Through A Glass Darkly: A Celtic Perspective

20170703 THROUGH A GLASS DARKLY PERSPECTIVEDoes Channel 4 tv station still use the ‘4’ logo that is made up of disparate parts that change the whole of the logo depending on how you view it? And, as the camera moves around it, the jumble of parts suddenly becomes the number ‘4’, but only for a second or two, and then it’s just a jumble again as the camera moves on.

‘For now we see in a mirror dimly, but then face to face; now I know in part, but then I will know fully just as I also have been fully known.’ 1 Corinthians 13:12, The Book

Perspective is all important.

I once ‘accidently’ got into a discussion with someone who wanted to convince me that the sun and moon were the same size, because during a total eclipse the moon exactly covers the face of the sun. I talked to them about perspective, and that the sun is much larger than the moon but much further away, but to no avail. Perspective fail!

‘A group of blind men heard that a strange animal that they had never encountered before, called an elephant, had been brought to the town, but none of them were aware of its shape and form.

Out of curiosity, they said: ‘We must inspect and know it by touch, to know more about this strange animal’. So, they sought it out, and when they found it they groped about it.’ In the case of the first person, whose hand landed on the trunk, said, ‘This being is like a thick snake’.

For another one whose hand reached its ear, it seemed like a kind of fan. As for another person, whose hand was upon its leg, said, the elephant is a pillar like a tree-trunk.

Another blind man who had placed his hand upon its side said, ‘The elephant is a wall’. Another who felt its tail, described it as a rope.

The last felt its tusk, stating the elephant is that which is hard, smooth and like a spear.’

Each had a different idea about what the elephant really looked like. None were actually wrong, but neither had any of them an idea of the totality of what an elephant looked like. (Ancient Indian parable.)

This morning – yes, I’m still in London – I was out in my little garden looking at a site in the distance that’s about to be developed, and I gave thanks that, for a short while, I can see the River Thames as it flows nearby. The view is wonderful. But, there is part of me that, right now, would prefer to gaze a the green-grey mountains of slate and granite of home, Wales.

But, what we see and how we relate to it, depends on us. Doesn’t it?

Someone with me in London might like the ‘buzz’ of the City, others might not like the noise. If in Wales, some (like me) might revel in the majestic beauty of nature, but others might not be able to ‘acclimatise’ to the much slower ‘country time’.

This got me thinking. How we ‘see’ things affects what we regard as them being ‘of value’. Perspective is very important.

If I look at a tree, and I have axe in my hand, and as a Druidic-Christian see the tree as an ‘ensouled’ being or as having the Creator’s stamp on it, or as a panentheists (as I am, just like the early Christians) believe that that tree ‘inhabits’ God, then I will regard it differently than if I just saw it as a materialist might, as kindling.

So, in London, as I gaze upon that building site, it could be just a mess, or I could see it as an opportunity to create a product or service that will serve people, and in this case, might actually improve the local environment and be wholesome (and holy). It is then something much more ‘noble’ that a mere a bricks and mortar development.  In Wales, perhaps it’s easier to appreciate nature, or could it be that there’s so ‘much’ of it (in its wild state, because nature also  ‘inhabits’ the cities, too) that its easy to be complacent and unappreciative? And so, we still need to looker (more) intently, perhaps?

And, what about when we talk theology or chat about spiritual things, or the deep and profound things of life? Are we so immersed in twenty-first materialism that we only glance at the surface? Don’t answer immediately, please, because those ‘spectacles of materialism’ have an uneasy way of slipping over our eyes even without our noticing.

I’ve been to two funerals recently. The first was unbelievable tough on me (and close family) to endure, the other was tough to endue, but our perspective on these major events of life change depending on how we look at those events. The materialist, attending that funeral, might see a box, a coffin, a casket and nothing more. Someone else might have a hope of more, of new life as one is ‘absorbed’ into the earth. Others, such as myself, even in grief, separation and tears might ‘see’ (in their mind’s eye) that person in heaven, also known as the Summerland or Caer Wydyr (in Welsh, the glass fortress), and might confuse others by talking of pre-life (which happens to be one of my favourite themes) and that we’re all ‘there’ now (but that later point is for another time)!

But, what does this all mean?

It means, perspective will be different to different people, depending on their (our) location, inbuilt views, learned views, expectations (limited or otherwise), ‘tribal views’, and once we accept a multiplicity of views – metaphorically peak over the edge – then our voyage of discovery really takes off. There’s always more!

‘I have many more things to say to you, but you cannot bear them now.’ John 16.12, The Book

So, be ‘open’! Step outside the cultural ‘norms’, move toward the edge – become an ‘edge-walker’ – have you ever noticed how all the interesting things, development, maturity and growth all happen at the ‘edges’? – and have a peak at a possible alternative, and maybe ‘more real’, viewpoint.

‘I live my life in widening circle that reach out across the world.  I may not ever complete the last one, but I give myself to it. I circle around God, that primordial tower. I have been circling for thousands of years, and I still don’t know: am I a falcon, a storm, or a great song?’ (Rainer Maria Rilke)

There’s more. There is always more to experience, more to discover, more to understand (differently). More, that catches us by surprise and challenges ‘old’ limitations. There’s more. Mae mwy (in Welsh)

[Note: The painting in the ‘header’ in today’s article is called ‘Escaping criticism’, and was painted by Pere Borrell del Caso, 1835-1910, a Catalan painter. He was well-known for this kind of optical illusion style of painting which is called trompe l’oeil, French for ‘deceive the eye’.].


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