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A person is both a unity and an opposition, so is a marriage and so are most social relationships as well. A whole society works that way, with opposing political parties and with upper classes looking down on those trying to move up in the world. Each thing carries its own shadow and the inner oppositions in people repeatedly become reflected in outer conflicts that are even harder to get a handle on. Whatever we refuse to face within us will become a collective fate in the world around us. The wise come to know their own inner conflicts, while the unwise keep insisting that all the trouble is the fault of others.”

- Michael Meade, “Fate and Destiny”

The song of the world belongs to the primary nature of all that is. It is life’s sacredness expressing itself, remembering its Source. But we need to listen for it; we need to hear it. We need to celebrate the song. Our ancestors’ knowing that everything they could see was sacred was not something taught but something deeply, instinctively heard.

The “sacred” is not something primarily religious or even spiritual. It is not a quality we need to learn or to develop. We all have within us a sense of the sacred, a sense of reverence, however we may articulate it. It is as natural as sunlight, as necessary as breathing.”

Llewellyn Vaughan-Lee, The Magic of Creation: The Sufi’s Way

Do you hear the “song of the world”? Is everything you see sacred? If not, why not? Could it have something to do with the assumptions of the society you are raised in? Is the mind we call our own really an individual personal construct or is it the mindset of the culture we inhabit? Could it be that what we think is our personal self-made creation is a ready-made thing that was foisted on us without our permission?

There are some societies where it is common to hear the song of the world. The idea that everything is sacred is not a strange idea to inhabitants of some cultures. Of course, those folks have a primitive technological knowledge. Their technology, such as it is, has the mission of dancing with the manifest world rather than dominating it.

It’s hard for us to comprehend why a culture would not want to subdue and dominate, obliterate even, the forces of nature. Is it because those elements impede our mission to enrich ourselves?

Not every living being amounts to a sabre toothed tiger that want to eat us. It might be a denizen of the wild that just happened across the poison we put out. Humans engage in a kind of wholesale killing that no other animal does unless it has gone mad.

What is the object of being alive? Is it to accumulate, to get rich and powerful? Or might it be to add a bit of beauty and liveliness to the web of life itself? In order for that idea to gain any traction, we might have to question our schooling in the Western Christian mindset.

We might have to consider interconnectivity. We might need to pay attention to the prodigious liveliness and beauty of the world given to us.

This, of course, is the province of the artist. The creative artist of whatever stripe leads the way in these values. Paying reverent attention to the manifest, to the soul’s efforts and challenges, to questions of meaning and connection with larger life forces drive the artist to create in response. It’s a dialogue between the artist and her maker, whether conscious or unconscious.

We are free to skim the surface in life. No one is obliged to dive below into the muck. But, it must be mentioned that the lotus does somehow grow out of that muck.

The song of the world is just that — a song, an artistic creation that can put opposites together better than any abstraction can. This song can express the pathos, the beauty, the deepest significance, the reason for being of existence. We have the ability to create this song as well as listen to its message.

The message in the song is in its feeling of connection to the source of life, because in that connection is the meaning of our existence.

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