Eshu and the Farmers: An Exploration in Symbiosis
by Shango Adel'ona

Bi owe, bi owe, ni a nlu ilu ogidigbo, ologbon ni ijo o, omoran ni imo o.

Translation:

The ogidigbo or talking drum is sounded in proverbs, only the wise can dance to it, and only the experienced can understand it.

Use: One should watch events carefully before making any decision. All the facts may not be apparent.

Stories and the art of story-telling have been around since time immemorial; certain stories are probably ageless, one finds them filled with wonderment and all manner of strange and exotic ideas, and full of marvelously imaginative characters, who look and act almost as if they come from another world. Joan Halifax writes that 'stories are threads that draw one back into the fabric of the Earth. Bright fibers that join worlds, stories illumine our deep past and our origins, our ancestors and the ancestors of all creation, and our psyches and societies. They also draw us through the eye of the future. There are stories of beginnings, stories that reflect our lives as they are presently lived, and stories about the coming time.'(Halifax 1993)

In traditional societies, certain stories or folktales, probably the majority, contain characters, situations and circumstances designed to convey as no other method can, the wisdom and knowledge gained from life. One of the leading prototypes within this genre; is the trickster figure, found everywhere with similar forms and functions. The particular subject of this discussion is 'Eshu,' a central figure in Yoruba theology, and main protagonist in countless folktales. An oriki or prayer of Esu contains the following lines:

Oro Esu to to to akoni.
The word of the Divine Messenger is always respected.
Esu ori mi ma je nko o.
The Divine Messenger guides my head on the path of transformation.
Esu ohun ni'ma wa kiri.
The Divine Messenger has the voice that roams the universe.
Esu ma se me o.
Divine Messenger do not confuse me.

Eshu like other trickster figures finds a way to create a great deal of what may initially seem like trouble for people, even as he arrives in the nick of time to rescue them. He may, for example, cause someone one to fall into a hole, then provide the means of escape or rescue, and it turns out that the people involved are to be of further benefit to one another, as if he designed the entire incident for their mutual benefit.

And as 'agent provocateur,' Eshu often aids in the processes of change and transformation, he becomes the catalyst, the divine precipator, if you will. He sometimes fulfills this role by instigating the protagonists into the most outlandish circumstances that forces them to rid themselves of outworn attitudes, ideas, and values. In this manner I think he shows how difficult it is to change negative habits of thinking, or emotion or other deep-seated behavior.
Eshu's efforts are undoubtedly viewed as chaotic by the characters in the stories (did I say life) because they are forced to undergo transformation, in terms of their relations to people, to society, to the universe perhaps. This tends to be and is a difficult undertaking and is often a very painful process, because they (we) refuse to seek or try to overcome weaknesses and limitations in their (our) worldviews, to change one's mind, to undergo the process of metanoia is a very difficult thing to do. To open one's heart is often even more difficult, and yet the spirit of life requires that we open our hearts and minds to new possibilities.

In my view, the central idea of the following story, one of many versions is that of symbiotic relationship. Verena Kast explains that 'the term 'symbiosis' is a biological term used to describe a mutually interdependent relationship. Applied to the psychological realm it describes a complex of relationships where a 'person merges so completely with another person, group, country, or other entity, that any distinction between the two seems unreal.'(Kast 1993)

A symbiotic relationship in some cases can be seen as a detriment to growth of the individual, perhaps a weakness in the person's inner world causes them to diminish their own possibilities for growth and real achievement. The movement toward maturity and individuation is arrested, a person becomes stuck in what turns into an unfulfilling position, though uncomfortable, a person may be unable to do anything different. Somehow the person suffering in this state fails to establish proper boundaries between themselves and others. And as we know Eshu's realm is borders and boundaries, he operates exclusively on the edges, within the crack between worlds. He functions in the role intermediary, par excellent .

Let's now turn to a familiar story of Eshu which demonstrates his actions with regard to symbiosis:

Once two friends owned adjoining farms. They dressed alike and were in all ways a model of friendship. (In another version, they even offer oaths of undying friendship, and it is that that Eshu overhears and spurs him into action) Eshu decided to make them differ. He used to walk each morning on the path between the two farms, and one day set out wearing a multicolored cap, variously described as red and white; red, white and blue; or red, white, green, and black. He also put his pipe at the nape of his neck instead of his mouth, and let his staff hang over his back instead of his chest. He greeted the friends, already working in their fields, and passed on. Later they began to argue about the color of his cap and which way he going. Soon they came to blows. When they were brought before the king, Eshu confessed to igniting the quarrel because 'sowing dissension is my great delight.' When the king tried to bind Eshu, he fled, started a fire in the bush, hurled burning grass on the town, and then mixed up the possessions that the townsfolk had hauled out of their houses. A dreadful row began, and Eshu ran off laughing, he boasted that everyone had played his game well.'

