Creativity in Textual Construction

 
Reasons for encouraging creativity and building one's own ceremonial repertoire:-
 

• Anything received free is seldom appreciated in the long term.

• When personal effort is required to obtain a goal, long term satisfaction together
   with considerable ego enhancement.

• Personal effort can and should become a discipline leading tofurther character
   building.

• The creativity involved is a sublimation of the reproductive instinct thus making the
   product a child or extension of one’s self which
enables it to become a more
   treasured possession.

• The more the product (a gift from the Unseen) is used by the creator, the more it takes
   a unique place in the life of the creator and thereby
generates and retains power.

• The link forged with the Unseen to obtain the requisite inspiration is a yet more
   important attribute upon which one should build.

• Once a genuine link is made, an interface then exists for two-way interaction for the
   good of both the personal anthropomorphism
of the Unseen and one’s spiritual
   stature.

Occasionally one meets individuals who bleat that they cannot create, that inventing a script is totally outwith their abilities.  Now this is despite having composed essays in English (and perhaps French) when in secondary school at the ages of 12 to 18.  These are usually Wiccans who inhabit the house that G.B.G. built and are content to regurgitate his Book of Shadows.  After all, it's there to be used - we need nothing else.  How easy it is for laziness to propel one down the path of fossilization!

Nevertheless, I have seen those with a marked dearth of ability in the written word at college.  They were students (e.g. mathematicians) who were wont to read. write and work from one symbol to the next and when an examination paper required an answer re psychology, sociology, teaching practice or the Bloomian Taxonomy of Educational Objectives, they were indeed suffering to piece together a number of coherent paragraphs.  They, fortunately, were the exception to the student norm.

I have indeed known one fellow who had left school at 14 years of age, having learned no languages and whose sole attempt at creativity had probably been restricted to simple letter-writing - a sine qua non in job applications in his future years. 

When given the task, however, of composing a ceremony for the Vernal Equinox, what was produced was not poetic but contained most of the seasonal symbolism in a terse but coherent form.  When faced with the task, alone and mentally wrestling with the project, his devotional intent and desire to produce an offering to the High Gods rang the correct bells and provided the inner contacts he sought.  

His reward?  That inner glow of seeing a task close to his heart well done, the commendation of his peers and some considerable measure of ego enhancement. 

What is to be deplored and condemned is the dishonest habit by the so-called 'eclectic' to spy a piece of text which has been composed by another person (after much thought, work and revision) and decides "I cannot compose such texts but I do like the look of this so I will have it."  And, therefore, such a person, devoid of any literary ability and honour, must steal anything in their travels that takes their fancy.  I do not mean texts that are of ancient origin, I refer to texts written by contemporary authors of the past 100 years, many of whom are alive and well and sufficiently angered by such creatures.

Yes, eclectics = serial thieves!

 
                     

  Copyright © Gareth Pengwerin 2001 
         All rights reserved             
 

 
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