Feeds:
Posts
Comments

Posts Tagged ‘Walter Savage Landor’

Dali – ‘The Persistence of Memory’ – for source of picture see link

Anoche cuando dormía
soñé, ¡bendita ilusión!,
que una colmena tenía
dentro de mi corazón;
y los doradas abejas
iban fabricando en él,
con las armaguras viejas,
blanca cera y dulce miel.

(Last night I had a dream –
a blessed illusion it was –
I dreamt of a hive at work
deep down in my heart.
within were the golden bees
straining out the bitter past
to make sweet-tasting honey,
and white honeycomb.)

(From Antonio Machado Selected Poems translated by Alan Trueblood: page 90-91)

The Implications of Integration

So far this sequence has been a rather extensive treatment of the basic aspects of dreamwork as one example of how we can gain access to another system of thinking than the two Kahneman seems to feel are all that is available to us.

The point reached – the integration of and balance between extremes – hopefully has signalled how useful even this one approach could be to helping us, for example, get past a pendulum dilemma, where we swing between two apparently incompatible courses of action in response to a challenge, where we are deeply conflicted in some way. There is a theme that Jung deals with, but which is already present in Myers’s thought, that is relevant here. To quote Ellen Kelly in the Kellys’ monumental book Irreducible Mind  (page 64):

In keeping with his “tertium quid” approach, [Myers] believes that the challenge to science does not end but begins precisely when one comes up against two contradictory findings, positions, or theories, and that breakthroughs occur when one continues to work with conflicting data and ideas until a new picture emerges that can put conflicts and paradoxes in a new light or a larger perspective.

Jung believed that when we are caught in the vice-like grip of this kind of conflict, we have to find the ‘transcendent’ position that lifts us above the paralysis induced by two apparently irreconcilable opposites to which we feel compelled to respond in some way. Stephen Flynn makes an important point in his discussion of Jung’s concept:

Jung mentions one vital aspect of Transcendent Function, as ‘active imagination’ whereby the apparent haphazard frightening images from the unconscious are integral to the healing process.

This obviously relates to my figure from the freezer and anything else of the same nature. He then quotes Jung himself about any related conflict (The structure and Dynamics of the Psyche 1960 – page 88):

The confrontation of the two positions generates a tension charged with energy and creates a living, third thing – not a logical stillbirth in accordance with the principle tertium non datur but a movement out of the suspension between opposites, a living birth that leads to a new level of being, a new situation ….  the shifting to and fro of argument and affects represent the transcendent function of opposites.

There are other paths towards this kind of transcendence and discussion of them inevitably includes a consideration of the undoubtedly spiritual. I have deliberately avoided confronting that aspect of the matter so far, as even the more mundane powers of the dream seem magical to me, and draw on the right brain or what we often short-hand as the heart, something not reducible to either System 1 or System 2, in my view.

I can now explore some of these implications partly in the light of an important dream I once experienced. As a preparation for the way the first of these will edge closer to a sense of the way that dreams can be seen as a borderland between ordinary and transcendent consciousness, and even at the risk of making this long post unbearably longer, I think it’s worth sharing the experience of a Visiting Professor of Transpersonal Psychology which he quotes in relation to his investigations of paranormal phenomena. David Fontana describes it towards the end of his book, Is There an Afterlife? (page 425):

[Psycho-spiritual traditions teach that] astral and energy bodies hover just above the sleeping physical body each night . . . . I once had an interesting experience that could be connected with this belief in some way. For many nights I have been waking briefly in the middle of the night with a clear awareness of a presence standing on the left side of my bed. I had no idea of the identity of this presence, and it seemed to vanish each time just as I became fully conscious. Every time this happened, I fell asleep again almost at once. There was nothing frightening about the seeming presence, but I was interested to find an explanation for it. One night when I awoke with a strong sense of it, I received simultaneously the clear impression that to find the answer I must think back to what had been happening just before I awoke, rather as one rewinds a film. I did so – many things seem possible in the moment of waking from sleep – and immediately became aware, to my utter astonishment, that the “presence” was in fact myself, in the moment of reuniting with the physical body. . . . Whether or not [the experience] supports the notion that consciousness leaves the body each night during sleep I cannot say. But I know that the experience happened, I know it was not a dream, and I know that, having had the curious insight into what might have caused the presence, the experience never happened again . . .

I mentioned earlier Kahneman’s System 1 and System 2 models of decision-making before looking at some length at dreamwork as one possible way of going deeper.

How deep can dreamwork take us?

I want to draw on my own experience for this again. Mainly this is because I know what I dreamt and I know what I learnt from it. The evidence in that respect is as solid as it gets for me. It therefore interposes fewer filters between anyone who reads this and the raw experience it relates to. The drawback is that I have never had a dream that was stunningly prophetic or profoundly mystical, so the example I am going to give might seem a bit run of the mill. However, because I found an apparently simple dream profoundly enlightening, I thought it was worth sharing.

A rag rug

My Dream

I am sitting on a rag rug, the kind where you drag bits of cloth through a coarse fabric backing to build up a warm thick rug.  The rags used in this case were all dark browns, greys and blacks. It is the rug, made by my spinster aunt, that was in the family home where I grew up. I’m in the living room, facing the hearth with its chimney breast and its cast-iron grate and what would have been a coal fire burning brightly. I am at the left hand corner of the rug furthest from the fire. To my right are one or two other people, probably Bahá’ís, but I’m not sure who they are. We are praying. I am chewing gum. I suddenly realise that Bahá’u’lláh is behind my left shoulder. I absolutely know it. I am devastated to be ‘caught’ chewing gum during prayers but can see no way of getting rid of the gum unobserved.

