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I swear, it's not all in my head. Now it's on paper.
Bounjour Mon amis! I'm garra_eyes. Amazing, no? This journal will have a variety of things in it. I'll have random stuff that's on my mind, theological musings, and other stuff.
Ritual as Communication
This is piece that one of my sister's theology professors (David Fagerberg) wrote about a Chestertonian critique of ritual as communication.

I really enjoyed it, and I hope you do too.

David Fagerberg

Chesterton on Ritual
David W. Fagerberg
Worship, Volume 71, Number 3, May 1997, 194-205.

There is a great deal of analysis being conducted on ritual in the academic study of liturgy these days, all to the good, I believe. If, as my teacher used to say, liturgy is a species in the genus “ritual,” then these general studies can only be of help. Nevertheless, this article intends to add one more voice to the discussion, the voice of a person from outside the academy. It seems important to add this voice because sometimes academics treat ritual as if it had one purpose, namely, the same as theirs, which is to make meaning. No disrespect intended to my own guild, but we can be a serious and furrow-browed band, looking, as we do, for meaning and sense everywhere, and so we may be tempted to see ritual primarily as a system for producing and communicating meaning in a social unit. I have no doubt that ritual does produce and express meaning. But it does also seem true that ritual is full of meaning in other ways, and for other people, and that these people would not necessarily look to production and expression for the ultimate justification of ritual (including the ritual of liturgy). So an additional voice might benefit our discussion: not a contrary voice, but a less specialized, happier, and more common voice; the voice of a journalist from Fleet Street in London who enjoyed defending the common person; a voice which defended Christian ritual in the face of disparaging criticisms of it in his own day, that of Mr. Gilbert Keith Chesterton.

Despite his fame as an author of detective stories (The Father Brown Mysteries), a literary critic (on Dickens, Stevenson, Chaucer), a political commentator (and proponent of distributionism), a polemicist on the lecture circuit, a biographer (St. Thomas, St. Francis) and a Catholic apologist, Chesterton consistently described himself simply as a journalist. He made his living from articles and essays and book reviews and books. The secret as to exactly how he managed to fit all this in he gives in his autobiography, completed just a month before his death in 1936 at the age of sixty-two: “The profound problem of how I ever managed to fall on my feet in Fleet Street is a mystery; at least it is still a mystery to me ... On the whole, I think I owe my success (as the millionaires say) to having listened respectfully and rather bashfully to the very best advice, given by all the best journalists who had achieved the best sort of success in journalism; and then going away and doing the exact opposite. For what they all told me was that the secret of success in journalism was to study the particular journal and write what was suitable to it. And, partly by accident and ignorance and partly through the real rabid certainties of youth, I cannot remember that I ever wrote any article that was at all suitable to any paper .... I wrote on a Nonconformist organ like the old Daily News and told them all about French cafes and Catholic cathedrals; and they loved it because they had never heard of them before. I wrote on a robust Labor organ like the old Clarion and defended medieval theology and all the things their readers had never heard of; and their readers did not mind me a bit.”

In keeping with his contentious and anomalous literary habits, he also defended ritualistic religion in the atmosphere of elite anti-ritualism. Some of his defenses came from days before he himself finally converted. (One might say that Chesterton became Catholic a number of years before he got around to informing Rome about it, having informed the world about it first in his literature.) His own background seems not to have been antagonistic to religion in theory, but he does not describe himself as having possessed a resolute ecclesiastical identity. “I think I am the sort of man who came to Christ from Pan and Dionysius and not from Luther or Laud; that the conversion I understand is that of the pagan and not the Puritan ...” At any rate, his conversion was not something he orchestrated. He recalls that upon first meeting Fr. John O’Connor, if anyone “had told me that ten years afterwards I should be a Mormon Missionary in the Cannibal Islands, I should not have been more surprised than at the suggestion that, fully fifteen years afterwards, I should be making to him my General Confession and being received into the Church that he served.” If it was not personal nostalgia which incited his defense of ritual, what, then?