The story contains many lessons we need to take to heart and makes the symbiotic relationship very clear, friends with farms across the road from one another, dress alike, and in general do everything together. It's almost as they were looking in a mirror, which contains and reflects their own particular model of reality, which on the surface all seems well. One can imagine their lives going on like this forever, in a rather paradiasial state, where nothing ever changes. In a sense, one could almost suggest that they were in heaven, not on earth, and weren't engaged in dealing with 'The World' as marketplace.

I believe a major points of the story and Eshu's necessary intervention was a commentary on the nature of their existence. His actions in this story indicate they were in fact living half-lives, or fantasized lives, and as he pointed out at the end they weren't playing at the 'game of life.' He ultimately calls them to wake up to life. It [life] doesn't go smoothly, life is not lived in a total absence of struggle, and without sometimes complex interpersonal dynamics. The farmers symbiotic relationship shows a complete deficiency in creativity and inventiveness. And within these conditions any type of deeper truth cannot and will not become manifest in their lives.

Eshu's job in this story was to bring out of the characters a truer friendship based on their own real and particular individuality, with their own view of the world. And to help them to build a friendship that readily admits difference, a friendship built on mutual respect, rather than some outwardly superficial similarity; evidenced by their wearing the same clothing. By intervening Eshu says, integration does not entail uniformity, [even] though a core of common values are needed to build any sort of relationship.

That Eshu chose to wear multicolored caps, on the one hand points to his own nature, which is multi-faceted and chameleon-like and on the other, that this [hat] was the most fitting thing (proper) to achieve his aim. He created an image purely designed to cause the desired reaction, to create dissension, first by way of gossip, and one can imagine, the discussion becoming rather heated, as each of the friends tried to convince the other of the correctness of their view and the incorrectness of the others. This choice of the image must not be missed, because it clearly reflects the nature of their model of reality. And it must be appreciated by those who are interested in communications at just how perfect was Eshu's effort. The deep insight needed to cultivate a specific reaction in someone else is just too remarkable and very, very difficult.

Elsewhere it's written that an 'Interpretation on the part of the image maker must always be matched by the interpretation of the viewer. The easier it is to separate the code from the content, the more we can rely on the image to communicate a particular kind of information. A selective code that is understood to be a code enables the maker of the image to filter out certain kinds of information and to encode only those features that are of interest to the recipient.'(Albarn and Smith 1977) Thus Eshu as universal linguist; obviously understood the code which served as the basis for communication in this friendship, he therefore encoded the message he wanted to convey, because he knew exactly how they would interpret it. We might also say he understood their hearts, and he was therefore able to speak to them.
His purpose was to draw their (our) attention to a deeper order of reality, that neither of the friends were apparently aware. And since the story is actually for our benefit, we therefore, must ask ourselves, for instance, 'How many of our friendships or other relationships operate in a similar fashion and how much of our lives are spent attending to superficial banalities? Or we might ask ourselves in what ways are we seeking to tap into the deeper order of possibilities that Eshu points to through his behavior. [Or] Do we seek to achieve an authentic friendship; just as he asks the friends to look beneath the surface of things. How do we resist the temptation to base our life simply on outward appearances or circumstances. And finally do we in fact, attempt to find the essence of a person and or thing, and therefore determine what is essentially worthwhile and valuable, then base friendship and life on it.

In a later section of the story The king's attempt to bind Eshu was bound to fail, because he was attempting I think, to bind or to stop the dynamic element of change, by using, let us say ropes, which would functionally represent, the usual method, the tried and true, or static patterns of existence. Additionally, represented here is the refusal on the King's part to administer justice; he was unable to fathom the real nature of the dilemma, therefore was unable to meet the situation in the proper manner. His inability to admit the dynamic element into his life and as head of state, also reflects the communities' prevailing attitude towards growth, development and transformation.

This last point is shown by Eshu engaging the entire community into the process of dissolution and reclamation. It well may be that the town and all its population, were in the same place or state as that of the two friends, living superficially. The material thrown out the house repeats, though on a larger scale, symbolically the clothes of the two friends. Thus the implication to be drawn is the community did in fact suffer the same malaise as the two friends and needed to undergo its own ordeal, in order to achieve a truer existence or a deeper awareness of the real sources of creativity. Its implied that a re-ordering is necessary in the community, that they too lived in a symbiotic atmosphere and needed to be awaken to the nature of reality, where growth and development is required.