I worked on this dream using the methods described in the previous two posts. Various elements were profoundly meaningful, such as the rug made by my aunt, not least because of what she represented to me. For a sense of that those of you who are interested could read the poem The Maiden Aunt (see below). I want, for present purposes, to focus on what for me has become the core of the dream’s meaning, a meaning which is still evolving even though this dream is now more than 15 years old – still in adolescence really so there’s probably more to come.

There were two kinds of clue to this core meaning: one derived from word play and the other from role play.

Word Play

I’ll take the word play first as it’s easier to explain. The ‘chewing gum’ element of the dream can be dealt with quickly. It related to various ways I was stuck and perhaps still am!

More richly significant was the image of the hearth. The fact that it was in a chimney ‘breast’ helps convey the power of the realisation that came to me. The word ‘hearth’ is comprised of several other key words: ‘ear,’ ‘hear,’ ‘earth,’ ‘art’ and most powerful of all ‘heart.’ All of these words were separately of huge significance for me though I had some sense of how they might all fit together.

For example, I had latched early onto the words of Walter Savage Landor, long before I had the dream:

I strove with none, for none was worth my strife;
Nature I loved; and next to Nature, Art.
I warmed both hands before the fire of life;
It sinks, and I am ready to depart.

The art of listening had separately been extremely important to me in my work as a clinical psychologist which made finding the ‘ear’ so closely tied into this central image not entirely surprising. Also having an ear to hear the intimations of the spirit is emphasised in Bahá’í literature as being of critical importance to moral progress.

This only got me so far though. I needed some other way of decoding the full import of the dream.

Peat Digging

Role Play

If you remember, when I was explaining dreamwork, I spoke of how each dream element is part of the dreamer and we can unlock the meaning of the symbolism not only by tracking our associations with it, but also by pretending to be the element in the dream and speaking as though we were it.

The result in the case of the fuel burning in the hearth was dramatic. I had been really struggling to make sense of this part of the dream. What had a coal fire got to do with my situation, except as a memory of childhood with relatively little relevance? I decided I needed to sit right in front of the hearth of the house I was living in at the time and speak as the fuel itself.

The Fuel: I am peat. You dig me from the earth and I burn. You feed me to the flowers and they grow.

Need I go any further really with what I said? That first moment contains the key to unlocking a whole treasure chest of meanings.

On the 26th April 2003, at least five years after beginning to work on the dream, I wrote in my journal, trying to summarise some of my insights:

I’m part poet/writer, part psychologist, part educator, (both subsumed by the term mind-wright) – the words wright and writer catch one part of my essence – my tools are words by and large – mind does not quite catch the other part – soul is too grand and beyond my competence – the nearest I can get is being a wordsmith and a heartwright. The word heart helps because it includes in itself the words art and (h)ear, an essential combination of skills or qualities entailed in heartwork. It leads back to my concept of heart-to-heart resuscitation. Hearts have to connect. That it also links with my archetypal dream of the hearth, where the fire of spirit burns to give warmth to the mansion of being, makes it all the more powerful a word to use in this context. The essence of my being – peat – is to fuel this process. An additional thought: 28.04.03 – if you place Heart and Earth overlapping you get Hearth. Each is also an anagram of the other. In the Bahá’í Writings the heart is often spoken of as a garden and of having soil. Also I have prayed for God to ignite within my breast the fire of His love and Bahá’u’lláh refers to the ‘candle” of our heart. Hearth eloquently combines these notions of the heart as a garden and as a container of fire. What does this mean in practice?

I’m still trying to answer that question.

Digging Deeper

The progression up to this understanding and beyond is also intriguing.

When I first had the revelation that the fuel was a pun on my name in its shortened form, I took a narrow view of what it meant. The name my parents gave me was ‘Peter’ with all the associations of rock. When I first began to work on the idea of ‘peat,’ I felt that the dream was saying that I should draw on the essence of who I was, not the persona my upbringing had fabricated in me after the image of my silent and stoical father, hiding his undoubted love behind a wall of reserve.

Then, pushing it somewhat further, the idea of burning Pete came to mind, which suggested the idea of self-sacrifice. But increasingly, as time went on, an even deeper meaning, complementary not contradictory, began to come through: perhaps ‘peat’ was not ‘me’ but came from something outside me and far richer and much more substantial. The earth became a symbol for the realm of spirit and peat came to represent the power that could flow from that realm into my being to give me the strength, energy and wisdom to do far more, far more effectively than I could ever do by any other means.

Of course, none of this exhausts the implications of the dream. The quotation at the head of this post was one of the associations that came to mind when I was working on the dream very early on. It gives yet another level of meaning to the dream to interpret it in the light of that quotation.

I don’t expect to get to the bottom of this dream’s meanings in this life. I just think I have to keep referring back to it to see what else it can teach me. I think it is a dream about the heart that came from my heart. I feel the heart in this sense is ‘the experience of soul or spirit in consciousness,’ as a friend of mine once put it in a workshop. Heart is used in other ways, I know, in our culture, and many of these ways connect it primarily with our emotions – anger, envy, desire, what passes for love, sadness and so on. That is only one way of looking at what the heart might be. The heart is also a source of inspiration, and, while our emotions shout, the heart whispers its wisdom and we do not hear it unless our minds are quiet.