In his most famous book, Orthodoxy, written in 1908 at the age of thirty-four, Chesterton describes himself as someone who set sail to discover a new island in the south seas, only to land unwittingly on the shores of England. He had set out to discover a cure to pessimistic nihilism and arrived at what he called a theory of conditional joy. “[W]ith little help from philosophy and no real help from religion, I invented a rudimentary and makeshift mystical theory of my own. It was substantially this; that even mere existence, reduced to its most primary limits, was extraordinary enough to be exciting .... I hung on to the remains of religion by one thin thread of thanks.” He followed that one thin thread, unaware of what it was fastened to at the other end, in order to defend the proposition that the ordinary person is fitted with a capacity for joy, but that such joy is possible only in an ordered, ordinary life. "I am ordinary in the correct sense of the term; which means the acceptance of an order; a Creator and the Creation, the common sense of gratitude for Creation, life and love as gifts permanently good, marriage and chivalry as laws rightly controlling them, and the rest of the normal traditions of our race and religion.” This confirmed a suspicion deeply ingrained in his personality: if religion is to be a normal tradition it must be practicable, and if it is practicable it must be common and universal so that all people can practice it. His defense of a ritualistic Church derives from his commitment to defend ordinary persons from the meddling expert - in politics, social revision, and religion - who offers to improve the ordinary person according to the latest theory. “The expert is more aristocratic than the aristocrat, because the aristocrat is only the man who lives well, while the expert is the man who knows better ...”

Rituals should be universal and ancestral things, possessing a capacity to do many things and made to supply many different needs - which is how Chesterton defines universal and ancestral things. To make his point, he recommends casting an eye about the room and noticing some common, ancestral things. “About each of these you will notice one specialty; that not one of them is special .... and while tottering pedants nose about to find the cause and origin of some old custom, the truth is that it had fifty causes or a hundred origins.” Take a knife, for example. “The knife is meant to cut wood, to cut cheese, to cut pencils, to cut throats ....” Or a stick. “The stick is meant partly to hold a man up, partly to knock a man down; partly to point with like a finger-post, partly to balance with like a balancing pole, partly to trifle with like a cigarette, partly to kill with like a club of a giant; it is a crutch and a cudgel; an elongated finger and an extra leg.” Most vividly of all, fire. “A queer fancy seems to be current that a fire exists to warm people.” But its most obvious use is not its only use. “It exists to warm people, to light their darkness, to raise their spirits, to toast their muffins, to air their rooms, to cook their chestnuts, to tell stories to their children, to make checkered shadows on their walls, to boil their hurried kettles, and to be the red heart of a man’s house and that hearth for which, as the great heathens said, a man should die.”

Such ancient and universal things share one characteristic, Chesterton says: not one of them is special. The ancient things are timely, and the universal things are capacious, because they are not specialized, and in not being specialized, they have more uses than our modern substitutes for them. “If a man found a coil of rope in a desert he could at least think of all the things that can be done with a coil of rope; and some of them might even be practical. He could tow a boat or lasso a horse. He could play cat’s cradle, or pick oakum. He could construct a rope-ladder for an eloping heiress, or cord her boxes for a traveling maiden aunt. He could learn to tie a bow, or he could hang himself. Far otherwise with the unfortunate traveler who should find a telephone in the desert. You can telephone with a telephone; you cannot do anything else with it ....” You can communicate meaning with a meaning-making ritual, as if across telephone wires; you cannot do anything else with it.

Ancient and universal things, like rituals, make us think of all the things that can be done ritually, and some of them might even be useful. If one is in a designating frame of mind, then one might search to name the single thing which a ritual does; but if one is in a different frame of mind, say, an observant one, then one might notice the many things which people do by ritual. That is why, when specialists in pedagogy and experts in communication gaze upon the religious ritual, they risk seeing only a specifically adapted purpose. In that event, “some all-round balance is needed to equalize the extravagance of experts. Religion, the immortal maiden, has been a maid-of-all-work as well as a servant of mankind. She provided men at once with the theoretic laws of an unalterable cosmos; and also with the practical rules of the rapid and thrilling game of morality. She taught logic to the student and told fairy tales to the children; it was her business to confront the nameless gods whose fears are on all flesh, and also to see the streets were spotted with silver and scarlet, that there was a day for wearing ribbons or an hour for ringing bells.”

