John Barleycorn Must Die

Anyone familiar with this blog can probably figure out that I have a deep and abiding affection for the folk music of the British Isles. This affection goes back to childhood when I would listen to my mother’s Simon and Garfunkle and Peter, Paul and Mary albums which eventually led me to artists like Fairport Convention, Dougie Maclean, and, later, The Waterboys. During high school I was a big fan of the early Rod Stewart and Faces when they were exploring folk instrumentation and idioms in the context of rock; and I likewise always loved Led Zeppelin’s habitual excursions into folk with songs like “The Battle of Evermore” and “Going to California.” I had a group of friends, mostly girls, who shared my love for this kind of music and we would repair on summer evenings to a valley in a local golf course (this was in Detroit) where we would make a small bonfire, play guitars, drink beer, smoke hash, and dream. One of the girls taught me a few chords on her mandolin and I taught myself the mandolin part from “Maggie Mae” within a few minutes. That was it: I was hooked. If you want a picture of my soul, this is the soundtrack.

These musical enthusiasms eventually led me to an exploration of their sources in Irish, Scottish, and English ballads in my twenties and thirties. This is when I learned about Cecil Sharp (1859-1924) who collected almost countless ballads, reels, dances, and so forth and to whom is owed a great cultural debt. In addition, my love for the music of Ralph Vaughan-Williams and the Anglican hymnal is no doubt due to the rich wellsprings of folk music that nourishes them. My grandfather was from Ireland and one of my best friends growing up was from Scotland, so I also had very personal attachments to this music and the cultures that had produced it.

This interest in folk music eventually brought me to more scholarly excavations of folk tradition when I read Sir James Frazer’s The Golden Bough (the abridged version!) and Jessie Weston’s From Ritual to Romance in my twenties. When I began doctoral studies, I entertained the idea of making my area of specialty the poetry of Robert Burns, many of whose poems are actually folk songs, but balked because I didn’t want to sour on something I loved so much through the kind of academic ennui that often infects the scholarly.

In my years as a Waldorf teacher, I drew on this tradition when working with my students. I would teach them various ballads upon occasion and put together an arrangement of “Greensleeves” for Christmas one year as well as a version of Peter, Paul, and Mary’s take on “A Soalin.” When I taught third grade, I wrote a short play for my class, “The Grain Mother,” which drew on a number of traditions and their mythoi of grains and how when a certain kind of wind blows through the fields it is said that the Grain Mother is passing through. I also wrote a version of the Mummers Play to be performed at a May Day festival by sixth graders. It was a kind of Sir James Frazer meets Monty Python type of deal, and it was dead funny. In addition, I directed three eighth grade classes in performances of Shakespeare’s plays A Midsummer Night’s Dream, Twelfth Night, and The Tempest and set the Bard’s songs to my own tunes and arrangements in a very English-Irish folk manner, one of which from Twelfth Night you can hear below in a version recorded by The Corktown Popes and another from The Tempest during my Waldorf period which features rapper Big Sean when he was still Little Sean and my student.

I often taught students poetry from the tradition, such as the Celtic “He Praises the Trees” and “The Ripe and Bearded Barley.” Often in these poems and ballads, the Things of Nature are personified, though I’m not at all that convinced that personification is the most accurate word; as Kathleen Raine once said, “The pathetic fallacy is neither.” Their words possess a certain magic:

Come out, 'tis now September, The hunter’s moon’s begun; And through the wheaten stubble We hear the frequent gun; The leaves are turning yellow, And fading into red, While the ripe and bearded barley Is hanging down its head. All among the barley, Who would not be blithe, While the ripe and bearded barley Is smiling on the scythe! The wheat is like a rich man, It'’s sleek and well-to-do; The oats are like a pack of girls, They’re thin and dancing too; The rye is like a miser, Both sulky, lean, and small, Whilst the ripe and bearded barley Is the monarch of them all. All among the barley, Who would not be blithe, While the ripe and bearded barley Is smiling on the scythe! The spring is like a young maid That does not know her mind, The summer is a tyrant Of most ungracious kind; The autumn is an old friend That pleases all he can, And brings the bearded barley To glad the heart of man. All among the barley, Who would not be blithe, When the ripe and bearded barley Is smiling on the scythe!

In my twenties, after I left the MusicBusiness™, I would sometimes play coffeehouses or parties, sometimes with my wife or some friends, sometimes alone, and invariably drew on this tradition. Over the past year or so I have been writing arrangements for a number of traditional folk songs, including “Scarborough Fair,” “Wild Mountain Thyme,”and Hubert Perry’s setting of William Blake’s “Jerusalem” (okay, so while not technically “traditional,” it is now). When I was in Dublin in 1989, I heard a powerful version of “Scarborough Fair” performed by the only black man I saw on the entire trip, a busker on Grafton Street upon a Saturday morning. I’ve been trying for years, but finally came up with an arrangement I like inspired by his. I would love to record these songs and others along with my Shakespeare tunes sometime. I plan on winning the lottery this year in order to fund such a project. Don’t judge me.

