sword in stone2

On Saturday I invited three friends for a meal. We are all singletons, independent thinkers certainly, and there were two men and two women. After we had scoffed curry and crumble and a certain amount of wine we had a jolly good argument, about the state of the world and the meaning of life. It was very animated and I for one was surprised at the intensity with which I expressed my point of view. Even Hilary, who thought she wasn’t arguing, noticed that the rest of us behaved as if she was.

Well, I reflected afterwards, that’s ‘fourness’ in action. It is a warrior number. Either the knights of the ‘Fours’ are occupied defending a cause, or fighting for it ; or they are fighting each other, albeit sometimes, as in our case, good-humouredly. Which is why fourness, and in particular the fourness of the 4 Hallows is so important as a foundation for democracy. When they (the two ‘female’ hallows are the cauldron and the stone, and the ‘male’ ones are the sword and the spear) are creating our foundation we can have vigorous debate and disagreement in the chamber of parliament, without our aggression building up into civil war. This is because the four are at the service of the principle of Sovereignty, in the case of Britain, that’s the Queen. The Queen is not allowed any executive power. She just is, emanating the spirit of our land on every state occasion.

If you have been to visit parliament in London, you will have noticed that the floor the lobby is based on the interaction of four fournesses.

Palace-of-Westminster

So how is this foundation of fourness made and maintained? In myth you will find many interactions between the male and female Hallows and each one achieves a magical end: when Arthur pulls the sword (male) from the stone (female) we find the rightful king who will save the land. When Lleu (in the fourth story in the Mabinogion) throws his spear through a stone at his rival and murderer, Gronw, he restores the balance of justice. When the Pagans perform their ritual of plunging a blade into a cup, they are enacting the moment when the sacred marriage happens between male and female, between eternity and time, between spirit and matter. And behind this, is the moment which all the great creation myths are pointing at, when nothing becomes something!

At this extraordinary moment, which is not a moment at all because it is before time, Unity splits and 1 becomes 2 –though immediately this happens 3 also arises because of the relation between 1 and 2. This is why many creation myths feature brother and sister incest, because the ‘first two’ who must copulate to create the third – and all of creation, are intimately related. In the Mabinogion story there is a sense that the magical child, Lleu is the result of brother-sister incest between Arianrhod and Gwydion. And yet, if this ‘transgression’ does not happen, nothing will come into being. Necessity dictates that it does and so here we are, all of us. We have come out of nothing and yet we are something, an incredible paradox!

And how do we get from 3 to 4? This is the key move which turns the ineffable into the tangible, by laying down the principle of fourness. Somehow one of the three mirrors or doubles itself, so that it is the same and yet different. In the Four Hallows: the sword and the spear are two things and yet they are quite similar. Are they a reflections of this moment? And any rate the Hallows point to and yet protect the Great Secret: how the virgin bears a child/how something comes out of nothing. This is not something which we can understand with our normal mind, and yet we can grasp it, albeit fleetingly by studying sacred geometry, or by watching or participating in movements or dance, or listening to or acting out a story…

..or watching a film? That’s why I want to make The Dancing Floor feature film because I want to carry on the tradition of the Children of Don, the ‘race who brought magic to these islands’ and who gave the Four Hallows to Britain and Ireland. In this tradition the great truths about reality are embedded in symbol and story, so that they shall not be forgotten. In the midst of our crazy, image-proliferating, hyper-ventilating materialistic world, don’t you think that’s a good idea?

From the Dancing Floor pilot film
From the Dancing Floor pilot film
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3 thoughts on “More on the Four Hallows and protecting the Soul of the Land

  1. There are some notes there about the diagrams, which give a few clues, though I can’t quite make out what it means either, although it seems to make some sort of sense:
    When you click on the green down-pointing arrow on the four-sided green and red symbol, the notes appear for the diagrams, and you can click on and read them, eg. there is a note titled ”Four are one”.

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