|
The pilgrim’s
relationship with her sanctuary (i.e. home)
As the frequency
of appearances of the pilgrim’s sanctuary (i.e. her home, that is to say,
particular fulfilment) increases, a very personal relationship develops
between the pilgrim and her sanctuary. The
sanctuary first appears as a strange but friendly light, then as an image,
thereafter as helper in need. Gradually the pilgrim experiences her sanctuary
as a very personal other (i.e. a muse or genie),
even going so far as to anthropomorphise it by giving it a name and/or a
mostly form (the preferred choice, because the most potent, being the Alma
Mater (or the Madonna) with child, the pilgrim experiencing herself as the
child being succoured). A very personal conversation begins between the two.
The relationship may then continue to intensify to become a full-blown love
affair. When that
happens the pilgrim discovers that she is carrying the sanctuary in her
heart, where it shines first on and off, then continuously as a warm,
sometimes golden glow. It’s then that the world tastes and smells sweetly and
the pilgrim dances and sings with
joy, feeling as though flowing over with love (for the sanctuary), charity
(for all) and thankfulness (i.e. for being so fortunate). Blind to the world,
the pilgrim marches on – a danger to herself and others –, though seemingly
protected. Gripped by love for the bountiful sanctuary she (now beginning to
act as a he) finds herself (or himself) driven, indeed drawn to consummate
that love in an act of copulation. It’s during
the act of coupling (i.e. of touch, and which makes her identity, hence
herself a reality) that the pilgrim and the sanctuary become one, and her
journey is finally over, at least virtually (and a new journey begins).
|