ChaliceCertificationPaper
By:Christine(Greenwood)Jones
SubmittedtotheChaliceofReposeProject1995.
CertificationasMusic-ThanatologistfollowedinAugustof1995for
ChristineJoneswhowasknown atthattimeasChristineGreenwood.
OfferedtoSandyLaForgeforthepurposeofarchivinginJuneof2002.The
originaltitlepageismissing.
Copyright©1994ChristineGreenwoodJones
Thetheoryofliminalityasexploredbyculturalanthropologist
VictorTurnerhasprovidedabroadbasisforunderstandingthe
humanconditionintermsofsacredandessentialpointsofdeparture
inthelivesofindividualsandintermsofculture.Thrght
historyextraordinaryindividualshaveexperiencedtransformation
asaprocess,usuallymarkedbysignificantchange,whichthen
extendedbeyondtheriteofpassageintoIiminality.This
occurrenceinsomecaseshadtheeffectofripplingintotheworld
arndthem,andofservingthelargercommunityaswell. Iwishto
revealliminalityinthelivesofcertainindividualswhohave
demonstratedsignificantandverifiablespiritualityintheirlives:
PopeJohnPaulII(1920-),JohnoftheCross(1542-1591),and
TeresaofAvila(1515-1582).
Whatcanbeunderstodfromexaminationofthesesubjectsas
liminalpersonaeinthecontextofsubjectiveexperience?Whatcan
beunderstodfromexaminationoftheseSUbjectsasliminal
personae?Whatquestionsandanswerscanbefndbyexploringthe
conceptofliminalityasasacredcondition?Howdoesexamination
ofPseudo-Dionysius’CelestialHierarchiesassistinprobingthe
humanconditionknownasIiminality,andhowcantheseinsights
relatetotheworkofthemusic-thanatologist?Howcanmusic-
thanatologistsrecognizethenuancesandsignsofIiminalityatthe
deathbed?And,howcanweaddressliminalityintheprocessofthe
patientwithrespecttochoicesofanddeliveryofmusicwhichis
bothprescriptiveanddynamic?Itishopefulthatthisinquirywill
servetoassistinthepioneeringfieldofmusic-thanatology,where
concernfor”innerresolutionandthealleviationofpain,concernfor
1
thepatient’sfearsofincreasingpain,physicalsufferingoragony”,1
shldbeastandardcomponentofpatientcarewithrespecttothe
.deathbedvigil.
Lokingtowardstheconceptofliminalityasdefinedby
culturalanthropologistVictorTurner,itisimportanttonotewhat
ArnoldVanGennepcalls’ritesofpassage’,orthoseriteswhich
accompanyeverychangeofplace,state,socialpositionandage.Van
Gennepcallsritesofpassage”transitions”,whicharecharacterized
by:1.Separation.2.Margin,orlimen(signifying’threshold’in
Latin,and3.Aggregation(orreincorporation).2Thereisan
inferenceherethatliminalityisarelativelyunstablestateofbeing
andthisissupportedbyTurner’s3,commentaryonliminalityandof
thosequalitieswhichheattributesto’liminalpersonae’,or
‘thresholdpeople’,since”thesepersonseludeorslipthrghthe
networkofclassificationsthatnormallylocatestatesandpositions
in’culturalspace’.
Prophetsandartistsalso”tendtoqeliminalandmarginal
people,”edgemen”,whostrivewithapassionatesinceritytorid
themselvesoftheclichesassociatedwithstatusincumbencyand
role-playlnq,andwhoenterintovitalrelationswithother(men)in
factorimagination.Unlikemanyexpressionsofpowerwhich
concealselfishorpartisaninterests,Turner4,findsnomotivefor
thisotherthanto”strivetofindthatperfectexpressiveformfor
theirexperience.”Turner5alsostatesthat”Iiminalityisofcrse
—–,—-,– —-.._–.-..
