"thou doth protest too much." --William Shakespeare
Some women who call themselves "feminists" may really feel deeply the opposite, as in "thou doth protest too much." William Shakespeare wrote this line more than five centuries ago, a prescient insight into human nature.
More recently, Thomas Moore in his book, the Soul's Religion, takes up the topic of femininity writing that "in a deep corner of their soul, [they] rejected women and didn't really appreciate the value of feminine qualities."
While perhaps trite to say, Moore observes that behavior is a double edge sword, or sides of a coin, the flip side is naturally its opposite. Is that hard to understand?
He further writes that the women with whom he discussed this contradiction within themselves have much courage to explore this embarrassing discovery about their deepest feelings and values. Contrasting with women, there are also men whom Moore writes, are caught by the same or similar notions dishonoring women, "the mother goddess" as he calls it. They are excessive in their devotions towards women; an unbalanced adoration that puts off real, flesh and blood women. Here the Avatar of the goddess is confused for the goddess herself.
In these men there often are signs of this imbalance: sudden anger and resentments, even violence towards women in a generalized sense. paraphrased
The feminine energy in life doesn't disappear as a result of this hostility directed towards herself. Rather she may be pushed just beneath the surface where her energy lurks, often making life and relationships impossible. The candle is extinguished; in her neglected state, she is oppressed and unexpressed; while some choose to engage in the traditional helping professions, this gives only temporary outlet.
Pushing through barriers erected just for her suppression, so as to have a clean, tidy, daily existence, the spiritual nature of the mother goddess soon rushes forward. She will have none of that! The retort of which is a fierce tongue lashing, a warring heart and an excess passion for the physical pursuits of the world.
Working herself free of blockages is to restore the balance of energy that is natural to the soul. More than just talking about these lacks as correction, we must take concrete action in a direct, soulful, spiritual way to gain the balance that we need.
We must not become lost in addictions either to drugs or behaviors for they are no good substitute for the spiritual ecstasy that we may really be seeking, or the holiness found in religion because all human problems are spiritual problems, insists Moore.
Showing posts with label masculine. Show all posts
Showing posts with label masculine. Show all posts
Wednesday, February 29, 2012
Friday, February 24, 2012
Feminists, Unsettled Lives
"Then all of them together, crying loudly, moved to the malevolent shore that awaits anyone who has no fear of God." -- Inferno, Canto III by Dante
In his belief, born of experience first as a cloistered monk and then as a Jungian therapist, Thomas Moore comes now to realize that "what was really at the root of those unsettled lives was religion... I didn't always realize the extent to which spiritual issues were playing a central role... The obvious spiritual problems had to do with disturbing experiences surrounding religion in childhood." In his book, The Soul's Religion, Moore writes "in these ordinary, troubled lives, spirit and psyche were closely connected. In other cases, spiritual issues were more subtle and required a broadening of the idea of spirituality."
Today, society to the extent that it acknowledges religion at all, sees itself "in relation to an image of a "gentleman God," the grandfather and patriarch." This pushes the feminine into the shadows, hidden beneath the surface of everyday life. Neglected feminine nature in the world is often felt in oppressive and mysterious forces that may make living an everyday life almost impossible. For the feminine energy, as her balance, masculine energy needs recognition for composure in daily living. Many today neglect, even deny the feminine nature; they are hostile to its alleged weak frailty. Yet many seek its compensations in a professional life that includes care-taking in fields like nursing, elementary school teaching, social work; merely doing this everyday, external work doesn't solve an interior, spiritual lack or need for the feminine energy. There are, Moore notes, countless females who mother and nurture all those they contact almost to death. We often seek to escape them. Allowing the feminine, the Marian, into daily life as a spiritual role or guide "is an effective way to heal" the lack of a divine mother in a man or woman's life. She takes her proper place as an 'avatar' rather than a lived out female image. Here, she is spirit; she is soul.