An intriguing question arose after I had re-read Machado recently.  Did I read him before I had this dream? Was there some subliminal influence from that encounter? The date I bought the book permits that possibility, but I can’t be absolutely sure. What I do know is that the following quote from Bahá’u’lláh became far more meaningful for me (Gleanings No. CLII):

O My servants! Be as resigned and submissive as the earth, that from the soil of your being there may blossom the fragrant, the holy and multicolored hyacinths of My knowledge. Be ablaze as the fire, that ye may burn away the veils of heedlessness and set aglow, through the quickening energies of the love of God, the chilled and wayward heart. Be light and untrammeled as the breeze, that ye may obtain admittance into the precincts of My court, My inviolable Sanctuary.

Advertisements

Read Full Post »

[S]election is what the egrets teach
on the wide open lawn, heads nodding as they read
in purposeful silence, a language beyond speech.

(White Egrets: page 10)

white-egretsThe other recurrent theme on my blog recently, apart from psychosis, has been death. No surprise then that I’m going to use that as an excuse to re-publish this post from 2010. Still, I’m glad it gives me another opportunity to plug one of my favourite poets.

For those with little enthusiasm for poetry my current obsession must be getting somewhat tedious. However, I can’t quite let go of it without one more post at least on the subject.

Walcott has just produced a short collection called White Egrets, a series of beautiful meditations on old age, ageless works of art, loss, love and the beauties of nature. Not a big ask then at the age of eighty. It is no coincidence that egrets rhymes almost perfectly with regrets.

Derek Walcott is one of my favourite poets. He is an  inspirational figure whose identity cuts across so many cultural boundaries. His reputation as a poet has thankfully survived the personal innuendoes of the election campaign for the 2009 Oxford professor of poetry contest: I won’t explore here the conflicts inherent between an artist’s life and his art – there’s more than enough on this blog already. Suffice it to say, his poetry is far more accessible than that of Geoffrey Hill, the winner of the 2010 election for that post, whose verse is, to put it mildly, maddeningly and elusively allusive. (It is good to see that since this post was first written Walcott has been awarded the T S Eliot prize.)

The Guardian quotes Adrian Mitchell disapprovingly when he said, “[M]ost people ignore poetry because most poetry ignores most people”. I’m with Mitchell on this and am happy to say that Walcott is a great poet who writes for everyone.

Obviously he’s not the first poet to tackle the experience of old age in his verse. Yeats had more than one idea about it. He looks at the power of art to offset mortality in Sailing to Byzantium.

An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence . . . .

(W. B. Yeats: Sailing to Byzantium)

In 1934 the Steinach rejuvenation operation has a less exalted effect on him:

How can I, that girl standing there,
My attention fix
On Roman or on Russian
Or on Spanish politics?
Yet here’s a travelled man that knows
What he talks about,
And there’s a politician
That has read and thought,
And maybe what they say is true
Of war and war’s alarms,
But O that I were young again
And held her in my arms!

(W.B.Yeats: Politics)

If we want to find out how bleak old age can be, then most poetry enthusiasts would agree that Thomas Hardy is a good place to start. And we would not be disappointed if we took their advice.

Strozzi: Old Woman at the Mirror

I look into my glass,
And view my wasting skin,
And say, “Would God it came to pass
My heart had shrunk as thin!”

For then, I, undistrest
By hearts grown cold to me,
Could lonely wait my endless rest
With equanimity.

But Time, to make me grieve,
Part steals, lets part abide;
And shakes this fragile frame at eve
With throbbings of noontide.

(Thomas Hardy)

There are shades of the late Janáček here, to my ear at least.

Those with more faith than he had will have noticed the comfortless notion of ‘endless rest.’ Hardy’s pessimism may be courageous but that does not, of course, make it true: nor does it make a deluded coward out of every believer as some of the evangelical atheists would have us think.

Shakespeare’s approach is more measured and more stately perhaps because he had fewer years behind him and also the sonnet tradition of his time was not used as a medium for baring all the agonies of your soul.

That time of year thou may’st in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin’d choirs, where late the sweet birds sang:
In me thou see’st the twilight of such day
As after sunset fadeth in the west,
Which by-and-by black night doth take away,
Death’s second self, that seals up all in rest . .

(Sonnet 28)

That word ‘rest’ again. It’s perhaps worth mentioning that George Herbert drew out the power that word has over our minds in his brilliant poem, The Pulley. I quote it in full. The implication is that weariness is the pulley that will hoist man up to God. The background idea, adding to the layers of meaning, is Pandora’s ‘box,’ a mistranslation, as Herbert would have been aware, of the word in the original Greek meaning ‘jar.’

When God at first made man,
Having a glasse of blessings standing by;
Let us (said he) poure on him all we can:
Let the worlds riches, which dispersed lie,
Contract into a span.

So strength first made a way;
Then beautie flow’d, then wisdome, honour, pleasure:
When almost all was out, God made a stay,
Perceiving that alone of all his treasure
Rest in the bottome lay.

For if I should (said he)
Bestow this jewell also on my creature,
He would adore my gifts in stead of me,
And rest in Nature, not the God of Nature:
So both should losers be.

