I’ve been waiting for a powerful dream to contact you with next. Finally, she came last night. I didn’t call her in, or pray for her help, or undertake any of that kind of begging. (Not that I couldn’t be accused of resorting to these tactics at other times, mind you.) She just slipped in, quietly, mysteriously, to watch the human drama unfold. Was she touched? I couldn’t tell. If our sets of agonizing, playful, colourful actions had any effect on her at all, she didn’t show it. But now that I have made contact – or rather, she with me, or better still She with my Dreaming – I’ll be sure to go back and ask. After doing ritual, natch. She deserves respect. I’ll call her the Modern Goddess and ask her what she thinks. What we should be doing. To intervene. In the drama – helping, where we can, like Kwan Yin or Avalokiteshvara, or Sweet Blessed Mother Mary, or any other dispenser of compassion beyond understanding. But also to maintain balance within ourselves, to play our part in being intelligent animals in touch with the sacred, informed by it, trying to walk in it.
We were in a large, open auditorium. It was regally plush, with rich, deep green velour wallpaper, accentuated by golden trim. There’s a stage nearby and as there is about to be a performance of some sort, I look for a good seat. Behind the stage is a set of ornate chairs and benches, which seem to face the action. So I head over there and, being first to arrive, choose a fine seat with crimson velvet upholstery. Very nice, I think, until I see another man pass me and head up to much better seats above. He asks me what I am doing down here as he takes up the second best seat in the house; it is a high-backed chair, right next to a magnificent throne, of dark materials so rich they are obviously meant for royalty and no less, which is placed top and centre of the dais upon which we will sit. I am emboldened by the other man and take up the equally regal chair on the other side of the throne.
The rest of the seats fill up as the lights go down in preparation for the action. Just at this moment a woman enters silently from behind us and takes her place in the throne. It feels exactly right, although there is nothing to indicate what she looks like or why she seems so comfortable in this place of honour. The play begins in small scenes enacted in different places around the auditorium. It’s a piece of theatre with ‘shifting’ sets, a postmodern piece that decentres the point from which the audience views the action, including them in the drama.
When my consciousness shifts from the reality of this otherworld to the everyday, waking one, I wonder why she was so silent and so unannounced. Is She humble? Perhaps She is so powerful that She requires no introduction, as they say. Does She care? While I see no evidence of this, I ask myself why She would come at all if she had no interest in our human drama, which also has such a profound effect, now, on the state of the rest of the planet. I hold gently the awareness that I am her left hand man; a subtle contrast to the right hand man of the patriarchal Father, the warrior who carries out His orders regardless of feelings like compassion or pity. From here, I get to feel everything, and serve Her with conscience, finding balance between the God and Goddess powers within and without. She asks not for my unthinking devotion; quite the opposite. I am forced to think for myself, to make decisions based on whatever information I have at hand, to feel for the Earth and to remain loyal to its people, to choose to fight for them. She does not need to see the pendulum swing against the Sacred Masculine, for she is already awaiting us, at the centre, holding His hand, married to the light from her sacred abode in the darkness. She is the silent, unnamed Tao, which does not require defense. And She calls us on to the good fight, which is carried out in our own hearts and minds and souls and bodies first, and then in the world; paradoxically, at the same time. It’s a matter of intent and clarity of action. Blessings Be and welcome to the tribe, She says, and I follow her.
Images: 1. By Munna (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0) or GFDL (http://www.gnu.org/copyleft/fdl.html)%5D, via Wikimedia Commons. 2. By Jebulon (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons. 3. See page for author [CC BY 4.0 (http://creativecommons.org/licenses/by/4.0)], via Wikimedia Commons.