"In matters of soul and spirit, things are not always what they might seem." Moore observes, "I have come to understand sexism and violence against women as a spiritual issue, as a failure to appreciate the feminine mysteries" which no amount of nudity, ogling, looking or voyeuristic regard will alleviate. The deepest interior, which cannot be seen, can only be sensed when the soul-heart is at issue. "Today many spiritual passions are disguised in politics, war, money, sex or athletics." Even so, most secular, enlightenment outlets for spiritual passion are inadequate because they address merely a surface issue, meaning that recognition is admitted only indirectly, often unconsciously, so we don't often even grant that they are religious. These modern, secular, indirect forms "siphon off spiritual steam, leaving unsatisfied religious needs."
This loss of recognition of the spiritual, the religious, as an attitude, a way of life, a lifestyle, leads to great degrees of loss, of illness, of alienation in modern life. Some have written of the "sick soul." Many relationships, families and marriages fail "because we now treat them as sociological constructions or psychological arrangements, partnerships, rather than as holy mysteries. As a result we continue to crave religion of the deepest kind, often in disguised form; yet so much of what we try is inadequate, "only increasing the craving and emptiness" of our deepest selves, writes Moore.
In maturity, spiritual growth, like growth in any other area of our life, renders to us a "quest and search." What we discover is a deepening and a broadening of our self; we are not obliged to a single path, our perceptions deepen, wisdom accrues. We often discover paradoxes at work. How to combine apparent opposites into one coherent, whole is our challenge and our grace. In doing so, we find the gifts of our life.
Thursday, September 2, 2010
Inside the Grail Legend
“...if one is to find the Grail, [that] means not to fall prey to a mood.” The Holy Grail as interpreted by Robert Johnson
There are many, many truths to be gained from study of this most unique of legends, the Holy Grail. Following the lead of Carl and Emma Jung and Marie Louise von Franz, Robert Johnson writes in his book, He, that “what the Grail myth is telling us is that in his relationship to the interior feminine a man should relate to her, that interior feminine [self] on a feeling level and not on a mood level.” The author distinguishes the terms mood and feeling by explanation: he writes, a mood is the result of the interior self unconsciously in possession, the anima or interior feminine self of a man; a feeling is a value, the ability to value. “If a man has a good relationship with his anima, his feminine self, he is able to feel, to value, and thus find meaning in his life. If a man is not related to his anima... he has no capacity for valuation. So sharp collision between the two types of interior experience a man goes through."
In the Legend of the Grail, Percival is guided to his feeling senses, his anima. In discovering a bit of this sense, he is useful and creative; in doing so, he must not however seduce or be seduced by the interior feminine self. Granting himself seduction is destructive towards his goal of finding the Grail Castle. He is, in the legend, most thoroughly advised not to fall prey to a mood. “As soon as a man falls into a mood, he has no capacity for relationship, no power for feeling and therefore no capacity for valuation.” All moods, good or bad, are trouble.
While under the spell of a mood, the one who feels its effect is like a person bewitched. “He cannot think, he cannot function, he cannot relate; he may think he’s doing a great deal, but there is just so much churning inside. If something is not already wrong, a man in a mood will make it wrong.” And if they are not wise to it, a man’s loved ones may also fall victim to his moods. A man may, in fact, in that state of mind think that they are quite responsible for his moods!
Robbed of a sense of relatedness or meaning, a man in a mood we learn in the Grail legend, is a man who cannot find fulfillment. He is easily bored. Thus “if something is wrong with one’s ability to relate, the meaning in life is gone. So depression is another term for mood. One finds that most of the content of a psychosis for a man is anima. It’s a haunting, a possession.” A mood is a little madness then, which overtakes. Many times a person may be overtaken by a mood. There is then wild enthusiasm for this or for that, but the mood runs its course and then the thing is forgotten; much time and money is expended by those in a mood. While in this state he does not ‘run his own house’ and then is impossible to live with; he is terribly critical of exterior, in the flesh women at this time, soundly blaming them for any number of things to which they stand mystified! A man must learn in his quest for the Grail to look for fulfillment but not good moods, lest he is again in possession by something destructive. It’s as if in the mood he declares, “You are going to make me happy--or else!”