Yet let him keep the rest,
But keep them with repining restlesnesse:
Let him be rich and wearie, that at least,
If goodnesse leade him not, yet wearinesse
May tosse him to my breast.

This is reminiscent of the Bahá’í view.

O SON OF MAN! Wert thou to speed through the immensity of space and traverse the expanse of heaven, yet thou wouldst find no rest save in submission to Our command and humbleness before Our Face.

(Bahá’u’lláh: Arabic Hidden Words: No. 40)

So, after all that, how does Walcott sound?

He’s a modern poet so his music sounds somewhat different, but his roots go deep into the tradition from which I’m quoting as well as drawing on the very different cultural influences of St Lucia.

Perhaps the most striking difference between his treatment of this theme and the poets I have quoted is his humour:

. . . . . . . . . In the cool lobby
the elderly idle. I was now one of them.
Studying the slow, humped tourists was my only hobby,
racked now by a whimsical bladder and terrible phlegm.

(page 33)

And these are not isolated touches. There are many more, of which the most outrageous is the pun in these lines about the British Empire:

He hears the mocking cannonade of battle
from the charging breakers and sees the pluming hordes
of tribesman galloping down the hills of sand
and hears the old phrase “Peccavi. I have Sind.”

(page 41)

He also has command of the elegaic tone:

. . . . . . . I have come this late
to Italy, but better now, perhaps, than in youth
that is never satisfied, whose joys are treacherous,
while my hair rhymes with those far crests, and the bells
of the hilltop towers number my errors,
because we are never where we are, but somewhere else,
even in Italy. This is the bearable truth
of old age; . . . . .

(page 29)

You will not find such a flood of half-rhymes as these poems display – ‘treacherous’/’errors’, ‘else’/’bells’ – in the older poetry we saw earlier, but here their lack of full closure adds to the melancholy of his musings. Ironically, only ‘truth’ and ‘youth’ rhyme fully.

In Barcelona his own aging is echoed in that of his friend, Robert Antoni:

. . . . you take time in portions
one cough at a time, your personal thunder
that turns compassionate heads.

(page 85)

This paves the way for his wry reflections on his own state:

I could never join the parade; I can’t walk fast.
Such is time’s ordinance. Lungs that rattle, eyes
that run. Now Barcelona is part of the past.

(ibid.)

It takes a skilled poet to hit on the contrast between what his eyes can do that his legs now can’t, and introduce the humour without taking away the pain.

And there is no sense of self-pity. The backdrop to these musings is an undiminished love of nature and of art. It reminds me of Landor‘s wonderful lines composed on his 75th birthday:

I strove with none, for none was worth my strife;
Nature I loved, and next to Nature, Art;
I warmed both hands before the fire of Life;
It sinks, and I am ready to depart.

Walcott’s book of poems is like an extended examination of that idea. It opens with a reference to an astonishing work of art:

The chessmen are as rigid on their chessboard
as those life-sized terra-cotta warrriors whose vows
to their emperor with bridle, shield and sword
were sworn by a chorus that has lost its voice; . . .

(Page 3)

It draws on many other references, from the Pharaohs (page 8) to van Gogh (page 68). The egrets combine with a reference to art (page 8) as well as representing nature at its most wonderful:

The perpetual ideal is astonishment.
The cool green lawn, the quiet trees, the forest
on the hill there, then the white gasp of an egret sent
sailing into the frame then teetering to rest
with its gawky stride, erect, an egret emblem!

(page 8)

The beauty of nature comes in at many other points but it is in the sequence of poems from which the volume takes its title that one of the clearest links with age and death is made.

. . . . Some friends, the few I have left
are dying, but the egrets stalk through the rain
as if nothing mortal can affect them . . . .
Sometimes the hills themselves disappear
like friends, slowly, but I am happier
that they [the egrets] have come back now, like memory, like prayer.

(page 9)

Among all the celebrations of art and nature, the memories of love in a variety of forms, the reminders of old age, that twine their threads together in a complex pattern throughout the book, one of the most straight forwardly lyrical that can perhaps stand for all the rest is on page 70:

Wake up again to a dawn trembling with joy,
the silver beads on a dasheen leaf; the dew
of the small morning at Vigie when you were a boy,
a vessel, a trembling branch, a nodding acolyte
with the blackbird, not in the geometry of galleons
or abstract museum openings. Cherish the uninterpreted light
of approaching eighty, let your ignorance increase
as fashion fades, and cities decide what is right.

(page 70)

As with all poetry, this book has to be experienced to be understood. I think it’s well worth its purchase price and is a worthy companion to those long-established favourites on my shelves.

Read Full Post »

rag-rug-grey

Rag-rug: for source of image see link

Be as resigned and submissive as the earth, that from the soil of your being there may blossom the fragrant, the holy and multicolored hyacinths of My knowledge. Be ablaze as the fire, that ye may burn away the veils of heedlessness and set aglow, through the quickening energies of the love of God, the chilled and wayward heart. Be light and untrammeled as the breeze, that ye may obtain admittance into the precincts of My court, My inviolable Sanctuary.

(Gleanings from the Writings of Bahá’u’lláh: CLII)

When I had almost finished drafting the sequence of posts I planned to start publishing last week, I realised that it was missing the true significance of what I was writing about. I thought I could finish re-writing it in time, but it needs far more thought so I’m having to delay it by weeks rather than days. In order to focus on the re-write, I’m having to re-publish posts that relate to it either directly or indirectly. This second sequence is about the need to draw on deeper powers than instinct or intellect: this is the fourth post.

