me that there persists on the island a feng shui type belief that certain directions and positions can be found which are more auspicious for building than others…

As for the construction, in meditation I was shown the difference between attempting to lift a person as a dead weight, and one who is willing to be moved.  The latter is, of course, many times easier.  I sensed the rock as a conscious living substance – as alive and buzzing with atoms and molecules as we are; it is something sentient in its own right.  I felt the ancestors connecting their will – their energy – to that of the stone.  I felt a tremendous co-creative synergy between the people and the rock, allowing vast megaliths to be quarried, moved and placed into position.  There are woodcutters, still, who will speak to trees – explaining why they are to be cut, what their timber will become and enlisting their co-operation in what will be a joint enterprise.  I believe the ancient master masons had this connection to the stone, and their great works, constructed with care and awe on Seth’s co-ordination points, endure.

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Kate dowsing beside a talayot, November 2015

Perhaps, by putting reasoning and logic aside, we were able to move through time as easily as William’s thoughts moved through space, to approach something of the origins of these sacred and ancient places.

 

 

Kate hopes to organise another tour of the sacred places of Mallorca in April 2016.  Let me know if you’d like me to put you in touch with her.