The anecdote to this is to learn to live in time, moment to moment. One can learn to recognize the advent of a mood and refuse it. It is one's responsibility to know what is going on within himself so as to live consciously-- the point of this quest for the Holy Grail. “A man who has this kind of self-knowledge begins to develop ego strength,” writes Johnson. When truly enthusiastic, a man is filled with the Spirit of God. He is vibrant and creative. A great creativity flows, one which is stable and productive. It is not the petulance of a child.
The truest genius of a flesh and blood woman is that if she can be consciously aware of her innate feminine nature, not critical of others, and strong enough to stand up to this “spurious femininity” when a man’s mood presents such; he will likely come out of his mood and return to his senses. Many in this world are in the possession of a mental illness, a foul mood which befalls them either frequently or intermittently. They may say they’re having a bad day while in this state. And when comes its opposite, because balance is necessary, mania or depression appears. Chaos may also result owing to the lack of feeling or valuing. Careful reflection and conscious awareness is the point of Percival’s methodical search. The myth, if we follow it through, tells us that Percival triumphs.
There are many, many truths to be gained from study of this most unique of legends, the Holy Grail. Following the lead of Carl and Emma Jung and Marie Louise von Franz, Robert Johnson writes in his book, He, that “what the Grail myth is telling us is that in his relationship to the interior feminine a man should relate to her, that interior feminine [self] on a feeling level and not on a mood level.” The author distinguishes the terms mood and feeling by explanation: he writes, a mood is the result of the interior self unconsciously in possession, the anima or interior feminine self of a man; a feeling is a value, the ability to value. “If a man has a good relationship with his anima, his feminine self, he is able to feel, to value, and thus find meaning in his life. If a man is not related to his anima... he has no capacity for valuation. So sharp collision between the two types of interior experience a man goes through."
In the Legend of the Grail, Percival is guided to his feeling senses, his anima. In discovering a bit of this sense, he is useful and creative; in doing so, he must not however seduce or be seduced by the interior feminine self. Granting himself seduction is destructive towards his goal of finding the Grail Castle. He is, in the legend, most thoroughly advised not to fall prey to a mood. “As soon as a man falls into a mood, he has no capacity for relationship, no power for feeling and therefore no capacity for valuation.” All moods, good or bad, are trouble.
While under the spell of a mood, the one who feels its effect is like a person bewitched. “He cannot think, he cannot function, he cannot relate; he may think he’s doing a great deal, but there is just so much churning inside. If something is not already wrong, a man in a mood will make it wrong.” And if they are not wise to it, a man’s loved ones may also fall victim to his moods. A man may, in fact, in that state of mind think that they are quite responsible for his moods!
Robbed of a sense of relatedness or meaning, a man in a mood we learn in the Grail legend, is a man who cannot find fulfillment. He is easily bored. Thus “if something is wrong with one’s ability to relate, the meaning in life is gone. So depression is another term for mood. One finds that most of the content of a psychosis for a man is anima. It’s a haunting, a possession.” A mood is a little madness then, which overtakes. Many times a person may be overtaken by a mood. There is then wild enthusiasm for this or for that, but the mood runs its course and then the thing is forgotten; much time and money is expended by those in a mood. While in this state he does not ‘run his own house’ and then is impossible to live with; he is terribly critical of exterior, in the flesh women at this time, soundly blaming them for any number of things to which they stand mystified! A man must learn in his quest for the Grail to look for fulfillment but not good moods, lest he is again in possession by something destructive. It’s as if in the mood he declares, “You are going to make me happy--or else!”