One song I recently revived from my repertoire is the ballad “John Barleycorn (Must Die).” I first heard it, as I’m sure is the case for many of my generation, in the splendid version by Steve Winwood’s band Traffic. The song tells the story of the death, resurrection, and subsequent revenge on his killers of John Barleycorn. The first verse set up the drama:

There were three men came out of the West Their fortunes for to try And these three men made a solemn vow John Barleycorn must die They’ve ploughed, they’ve sown, they’ve harrowed him in Threw clods upon his head And these three men made a solemn vow John Barleycorn was dead

The tale, the children’s version of which is certainly “The Gingerbread Man,” progresses through the many tortures to which John Barleycorn (just “barley” to you and me) endures until he revenges himself at the end of the cycle:

And little Sir John and the nut-brown bowl And he’s brandy in the glass And little Sir John and the nut-brown bowl Proved the strongest man at last The huntsman, he can’t hunt the fox Nor so loudly to blow his horn And the tinker he can’t mend kettle nor pot Without a little Barleycorn

This thing just begs for a Frazerian interpretation, in which the Vegetative King is ritually killed and brought back to life in order to renew the cycle of life. Of the king, Frazer writes,

“By slaying him his worshipers could, in the first place, make sure of catching his soul as it escaped and transferring it to a suitable successor; and, in the second place, by putting him to death before his natural force was abated, they would secure that the world should not fall into decay wit the decay of the man-god.”

That’s some heavy magic. And is it any wonder that the act of fermenting and distilling (“brandy in the glass”) results in the creation of “spirits”? So much mystery exists in language.

This mystery of language also inhabits the Christian imagination, and it is no great leap to connect the death and resurrection of John Barleycorn with that of Christ. Do we not drink the latter’s blood as wine, eat His body as bread? As I have been writing for a good long while, such a sensibility leads to a way of abundant life absolutely at odds with the technocratic oppression with which we contend. As H.J. Massingham wrote nearly eighty years ago:

“When man lived more or less naturally, and at the same time believed the world to be the porch to an otherworldly room, his civilization made rapid and intensive growth, whereas he has made a sufficiently poor job of his own self-glorification in disowning Mother Earth and the Fatherhood of God.”

Rainer Maria Rilke certainly seized upon a similar intuition, though he drew upon not Christian-pagan folk tradition, but Greek mythology. In his Sonnets to Orpheus he precisely describes the phenomenon of which I speak, here in Stephen Mitchell’s exquisite translation of Sonnet I, 5:

Erect no gravestone to his memory; just let the rose blossom each year for his sake. For it is Orpheus. Wherever he has passed through this or that. We do not need to look for other names. When there is poetry, it is Orpheus singing. He lightly comes and goes. Isn’t it enough if sometimes he can stay with us a few days longer than a rose? Though he himself is afraid to disappear, he has to vanish: don’t you understand? The moment his word steps out beyond our life here, he moves where you will never find his trace. The lyre’s strings do not constrict his hands. And it is in overstepping that he obeys.

He has to vanish. And this is why John Barleycorn must die: so that he may rise again.

May we all be so fortunate.

Michael’s latest book is Sophia in Exile. He can be reached at director@thecenterforsophiologicalstudies.com Also check out the latest volume of Jesus the Imagination: Flesh & Spirit. Twitter: @Sophiologist_

The Invisible Country

I recently wrote about thinking I saw the Great Pan in the woods just beyond our garden here at the farm. But I didn’t explain. Now I will.

This kind of “seeing” occurs in a state of awareness that’s not exactly wide awake and definitely not sleeping, but in a space more accurately called “reverie.” The 20th century French philosopher Gaston Bachelard wrote much about the importance of reverie, particularly in his book The Poetics of Reverie: Childhood, Language, and the Cosmos, and distinguishes reverie from dream:

“In contrast to a dream reverie cannot be recounted. To be communicated, it must be written,written with emotion and taste, being relived all the more strongly because it is being written down. Here, we are touching on the realm of written love. It is going out of fashion, but the benefits remain. There are still souls for whom love is the contact of two poetries, the fusion of two reveries. [1]

Poets often retain the ability to enter into reverie—Percy Bysshe Shelley certainly attests to this in his Defence of Poetry; and Thomas Traherne as well as Eleanor Farjeon, both of whom I write about in Sophia in Exile, are two exemplars of poets who lived in reverie by which they could enter a childlike state of radical amazement. I am also a poet, and I think the reason their work resonates so much with me is that I can attest to their witness from experience as opposed to ideology or theory. But back to my story.