Chesterton would be willing to call rituals “complex” if the term meant multipurposeful, but the word really does have two meanings, and one must be careful not to jump to confusions. The anti-ritual mood which Chesterton contradicted understood complex to mean “many coloured, and elaborate, and needlessly formal,” and was generally desirous to be free of the same. But it is Chesterton’s observation that there are two kinds of ritualism: one conscious, which is comparatively simple, and the other unconscious, which is really heavy and complicated, and the people who are most upset with religious mummery are, he observes, even worse ensnared in rituals which have not the complexity of “plain things like wine and fire, but of really peculiar, and local, and exceptional, and ingenious things - things like door-mats, and door-knockers, and electric bells, and silk hats, and white ties, and shiny cards, and confetti” Chesterton does not advocate this kind of complexity as the defining mark of religious ritual. In fact, if that is the kind of ritual one means, then he affirms that “modern man scarcely ever gets back to very old and simple things except when he is performing some religious mummery. The modern man can hardly get away from ritual except by entering a ritualistic church.”

Therefore, the complexity of religious ritual does not mean that it is so arcane that it needs expert interpreters. It means that complex rites are available and generous and able to be practiced by ordinary men and women. The practicability of his fiancée Frances’ religion was an alien experience to Chesterton when he first met her. “She had a sort of hungry appetite for all the fruitful things like fields and gardens and anything connected with production; about which she was quite practical. She practised gardening; in that curious cockney culture she would have been quite ready to practise farming; and on the same perverse principle, she actually practised a religion. This was something utterly unaccountable both to me and to the whole fussy culture in which she lived. Any number of people proclaimed religions, chiefly oriental religions, analysed or argued about them; but that anybody could regard religion as a practical thing like gardening was something quite new to me and, to her neighbors, new and incomprehensible.”

Religious ritual is complex, but not in the sense of fussy and perplexing and pointless. And religious ritual is practicable, but not in the sense of being practical (read: utilitarian, always useful). The failure to understand this accounts for the most amusing explanations of ritual ceremonies. For example, it is sometimes patiently explained that primitive people put food in a grave because they were primitive, and being primitive, they were ignorant and backward and believed that the dead can eat. But this would be like saying the English in the twentieth century believed that the dead retain their olfactory senses, attested to “by the fact that they always covered [the] grave with lilies, violets, or other flowers.” We misunderstand because we misunderstand the real nature of ceremonial. “The man of science, not realizing that ceremonial is essentially a thing which is done without a reason, has to find a reason for every sort of ceremonial, and, as might be supposed, the reason is generally a very absurd one - absurd because it originates not in the simple mind of the barbarian, but in the sophisticated mind of the professor .... I believe they put food or weapons on the dead for the same reason that we put flowers, because it is an exceedingly natural and obvious thing to do. We do not understand, it is true, the emotion which makes us think it obvious and natural; but that is because, like all the important emotions of human existence, it is essentially irrational.”

These rational explanations of natural, albeit irrational emotions, are amusing in some cases, but they are pure snobbery in other cases. Chesterton impugns the snobbery of experts for at least three reasons, it seems. First, he abhors the experts who look down their noses upon the green-grocer and the sausage-seller. There was evidently an epidemic of this attitude in the cast of characters with whom Chesterton sparred in his younger days, and at the end of his life he recalls having disliked these theosophists for this attitude, even before he understood their asseverations. “I did not dislike them because they had erroneous doctrines, when I myself had no doctrines .... I disliked them because they had shiny pebbly eyes and patient smiles. Their patience mostly consisted of waiting for others to rise to the spiritual plane where they themselves already stood. It is a curious fact, that they never seemed to hope that they might evolve and reach the plane where their honest green-grocer already stood.”

This superiority manifested itself in the assumption that ritual religion is an instinct of nature which could be cured by civilization. This natural instinct, which the primitive shares with beasts of the wild, would decrease as civilization increased. The less sophisticated one is, the more one is supposed to be superstitiously ruled by base instincts shared with the animals and, hence, the more susceptible to religion. Chesterton contradicts. Religion, and the ceremonial it spawns, is a product of our higher capacities, not our lower ones. “There is not the faintest hint to suggest that anything short of the human mind we know feels any of these mystical associations at all .... [T]here is no reason to suppose that live sheep will ever begin to use dead sheep as the basis of a system of elaborate ancestor-worship .... It is not impossible, in the sense of self-contradictory, that we should see cows fasting from grass every Friday or going on their knees as in the old legend about Christmas Eve. It is not in that sense impossible that cows should contemplate death until they can lift up a sublime psalm of lamentation to the tune the old cow died of. It is not in that sense impossible that they should express their hopes of a heavenly career in a symbolic dance, in honour of the cow that jumped over the moon .... The materials for religion had lain there for countless ages like the materials for everything else; but the power of religion was in the mind.”