The anecdote to this is to learn to live in time, moment to moment. One can learn to recognize the advent of a mood and refuse it. It is one's responsibility to know what is going on within himself so as to live consciously-- the point of this quest for the Holy Grail. “A man who has this kind of self-knowledge begins to develop ego strength,” writes Johnson. When truly enthusiastic, a man is filled with the Spirit of God. He is vibrant and creative. A great creativity flows, one which is stable and productive. It is not the petulance of a child.
The truest genius of a flesh and blood woman is that if she can be consciously aware of her innate feminine nature, not critical of others, and strong enough to stand up to this “spurious femininity” when a man’s mood presents such; he will likely come out of his mood and return to his senses. Many in this world are in the possession of a mental illness, a foul mood which befalls them either frequently or intermittently. They may say they’re having a bad day while in this state. And when comes its opposite, because balance is necessary, mania or depression appears. Chaos may also result owing to the lack of feeling or valuing. Careful reflection and conscious awareness is the point of Percival’s methodical search. The myth, if we follow it through, tells us that Percival triumphs.
Monday, August 30, 2010
The Grail Legend, Signs of Life
"...the man is distinguished by the feminine elements." The Grail Legend by Emma Jung
Continuing in the classic story of the Holy Grail, a myth made noble by its telling and re-telling, the author Emma Jung, wife of famed psychoanalyst, Carl Jung, writes that the myth is known since the middle ages. Over time it develops and refines itself through the numerous spiritual awakenings experienced by its telling. "Thus he [like Percival] is brought into close connection with the Christ." So then the "Grail hero," Percival, represents the higher conscious awareness of a person, in the religious, spiritual sense of the word.
The story events can be traced and understood as "symbolic representations of the archetypal development .... on the other hand, they possess a dimension in depth which points specifically to the problem of the Christian era." The "problem" as described relates to the nature of salvation contained within the Christ story. Percival spurred on by his mother, goes forth from the family home to find his way in the world and most importantly to discover the location of the Grail Castle. For this, he searches long, high and low.
"It would seem,' writes Jung, 'that the mother's story has produced an after-effect in the unconscious of the youth and has there aroused the images of the paternal figures which he then meets in the Grail Castle." This as example, is an experience many of us are familiar with: during our waking day we experience something which while fleeting, to which no importance may be attached, nonetheless it activates the unconscious mind. Often these experiences give rise to dreams which appropriately consider the subject in depth, but most often in symbols. Within the Grail Legend there are a host of symbols to be considered, both religious and spiritual, masculine and feminine.
One of the many things the myth demonstrates is that during Percival's long wandering, while a man naturally has the "tendency to identify with his masculinity, and it is well known, the acceptance of his feminine side is a severe problem for him. He is therefore inclined to act unjustly towards the feminine. It may seem strange... to place a high value on the wronging of the feminine element... it must not be overlooked, however, that a woman is only loved externally; the manly ideal is a one-sided and absolute masculinity." There is then the "motif of the chessboard" upon which Gauvain [another character in the myth] and his beloved defend themselves.
"For in the game of chess which requires concentration and close attention, the two sides confront one another, "a well nigh all powerful queen stands beside a somewhat helpless yet nevertheless vitally important king... the knight must still submit himself" for the further development of the game. As in the game, Percival, like a 'shadow figure' tries to investigate these and other profound problems seeking solutions and the ultimate holy of holy, the Grail itself. To whom the Grail is possessed is riches without parallel. In this game, that one is the victor.
Continuing in the classic story of the Holy Grail, a myth made noble by its telling and re-telling, the author Emma Jung, wife of famed psychoanalyst, Carl Jung, writes that the myth is known since the middle ages. Over time it develops and refines itself through the numerous spiritual awakenings experienced by its telling. "Thus he [like Percival] is brought into close connection with the Christ." So then the "Grail hero," Percival, represents the higher conscious awareness of a person, in the religious, spiritual sense of the word.
The story events can be traced and understood as "symbolic representations of the archetypal development .... on the other hand, they possess a dimension in depth which points specifically to the problem of the Christian era." The "problem" as described relates to the nature of salvation contained within the Christ story. Percival spurred on by his mother, goes forth from the family home to find his way in the world and most importantly to discover the location of the Grail Castle. For this, he searches long, high and low.