anambigusstate….thebreakthrghofchaosintocosmos,oforder
intodisorder….”However,liminalityalsohasthedistinctionof
beingthekeyelementof”life-crisisrites’,inwhichritualsubjects
2
movefroma”fixedplacentalplacementwithin(his)mother’swomb
tohis/herdeathandultimatefixedpointofhistombstoneandfinal
containmentinhisgraveasadeadorganism…punctuatedbyanumber
ofcriticalmomentsoftransition.Theseareimportanttimesof
birth,puberty,marriage,entryintoahigherachievedstatus,and
death.·(LldWarner,1959).Theliminalpersonaeisa”passengerin
amomentinandtoftime”.Turner6alsoseesthewholeof
Christianityas”institutionalizedliminality”sincetheChristianhas
traditionallybeena”strangertotheworld,apilgrim,atraveler,
withnoplacetorest(his)head,withtransitionhavingbecomea
permanentcondition.Thisnotionischallenged,however,byCaroline
WalkerBynum,who 7pointstinhercritiqueofVictorTurner’s
notionofliminality,that”Turner’sideas·describethestoriesand
symbolsofmenbetterthanthoseofwomen.Women’sstoriestend
tobefarlessprocessionalthanmenwithfewer’turningpoints’,and
thatthethemesare”lessclimax,conversion,reintegrationand
triumph.theliminalityofreversaloreleyation,thancontinuity.”
AccordingtoBynumgender-reversalwasa”well-knownfactthat
mendescribedthemselvesaswomeninmomentsorstatusesof
liminalityalthghthelivesofthefemalesaintsarenoticeably
lackinginanyimagesofgender-reversal. Theirstoriesarenot
exactlysocialdramaswithcrises,liminality,reintegration,
howeverthemalebiographersshapethemintothetraditional
medeivalnarrativeformofsituation,rupture,resolution.”Iwld
sayherethatBynumactuallysupportsTurner’snotionofliminality
bywayofprovidingthepictureofMaryofOignies’escapefrom
marriagebymeansofself-tortureandstarvation’,whichinagreat
3
sensecomplieswiththenotionofa’socialdrama,withcrisis,
liminalityandreintegration”8althghher(Bynum’s)pointthat
IIVanGennep’sconceptofliminalityislessgeneralizablethanTurner
supposedandspeakslessfullytothehumanexperience”iswell-
taken.Fromthisarisesaquestiontobecontemplatedbystudentsof
music-thanatology.Doweaddressgenderasanissueconnected
withliminalityandchoiceofaswellasdeliveryofprescriptive
musicatthebedside?
Toprovideabetterlokatcontemporaryand,admittedlymale,
liminalexperienceIwldliketodiscussoneoftheworld’smost
visiblereligisleaders;PopeJohnPaulII,formerlyKarolWojtyla.
KarolWojtyla,atfirstadramaticartistandwriterinGerman
occupiedCracow,PolandduringWorldWarIIriskedexposureto
torturebytheNazisforcarryinghisseminarynotesarndinhis
pocket. Asignificantsetofcircumstancesprovidedobvispoints
ofdepartureforKarolWojtyla,9orPopeJohnPaulII,asheisnow
known.Thefirst,astreetcaraccidentfromwhichheawokeinthe
hospitalwithsuddenthghtswhichwere’strangelyreligis’,
providedhimwiththesomewhatmisplacedinterestinbecominga
Carmelite,thghatthistimehepersuadedhimselfthathisGod-
giventalentsmadeactinghislife’smission.Karolleftthehospital
onlytobestruckbyaGermanArmytruck.Thesecircumstanceswere
significantinthathebecamedetachedfromhisearlierpersonaas
wellasthesocialstructureinwhichhehadbeenaviableasset.
.._—- ———— ——–… …_—-. -. ._…—–.- …. ———– -.