On the day of the sighting, I had been checking on the yurt I built in our woods and which we rent out to visitors as an escape from the world. If I do say so myself, it is a beautiful spot. We had some lodgers coming later that day and I wanted to make sure it was tidy (as per directions from my wife). On the way back to the house, I stopped for a minute to look into the woods—I don’t know why—and, as it was a warm October afternoon with sunlight touching the multicolored leaves rustling in the breeze, it wasn’t very hard to make myself pause. It must have been just for a second or two, but in my reverie I saw Pan—or thought I did—but dismissed the notion right away. I started to walk back to the house, made it about ten steps on the way and thought to myself, “Wait...did I just see Pan?” He was standing still, not looking at me, but appearing to gaze off to my left toward the goose yard and the garden. The same thing happened when I saw (but wasn’t sure I did) a few green men traversing the tops of some poplars and maples when I was twenty-two or so (I also write about this in Sophia in Exile). Reverie, it is my claim, doesn’t allow us to see things that “aren’t really there.” Rather, it allows us to see into a parallel reality, the invisible world that co-inhabits the spaces we occupy.

Of course, I don’t know that what I saw was “the Great Pan,” but I do think these inhabitants of the invisible world take on forms that respond to our own imaginative vocabularies. That is, they take a form that is amenable to our conceptual framework. I recently found confirmation of this in a piece of writing by R. Ogilvie Crombie (aka, “Roc,” about whom I first heard mention in this clip from the film My Dinner with Andre), a physicist who was part of the original Findhorn community. Roc claims that the true forms of these types of nature spirits is more akin to light, but that they take on humanoid shapes as a courtesy to human perception and understanding. (You can read all about it in his collection Encountering Nature Spirits). In fact, there’s a great scene in Guillermo del Toro’s masterpiece Pan’s Labyrinth (one of the most Catholic movies ever) that shows precisely how this might work, as Ophelia, the protagonist, shows a faerie, which first appears insect-like, how it is supposed to look from one of her books on faeries. You can get the idea from the trailer:

Now, I don’t think I have any special powers about this. I am not exactly unique, and I am sure many, many people possess this ability (though “ability” is not quite the right word, as if saying I have some unique ability to taste salt or something). I can’t just turn it on. It just happens upon occasion. It’s probably closer to having an innate ability for mathematics (which I don’t) or music (which I do), and it is not, I think, confined to occasional peeks into the invisible world.

A couple of examples:

When I was training as a Waldorf teacher, one afternoon I was helping the teacher I was shadowing prepare a physics demonstration using magnets to be shown to his class on the next day. It was a very simple demonstration using bar magnets, a sheet of paper, and iron filings that could show the energy pattern of the magnetism at the poles (it’s a very beautiful image). He was using some brand-spanking new magnets, still at full potency—and I suddenly got really woozy. I said to him, “Can you feel that?” “Feel what?” “The energy coming from the magnets.” “I don’t feel anything….you must be a sensitive, Michael.” I guess! I was, quite literally, “mesmerized.” (Anton Mesmer, in case you didn’t know, made himself famous in the 18th century through the use of magnets in therapeutic situations.)

A few years before the magnet experience, my then girlfriend asked me if I wanted to attend a meeting of her “spiritual development” class being held through her school district’s community education outreach program one evening at a local high school. The class session was on seeing auras. I was a pretty naive twenty-two year old, so, always open to new experiences—and the class was all young women—I went.

The teacher, a small woman of about sixty, asked one of the students to come to the front of the class and stand before a blank white wall (so as better to be able to see her aura). She asked the class what they saw. Most of them, I recall, didn’t see much. But I saw all kinds of things. One thing I saw was a kind of dark orange, almost brown shape like a broken feather or crumpled ribbon coming from one of her shoulders. In front of the class, I asked if she had some kind of sharp pain or something like that near her collarbone. She did. I saw other things in other people, including that one woman was pregnant (the rest I don’t recall). The teacher came to me at the break and said, “You might not know this, but you have a real gift for this kind of thing.” Even though I knew the basics of aura theory, I had never tried to see them, nor was I working at “developing myself” in such a way. Some people just see this stuff, and some don’t. And it’s not like I see auras all the time or anything; I have to want to try to. I usually don’t. In fact, the only times I’ve tried over the last twenty-five years or so have been when I’m at performances or liturgies in which I am more of a spectator than a participant.

