Unknowingly, we also shut most of the gates to Otherworlds ourselves. Hence religion — literally, “re-linking”. Both bad and good news here, for the keys (hidden, discovered, at the end of the quest — pick your legend) are in our hands.
As children all of us spent at least some time peering from the gates of an Otherworld into this one. That’s almost a definition of childhood. Imagination came so readily then that we thought nothing of it — it was our native tongue, our common language. We thought nothing of it because our journeys back and forth between the worlds felt completely natural, for the simple reason that they are. How many of us have heard children endlessly repeating a word or phrase, self-enchanting, practicing one form of word-magic to launch themselves into another world, another state of consciousness? Or the youngster who asks for an adult to read the same bedtime story over and over again, never tiring of it, making it part of the before-sleep ritual, that transition to another world, another state of consciousness? Or watching the same children’s movie day after day, delighting in the ritual of sequence, of beginnings and endings, of transport out of one state of awareness and into others? Or childhood games, with their frequent patterns of losing and finding, of repetition and transformation together. Anyone can be “it” — until the next round. (For whatever “it” may be this time, consult your right hemisphere.)
Almost effortlessly we arrive into this life, knowing firsthand, instinctively, how to make such journeys, only slowly letting go of that precious knowledge as we acclimate to this world.
With enough practice and experience here in this life, we’re able to mock up difficulties and obstacles of all kinds for ourselves in the opposite direction. In fact, we get r e a l l y good at it — when I have time, when I’m not so stressed, later, next weekend, when I finally get a break from work, when the kids are asleep, after the virus retreats, when I’m not so strapped for cash — never perceiving that it’s exactly such priorities which too often shut us off from the very wonder, healing and rebalancing we long for and so desperately need. Rather than slipping in and out of worlds with ease, we root ourselves deeply in just one, then struggle to connect to any others. Rather than tapping into sources and fountains of rejuvenation that would make this life easier, less stressful, more magical, we resolutely “put away childish things”, then wonder why we feel empty and unfulfilled. If we want a clear demonstration of elemental earth out of balance, we can look at its grip on us, holding us back from mingling with the other elements and with spirit. Hence the needful work with elemental ritual.
Through ritual we can let this “apparent world” fade, as OBOD rites describe it. And one strategy for doing that, given our busy lives, is to slip into such ritual spaces and places in the middle of whatever else we’re doing. This practice in itself mimics the between-the-worlds quality we seek, so it models what it induces. Make the intervals and practices small enough we can’t not enter them. They can also become components of the larger rituals we practice.
We don’t need robes, candles, incense, banners, deity and elemental figurines, gongs, bells, swords, wands, altars. True, things like these can help, but they’re not necessary. Sometimes a single short prayer-chant, practiced once an hour through the day, or on some other schedule (every 15 minutes, or each time you get up from your chair, or at each break, etc.), can begin to open doors.
With each breath I take I walk between the worlds.
The previous post offered a somewhat longer prayer: I invoke the three gifts of Mon …
And the usually brief triads are another short piece of poetry and singing, of verbal magic to enchant ourselves into other worlds.
Or if you’re more kinesthetic, and words don’t do it for you, a ritual gesture or kind of movement, or for other sensory orientations, sound, color, smell, and so forth. The previous post offered the infinity symbol as gesture or sign, a way of signaling the openness that always walks with us, the ability to slip in and out of other worlds in an instant, and then return. Drawing it might help. (Doodling is one way many of us enter daydream, another world, and to shift consciousness, etc.)
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In another few days this blog will hit 100,000 views — one indication that in the nearly nine years of its existence it’s continued to serve those who read and return to ponder the kinds of things I write about here. The international readership it’s acquired heartens me as well — it’s not speaking merely to a North-American base.
I do a lot of re-reading (“if it was worth reading once, it deserves at least a second go”), and right now I’ve returned to Richard Adams’ Shardik, his 1974 novel about “the power of God in a bear”. Adams, though better known for Watership Down, felt that in Shardik he had written his best work.
Some flavours and expressions of Druidry devote attention to the shape-shifting that can open doors, to the more shamanic aspects of our past and our potential, to the animal-human links that can help restore us to balance and fuller experience of humanity. Books can often point us in such directions.
So reads a sign at Llyn Cerrig Bach, a small lake on the Welsh isle of Anglesey or Môn.
photo courtesy Kristoffer Hughes
Porth “door, gate”, related to portal; i “to”; (y)r “the” byd “world”; arall “other, another”.
(Incidentally, one of the best online Welsh dictionaries is maintained by the Prifysgol Cymru/University of Wales.)
How to find and pass through such a gate?
In addition to the photo above, Welsh Druid chief and author Kristoffer Hughes [Facebook link / Voices of Modern Druidry entry] offers this bilingual triad on his Facebook page:
Dyma dri o roddion Môn,
Traed y Derwyddon ar y Tir,
Cylch tragwyddol y Môr,
Coleuni diderfyn yr Awyr.
The three gifts of Môn,
The feet of the Druids upon the Land,
The eternal circle of the Sea,
The Sky’s unbounded illumination.
