Arcady
Introduction
This page of the Arcadian website looks at the mythology and the mysteries of Arcadia explored both as a loss of perfection/innocence (expulsion from Eden/ Arcadia/ Golden Age/state of harmony) and as an intimation of potential evolution/overcoming/renewal. An aspect of the painting by the French Nicolas Poussin (1637-38) and the mystery of 'Et in Arcadia ego' is that the death of the old self and birth of the new, as well as the (alchemical?) transition by the species to the state of being of harmony and oneness with Creation (all that is) and thus of our potential immanence and god-hood.
Arcadia of Ancient Greece
Arcadia (Greek: Αρκάδια) refers to a vision of pastoralism and harmony with Nature. The term is derived from the Greek province of the same name which dates to antiquity. When dealing with this term we must be a little circumspect so as not to impose on the terminology of the ancients our own aspirations and yearning. In its simplest form Arcadia refers to the fact that most Greeks lived in polis or cities and thus those that did not might have been regarded as such to be living in a simpler or less corrupt state, perhaps more innocent, or basic, or even backward: we must beware of imposing our own definitions. But the idyllic context does seem to have evolved even in those times.
Arcadia is a region in Greece and is
mountainous. It would have had a sparse
population of pastoralists and especially shepherds.
Gradually the word Arcadia developed
into a poetic byword for
an idyllic vision of unspoiled wilderness: a poetic or symbolic or utopian space associated
with bountiful natural splendour and harmony. The concept also figures in Renaissance mythology.
In Greek Mythology
Arcadia also figures in ancient Greek mythology where it is located in the Peloponnese. Again regarded as somewhat wild and of a pure and unspoiled state. It was here that the god Pan resided, along with dryads, nymphs and other spirits were said to roam. It is from Pan that we get the word panikos (panic)- for whilst he would stroll Arcadia peacefully if disturbed from his daytime slumbers he could evoke panikos or sudden uncontrolled and irrational fear.
This might also intimate a fear of anything beyond the control of man and his created or polis landscape, that is things or existence in their untamed and natural state and uncontrolled state, again symptomatic of being cut off from a pure and natural state. It was believed that it was a utopic place, where inhuman creatures dwelled.
Another god who supposedly roamed the region was Hermes, the god of thievery and the messenger of the other gods. The mythical heroine Atalanta who participated in the hunt for the Calydonian Boar and managed to kill it was the daughter of the king of Arcadia.
Et In Arcadia Ego
Arcadia has been used in literature throughout the Middle Ages and later, especially in the Renaissance. Of particular note is the painting Et in Arcadia ego (1637-38) by the French artist Nicholas Poussin, (June 1594 - 19 November 1665) which has become famous not only in its own right in European artistic development but also because of the possible connection with Gnostocism , with the Rosicrucians and with other mysteries (e.g. Renne la Chateau, the bloodline of Christ, the Cathars and so on). It has been noted that the fourteen letters of Et in Arcadia Ego is an anagram of I Tego Arcana Dei (translated as "Begone! I conceal the secrets of God").
The phrase had appeared earlier in a painting "Et in Arcadia ego" (also known as The Arcadian Shepherds, c.1618-1622 ) by the Italian Baroque artist Giovanni Francesco Barbieri "Guercino" (February 8, 1591 - December 22, 1666). The painting shows two young shepherds staring at a skull, with a mouse and a blowfly, placed onto a cippus with the words Et in Arcadia ego ("I too [was] in Arcadia"). The latter is possibly a moral reference to Death. It is thought that the phrase appears for the first time in art and architecture in this work.
Expulsion From Eden?
It is also sometimes seen as a criticism of the modern age and the debasement of Nature by humanity and the loss of innocence. In this context, I would suggest that it has a semantic and psychological connection to Eden and the myth of Adam and Eve being cast out of the Garden of Eden. In the modern sense, this would intimate that we have lost our connection to Mother Nature, and we have become cut off from our innate spiritual potential.
I venture to suggest that in terms of the emergence and state of man that it implies that man was at one-time innocent (hunter-gatherer) and thus entirely a part of nature and then "fell from grace" as it is referred to in the religious context in Europe. That is we moved away from that innocent state to become the agents of our own change and thus increasingly the masters of our environment. But paid the penalty of exclusion from the deeper connection and participation. Our ego and our technology have blinded us to higher participation in the deeper mysteries and teachings of being at one with everything.
And this is the promise so to speak of the "Fourth Age" of which I speak in the page 'Sacred & Spiritual': a reconnection to a oneness yet complete with our knowledge and technology but evolved from it.
Arcadia in This Age
I have tended in my life and my work to take a triple approach to Arcadianism, and (i) what it means in my life and purpose (ii) what it's relevance and value to humanity is and (iii) its import to Earth our planetary home and the entirety of existence and structure thereon and therein. A precis of this triple approach can be summarised as follows:
1. The creation of gardens to express the idyll of calm, beauty, variety, the harmony of man and the space of the garden and thus some kind of sanctuary. The English landscape idyll could be considered to be an expression of this and the human (especially the English) passion for gardening, in general, is possibly an icon of the sub-conscious search for this harmony.
2. The necessity of changing oneself by the trigger of the creation of the garden in order to reach a higher state which will enable one to overcome the baser limitations of this world and this age. Self-evolution in this life-time. In the Masonic ritual process, this is seen as the transformation of the rough ashlar into the smooth cube of perfect stone and the death of the baser self to attain a higher better being.
3. Combining that effort to further the
aspiration of humanity itself to transform the species relationship to the planet
by modifying and enhancing then evolving its own character and behaviour so
that the planet and humanity's relationship
to it can in time express Arcadian integrity and wholeness.
Stephen Ben Cox c.2020.
________________________________________________________________________
STEPHEN COX GARDEN TRUST
is a Registered Charity (number: 1174239) in England & Wales
PURPOSE: To advance education in horticulture, conservation, wildlife, and heritage by providing study courses, training placements, talks, and workshops and other means for the enrichment of society and improvement of human well being in general based upon the Founder's garden, library, writings, teaching, and philosophy. Including skill enhancement for the young unemployed or those facing learning difficulties or other barriers to employment or self-advancement.
stephencox.gardentrust@gmail.com
PLEASE DONATE: You can donate by pressing the button below to securely donate via PayPal or credit card. This will take you directly to our PayPal secure portal:
Press here >> DONATIONS BUTTON <<