I could tell other stories—psychometry experiments in my late twenties, for example—or sensing the presence of the dead (which happens pretty frequently, even today), but I’ll set those aside for the moment—though my wife is pretty sure those MK Ultra guys would have snagged me as a kid had they known about my constitution. The point I’m trying to make is that some people just have a kind of natural sensitivity to the invisible worlds more so than others; but I also think, like carrying a tune or drawing, most people can do this at least a little. I also think our culture and education breed this ability out of us. But let’s go back to faeries.

I often talk about the possibility that faeries exist with my college students. Some are all in on the prospect, but most are pretty skeptical. To be honest, most are also pretty skeptical about the existence of God or angels. I use David Bentley Hart’s review essay, “The Secret Commonwealth,” first published in First Things exactly thirteen years ago, to open that discussion (as well as show them how to write a solid review essay). David, as many already know, is a true believer when it comes to faeries, as is John Milbank, not to mention my friend David Russell Mosley. There are more of us with terminal degrees who believe in the Secret Commonwealth than you might think.

In fact, in the recent Regeneration Podcast interview with David Bentley Hart about his novel Kenogaia and the Gnostic Hymn of the Pearl upon which it is based, we discussed faeries a little. That night, my phone mysteriously disappeared from my dresser and ended up in the back of my English shepherd Sparrow’s cage a few feet away—though the cage is draped by a blanket, a deerskin, and boxes of seeds! I’m not saying faerie mischief contributed to its strange teleportation, but…

Some people—you might be one of them—may suggest that Pan and the faerie realm really belong to the dominion of evil, but I strongly disagree. In one of Crombie’s accounts, Pan asserts just the opposite: “I am a servant of Almighty God, and I and my subjects are willing to come to the aid of mankind, in spite of the way it has treated us and abused nature, if it affirms belief in us and asks our aid. ” [2] That doesn’t sound like a deal with the devil to me.

For Eleanor Farjeon (I love her so much it hurts), Pan (whose name means “All”) is symbolic of Christ Himself, the absolute Lord of the Dance. As she writes, “For since the divine Pagan dares to exist in harmony with the eternal spirit, trees, which are the temples of Pan, are also prophets of God. He laid his secret within all his creations as they passed through his hands.” [3] And, in a dispute she imagines between Pan and the stodgy and sclerotic god Chronos, Farjeon explains why:

“Have you then found a bigger star than mine?” cried the Old One in alarm. “With many moons and brighter hoops of fire? What were you doing while we were raking the firmament?”

“Dancing, Old Bones, dancing.”

“And where?”

“On earth, with man my brother.”

I could go on.

Over the decades, I have amassed a decent library of faerie lore and research, some fictional, some academic, some somewhere in-between. The works of the poet and visionary Æ (George William Russell) are a good place to begin, and perhaps the definitive work on the subject is still W.Y Evans-Wentz’s doctoral dissertation The Fairy-Faith in Celtic Countries (1911), not to mention the venerable The Secret Commonwealth of Elves, Fauns, and Fairies (1691) by the Rev. Robert Kirk. Marjorie T. Johnson’s Seeing Fairies (2014) is exhaustive, but is a bit compromised by the jargon and assumptions of The Theosophical Society. Still, it is fascinating. And then there are The Little Grey Men (1942) and Down the Bright Stream (1948) by ‘BB’ (Denys Watkins-Pitchford)—ostensibly “children’s literature,” I think the author knew more about the Invisible Country than just about anyone.

So, next time you think you saw something in the woods…maybe you saw something in the woods.

Michael’s latest book is Sophia in Exile. He can be reached at director@thecenterforsophiologicalstudies.com See also The Center for Sophiological Studies' available courses. Also check out the latest volume of Jesus the Imagination: Flesh & Spirit. Twitter: @Sophiologist_

1. Gaston Bachelard, The Poetics of Reverie: Childhood, Language, and the Cosmos (Beacon Press, 1969), 7.

2. R. Oglivie Crombie, Encounters with Nature Spirits (Findhorn Press, 20).

3. Eleanor Farjeon, Trees (London, 1914), 20.

JESUS THE IMAGINATION 7: Call for Submissions

The Queen of the May

The submission period for Jesus the Imagination, Volume 7: “The Household of Things” is now open.

We’re looking for poetry, essays, and other imaginative writing as well as photography and artwork that addresses what one might call “the economy of the Real.” This economy touches on all of the things that contribute to a healthy human life. We would love to see work on Distributism and alternative actual currencies as well as farming and gardening, homesteading, handcrafts, husbandry, and even education, not to mention the reimagination of conviviality and the festival year and its cosmological dimensions (including folk religion). In addition, we’re interested in work that explores the invisible world and its inhabitants, as they, too, are a part of the household of things.

The deadline for submissions is 25 March 2023. Send your submissions to mmartin@jesustheimagination.com