KarolWojtylaunderstodthenthatwiththelimitednumberofdays
manisgrantedonearth,thathemustusehistimehere inserviceto
GodandtheChurch.DuringhistwoyearsattheAngelicum
4
UniversityinRome,KarolwrotehisdoctoralthesisontheSpanish
‘mystic,St.JohnoftheCross.Hesaid,10″InSt.JohnoftheCross,
thethinkerbuildsonthevisionofthepoet.” (Inmusic-thanatology,
itcldbesaidthattheplayerbuildsonthepoeticofthevisionary).
Karol’sowncollectedpoemsrevealhisdetachmentfromthe
fixedpositionofonewhomayhavetypically,perhapsprevisly
viewedlifefromanarrowvantagepoint. Hewrites,”Forthis
momentofstrangedeathsweptbythevasttidesofeternity, ,
themomentmingleswitheternity,thedropembracestheocean,and
thesun’sstillnessinslowmotionfalls…..”Hispoetryhereseemsto
“eludeorslipthrghthenetworkofclassificationsthatnormally
It ‘t’ 11ocae…POSIIons.
Karol’scycleofpoemsofameditationondeathappearedunder
thepenname’Gruda’,whichmeans’aclodofearth’.(Collected
Poems).MysteriumPaschale,12revealsthenatureofever-changing
existence,intothatofa”higher-achieved”status,andindeedhints
thatthereisanobviscontinuationoflifeintodeathwhichcomes
backarndtolifeagain.Itbegins,”Ycannotstopthepassing
currents.Therearemany…thispassageiscalledPaschaMysterium.”
IncludedinPopeJohnPaul’sworktitledHopeReachingBeyondthe
Limit,oneencntersathemeconcernedwithtransitus,andalsothe
notionofhopeasafleeting,thghcyclicalliminalcondition,l.e.
‘hoperisesintimefromallplacessubjecttodeath….thedyingworld
.unveilsitslifeagaininhope:(CollectedPoems).
——– ———— –_.._-;– —.—–.- —–.. –.——–.—–
Themanifestationofhope,intimacyandloveatthebedsideof
thedyinghasmuchtodowithrelationshipthatinvolvessome’third’.
13Thishaslesstodowiththeexpectationofamiraculsrecovery
5
bythepatientandmoretodowitha’dynamicandprescriptive’
approachtothemusicanditstransformativevalue.Chalicework
canbecharacterizedas’activereceptivity’.
Animaginationofthismaytakerot.inthepracticeofgetting
one’spersonalitytoftheway,andtobeabletoreleaseexpected
tcomes.Itisinthiswaythatgreatbeautyandlovemayenterinto
intothe’rom.Whenattendedtointhismanner,themusiccan
becomeavehicleofIiminalityforthedyingperson.. providingorder
tofchaos,thecallingofloveintothedyingprocess.Thedelivery
ofrepertoiremustbeboth’prescriptiveanddynamic’14.Inthisway
willtheofferingfulfillimagesdescribedas’Anthroposophical,
homeopathic, andalchemical: 15Equallyimportantisthepracticeof
‘silence’.
PopeJohnPaulwasknownforhis”philosophyofsilence”. He
lovedsilenceinwhichtomeditate,andseemedtodeploreverbosity.
‘Themoredeeplypeopledevelopwithinthemselvestheirinterior
life,themorepronetheyaretosilence.M,~esaid.”Everygreatwork,
allholiness,isborninsilenceandrecollection.II
Inmusic-thanatology,thevalueofsilenceisrecognizedasa
partofthe’materiamedica’.Periodsofsilencearedeliberately
encragedbetweenofferingsofprescriptivemusic.These
momentsofsilenceprovideopportunityforpatientandfamily
memberstoenterintoaninteriorlandscapebywayofthe
alternationofsndandsilencewhichprovideasenseof
.._— –_.._—— ——-.—~– ——.- ..–._— ,-
contractionandexpansion.The-se conditionsarerepresentativeof
theconcreteandtheliminalstatesofbeing.Possibleeffectsof
theseconditionsmayincludeestablishingamongthosepresenta
6
senseoftheundeniablefinalityofdeath,oroftheinabilitytograsp
thatwhichcannotbeheld,themovementoftheessenceofbeing
thrghtimeandspace.Alternationofsndwithsilencebringsto
fruitiontheprincipleofcontractionandexpansion.Inturnthis
allowsforthebirthingofinteriorityandofanawakeningofthe
innersenses.
