Analysis of the Spiral Staircase

Topics: God, Religious experience, Spirituality Pages: 30 (11132 words) Published: July 19, 2006
This assignment will deal with The Spiral Staircase as a spiritual autobiography. It will not be in the form of one composite essay, but will rather address each question separately, as has been laid out in the original question.

1. The first step of the course you came to a deeper understanding of the basic structure of spiritual accompaniment (see page 7-24 of the reader). Read the autobiography carefully. Describe the main forms of spiritual direction present in the chosen autobiography, using the triangle of the reader (pages 21 and 24)

Spiritual accompaniment, according to Ancilli's edition, "seeks to guide the person being accompanied in her or his relationship with Divine reality" (Reader 2006:14). Barry expands on this, as: help given by one Christian to another which enables that person to pay attention to God's personal communication to him or her, to respond to this personally communicating God, to grow in intimacy with this God, and to live out the consequences of the relationship (idem). In this relationship there is an accompanist, the person being accompanied and the Divine Presence. It is incumbent on the accompanied individual to initiate this relationship, and the accompanist in turn brings in his/her insight, discernment, communication skills and experience. When "[t]he deeper layer in conversation opens up in mutual respect between […them, and] is present, Divine light streams into the person being accompanied" (ibid:23). Thus the person being accompanied is central to this dynamic which relates to his/her search for God. The accompanist is thus an "instrument of mediation" (ibid:24)

Karen Armstrong, the author, is the person to be accompanied in this exercise. She set out on her journey with the Divine, according to her spiritual autobiography The Spiral Staircase, when she entered her convent in 1962 at the age of seventeen years, entirely of her own volition and with "unusual resolution" (Armstrong 2005:1). She tries to explain this within the milieu of the sixties, looking for external rather than internal reasons, although she does describe many of her dreams, as delineated below. Religious life appeared to be a "soft option", although she feels that had she not "wanted to find God", she "would not have lasted more than a few weeks" (ibid: 2).

She had set out to have an intimate relationship with "the infinite and ultimately satisfying mystery that we call God" (idem) but the problem was that although she is faced with this mystery in many guises, she is unable to recognise God in it. Is she "yearning for transformation"(idem) in God or just transformation? Was her journey a spiritual one because she recognises that unlike her peers, she does not have the physical makeup to take the "Rock'n'Roll" option and thus seeks the "soaring theatre" and "imagery of Catholicism" (ibid: 5) instead.

She wished to "live more authentically and "sought intensity and transformation in the life of a nun"(ibid:5-6). Sadly seven years on, she admits failure; she could not entirely subjugate the ego, nor could she abandon herself (ibid: 7). During the novitiate, she had focused on her spiritual life – "learning about prayer and the meaning of […their] Rule"(ibid: 10). She had planned to "develop an interior attitude of waiting permanently on God, perpetually conscious of his loving presence" (ibid: 20). Her goal was to connect with the Divine but it did not seem to be materialising.

The convent and its form seemed to represent God for her. The superiors in this institution "stood in the place of God" (ibid: 27). Ironically, when Karen left the convent, on her first day out, she responds to the form of authority that she had apparently rejected – the bell, which in the convent represented the voice of God. Her response to this ‘voice' has her kissing the floor (ibid: 23). She acknowledges that it was her "failure to find God"(ibid: 25) that propelled her away from the...
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