Some time ago we left Jack struggling with his unsolvable dilemma:

His reading of Buddhist writings had taught him that he needed to go deeper into his mind to find wiser answers but he didn’t seem to be able to get past the blocks at the end of each pendulum swing. Anger versus pity. A good trade he disapproved of combined with Sam’s fecklessness. Don’t give him a penny. Give him a good leg up. There must be a way of getting past the stand off, transcending the conflict.

He found himself fruitlessly analysing the moral issues. What passed for compassion in his head said he should pay, for the kids’ sake. His version of wisdom said he shouldn’t because he’d be indulging Sam, he’d never learn from the consequences of his actions and it’d be throwing good money after bad. In any case it wasn’t fair as Sam hadn’t paid him back a penny of the money he owed for his education.

He shook himself. He tried counting his breaths again. He needed to go deeper, but how?

We then embarked on an exploration of both Kahneman’s System 1 and System 2 models of decision-making before looking at some length at dreamwork as one possible way of going deeper.

How deep can dreamwork take us?

I want to draw on my own experience for this again. Mainly this is because I know what I dreamt and I know what I learnt from it. The evidence in that respect is as solid as it gets for me. It therefore interposes fewer filters between anyone who reads this and the raw experience it relates to. The drawback is that I have never had a dream that was stunningly prophetic or profoundly mystical, so the example I am going to give might seem a bit run of the mill. However, because I found an apparently simple dream profoundly enlightening, I thought it was worth sharing. What kind of dream might have helped Jack we may be able to come back to later.

fire

For source of image see link

My Dream

I am sitting on a rag rug, the kind where you drag bits of cloth through a coarse fabric backing to build up a warm thick rug.  The rags used in this case were all dark browns, greys and blacks. It is the rug, made by my spinster aunt, that was in the family home where I grew up. I’m in the living room, facing the hearth with its chimney breast and its cast-iron grate and what would have been a coal fire burning brightly. I am at the left hand corner of the rug furthest from the fire. To my right are one or two other people, probably Bahá’ís, but I’m not sure who they are. We are praying. I am chewing gum. I suddenly realise that Bahá’u’lláh is behind my left shoulder. I absolutely know it. I am devastated to be ‘caught’ chewing gum during prayers but can see no way of getting rid of the gum unobserved.

I worked on this dream using the methods described in the previous two posts. Various elements were profoundly meaningful, such as the rug made by my aunt, not least because of what she represented to me. For a sense of that those of you who are interested could read the poem The Maiden Aunt (see below). I want, for present purposes, to focus on what for me has become the core of the dream’s meaning, a meaning which is still evolving even though this dream is now more than 15 years old – still in adolescence really so there’s probably more to come.

There were two kinds of clue to this core meaning: one derived from word play and the other from role play.

Word Play

I’ll take the word play first as it’s easier to explain. The ‘chewing gum’ element of the dream can be dealt with quickly. It related to various ways I was stuck and perhaps still am!

More richly significant was the image of the hearth. The fact that it was in a chimney ‘breast’ helps convey the power of the realisation that came to me. The word ‘hearth’ is comprised of several other key words: ‘ear,’ ‘hear,’ ‘earth,’ ‘art’ and most powerful of all ‘heart.’ All of these words were separately of huge significance for me though I had some sense of how they might all fit together.

For example, I had latched early onto the words of Walter Savage Landor, long before I had the dream:

I strove with none, for none was worth my strife;
Nature I loved; and next to Nature, Art.
I warmed both hands before the fire of life;
It sinks, and I am ready to depart.

The art of listening had separately been extremely important to me in my work as a clinical psychologist which made finding the ‘ear’ so closely tied into this central image not entirely surprising. Also having an ear to hear the intimations of the spirit is emphasised in Bahá’í literature as being of critical importance to moral progress.

This only got me so far though. I needed some other way of decoding the full import of the dream.

peat-digging-in-dutch-rural-landscape

Peat Digging – for source of image see link

Role Play

If you remember, when I was explaining dreamwork, I spoke of how each dream element is part of the dreamer and we can unlock the meaning of the symbolism not only by tracking our associations with it, but also by pretending to be the element in the dream and speaking as though we were it.

The result in the case of the fuel burning in the hearth was dramatic. I had been really struggling to make sense of this part of the dream. What had a coal fire got to do with my situation, except as a memory of childhood with relatively little relevance? I decided I needed to sit right in front of the hearth of the house I was living in at the time and speak as the fuel itself.

The Fuel: I am peat. You dig me from the earth and I burn. You feed me to the flowers and they grow.

Need I go any further really with what I said? That first moment contains the key to unlocking a whole treasure chest of meanings.