ItisherethatIwishtorefertoamedievalmysticforlearned
referenceonthismatter.IhasbeensaidthatPopeJohnPaul’s
medievalcnterpartmayhavebeenJohnoftheCross,orSanJuan
delaCruz.16Bornin1542inthevillageofOldCastile,Spain,he
wasraisedingreatpovertybyhismother,andlovedmusic,.
particularlythepopularsongsofthepeople.Hebecameattwenty-
oneaCarmelitefriarandjustbeforeleavingtheuniversityat
SalamancahemetTeresaofAvila,whowasthenpastfifty.Johnof
theCrosswasamanwhoselifewaspunctuatedbytransitionfrom
whichthereseemedlittlerecrse.In1577hewasimprisoned,and
afterhismysterisescapeeightmonths,laterhislifebecame
frghtwithchaos.ForJohnoftheCross,thethemeof’absolute
night’,presumablyconcernedwiththedarknessoftheslandthis
seemstopermeatehispoetryaswellashislife.Fromthisposltlon
thereisatendencytobecomeconcernedwiththedeparturefrom
loveofselfandanawarenessof’greatlongings’inlife,byattending
towhathecallsa”methodoftruemortification,whichcausesitto
dietoitself,andtoallthesethingsandtobeginanewasweetand
..—.-.—————_ … —-“_._._— —_._—- .
delightfullifeoflovewithGod.”-(SelectedWritings.1987).John
expressedhimself twardlyinavarietyofforms,althghhisbest
knownvehicleofself-expression,thatofpoetry,belieshispassion
7
forlife.Elusivethghhisrelationshipwithfaithappearedtohave
been,hisconnectiontothecreatorremainedfervent. 17
Illusionsabtrelationshipsareoftenverystrong.Passionate
longings,whileservingtheindividualinamotivationalsense,may
ormaynotberequiredtoattendthedyingwithprescriptivemusic.
Ifonegoalofthebedsiderelationshipwithadyingpersoninavigil
situationisto”care”forthepatient,thenthisrunsariskof
becoming self-serving. Althghpalliationisadesiredtcomein
Chaliceservice,perhapsamoredesirabletcomemightbethatof
transformation,whichmayincludepalliationornot. Rhythms”can
bothbindandliberate,andthiscanservetoactivate,engageand
stimulate.Potentizedmelody,orcnter-melody,canonlybe
intimately activatedwiththeoriginalmelody;supportscalmand
clarity”.18Potentizationofrhythm,melodyandharmonyalternately
servetoactivate,stimulate,clarifyandcalm. 19Itisthejobofthe
music-thanatologisttoinspiretheoccurrenceofsucheventsas
contraction,expansion,andentrainmentin..orderto’call’those
dimensionsofinterioritywhichmaythenmanifestina
transformativeway.
8t.JohnofTheCrossmayhaveexperiencedpersonal
transformation thrght hislifetime,forasGarciaLorcachoseto
characterized John’sexpressionofselfasthe”hunterabtto
embarkonanighthuntthrghtheremotestofforests….whitestags
appearintheclearingbetweentreetrunks.20John’stransformative
.-“._——— . —•..—– ..——— _—– ._.._._—–
processappearstohavebeenspurredbyhispoetryanditishere
thatoneencnterssuchtransitionalelementsas’color,form,
sonority,anddramaticmovement’.Theseattributescomplywiththe
8
notionofthedrawingtof’tonalsubstance’fromrharpstrings
andthisisanecessaryingredientinthedeliveryofChalice
repertoiretothedyingperson.
Thefollowingindividualexemplifiestheconceptofpersonal
transformationwithrespecttoherstatusasliminalpersona.