Second, Chesterton senses another version of this snobbery in those who belittle Christian liturgical rites on the charge that they are rooted in paganism. There was a class of critics who thought that Christian ritual was the result of a paganising corruption, and their objective was to purify the Church of it. So Chesterton calls them puritans. But the very elements which they would liquidate, Chesterton celebrates. When the puritans complain that ritual religion uses certain feasts, processions or dances which are really of pagan origin, he replies that “[t]hey might as well say that our legs are of pagan origin. Nobody ever disputed that humanity was human before it was Christian; and no Church manufactured the legs with which men walked or danced, either in a pilgrimage or a ballet .... Where such a Church has existed it has preserved not only the processions but the dances; not only the cathedral but the carnival. One of the chief claims of Christian civilisation is to have preserved things of pagan origin.” Chesterton celebrates this connection because it is a connection to our common and ancestral humanity. Puritans worry about those facets of ritual which seem to connect us to an ancient and pagan people, but Chesterton sees it as a connection to the broad avenue of common human experience. “This is really what is meant by the Puritans who say that the Church is Pagan; that it does open a very long avenue, which is the only avenue left connecting us with Pagan antiquity. That is largely what is meant by insisting that the Church covers all sorts of dubious or disreputable people; all the motley mobs of tramps and pedlars and beggars, who do make up the life of an open market-place.”

Finally, Chesterton assails the experts who consider themselves above ordinary ritual behavior. He senses a “gradual increase of the specialist over the popular function” and objects to it, weighing in on the side of popular practice. There is a place for experts, he agrees: they do specific things expertly. But we have already seen that he thinks religion is universal and ancient, therefore it is not something that must be done expertly, therefore it belongs to the people and not to the specialists. “Once men sang together round a table in chorus; now one man sings alone, for the absurd reason that he can sing better. If scientific civilization goes on (which is most improbable) only one man will laugh, because he can laugh better than the rest .... [Once] a person could dance without being a dancer; a person could dance without being a specialist; a person could dance without being pink” Singing, laughing, dancing - these are some things of which religious rituals are made. In Chesterton’s rosy view of the Middle Ages as a commonwealth dominated by a religion, these skills belonged to everybody and were not confined to a professional class, and in proportion as religious civilization decays, he thinks a world will be created where there will be no life for dancing to have a place in. The fact that a certain Mr. McCabe (who is serving as Chesterton’s foil in this case) can think of “dancing as a thing belonging to some hired women at the Alhambra [a music hall and ballet company] is an illustration of the same principle by which he is able to think of religion as a thing belonging to some hired men in white neckties. Both these things are things which should not be done for us, but by us. If Mr. McCabe were really religious he would be happy. If he were really happy he would dance.”

Religious ritual is ordinary because it is natural. It is natural to be allured by the supernatural. There is no innate contradictoriness between our earthly, material, natural lives and our heavenly, spiritual, supernatural destiny. In fact, only the irruption of the latter has the power to inspire the festival. Only the supernatural can create celebration. Only holy days can create holidays. “It is hard to see at first sight why so human a thing as leisure and larkiness should always have a religious origin. Rationally there appears no reason why we should not sing and give each other presents in honor of anything - the birth of Michael Angelo or the opening of Euston Station. But it does not work. As a fact, men only become greedily and gloriously material about something spiritualistic. Take away the Nicene Creed and similar things, and you do some strange wrong to the sellers of sausages. Take away the supernatural, and what remains is the unnatural.” The experts want to rationalize ritual, while the popular longing has been to ritualize mystery. But the experts are the worse off for their program, because while they have their reason, the people have their sanity. “Mysticism keeps men sane. As long as you have mystery you have health; when you destroy mystery you create morbidity. The ordinary man has always been sane because the ordinary man has always been a mystic.”