"It would seem,' writes Jung, 'that the mother's story has produced an after-effect in the unconscious of the youth and has there aroused the images of the paternal figures which he then meets in the Grail Castle." This as example, is an experience many of us are familiar with: during our waking day we experience something which while fleeting, to which no importance may be attached, nonetheless it activates the unconscious mind. Often these experiences give rise to dreams which appropriately consider the subject in depth, but most often in symbols. Within the Grail Legend there are a host of symbols to be considered, both religious and spiritual, masculine and feminine.
One of the many things the myth demonstrates is that during Percival's long wandering, while a man naturally has the "tendency to identify with his masculinity, and it is well known, the acceptance of his feminine side is a severe problem for him. He is therefore inclined to act unjustly towards the feminine. It may seem strange... to place a high value on the wronging of the feminine element... it must not be overlooked, however, that a woman is only loved externally; the manly ideal is a one-sided and absolute masculinity." There is then the "motif of the chessboard" upon which Gauvain [another character in the myth] and his beloved defend themselves.
"For in the game of chess which requires concentration and close attention, the two sides confront one another, "a well nigh all powerful queen stands beside a somewhat helpless yet nevertheless vitally important king... the knight must still submit himself" for the further development of the game. As in the game, Percival, like a 'shadow figure' tries to investigate these and other profound problems seeking solutions and the ultimate holy of holy, the Grail itself. To whom the Grail is possessed is riches without parallel. In this game, that one is the victor.
Thursday, July 2, 2009
Mature Innocence in Forgiveness and in Love
"Innocence is a mystery greater than evil." James Hillman
Innocence in the soul suggests a state in which one exists unwounded by the every day challenges and trials of the world. Recovering innocence is to refrain from self cruelty or the equally prevalent cruelty inflicted upon others, to work and live in such a way as to gain in the strength needed to live a creative life. Spirit moves in innocence.
Innocence in adult life amounts to a renewal, a return to the essential elements necessary to the life of a Creator. It is more than unknowing; in this sense, innocence is not the least opposed to sophistication, to its opposite, a childlike state of openness that finds itself needed in a maturity which is agile, and graceful continuity. If this is not in evidence, then the perceived maturity is not. Rather, it is simply a form of avoidance of without inherent value. Innocence is the vital element of all forms of play. Experience is key as the buddha taught. Children learn largely by experience.
Innocence is an often overlooked element of deep forgiveness as part of the restorative quality in the soul. Lifes' injuries are nearly unavoidable. However in deep forgiveness, over time, the wounds may be exchanged for the delights and joys of innocence discovered in shared experiences. Maturity need not mark or weigh us down with its cares or disappointments.
Another fertile area of life in which innocence makes its appearance is in love. In mythic terms, love and marriage are markedly different experiences for men and women. The god Eros gains in stature, in strength upon his marriage; yet in doing so writes Robert Johnson in his book She, "each woman in marriage must terminate her innocence and childlike naivety," a difficult, but essential experience for the mature feminine psyche. In the evolving process of maturity, a woman while not directly corresponding to her mate, influences and spurs his own development.
At different points in their parallel lives together, woman who most often bears the light in a man's life, finds that she has nothing to give to him--he simply just isn't looking, or able to look into the light she presents to him. While tangled with him, she may fear as a consequence, what she has then to lose. "There is something in the unconscious of a man that wishes to make an agreement" that she will not look too closely or too carefully at him; yet in maturity she does, and she must. Like the biblical garden of Eden, the pair in love find one another in innocence; their love experience is powerful. And it must be so to propel them into the experiences that comprise their shared lives. Yet as time unfolds, disappointment and disillusionment inevitably arise.
