Spirit of Place

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Nigelswift you dude! That's fascinating stuff. Here's a few random thoughts (in fairly random order):

- Its so hard to talk about any of these things using the language we have. Most English words dealing with these matters have acquired unhelpful connotations from 2000 years of Christianity and, in more recent times, from the new agers. Take "spiritual" - I hate using this word because it is usually taken in a "new age" or a "dark age" (ie. dogmatically religious) sense. But there ain't no other word so I guess I'm stuck with it! I surely prefer it to "religious".

- I'm absolutely with you on the aesthetics thing. I think all I would add to what you've already stated so eloquently is that beauty, the aim of aesthetics, is (for me, I mean) a highly spiritual thing! There's that word again - what I mean is that beauty is good for the soul, that being in beautiful surroundings is good for people. I think we'd all agree on that one! I guess the only other thing I have to say here is that I believe the ancient monuments of Britain to be works of art (I'd like to put that in the singular but I'm not too sure!). Aesthetics is the language of art, but the most satisfying art also carries a message. I've discussed this in my "Subject, Object & Landscape" essay though so I'll not go on about it!

- There are some connotations of the word "spirit" that I do not like, that make talk using that word easily misunderstood. What I'm uncomfortable about is that it imposes a duality on the world that can all too often become a division: the material world vs. the spiritual world. My feeling is that its exactly this view of the world that lies behind the big dogmatic religions, which, of course, will all tell you that the material world is inferior to the spiritual world. The Gnostics, a branch of early Christianity, taught that the material world is nothing but a prison for the soul, that we are each of us souls incarcerated in matter. Blake believed pretty much the same thing: that the Biblical "fall" from grace (actually only sort of implied in the Bible and derived more from Milton's Paradise Lost) was the fall of our collective soul into the imprisoning chains of matter. I could not disagree more! Just look at the beauty of the natural world - this is no prison. Where am I going with all this? I'm just trying to say, I suppose, that I find my spirituality in the material world. I have no need to go looking for other realities when (most of!) this one is so beautiful and inspiring. I certainly agree with Julian when he talks about worshipping only what he can see. Of course I wouldn't swing from one extreme to the other, mind (ie. from distrust of all "worldly things" to rampant materialism). Balance in everything. But I strongly believe that we are, at least here and now, physical, material creatures with bodies, and that therefore we should concern ourselves largely with the material, physical world. "Don't tell be 'bout your heaven in the hereafter, but set to building heaven in the here & now" is my cry!

- On the whole rationality vs. spirituality thing I have to say that I don't think that either one of these perspectives on their own is enough to give a complete understanding of the world. I just think that our culture worships rationality to the extent of ignoring more instinctive, subjective, poetic forms of understanding. I would certainly never deny that reason is a useful thing. How could I, whilst sitting typing this on a computer? And I'd be the first to admit that my own bias leans towards the less rational side of things - this is not always a good thing! We need our heads in the clouds and our feet on the ground! I surely wouldn't worry about it, nigel - we all have our own perspectives on and approaches to our experience and each of them is valuable in its own way. Here's a quote from Robert Graves' The White Goddess:

"What interests me most in conducting this argument is the difference that is constantly appearing between the poetic and the prosaic methods of thought. The prosaic method was invented by the Greeks of the Classical age as an insurance against the swamping of reason by mythographic fancy. It has now become the only legitimate means of transmitting useful knowledge... As a result, the poetic faculty is atrophied in every educated person who does not privately struggle to cultivate it... The mechanical style, which began in the counting-house, has now infiltrated into the university, some of its most zombiesque instances occurring in the works of eminent scholars and divines. Mythographic statements which are perfectly reasonable to the few poets who can still think and talk in poetic shorthand seem either non-sensical or childish to nearly all literary scholars."

Robert may bemoan the withering of the "poetic faculty" and I'd be the first to agree, but we must be (in my view) equally wary of "the swamping of reason by mythographic fancy".

- On the matter of the experiment I proposed carrying out. I have to confess that I was just musing, though as soon as my musing hit the (electronic) paper I saw that I should probably start something along these lines myself. I'd have to give it more thought, first, though. The problem would be finding a context within which everyone could describe the spirit of place in terms where the individual descriptions could be compared meaningfully. This is why "imposing" a human metaphor on people, getting them to describe it as though a person, would be useful - it means that the descriptions are made in equal terms and therefore comparable. I worry that "imposing" any metaphor on people would be too restricting for some people, though, and defeat the purpose of the experiment. I'm sure there's ways around this but need to think more... Oh, and email would have to be the way - you couldn't just post them all as fieldnotes to this site, for example - that way people would see each other's descriptions and be influenced by what those who visited before them made of it. As I say, I'll certainly give it more thought and will most likely be posting something here about it within the next week or two...

Right, that's me done (for now!).

"... that the Biblical "fall" from grace (actually only sort of implied in the Bible and derived more from Milton's Paradise Lost)"

If that is so, why is it a popular tableau on 10th century Irish High Crosses?