These experts, unlike the future Frances Chesterton, seem to prefer analyzing and arguing about religious philosophy to the practice of religious ritual. And even if it comes to pass that from their advanced and precocious aerie they manage to abstractly appreciate popular rituals like the maypole or the Olympian games, “there is about these people a haunting and alarming something which suggests that it is just possible that they don't keep Christmas. It is painful to regard human nature in such a light, but it seems somehow possible that Mr. George Moore does not wave his spoon and shout when the pudding is set alight. It is even possible that Mr. W. B. Yeats never pulls crackers. If so, where is the sense of all their dreams of festive traditions? Here is a solid and ancient festive tradition still plying a roaring trade in the streets, and they think it vulgar. If this be so, let them be very certain of this, that they are the kind of people who in the time of the maypole would have thought the maypole vulgar; who in the time of the Canterbury pilgrimage would have thought the Canterbury pilgrimage vulgar; who in the time of the Olympian games would have thought the Olympian games vulgar. Nor can there be any reasonable doubt that they were vulgar. Let no man deceive himself; if by vulgarity we mean coarseness of speech, rowdiness of behavior, gossip, horseplay, and some heavy drinking, vulgarity there always was wherever there was joy, wherever there was faith in the gods. Wherever you have belief you will have hilarity, wherever you have hilarity you will have some dangers.” From his viewpoint on Fleet Street, Chesterton was happy to say that ritual, including religious ritual (or perhaps especially religious ritual), was vulgar because it pertained to and constituted ordinary people.

All this makes me suggest, simply, that the people about whom Chesterton is writing do not attend liturgical rituals to learn something, they do liturgies because of who they are. Yes, rituals communicate meaning, but “Ritual is really much older than thought; it is much simpler and much wilder than thought. A feeling touching the nature of things does not only make men feel that there are certain proper things to say; it makes them feel that there are certain proper things to do. The more agreeable of these consist of dancing, building temples, and shouting very loud; the less agreeable, of wearing green carnations and burning other philosophers alive. But everywhere the religious dance came before the religious hymn, and man was a ritualist before he could speak ...” The ritual precedes the thought; the celebration is the basis for the meaning; lex orandi establishes lex credendi.

Perhaps it would be good to reserve the appellative “liturgist” for the person who does liturgical ritual instead of the person who studies it; it might help us remain conscious about where the center of gravity lies. A residue is left by the ritual scrimmage between God and the liturgist, and this residue is what a student of liturgy analyzes. Liturgical theology materializes upon the liturgist’s encounter with the Holy One, not the analyst’s inspection. Only after the liturgy has been transacted can it be dusted for God's fingerprints.

I do not mean to pit the expert against the practitioner (except when pebbly-eyed experts wait for liturgists to ascend to their understanding), but Chesterton reminds us that the popular reason for enjoying ritual may be different than the professional reason for enjoying ritual. Imagine finding a great machine, pieces of its discarded packing crate still lying about on the grass, which has an array of dials, knobs, levers, gears, wheels, buttons, pedals, chains, pulleys, gizmos and controls of all kind. On the lid of the packing crate are stenciled the words "Liturgical Ritual." The professional might buckle on a tool belt crammed with the utensils of the trade (linguistics, history, comparative methods, textual analysis, anthropology studies, hermeneutics) and approach the machine saying, "Now, let's see how this thing works." Chesterton’s friends might be drawn to it for a different reason, asking "Now, let's see how to work this thing." In other words, they might have different reasons for working with ritual than to tune up the meaning coefficient or adjust the symbol-productivity quotient. Thank God that liturgy is complex, but not just so that we experts have a job. Thank God that liturgy is complex because ancient and universal things supply many different needs. The liturgist might be motivated by such vulgar desires as dancing, singing and laughing; playing with God; sounding the mystical note of ecstasy or the grave tone of morality; decorating the landscape with colored light streaming from stained-glass windows; teaching justice to those who need to see the world aright and hope to those who need to see the world to come.