Ultimately it is only in forgiveness, in innocence, that the otherwise harsh judgements of one towards the other may be set aside for a return to the Beloved, to the innocence of the earlier garden of Eden, a paradise she may have feared lost.
simplemindzen.blogspot.com
Innocence in the soul suggests a state in which one exists unwounded by the every day challenges and trials of the world. Recovering innocence is to refrain from self cruelty or the equally prevalent cruelty inflicted upon others, to work and live in such a way as to gain in the strength needed to live a creative life. Spirit moves in innocence.
Innocence in adult life amounts to a renewal, a return to the essential elements necessary to the life of a Creator. It is more than unknowing; in this sense, innocence is not the least opposed to sophistication, to its opposite, a childlike state of openness that finds itself needed in a maturity which is agile, and graceful continuity. If this is not in evidence, then the perceived maturity is not. Rather, it is simply a form of avoidance of without inherent value. Innocence is the vital element of all forms of play. Experience is key as the buddha taught. Children learn largely by experience.
Innocence is an often overlooked element of deep forgiveness as part of the restorative quality in the soul. Lifes' injuries are nearly unavoidable. However in deep forgiveness, over time, the wounds may be exchanged for the delights and joys of innocence discovered in shared experiences. Maturity need not mark or weigh us down with its cares or disappointments.
Another fertile area of life in which innocence makes its appearance is in love. In mythic terms, love and marriage are markedly different experiences for men and women. The god Eros gains in stature, in strength upon his marriage; yet in doing so writes Robert Johnson in his book She, "each woman in marriage must terminate her innocence and childlike naivety," a difficult, but essential experience for the mature feminine psyche. In the evolving process of maturity, a woman while not directly corresponding to her mate, influences and spurs his own development.
At different points in their parallel lives together, woman who most often bears the light in a man's life, finds that she has nothing to give to him--he simply just isn't looking, or able to look into the light she presents to him. While tangled with him, she may fear as a consequence, what she has then to lose. "There is something in the unconscious of a man that wishes to make an agreement" that she will not look too closely or too carefully at him; yet in maturity she does, and she must. Like the biblical garden of Eden, the pair in love find one another in innocence; their love experience is powerful. And it must be so to propel them into the experiences that comprise their shared lives. Yet as time unfolds, disappointment and disillusionment inevitably arise.
Ultimately it is only in forgiveness, in innocence, that the otherwise harsh judgements of one towards the other may be set aside for a return to the Beloved, to the innocence of the earlier garden of Eden, a paradise she may have feared lost.
simplemindzen.blogspot.com
Friday, May 22, 2009
Henri Nouwen: Masculine and Feminine God
You have to keep searching for your body's deeper need, the need for genuine love. Every time you are able to go beyond the body's superficial desires for love, you are bringing your body home and moving toward integration and unity.” -Henri Nouwen, The Return of the Prodigal Son
"How different is the father's right hand! This hand does not hold or grasp. It is refined, soft, and very tender. The fingers are close to each other and they have an elegant quality. It lies gently upon the son's shoulder. It wants to caress, to stroke, and to offer consolation and comfort. It is a mother's hand....'
"As soon as I recognized the difference between the two hands of the father, a new world of meaning opened up for me. The Father is not simply a great patriarch. He is mother as well as father. He touches the son with a masculine hand and a feminine hand. He holds, and she caresses. He confirms and she consoles. He is, indeed, God, in whom both manhood and womanhood, fatherhood and motherhood, are fully present.'
'That gentle and caressing right hand echoes for me the words of the biblical prophet Isaiah, "Can a woman forget her baby at the breast, feel no pity for the child she has borne? Even if these were to forget, I shall not forget you. Look, I have engraved you on the palms of my hands."
Also Nouwen writes: “Your body needs to be held and to hold, to be touched and to touch. None of these needs is to be despised, denied, or repressed. But you have to keep searching for your body's deeper need, the need for genuine love. Every time you are able to go beyond the body's superficial desires for love, you are bringing your body home and moving toward integration and unity.”