On the 26th April 2003, at least five years after beginning to work on the dream, I wrote in my journal, trying to summarise some of my insights:

I’m part poet/writer, part psychologist, part educator, (both subsumed by the term mind-wright) – the words wright and writer catch one part of my essence – my tools are words by and large – mind does not quite catch the other part – soul is too grand and beyond my competence – the nearest I can get is being a wordsmith and a heartwright. The word heart helps because it includes in itself the words art and (h)ear, an essential combination of skills or qualities entailed in heartwork. It leads back to my concept of heart-to-heart resuscitation. Hearts have to connect. That it also links with my archetypal dream of the hearth, where the fire of spirit burns to give warmth to the mansion of being, makes it all the more powerful a word to use in this context. The essence of my being – peat – is to fuel this process. An additional thought: 28.04.03 – if you place Heart and Earth overlapping you get Hearth. Each is also an anagram of the other. In the Bahá’í Writings the heart is often spoken of as a garden and of having soil. Also I have prayed for God to ignite within my breast the fire of His love and Bahá’u’lláh refers to the ‘candle” of our heart. Hearth eloquently combines these notions of the heart as a garden and as a container of fire. What does this mean in practice?

I’m still trying to answer that question.

Digging Deeper

The progression up to this understanding and beyond is also intriguing.

When I first had the revelation that the fuel was a pun on my name in its shortened form, I took a narrow view of what it meant. The name my parents gave me was ‘Peter’ with all the associations of rock. When I first began to work on the idea of ‘peat,’ I felt that the dream was saying that I should draw on the essence of who I was, not the persona my upbringing had fabricated in me after the image of my silent and stoical father, hiding his undoubted love behind a wall of reserve.

Then, pushing it somewhat further, the idea of burning Pete came to mind, which suggested the idea of self-sacrifice. But increasingly, as time went on, an even deeper meaning, complementary not contradictory, began to come through: perhaps ‘peat’ was not ‘me’ but came from something outside me and far richer and much more substantial. The earth became a symbol for the realm of spirit and peat came to represent the power that could flow from that realm into my being to give me the strength, energy and wisdom to do far more, far more effectively than I could ever do by any other means.

Of course, none of this exhausts the implications of the dream. The quotation at the head of this post was one of the associations that came to mind when I was working on the dream very early on. It gives yet another level of meaning to the dream to interpret it in the light of that quotation.

I don’t expect to get to the bottom of this dream’s meanings in this life. I just think I have to keep referring back to it to see what else it can teach me. I think it is a dream about the heart that came from my heart. I feel the heart in this sense is the experience of soul or spirit in consciousness. Heart is used in other ways, I know, in our culture, and many of these ways connect it primarily with our emotions – anger, envy, desire, what passes for love, sadness and so on (I’ll be returning to that in a later sequence of posts). That is only one way of looking at what the heart might be. The heart is also a source of inspiration, and, while our emotions shout, the heart whispers its wisdom and we do not hear it unless our minds are quiet.

And that is where the approaches we will be looking at next time come into their own. We’ll have to leave Jack swinging from his pendulum of doubt for at least another week.

The Maiden Aunt

Read Full Post »

rag-rug-grey

Rag-rug: for source of image see link

Be as resigned and submissive as the earth, that from the soil of your being there may blossom the fragrant, the holy and multicolored hyacinths of My knowledge. Be ablaze as the fire, that ye may burn away the veils of heedlessness and set aglow, through the quickening energies of the love of God, the chilled and wayward heart. Be light and untrammeled as the breeze, that ye may obtain admittance into the precincts of My court, My inviolable Sanctuary.

(Gleanings from the Writings of Bahá’u’lláh: CLII)

The sequence of posts reviewing Karen Wilson’s book on the power of meditation seemed to make this a good time to republish some related posts of my own from the recent past. I’m spreading them over a couple of weeks as flooding the screen with them one after another might be just too over-whelming. The first post started with a concrete example of a typical dilemma to ease us in: last Wednesday’s post looked at Kahneman’s model in some detail. The previous two posts sought to plug what I regard as the serious gaps in his system by looking at dreamwork. Now we’ll start looking at increasingly spiritual aspects.

Some time ago we left Jack struggling with his unsolvable dilemma:

His reading of Buddhist writings had taught him that he needed to go deeper into his mind to find wiser answers but he didn’t seem to be able to get past the blocks at the end of each pendulum swing. Anger versus pity. A good trade he disapproved of combined with Sam’s fecklessness. Don’t give him a penny. Give him a good leg up. There must be a way of getting past the stand off, transcending the conflict.

He found himself fruitlessly analysing the moral issues. What passed for compassion in his head said he should pay, for the kids’ sake. His version of wisdom said he shouldn’t because he’d be indulging Sam, he’d never learn from the consequences of his actions and it’d be throwing good money after bad. In any case it wasn’t fair as Sam hadn’t paid him back a penny of the money he owed for his education.

He shook himself. He tried counting his breaths again. He needed to go deeper, but how?

We then embarked on an exploration of both Kahneman’s System 1 and System 2 models of decision-making before looking at some length at dreamwork as one possible way of going deeper.

How deep can dreamwork take us?

I want to draw on my own experience for this again. Mainly this is because I know what I dreamt and I know what I learnt from it. The evidence in that respect is as solid as it gets for me. It therefore interposes fewer filters between anyone who reads this and the raw experience it relates to. The drawback is that I have never had a dream that was stunningly prophetic or profoundly mystical, so the example I am going to give might seem a bit run of the mill. However, because I found an apparently simple dream profoundly enlightening, I thought it was worth sharing. What kind of dream might have helped Jack we may be able to come back to later.

fire

For source of image see link

My Dream

I am sitting on a rag rug, the kind where you drag bits of cloth through a coarse fabric backing to build up a warm thick rug.  The rags used in this case were all dark browns, greys and blacks. It is the rug, made by my spinster aunt, that was in the family home where I grew up. I’m in the living room, facing the hearth with its chimney breast and its cast-iron grate and what would have been a coal fire burning brightly. I am at the left hand corner of the rug furthest from the fire. To my right are one or two other people, probably Bahá’ís, but I’m not sure who they are. We are praying. I am chewing gum. I suddenly realise that Bahá’u’lláh is behind my left shoulder. I absolutely know it. I am devastated to be ‘caught’ chewing gum during prayers but can see no way of getting rid of the gum unobserved.