There's something . . . . off.
For the past few weeks, I've had this uneasy feeling in my gut. There's something that's just not right. I'm not sure what it is. Is there something in my life that's making me uncomfortable? Is there something I haven't done that I should do, or maybe something I have done that I shouldn't have? I just can't put my finger on it. Maybe it's because I haven't been writing. I promised myself I would write more for my stories this summer. Maybe the reason I'm feeling so uneasy is that I have too many of those ideas swimming around in my head and I haven't taken the time to get them down on paper. I don't know, but one thing is clear. Something is . . . off.

Moon Myth
This is a myth I made up to go with my avatar in the avi arena. If it's still around, go vote for me! ^.^


Orihime, the star weaver, lived in the heavens. She would spend her days weaving the tapestry of stars for each night, changing the pattern a little each time. By night, she was free to wander the earth, entering the dreams of mortals and weaving her stars through their minds. The stars that she wove into dreams protected the sleeping mortals from nightmares and other night time frights brought on by demons.

Varuna, the god of the underworld, ruled over darkness and night. By day, he ruled the world of the dead, but by night, he covered the world in darkness and crept through the dreams of mortals, causing their minds to darken and be filled with terrifying thoughts.

One night, Varuna passed through a mortal mind that he could not darken. Seeking the reason for this, he found one bright star, woven into the tapestry of his dreams. Varuna flew into a rage. He killed the mortal and, carrying his soul down to the underworld, began to plot. He knew who was behind this star found in the mortal’s dreams. It was Orohime, the goddess who diminished the dark of night with her woven veils of stars. Now, she diminished the darkness in dreams with the same stars.

Varuna continued to rule the underworld by day, but at night, he sent his brothers and sisters to darken the dreams of mortals while he contrived a plan to destroy Orihime. One night, after many months of plotting, Varuna flew up to Orihime’s home in the heavens. There he waited for her to return from her night time wanderings.

When Orihime returned to her home, she sat down at her loom and began to weave the tapestry for the following night. As she wove the stars, she began to sing. Varuna, crouching in the shadows heard this beautiful song and was so moved that a single tear rolled down his cheek and fell to the floor.

Forgetting all he had contrived to do the night before, Varuna stepped from his hiding place and made himself known to Orihime. He gave to her the silver tear that had dropped to the floor as a gift, telling her to place it in the night sky with her tapestry of stars. Each night, the silver orb would diminish, until it was nothing more than a sliver in the sky. On the next night, there would be no bit of the tear left, but on that night, Varuna promised to return to give one more tear.

And so it continued that on every night that no moon shined, when the power of darkness was strong enough to permit Varuma to fly to the heavens, he would return to Orihime’s side to spend the day listening to her sing and with each trip, giving her one silvery tear.

