Finding myth and legend in the modern world

Painting inside the Royal Hotel Barmouth

Take a trip to Wales

One of the myth cycles I like to work with is the Welsh Mabinogion. A myth is like a storage battery that holds the ideas, symbology and wisdom of an earlier generation. It points to something bigger; something that goes beyond words and into a realm of more possibility. It untethers us from a world where we think we know reality. By studying myth and working with it, its power can be unleashed and access to its rich content can become present in our own lives.

Whilst on holiday in Barmouth recently we were astonished to find several of the Mabinogion stories painted in rich detail on the walls of the Royal Hotel by artist Mervyn Rowe. We couldn’t have chosen a better place to stay! The stories include Bran and Branwen, Ceridwen, Rhiannon and many more. The whole hotel is covered in paintings and is well worth a visit just to follow the panels of the stories and reconnect with the myths.

Above: From the myth of Rhiannon, Pryderi finds a fountain with a golden bowl fastened by four chains. Having been told by Manawyddan (son of Llyr) not to touch it, of course he does – and is promptly glued to it. On the right, Manawyddan prepares to harvest his grain, which is about to be devastated by a plague of mice. When he catches one of the fleeing mice, he vows he will try and hang the beast.

So what do these stories mean? Well, one good way to find out is to ‘stand them up’, ie to enact them. You can do this as a group, or alone. With proper awareness, these storage batteries reveal truths that perhaps were not so obvious until you see and feel them in action. Bringing them into the physical world allows us to encounter them anew.

Visit the Centre for Folklore, Myth and Magic

Todmorden has been a centre where many of the people in this tradition or associated traditions used to meet. So it was especially interesting to discover that there is now a Centre for Folklore, Myth and Magic based there. They have a cafe, a library, a place for archives and research, and also some events, mostly based around storytelling, or workshops with natural crafts. Well worth a poke around if you are in the area, and you can join their library, which holds the archives and 5000 re-homed books from the Museum of Myth and Fable. Where exactly is it? 65, Halifax Road, Todmorden OL14 5BB

You can also listen to a story being told via The Society for Storytelling. British myths have been passed on in this way informally, but also via public performances for generations. The live presence of the performer and audience in their ‘once upon a time’ can be transformative.

A Book at BedtimeTransporting Reading

There are many books about our British myths, some good, some bad, and some downright dangerous. The Mabinogion is a rich source to explore. Many re-tellings of these myths have a particular slant, a psychological approach, a feminist perspective, or perhaps an attempt at reconstructing the history, or adding more modern accretions of meaning.

With myth, it is best not to nail it to any one meaning or interpretation, but allow the myth some breathing space. With myth we are heading further into the unknown, a place where what is considered ‘normal’ can be turned on its head.

A book I can recommend to give a flavour (though not the form) of the shamanistic side of the work I like to do in the British Mysteries is The Way of Wyrd – Tales of an Anglo-Saxon Sorcerer by Brian Bates. This is a novel based on the author’s research project into the psychology of shamanism. He based it on a collection of Anglo-Saxon manuscripts in the British museum. The events and detail of the teachings that the apprentice must navigate have been reconstructed from these manuscripts, and the novel makes interesting reading for anyone engaged on this path.

When once you work with myth, the mythologizing of your own life becomes startlingly apparent, and you cannot help but begin to sense the unknowable presence that animates the story.

The Diamond Mirror and the Four Worlds – Part 1

The diamond mirror is a map of our faculties, based on the experience of explorers. It’s an interpretation and a simplification of what is actually there, so that we can get a grasp on our own experience as we explore the range of being human for ourselves. The map is not a substitute for the experience but it helps us organize it and understand where the experience is coming from.

My life as a ghost

We usually operate with only a small part of our capacity. We see what we expect to see and repeat learned actions without thinking very much. I’m a modern-day hunter-gatherer. I go to the supermarket and I walk around, looking for the things on my shopping list and putting them in my basket. Then I queue up, put my shopping onto the conveyor belt, pack it away, and pay the bill. But how aware am I of the other people in the supermarket? They have their own lives and shopping lists, but I’m not really interested in them unless there’s something unusual about them. It’s like we’re ghosts in each other’s worlds. And how much attention do I pay to the process of packing up my shopping? I’ve got my particular method. The heavy stuff goes in the hessian bag, and the cold stuff in the plastic bag, squashy stuff at the top. I don’t think about it that much. I’m usually thinking about something else, like what I’m going to have for dinner. It’s almost as if I’m not there.