SaintTeresaofAvila,21bornintheyear1515,had,tothe
amazementofherbrothers,a’passionforwarand,glory’.Teresa
wasavisionary,whoneededto”persuadeherdirectorsthather
visionswerefromGodandnottheDevil,duringthistimeofSpanish
Inquisition.Hercallinghadtodowithmentalprayer….whichshe
wasabletofollowintoafull,ecstaticawarenessofGod”.22Inher
firstautobiographyTeresasaysthatduringherfirst,raptureshe
heardthewords’NolongerdoIwanty’toconversewithmen,but
withangels’.Teresa’sgreatdrivingforceduringherlifetimewas
to”teachherdaughterstoloveprayer,themosteffectivewayof
attainingvirtue”.Itisbywayofhermasterpieceofmystical
literature,InteriorCastle,thatherplaceasatrulyliminalpersonae
isassured.InInteriorCastle,shenotes,”Ibegantothinkofthesl
asifitwereacastlemadeofasinglediamondoraveryclear
crystal,inwhichtherearemanyroms,justasinheaventhereare
manymansions….wherethemostsecretthingspassbetweenGodand
thesL” 23Thefirstmansioncontainsslswhichareinastate
ofgracebutarestillinlovewiththecreaturesonthetside,that
is,withoccasionsofsin,withlightreachingthemonlyinacoldand
-.- -.—-.–.– • —– – – ••• •• 0.•”. __ -._——— •
diffusedform.Thrghthevehicleofprayer, perhaps,itisthat
Teresamakesthetransitiontothenextmansions,andbreaksthe
barrierfromromtorominthecast/e.Eachofthemansions
9
Teresabreaksthrghrevealsasetofconditionsandrevelations
whicharenewanddifferentfromthoseprevislyentered.Some
areconcernedwith’raptures,ecstasiesandvisions,withunionand
withillumination.’ 24Themansionsofthepracticeofprayerare
followedbythemansionsofexemplarylife.Thereisanimplied
thresholdbetweenthesetwomansions,ofsharedexperience,and
heretheconceptofIiminalitymaybeviewedaskindof”swinging
dor’witheachmansionprovidinglightandwarmthfortheother
andilluminatingeachbythe”openpathway”betweenthem.Each
mansionsheentersaddsspaceandlighttothecastle,anditgrows
larger. Theenteringentity,or’sl’,doesnotbecomediffusedbut
insteadgathersstrength,infusedwithaddedwarmthandlightwith
eachnewpassage.Oncetheinitialbarrierhasbeentraversedone
maypassthrghanyofthemansionsatanytime.Teresawarnsthe
traveler thatthejrneyisneitherquicknoreasy.25Eachofthe
mansionsisadwelling placeinwhichthe’sl’stopstorest.
Thismovement,theforceoflimfnallty,togetherwiththe
impliedswiftnessofpassagemaybeenhancedbytheevidenceof
Teresa’srelationship withherAngels.Foritisnotedthatitwas
afterherfirstrapturewhereinshewastoldbyGodtobegintalking
withAngelsthatTeresabeganherjrneythrghtheInterior
CastleandthatduringthistimeshewasdescribedbyM.Marie
Nacimiento asbeing”veryradiant, writingwithgreatrapidityandas
aruleshewassoabsorbedinherworkthatevenifanoisewasmade
……___—_ _—— —–.- -_._–~-
shewldneverstoporsomuch-assayweweredisturbingher”.26
Inthedeliveryofprescriptivemusicatthebedside,thesigns
ofIiminalitycanbeobservedbynotingsubtlechanges. Attimes
10
suchqualitiesastempo,andobservanceofmelodylineandspace
betweennotescanbecomecompatiblewiththepatient’sentrance
intotheliminalstate.Timeduringthiseventappearsdistended,if
somewhatunreliable,andthespacewhichtimeoccupiesseemsto
containbndarieswhichareblurredthghnotweak.Chanttof
timewhichisoftenplayedduringimminencyaddressesthis
conditioninanallopathicway.Also,the’weaving’ofthemusicat
thispointhastheeffectofblanketingtheromwithtonal
substance,indeed,ametaphorforpalliation.27Liberatingrtonal
substance(withregardtosinging)isnotabtprojecting.