Thus the night was given a light that waned with each passing day, until, on the darkest night, a new light was made.

~~~~~~~~~

It happened one month that a great plague struck the land and many mortals died. So many souls traveled to the Underworld that Varuna new he would not be able to leave to listen to Orihime’s song and to give her a new light for some time.

On the night that he was to meet Orihime, he said to Mitra, “Brother, go to the star weaver, Orihime, and tell her that my love for her remains, but my promise I am unable to keep. I must remain in the Underworld for a time, but I will soon return to her side.”

Mitra hurried to the heavens to Orihime’s home along the river. Upon hearing this message, Orihime was greatly troubled.

“What shall I do?” she asked. “The mortals have already grown accustomed to the light from the moon. How can I deny them the comfort of light in the midst of this terrible plague?”

“Might I make a suggestion?” asked Mitra. “Each night, the light wanes as bits of the moon fall as dew to the earth. If we send someone to collect this dew, perhaps we could place it in the tapestry of night, thus restoring light to the mortals for some time.”

Agreeing to this plan, Orihime quickly called her brother, Fujin. “Brother,” she pleaded, “I beg of you to do me this one favor. Cause the wind to blow all the dew up to the heavens, that I might place it in the tapestry of the night sky and give light to the mortals.”

“This is a mighty task,” replied Fujin. “It will take many days for all the dew to be gathered, but I promise that it shall be done.”

Fujin set out immediately to command the wind to gather the dew from all the leaves. The following evening, Fujin came to his sister and, removing the sack he carried over his shoulder, presented her with the dew gathered that day. Orihime placed the dew in her tapestry where the moon usually lay, but it only filled a small sliver of the empty space. Weaving the threads of the dark sky as tightly as she could, Orihime made sure that not one drop of the dew would fall this time.

And so, with each passing night, the moon grew in size as Fujin gathered more and more dew, until one night, all the dew had been gathered and the moon sat in the sky as full as the tears Varuna shed. However, because the dew from the tears had been so tightly woven, it became damaged and again began to fall from the moon, so that each night, the moon became smaller and smaller.

Fujin again gathered the dew and brought it to Orihime, but no matter how hard she tried, the dew could not be woven back into the tapestry of night.

Though the dew could no longer be placed in the sky, it was still precious to Orihime, so she placed it in a small silver box, given to her by Daikoku, which would hold any treasure, no matter the size.

Finally, on the night that all the dew had fallen from the moon and there was no great light in the night sky, Orihime sat in her chambers and wept for the mortals below.

Meanwhile, Varuna, seeing the darkened sky, decided that the time for him to see his lover could wait no longer. Leaving the twin judges, Kama and Kami, in charge of the underworld, Varuna flew to the heavens to spend to following day with Orihime. When he reached Orihime’s chambers, however, he was shocked to see her crying.

The sight of his lover’s pain moved him to sorrow and one small tear rolled down his cheek and onto the floor.

“Orihime,” he called, “Why do you cry?”

“It is because there is no light for the mortals,” she sobbed.

“Dry your tears, my love,” replied Varuna. “I have brought a new light for you to weave in your tapestry.” Saying this, he presented Orihime with the tear he had just shed.

“Now come,” he said. “Sing for me songs of gladness and wonder and I shall give you another tear. There are so many mortals living and dying on the Earth that I cannot come to lay by your loom as often as before, but continue to collect the dew from the moon to sew into your tapestry, but permit me one night of darkness in between, that I might sit by your loom and shed another tear for you, so that when the dew no longer clings to your tapestry, you shall have another moon to take its place.”

Orihime agreed and, turning to her loom, she began to sing as she lovingly sewed her lover’s tear into the night tapestry. As Varuna listened, one more tear fell from his eye, rolling onto the floor. Orihime took the new moon and placed it in a small golden box given to her by Daikoku, which would hold only one treasure, but would preserve the treasure so that when Orihime next opened the box, the treasure would be as new as it was on the day she placed it into the box.

When the time came, Orihime spread the tapestry of the night and Varuna was forced to retreat from the light back to the Underworld, waiting for the night when there would be no moon and he could see his lover again.

And so it continued. When the full moon waned and darkness fell, Varuna would fly to the heavens to listen to his lover’s song, shedding one tear, which Orihime would place in the golden box. On that same night, Fujin would begin to gather the dew, which Orihime placed in the tapestry of the night sky, but on the night that all the dew was had been gathered, instead of placing it in the tapestry, she placed it in a little silver box. And from a little golden box, she drew a new moon.

And that is why the moon waxes and wanes and why there must be one night of dark, so that we might have light on all other nights.

(The characters in this story are very very very very very very very loosely based on Hindu gods, Japanese kami, and the Japanese/Chinese story of Tanabata. The actual story is of my own creation.)

I hate it when people don't listen . . . .