I worked on this dream using the methods described in the previous two posts. Various elements were profoundly meaningful, such as the rug made by my aunt, not least because of what she represented to me. For a sense of that those of you who are interested could read the poem The Maiden Aunt (see below). I want, for present purposes, to focus on what for me has become the core of the dream’s meaning, a meaning which is still evolving even though this dream is now more than 15 years old – still in adolescence really so there’s probably more to come.

There were two kinds of clue to this core meaning: one derived from word play and the other from role play.

Word Play

I’ll take the word play first as it’s easier to explain. The ‘chewing gum’ element of the dream can be dealt with quickly. It related to various ways I was stuck and perhaps still am!

More richly significant was the image of the hearth. The fact that it was in a chimney ‘breast’ helps convey the power of the realisation that came to me. The word ‘hearth’ is comprised of several other key words: ‘ear,’ ‘hear,’ ‘earth,’ ‘art’ and most powerful of all ‘heart.’ All of these words were separately of huge significance for me though I had some sense of how they might all fit together.

For example, I had latched early onto the words of Walter Savage Landor, long before I had the dream:

I strove with none, for none was worth my strife;
Nature I loved; and next to Nature, Art.
I warmed both hands before the fire of life;
It sinks, and I am ready to depart.

The art of listening had separately been extremely important to me in my work as a clinical psychologist which made finding the ‘ear’ so closely tied into this central image not entirely surprising. Also having an ear to hear the intimations of the spirit is emphasised in Bahá’í literature as being of critical importance to moral progress.

This only got me so far though. I needed some other way of decoding the full import of the dream.

peat-digging-in-dutch-rural-landscape

Peat Digging – for source of image see link

Role Play

If you remember, when I was explaining dreamwork, I spoke of how each dream element is part of the dreamer and we can unlock the meaning of the symbolism not only by tracking our associations with it, but also by pretending to be the element in the dream and speaking as though we were it.

The result in the case of the fuel burning in the hearth was dramatic. I had been really struggling to make sense of this part of the dream. What had a coal fire got to do with my situation, except as a memory of childhood with relatively little relevance? I decided I needed to sit right in front of the hearth of the house I was living in at the time and speak as the fuel itself.

The Fuel: I am peat. You dig me from the earth and I burn. You feed me to the flowers and they grow.

Need I go any further really with what I said? That first moment contains the key to unlocking a whole treasure chest of meanings.

On the 26th April 2003, at least five years after beginning to work on the dream, I wrote in my journal, trying to summarise some of my insights:

I’m part poet/writer, part psychologist, part educator, (both subsumed by the term mind-wright) – the words wright and writer catch one part of my essence – my tools are words by and large – mind does not quite catch the other part – soul is too grand and beyond my competence – the nearest I can get is being a wordsmith and a heartwright. The word heart helps because it includes in itself the words art and (h)ear, an essential combination of skills or qualities entailed in heartwork. It leads back to my concept of heart-to-heart resuscitation. Hearts have to connect. That it also links with my archetypal dream of the hearth, where the fire of spirit burns to give warmth to the mansion of being, makes it all the more powerful a word to use in this context. The essence of my being – peat – is to fuel this process. An additional thought: 28.04.03 – if you place Heart and Earth overlapping you get Hearth. Each is also an anagram of the other. In the Bahá’í Writings the heart is often spoken of as a garden and of having soil. Also I have prayed for God to ignite within my breast the fire of His love and Bahá’u’lláh refers to the ‘candle” of our heart. Hearth eloquently combines these notions of the heart as a garden and as a container of fire. What does this mean in practice?

I’m still trying to answer that question.

Digging Deeper

The progression up to this understanding and beyond is also intriguing.

When I first had the revelation that the fuel was a pun on my name in its shortened form, I took a narrow view of what it meant. The name my parents gave me was ‘Peter’ with all the associations of rock. When I first began to work on the idea of ‘peat,’ I felt that the dream was saying that I should draw on the essence of who I was, not the persona my upbringing had fabricated in me after the image of my silent and stoical father, hiding his undoubted love behind a wall of reserve.

Then, pushing it somewhat further, the idea of burning Pete came to mind, which suggested the idea of self-sacrifice. But increasingly, as time went on, an even deeper meaning, complementary not contradictory, began to come through: perhaps ‘peat’ was not ‘me’ but came from something outside me and far richer and much more substantial. The earth became a symbol for the realm of spirit and peat came to represent the power that could flow from that realm into my being to give me the strength, energy and wisdom to do far more, far more effectively than I could ever do by any other means.

Of course, none of this exhausts the implications of the dream. The quotation at the head of this post was one of the associations that came to mind when I was working on the dream very early on. It gives yet another level of meaning to the dream to interpret it in the light of that quotation.