Cascading,fullofmovement,andinternalechoes,internal.
resonances,andaconceptknownas’wholebodybreathing’.Ina
bedsidevigilyproject’longing’,notthevoice.Lyricismequals
potentizedphrasingandthisliberatesmovement.
Atsomepointintimethedyingpersonandchaliceworkeras
wellmaybetreatedtothepresenceofangelicpresences,andthere
maybeaccompanyingrevelationswhichrelyontheoccurrenceofa
“blesseddeath”.2BForthistobeeffective,mightitbethetaskof
thechaliceworkertoserveasasortof’beaconof,light’,ora’call-
button’totheheavenswhichcldpossiblyexpediteangelic
movement? Anytransformativeprocesswldrequireatthevery
least,opennessandattentivenessbythechaliceworkerwhile
balancingactivitywithreceptivity.Thisrequiresimaginationand
re-imagination;qualitativeslwork.
——“.- —-_.—- -,–_.-.
InChalicestudy,RobertSarde-(io’spoke-“‘of ancient
Egyptianswhohadnoseparationofthesl/spiritconnectionand
thereforeenjedalmostimmediateunderstanding,andthatrsl
11
hasthesememoriesandhaslongingsforthis’understanding’again.
Inthedevelopingofinteriorityandimagination,itisessentialthat
‘longing’and’imagination’beallowedtomingle,fortheseare
qualitiesofslandspiritwhichareaffectedbyandwillhave
effectsupontheprocessoftransformation,inturnprovidingeven
greaterunderstandingandenlightenment.
Anotherofrjobsasmusic-thanatologistisin
developingtheinnerandtersenses,asagradualdarkeningofthe
senseshasoccurredoverthecenturies.29Thesensesoftch,life
.sense,self-movement,balanceandsmell,taste,vision,warmth,
hearing,speech,thghtandego,shldallworktogether,.andthis
willallowthebeautywhichlivesbetweenusandwhatwemeetin
theworldtomanifestatthebedside.Wearenottogiveadvice,but
toallowtheothertofindintheiractionstheirtruedestiny.30
Theactofcontinus’sensing’bythechaliceworker,aswell
astheutilizationoftheprescriptiveapproachthatincludesaway
of’gettingyrpersonalitytoftheway:” canbeimaginedby
askingthequestion,IIHowcanIhelpywithtbeingaprofessional
helper?Or,onewhoprofessestoknowwhattodo?’31Oneanswer
maylieinexplorationoftherelationshipbetweendynamicand
prescriptive.Thismayhavetodowith’movement’.
AccordingtoSimoneWeil,32thereisatranscendentenergy
whosesrceisheaven,andthisflowsintousassonaswewish
forit.”,inreferringtotheline’giveusthisdayrdailybread’from
…——_.. .-…–.. “.-.——-_._.- —-…
TheLord’sPrayer.33Thismay-behelpfulforChaliceworkersto
workwith.TheworksofPseudo-Dionysiuscontainsimilarreference
tothis’transcendent’energyas34,”thepartakingofofthe
12
providenceflowingtofthistranscendentDeitywhichisthe
originatorofallthatls.”