Ever have one of those debates where the other person completel ignores most of your main points and flatly denies the rest because of course, he/she heard someone say something once that leads them to believe that you are wrong, which in reality, you are the on who has done the research that proves him/her wrong? Know what I hate even more than that? Straw-men. Know what I hate even more than that? When everyone else knows it's a straw man, but the person who set up that straw-man refuses to admit it.
Sigh.
I'm sick of debating people who are ignorant of the most basic rules of debate, so I'm taking a break from ED (I know, it seems ludicrus that I would have to leave ED because of people who don't know how to debate civilly, but it's true) for the time being.
If anyone who reads this wishes me to help with a certain ED thread (usually I get called in on anti-Catholic threads, which I'll be more than willing to offer help with) PM me or something. Until then, I will be lurking in my quilds.

Peace and love, all.

The Eucharist . . .
I've had many responses to my siggy and a lot of them want to know about the Eucharist.
Recently, I recieved a pm about this. This pm came right after an extensive discussion with another person about the Eucharist, so I decided that it would probably be in my best interest to place this in my journal and simply send people the link if they want to know about the Eucharist. Any further discussion that takes place is more than welcome through pms, but this will keep me from having to repeat myself over and over again to different people.

If you are Catholic and have some suggestions for sites, comments, etc. that I should add onto this, pm me and I will seriously consider it. What you are about to read was a response to someone with several specific questions about the Eucharst, so it very well may not be entirely inclusive.

If you are a non-Catholic who wishes to discuss the Eucharist, send me a pm. My door is always open. (unless you start harassing me. I will not respond to pms that do that.)

I used to actually explain the Eucharist myself, but then I discovered that there were others who could do it so much better.

If you don't mind doing some reading, you can look at these sites. If you don't want to read all that (which I totally understand), just let me know and I'll sum it all up for you, ok? mrgreen

Is the Eucharist really the body of Christ?
This is a very long explination and goes way way into debth. If you want a shorter, simple, and fun explination, look at these sites:

The Catholic Church maintains that Jesus is the Eucharist (aka bread and wine)

It says that the early church believed this, but how early was this believed and where's your proof?

Wait, is this a biblical teaching?
yes

Ok, so Jesus said that he is the bread of life. Wasn't he just being metaphorical?
nope

But how do we know that teaching is true?
well, we don't know, but we have a pretty good idea.

How does the Eucharist become the body and blood of Christ?

Unfourtunately, I do not have a handy dandy website for this one, so I will simply explain it. Durring the Mass, we have what is called the concecration of the blessed sacrament. If you go to a Mass, you'll notice that everyone kneels at this point. This is for several reasons.
Reason 1: To show respect for the Eucharist
Reason 2: To get everybody's attention. Durring Mass, we do what my sister fondly refers to as the Catholic aerobics. That is, we sit, stand, sit, stand, sit, stand, kneel, stand, walk around the church, stand or kneel, sit, stand, sit, stand, leave (and all in one hour!). Each movement is done partially out of tradition. The Mass used to be only said in Latin. The laity generally did not speak Latin, so the only way for them to follow along was by the non-verbal cues, such as Catholic aerobics.

Back to the Eucharistic prayer . . .
The priest will say the words of consecration (the words that Jesus himself said at the last supper) and the bread and wine becomes the body and blood of Jesus.

Ok ok, so what does the Eucharist do for me?

To sum this all up, here is a quote from Gene Fadness, a Catholic journalist from my home town.
Gene
I am firmly convinced that those who have left the table of the Lord did not ever completely understand what happens on the altar. There is no sermon so spellbinding, no music so uplifting, and no fellowship so endearing that could ever replace receiving the body and blood of Jesus Christ! There is no substitute for it and those who fully understand it could not live without it.


Amen to that.

firefly vids
Ok, so I recently rediscovered my great love for firefly. I went to YouTube, hoping to find one or two good videos and then I went crazy and started adding movies to my favorites by the dozens! Ok, maybe not that many, but close.

Anyway, here are some awesome vids.
be careful which ones you look at if you haven't seen the series. Some of them have spoilers.

clips
deleted scene from "Our Mrs. Reynolds"
Wash playing with dinosaurs
Am I pretty?
It was the tourture talking!


Trailers

Trailer to the "Friends" theme song
Full series trailer
What is firefly?



Tributes

Tribute to Jayne
Tribute to Mal
Tribute to Wash


Music Videos

Lady Luck
Post Blue
Lucky
Butterflies and Hurricanes
Trigger Happy
Born Too Slow


Hope you guys liked these movies!
^.^

(disclaimer: I did not make any of these movies. They all say who made them on the page with the vid)

College!
Well, I'll be heading off to college in just under 6 and 1/2 weeks. whee I'm very excited.

STAB!
I just stabbed myself with a fork! No, I'm not joking. I'm serious. I was making some mac 'n cheese for lunch and I dropped the fork on my toe. Now I'm bleeding, in pain, and just a little bit sad.
Normally I'd be a bit more sad than I am right now, but I got to play with band-aids! Why does that make me happy? well, I'm not entirely sure. I just really like band-aids.

Incorporated
I've decided to incorporate myself. From now On, I will be known as Lizabeth Vi Inc.

garra_eyes
Community Member
garra_eyes
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