Of course, all this is a choice. I can choose to be more aware of the other people and I can pay more attention to what I’m doing. Try it sometime. How does it feel to be more present? How long can you keep it up for? What takes you away from being present?

In order to work with the mysteries, you need to be present.

Mindfulness practice can help us become more present. For example:

The Familiar World

Most people, most of the time, live in quite a small, familiar world, a slice of reality that we’ve learnt about over the years, the home of ‘I’. It’s like a bubble we’ve built around ourselves, a bubble of perception we’ve learnt to deal with, a place of supermarkets, phones and clothes, flowers, friends and nights out, woods and seaside and stories. It’s made of everything we know about. We need the familiar world. We’d literally be like newborn babies without it, struggling to make sense of our perceptions and not knowing how to act. But it’s not all that there is.

Being more present can help us to be more aware of how we operate in the familiar world. We begin to see factors at work, such as conditioning and associations.

On the way to Bull Tor


Conditioning is the set of habitual patterns and learned responses to things, built up over the years, often accidentally, sometimes useful and sometimes not. For example, when I’m going to the supermarket, I usually take the same route. It’s not necessarily the best route, but it’s the one I found when I first went there. The good thing is that I don’t have to spend energy thinking about how to get to the supermarket every time I go, but on the downside, maybe it’s not always the fastest route.

One of the main problems with conditioning is the way that it limits the way we see things.

I sit watching a tree blowing in the wind, but that’s my conditioning. I try to watch without conditioning, and I see the tree alive, moving, and I feel its movement on my skin, hear it talking. Is this true seeing? Conditioning wants me to say yes or no, but if I say neither what happens then?


The associative or formative mind is the system we use for a lot of our thinking. This level of mind is organised by links or associations between different memories, in the form of feelings, thoughts or sense impressions. One thing leads to another. The associative can work well in some circumstances. For example, in the supermarket I see some lemons and a whole bunch of associations fire off – kebabs, aubergine, hummus, celery. My associative mind is thinking about what to have for dinner. The operation of the associative mind can be seen sometimes when we are trying to be mindful, and sit and watch the thoughts that come and go. When you realise you’ve drifted off, you can often trace back the steps by which you became distracted.

Sitting watching the pond, and a bird calls. Is that a Chiffchaff? Maybe it’s one of the Iberian Chiffchaffs that all those bird watchers came to see. That couple conducting the bird survey last month were nice. Maybe I should join the group. Do they meet in Surbiton? I’ve got to go there tomorrow. When do I have to be there? *I remember what I’m doing, and go back to watching the pond*

Watching the pond

The usual way the mind works in the familiar world is through a kind of flow. It works automatically, using conditioning and associations, linking one thing to the next so that our thoughts flow in a misleadingly named ‘stream of consciousness’.  

I can be more aware of what I am doing and where I am (being present) through for example practicing mindfulness, but only for a few moments, and then I am carried away again by the stream.


It is possible to be more aware of the raw interactions we have. I can try to be aware of sense data for example, before it is processed by conditioning and starts to trigger associations. By maintaining awareness I can try to act on a different level.  This is not entirely unfamiliar. For example, sometimes when I wake up and open my eyes there’s something in my field of vision, but I don’t recognise it. It takes a few seconds for it to click that I’m looking at a chair. This can also happen when you’re out and about and maybe see or hear something but can’t place it. That moment before pigeon-holing the impression has a different quality. Scary perhaps, but full of potential and energy.

I’m out walking in the dark, in the woods. I can’t see much at all, but every now and then a shape or a rustling sound triggers a fear reaction. My body is alert, I am aware of my breath. I half see something and my mind wants to identify it: is it an animal, a branch, another person? Can I hold back from making it into one thing?

Night walk

Eating is another good field of practice for getting to raw interaction. Usually I gulp my food, not really paying much attention – perhaps reading or watching TV at the same time. If I try to pay more attention to the eating, I can literally get more out of my food.


Another way of extending the familiar world is to become aware of a level beyond associations, where instead of being taken by the flow from one association to another, we can step back to watch the associations a little bit. We can sometimes see this in dreaming. A dream can take us from one scene to another, following associations seemingly at random, but sometimes there is some pattern behind the dream, a meaning which can perhaps be difficult to put into words. Maybe there’s one character in the dream that has a particular quality, or maybe a situation that seems to be significant. We can also use this level to create meaning in writing poetry.

I used to have many dreams about tidal waves, where I would be by the sea, and then suddenly a huge wave would rush in, swamping everything, including me. I kept a dream journal partly so that I could learn more about this type of dream. It seemed to me that a dream that repeated must be significant. After a while, the dream began to change.

To be continued…