First, the affirmation that there is no isolation, that nature and all mankind are interconnected — and second, karmic responsibility.
“It’s one thing to fashion a particular work of art, sculpture, painting, a worthy accomplishment,” Thoreau once wrote, “but much greater is the creation of one’s life.”
A compassionate activist tree-sitter Julia Butterfly Hill, took action as taught in The Voice of the Silence, and is surely a living example of Theosophy pure and simple. Julia willingly sacrificed her comfort and well-being, as the Voice counsels, to “help Nature and work on with her.”
“…to exemplify the highest potential imagined, it is the highest of loving artistic accomplishments,” Thoreau believed.
“The divine oneness of life, the just and unerring operations of karma, and our cyclic rebirths here on earth,” Ingrid Van Mater writes in Reflections on the Voice of the Silence, “form the broad canvas on which aspects of human conflicts and possibilities are presented.”
One of the primary keynotes of the Voice, Van Mater notes, is the “illusion stemming from the ‘heresy of separateness,’ and the discipline and exercise of the paramitas or virtues required of a genuine adept or teacher. These include charity, harmony in word and act, patience, fortitude, and indifference to pleasure and pain.”
“She doesn’t follow any organized religion but says she believes very strongly in the spirituality of the universe.”
It must have been some inner, instinctual sense of harmony that roused Julia, as she climbed up those ropes into Luna, a 20-story Redwood, to begin her precarious encampment as a human shield in the endangered redwood trees.
“Such is the quality of commitment, the degree of self-sacrifice of a bodhisattva or Buddha of Compassion,” Van Mater wrote, “who gives himself totally to join those, ‘unthanked and unperceived by man,’ who build and sustain the Guardian Wall protecting mankind, to shield us and this planet ‘invisibly from still worse evils.'”