In Return of the Prodigal Son, Nouwen describes love and forgiveness as unconditional. Though this is not a new idea, Nouwen's thought is arguably unique as he approached this theme from the view of the younger son, the elder son, and the father.
Each captures the unconditional quality of love and forgiveness in their own way. The younger son's life shows how the beloved lives a life of misery by thinking he can be loved only by meeting certain qualifications of the lover which he fails to meet.
The elder son's actions shows how the beloved can be depressed because he thinks he should receive greater love because he has done all the right things, or that he has met these qualifications.
The father alone understands how to love and forgive and is able to do so, and be happy. Nouwen explains that we are the younger son at times; when we think we don't deserve the love or the forgiveness, and the elder son at times; when we think we deserve love, or that another doesn't deserve it more than us-- that we are all called to be like the father; that by being like the father, we can come closer to being loved as the beloved.
Masculine and Feminine God
"Often I have asked friends to give me their first impression of Rembrandt's Prodigal Son. Inevitably, they point to the wise old man who forgives his son: the benevolent patriarch.
"The longer I look at 'the patriarch', the clearer it becomes to me that Rembrandt has done something quite different from letting God pose as the wise old head of a family. It all began with the hands. The two are quite different. The father's left hand touching the son's shoulder is strong and muscular. The fingers are spread out and cover a large part of the prodigal son's shoulder and back. I can see a certain pressure, especially in the thumb. That hand seems not only to touch, but, with its strength, also to hold. Even though there is a gentleness in the way the father's left hand touches his son, it is not without a firm grip. "Often I have asked friends to give me their first impression of Rembrandt's Prodigal Son. Inevitably, they point to the wise old man who forgives his son: the benevolent patriarch.
"How different is the father's right hand! This hand does not hold or grasp. It is refined, soft, and very tender. The fingers are close to each other and they have an elegant quality. It lies gently upon the son's shoulder. It wants to caress, to stroke, and to offer consolation and comfort. It is a mother's hand....'
"As soon as I recognized the difference between the two hands of the father, a new world of meaning opened up for me. The Father is not simply a great patriarch. He is mother as well as father. He touches the son with a masculine hand and a feminine hand. He holds, and she caresses. He confirms and she consoles. He is, indeed, God, in whom both manhood and womanhood, fatherhood and motherhood, are fully present.'
'That gentle and caressing right hand echoes for me the words of the biblical prophet Isaiah, "Can a woman forget her baby at the breast, feel no pity for the child she has borne? Even if these were to forget, I shall not forget you. Look, I have engraved you on the palms of my hands."
Also Nouwen writes: “Your body needs to be held and to hold, to be touched and to touch. None of these needs is to be despised, denied, or repressed. But you have to keep searching for your body's deeper need, the need for genuine love. Every time you are able to go beyond the body's superficial desires for love, you are bringing your body home and moving toward integration and unity.”
excerpted from Henri Nouwen, The Return of the Prodigal Son
In Return of the Prodigal Son, Nouwen describes love and forgiveness as unconditional. Though this is not a new idea, Nouwen's thought is arguably unique as he approached this theme from the view of the younger son, the elder son, and the father.
Each captures the unconditional quality of love and forgiveness in their own way. The younger son's life shows how the beloved lives a life of misery by thinking he can be loved only by meeting certain qualifications of the lover which he fails to meet.
The elder son's actions shows how the beloved can be depressed because he thinks he should receive greater love because he has done all the right things, or that he has met these qualifications.
The father alone understands how to love and forgive and is able to do so, and be happy. Nouwen explains that we are the younger son at times; when we think we don't deserve the love or the forgiveness, and the elder son at times; when we think we deserve love, or that another doesn't deserve it more than us-- that we are all called to be like the father; that by being like the father, we can come closer to being loved as the beloved.
About Henri Nouwen
Henri
Nouwen (1932-1996) is a 20th century Christian writer, poet, teacher
and mystic. He lived both in the Netherlands and in the United States.
His books are now read in many languages around the world.
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