Fromhereitisthe’messenger’,or’angel’who,sincetheirsisa
lifeoftotalintelligence,arefirstgrantedtheDivineenlightenment,
anditistheywhopassontheserevelationswhicharesofarbeyond
us.”Ithasbeen,accordingtoDionsius,35’theroleoftheangelsto
prescriberulesofhumanconduct,turningthemfromsintotheway
oftruth,annncingsacredorders,hiddenvisions,transcendent
mysteries,ordivineprophesies….Therecipientsofsuchvisionsare
‘liftedup’tothedivine.Theyaregranteddivineenlightenmentand
aresomehowinitiatedintodivinethingsthemselves.H
Dionysiusexpresseddivinerevelationasthatwhich”descends
toitsrecipientsandthenupliftsthem”,’althghtherearepitfalls
ininterpretingthismovementliterallyinspaceandsequentiallyin
time.36Thatdivinerevelationshldaddressthequalityofone’s
interiorlifeappearsprobable.Theaddedbenefitofdeveloping
imaginationafterimaginationasidefrom.Jmprovlnqtheinterior
qualityofone’ssllifeisthatofincreasingone’sconnectednessto
theDivine.
Coincidentally,itappearsthattheangelsthemselvesare
synonyms with’movement’,astheyknownobndariesofspace
andtime.37Astowhichhierarchiescontacthumansforpurposesof
movementand/orenlightenment,thereseemstobesomedebateon
.thisissue.
—– _.__..–_.–•.•._–…. .•..— …_..-_._._._0. __.. . ..
Contactbyangelicpresencesmaytakeonavarietyofforms.
AccordingtoThereseSchroeder-Sheker 38,”Inthe’Angeltraditionit
istheseraphimwhoareburningwithloveandtheirjobistosing”.
13
Thesingingoftheangelsbringsforthanimageofecstasy,andalso
thedesiretosingto,orfortheangels,rvoicesextendingtward
totheheavensinorderthatwemightminglewiththeseangelic
presences.
Musicisamodalitywhichtchesthelistenerinadeepand
abidingway.TheKyriefromtheMassoftheAngelsisaverywarm,
highlymelodicbeingwhichbringsapictureofresistance,
purification,transmutationandhealingtothebedside.39When
administeredsymptomatically(allopathically), itcanprovidethe
,stimulusneededtoalleviatephysicalpainandinducedeepsleep.
AccordingtoMs.Schroeder-Sheker,40thewaywephrase,{withthe
harp),isabtinnermovement. Whenweplaytheharpittransforms
usaswellasthereceiver.Warmthwill’penetratethemusic.Inner
movementisconnectedwithacontinus,cascadingliminal
experience,whereintheportalsofthethresholdremainopentothe
arrivaloftheangelicpresence,whoservesnohigherpurposethan
love.
Thismaywestriveforinthefieldofmusic-thanatologyas
well,forthatwhichisfreelygivenhaseverythingtodowith
unconditionallove.Itisthiskindofofferingwhichismadewitht
anykindofagendatothedyingpersonthatpromisestomeetthe
futureofrresponsibilitywithregardtorshareddestinyas
agentsofliminality.
Wewillcontinuetoworkwithdyingpatients41andinr
_._.—— ..-_…_—.–..-~— —— – .
studieswewillpondertheimportanceofissuessuchasliminality
‘andtransformationandthepertinenceoftheseprocessesinr
livesandinthelivesanddeathsofthepatientswhomweserve.It
14
isappropriatethatsuchstudybeundertakenasthismaybestserve
toguideusinthebestdirectionpossible.Thefollowingpoemfrom
theworksofPopeJohnPauladdressesthemysteryofliminality
eloquently:
MysteriumPaschale
Ycannotstopthepassingcurrents.Therearemany…
Yexistalwaysdeathbnd,alwaysbndtothefuture
whichalwaysstepsintoyrcurrent.
Butwillitfreeyfromthefieldsthatpass?
Willitseizeallpastfromexistence,
andallfutureto?
Themysteryofpassage
inwhichtheorderofpassingisreversed
sincewepassfromlifetodeath–
suchistheexperienceandtheobvisnesstherein…
Oneofus,oneofmany
crossedallthecurrentspassing
changedthedirectiononthefieldwhereeveryonepasses.
ThispassageiscalledPaschaMysterium.4 2
15
FOOTNOTES
1Byock,1986.American JournalofHospiceCare.November-December, p.