Here are the Three Elements of Earth, Sea and Sky — Tir, Môr and Awyr. The Welsh names work very well all by themselves as a chant and prayer: tir [teer], môr [mohr] and awyr [ah-weer].
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In 1942, a hoard of some 150 objects was discovered near the end of the lake, apparently deposited there as votive offerings. Among them is this splendid bronze plaque, now held in the National Museum of Wales in Cardiff:
How do we find and pass through portals to the Otherworld?
I invoke the Three Gifts of Môn,
and seek entrance to an Otherworld,
to where it is right and fitting for me to journey.
Feet of Druids, guide my steps.
True return I seek, for I have been there before,
not merely in dream and vision, and in desire,
but fully, born out of it into this life,
in the eternal circle of the Sea,
returning to it after time and times have ended here.
In this air I make the sacred sign
[with the forefinger of your dominant hand,
draw an infinity symbol in the air].
By the power of Earth, Sea and Sky,
assist me to make the journey anew,
and recall what I discover there,
so that I may share it after
for the good of the whole.
Recording the experience, whatever comes, is a valuable tool for making any subsequent journeys, and as a landmark of our practice. By making a record, I learn how I journey, which may be very different from the path others take. It may be that I recall with different senses active. Some see, but others hear, or touch, or return with no distinct impressions until they lift a musical instrument, or write a poem, or paint or draw. The more different kinds of outlets we provide in our lives and practice, the more the Otherworld can touch us here, and we can locate and recognize and draw on its inspiration.
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For more information, and images of other signposts like the “Gate to the Otherworld” mapping the region, visit “Anglesey Visualizations installed” at Monumental UK.
For an 8-minute Youtube interview with Kristoffer Hughes about the history of Druids in Wales, and their shamanic background, go here.
Smithers, Lorna. The Broken Cauldron. Norfolk, UK: Biddles Books, 2016.
Change the names, goes the old Latin tag from Horace, and it’s a story about us.
Smithers, a Lancashire awenydd, poet, blogger at Signposts in the Mist, and devotee of Gwyn ap Nudd, has mediated in her latest book a challenging prophetic vision of psychic and environmental shattering in the image of the Cauldron, that ancient and present manifestation of birth, wisdom and regeneration. Spiritual vessel, military-industrial grail, the Cauldron contains both dream and nightmare.
Through prose retellings of Celtic myth and legend, through poems that grapple with this world and that Other that has always deeply haunted us, Smithers links voices, times and places. She revisits the central Druidic myth: Gwion Bach’s transformational encounter with — and theft of — the Three Drops of Inspiration. Holding it up for careful scrutiny, she underscores its immense cost to species and planet. In one retelling she speaks in the voice of Ceridwen’s grotesque son Afagddu, “Utter Darkness”. It is for him that Ceridwen has set the Cauldron brewing in the first place, hoping for his transformation, posting the hapless Gwion to tend it. In a painfully apt contemporary twist, Gwion’s a negligent employee at a chemical plant, daydreaming through a reactor disaster, though acquitted in the subsequent court case.
But Afagddu’s gifted with his own preternatural wisdom, knowing Ceridwen still apologizes for him, even as she dreams of him “suave, clean-shaven, the head of the company in a priceless suit with ironed-in creases” (pg. 74). How we persist in our stubborn lusts and blind dreams.
The five subtitled sections of the book capture something of its span: “The Broken Cauldron and the Flashing Sword”, “Ridiculous”, “Drowned Lands”, “Operation Cauldron” and “Uranium”.
What will we do, we whose minds are “shrunken and empty of gods”? Smithers’ patron deity accuses us all in the person of Arthur, whose profaning raids on the Otherworld have gained humanity a magical treasure, true, but loosed a devastating tide of death. In a triad of admonition to human raiders on Annwn, the Otherworld, Gwyn ap Nudd declares: “Lleog, lay down your sword. Taliesin, cast your mind from praise poems. Arthur, be true to your bear-skin past, hear your bones and the star of the north” (pg. 10).
Listen to our bones, heed the stars: a quest each of us may still accept or decline.
For it is the Otherworld that restrains the increasingly violent rebalancing we have brought on ourselves. And it is there we find “a cauldron that is whole and filled with stars, the infinite reflection of the womb of Old Mother Universe” (pg. 7).
As a solitary, Smithers turns here from a mythos that has long troubled her. She declares her preference for Afagddu, refusing “complicity in the mysteries of Taliesin” whose limitless hunger to despoil and pillage and consume “can only lead to the world’s end” (pg. 8).
It lies in grappling with the double edged-ness of the “flashing swords” of the raiders on Annwn, I would add, that we may at last learn wisdom. Can we learn to gauge and compensate for both gain and cost? Whether we do or no, the Otherworld will assert its balance. A unique book.
Or if you’re more kinesthetic, and words don’t do it for you, a ritual gesture or kind of movement, or for other sensory orientations, sound, color, smell, and so forth. The previous post offered the infinity symbol as gesture or sign, a way of signaling the openness that always walks with us, the ability to slip in and out of other worlds in an instant, and then return. Drawing it might help. (Doodling is one way many of us enter daydream, another world, and to shift consciousness, etc.)
A Druid Way 