They would find themselves engaged in very creative actions as they began to re-claim their belongings, a process of separation, this is mine, that is yours or I've outgrown this-you can have it.. Also, more problems and arguments would be certain to occur, due to the possibility of taking something belonging to someone else. And in this situation, after the effort of throwing everything out, they certainly can make a re-determination separating what is essential and valuable, that is to say, what is real and true within themselves, from what is false and untrue, this is often described as the 'Great Work' of Alchemy. In this way they rid themselves psychologically speaking of outworn and useless states, attitudes, passions etc. Thus becoming; who they were born to be, in Durkheim's terms 'transparent to the transcendent' and a true reflection of their source. By way of this process they are readied and prepared for the coming of a 'Higher Mind,' or deeper consciousness.

The fire in the bush; the bush representing something outside or unknown, that Eshu throws on the town is a repeat also of the heat, though in a symbolic manner, generated by the argument (friction) of the two friends. We also recognize fire or heat as an essential element in the alchemical process, the heat that transforms base metal into gold. In this instance, Spiritually understood , the transformation of gold symbolizes the reclamation of the original nobility of human nature. Thus, all that is good and true, can only be found after having undergone the fiery ordeal of transformation.

'According to the alchemists of old, the base metals cannot be transmuted into silver or gold without first being reduced to their materia prima...which is to say, the souls in its original state, are as yet unconditioned by impressions and passions... Only when the soul is freed from all its rigidities and inner contradictions does it become that plastic substance on which the Spirit or Intellect, coming from on high, can imprint a new 'form' - a form which does not limit or bind, but on the contrary delivers...'(Burckhardt 1974) Again by throwing their possessions and materials out, the towns people were symbolically, preparing to rid themselves, of outworn and useless attitudes.

Eshu's game is the 'game of life' and the design of the field of play as represented by the farmers in particular, is the pattern of their (our) existence. It is 'in games we learn to co-operate, to compete, to explore, to invent, to test ourselves against a variety of situations, to evolve strategies, to make plans.' Games are thus dynamic, just as life is meant to be, full of change, sometimes chaotic, sometimes easy and smooth. Without the dynamic element; the magical transcendent state of flow cannot be obtained. The 'Flow state' usually happens not during relaxing moments of leisure and entertainment, as signified by the lives the two farmers, but rather when we are actively involved in a difficult enterprise, in a task that stretches our physical or emotional, and mental abilities...[flow] focus(es) our whole being in a harmonious rush of energy, and lifts us out of the anxieties and boredom that characterize so much of everyday life.(Csikszentmihalyi 1993) Neither, the farmers, nor king, nor town were seeking to obtain this type of existence, relying strictly on the static patterns of their existence. Eshu says there is more to life than you know and have experienced, therefore one should continue to aim for living creatively with innovation and invention.

I think an example of the ideas in the story applied to today can be found with major concerns of teenagers is that of developing a uniqueness and individuality, and rightly so; just as it should be a goal for everyone. It is as if they instinctively know this is the possibility life holds out to them. Yet, as one listens to teenagers, try describe what constitutes their uniqueness, they cannot deliver a satisfactory answer; undoubtedly neither would an adult. Nevertheless, superficial differences are taken for uniqueness, which to my mind is something of a different order. And in witnessing their dress, for example, it becomes clear, they like the rest of us don't have a real clue about what actually constitutes Individuation let alone methods of achieving it. It is of course the duty of the community, to model the search for Self, or the fulfillment of the Yoruba concept of destiny, for example. The first step on this road is have the cultivated in oneself the hunger for individuality, which I think for the most part is absent in the modern world, even though it has been widely written about.

And while teenagers for instance, often protest against the following the rules of society, or the rules of the household, and rather than seek authentic methods of transformation, their protest behaviors becomes nothing more than negative displays of anger and hate. Perhaps it can be no other way, unless and until processes like 'the vision quest' or other forms of initiation become a real possibility in this society.

Often [teenagers] seem to think that imitating each other, is a way of achieving actual separation from the older generations, they all too often fall under the sway of 'peer pressure,' which becomes itself 'the voice of authority.' By wearing the same clothing, though different from adults, often only means following the latest fashion trends, generated by some adult in a corporate office, or by an Ad agency. The actual values they [teenagers] seek to express are turned against them. And in fact, this behavior is similar to the two farmers, whose attention is galvanized or hooked by surfaces, rather than by the Real, as such.

From a psychological perspective 'Individuation' describes the process by which 'one becomes who one really is.' According to Jung 'All life is bound to individual carriers who realize it [make it real -mine]... every carrier is charged with an individual destiny and destination [the Self], and the realization of these alone makes sense of life...The unknowable and timeless archetype of the self assumes a specific and unique form in everyone, and the task, the goal [of the game] lies in fulfilling one's own destiny and vocation.'