16-21.
2Thefirstphasecomprises symbolicbehaviorsignifying thedetachment
oftheindividual orgroupeitherfromanearlier’fixedpointinthe
socialstructure’, fromasetofliminalconditions, orboth. During
theintervening liminalperiod,thecharacteristincs ofaritual
subject, “thepasssenger” areambiguous; he/shepassesthrougharealm
thathasnoneoftheatributes ofthepastorcorningstate. Inthe
thirdphasethepassageisconsummated. Theritualsubject, individual
orincorporate, isinarelatively stablestateoncemore.p.94-95The
RitualProcess, VictorTurner,Chicago,A1dinePublishing Press.
3Liminalentities areneitherherenorthere;theyarebetwixtand
betweenthepositions assigned andarrayedbylaw…Thus,liminality is
frequently likenedtodeath,tobeinginthewomb,toinvisibility, to
darkness…hislove,hisangel,hissoul,TheRitualProcess, ibid.
4Thepoet,theartist,orthedramatist freelyunfoldsimagesfromthe
boundsofreality, DiltheyGSVI1924:137.p.128.TheRitualProcess.
5
Page145,FromRitualtoTheatre, 1982.
6
Page96,TheRitualProcess.
7Pages108-111, CarolineWalkerBynumscritiqueofVictorTurner’s
theoryofliminality fromAnthropology andtheStudyofReligion, edited
MooreandReynolds, Chicago.
B
Page118.WalkerBynum’scritiqueofVictorTurner,ibid.
9PopeJohnPaulpublished articles inTygodnikPowszechny whichpayed
tributetothedirector ofthewar-timeRhapsodic Theatre. Duringthe
Germanoccupation ofPolandperformances ofclassical worksweregiven
oftenclandestinely inprivatehomesallover Cracow. Karol,oneofthe
youngactors,cametothisdirectoronedayandsaid,”Pleasedon’tcast
meanymore. I’mgoingtobeapriest.” Page72,IntheFootsteps of
JohnPaulII.Prentiss-Hall, 1980.
10PagexofKarolWojtyla, TheCollected PoemsOf,Libreria Editrice
Vaticana, 1982.
11
TheRitualProcess,Turner,p.94.
12Mysterium Paschale, fromKarolWojtyla’s Collected Poems,p.157,
poemsofameditation ondeath,1982.
13Thisconceptofthe’third’atthetimeofthebedsidevigilwas
discussed at–Iength–during-the intensive sessionwithRobert- Sardel-Io,- ——
March,1994,ChaliceofRepose,St.Patrick’s Hospital.
14Sardello Intensive, March,1994.
16
·~
…(~
32SimoneWeil,GatewaytoGod,EditedbyDavidRaper,with
contributions byMalcolmMuggeridgeandVernonSproxton,Crossroad,NY,
1982.
33OntheLord’s Prayer,SimoneWei1,HanumanBooks,MadrasandNew
York,1990.
34Pseudo-Dionysius, TheCompleteWorks,PaulistPress,NewYork
Mahwah,1987.
35
page157,TheCompleteWorksofPseudo-Dionysius, 1987.
36
Page145,Pseudo-Dionysius, ibid.
37Page36oftheTwentiethCenturyEncyclodpediaofCatholicism,
,Volume47,WhatisanAngel?,Pie-RaymondRegamy,O.P.,HwthornBooks,
NY,1960.
3B
ChaliceNotes,ThereseSchroeder-Sheker Lecture,1993.
39
LuminousWoundImageChart, Therese-Schroeder-Sheker, 1993.
40
ChaliceNotes,ThereseSchroeder-Sheker Lecture,1994.
41Ms.Schroeder-Sheker’s publishedremar~sconcerningtheformationof
theschoolknownasTheChaliceofReposeProjectatStPatrick’s
HospitalisdocumentedintheAdvancesarticle,publishedwinter1993.
42
CollectedPoemsof..page157.
18