I don’t expect to get to the bottom of this dream’s meanings in this life. I just think I have to keep referring back to it to see what else it can teach me. I think it is a dream about the heart that came from my heart. I feel the heart in this sense is the experience of soul or spirit in consciousness. Heart is used in other ways, I know, in our culture, and many of these ways connect it primarily with our emotions – anger, envy, desire, what passes for love, sadness and so on (I’ll be returning to that in a later sequence of posts). That is only one way of looking at what the heart might be. The heart is also a source of inspiration, and, while our emotions shout, the heart whispers its wisdom and we do not hear it unless our minds are quiet.

And that is where the approaches we will be looking at next time come into their own. We’ll have to leave Jack swinging from his pendulum of doubt for at least another week.

The Maiden Aunt

Read Full Post »

rag-rug-grey

Rag-rug: for source of image see link

Be as resigned and submissive as the earth, that from the soil of your being there may blossom the fragrant, the holy and multicolored hyacinths of My knowledge. Be ablaze as the fire, that ye may burn away the veils of heedlessness and set aglow, through the quickening energies of the love of God, the chilled and wayward heart. Be light and untrammeled as the breeze, that ye may obtain admittance into the precincts of My court, My inviolable Sanctuary.

(Gleanings from the Writings of Bahá’u’lláh: CLII)

Four weeks ago we left Jack struggling with his unsolvable dilemma:

His reading of Buddhist writings had taught him that he needed to go deeper into his mind to find wiser answers but he didn’t seem to be able to get past the blocks at the end of each pendulum swing. Anger versus pity. A good trade he disapproved of combined with Sam’s fecklessness. Don’t give him a penny. Give him a good leg up. There must be a way of getting past the stand off, transcending the conflict.

He found himself fruitlessly analysing the moral issues. What passed for compassion in his head said he should pay, for the kids’ sake. His version of wisdom said he shouldn’t because he’d be indulging Sam, he’d never learn from the consequences of his actions and it’d be throwing good money after bad. In any case it wasn’t fair as Sam hadn’t paid him back a penny of the money he owed for his education.

He shook himself. He tried counting his breaths again. He needed to go deeper, but how?

We then embarked on an exploration of both Kahneman’s System 1 and System 2 models of decision-making before looking at some length at dreamwork as one possible way of going deeper.

How deep can dreamwork take us?

I want to draw on my own experience for this again. Mainly this is because I know what I dreamt and I know what I learnt from it. The evidence in that respect is as solid as it gets for me. It therefore interposes fewer filters between anyone who reads this and the raw experience it relates to. The drawback is that I have never had a dream that was stunningly prophetic or profoundly mystical, so the example I am going to give might seem a bit run of the mill. However, because I found an apparently simple dream profoundly enlightening, I thought it was worth sharing. What kind of dream might have helped Jack we may be able to come back to later.

fire

For source of image see link

My Dream

I am sitting on a rag rug, the kind where you drag bits of cloth through a coarse fabric backing to build up a warm thick rug.  The rags used in this case were all dark browns, greys and blacks. It is the rug, made by my spinster aunt, that was in the family home where I grew up. I’m in the living room, facing the hearth with its chimney breast and its cast-iron grate and what would have been a coal fire burning brightly. I am at the left hand corner of the rug furthest from the fire. To my right are one or two other people, probably Bahá’ís, but I’m not sure who they are. We are praying. I am chewing gum. I suddenly realise that Bahá’u’lláh is behind my left shoulder. I absolutely know it. I am devastated to be ‘caught’ chewing gum during prayers but can see no way of getting rid of the gum unobserved.

I worked on this dream using the methods described in the previous two posts. Various elements were profoundly meaningful, such as the rug made by my aunt, not least because of what she represented to me. For a sense of that those of you who are interested could read the poem The Maiden Aunt (see below). I want, for present purposes, to focus on what for me has become the core of the dream’s meaning, a meaning which is still evolving even though this dream is now more than 15 years old – still in adolescence really so there’s probably more to come.

There were two kinds of clue to this core meaning: one derived from word play and the other from role play.

Word Play

I’ll take the word play first as it’s easier to explain. The ‘chewing gum’ element of the dream can be dealt with quickly. It related to various ways I was stuck and perhaps still am!

More richly significant was the image of the hearth. The fact that it was in a chimney ‘breast’ helps convey the power of the realisation that came to me. The word ‘hearth’ is comprised of several other key words: ‘ear,’ ‘hear,’ ‘earth,’ ‘art’ and most powerful of all ‘heart.’ All of these words were separately of huge significance for me though I had some sense of how they might all fit together.

For example, I had latched early onto the words of Walter Savage Landor, long before I had the dream:

I strove with none, for none was worth my strife;
Nature I loved; and next to Nature, Art.
I warmed both hands before the fire of life;
It sinks, and I am ready to depart.

The art of listening had separately been extremely important to me in my work as a clinical psychologist which made finding the ‘ear’ so closely tied into this central image not entirely surprising. Also having an ear to hear the intimations of the spirit is emphasised in Bahá’í literature as being of critical importance to moral progress.

This only got me so far though. I needed some other way of decoding the full import of the dream.

peat-digging-in-dutch-rural-landscape

Peat Digging – for source of image see link

Role Play

If you remember, when I was explaining dreamwork, I spoke of how each dream element is part of the dreamer and we can unlock the meaning of the symbolism not only by tracking our associations with it, but also by pretending to be the element in the dream and speaking as though we were it.

The result in the case of the fuel burning in the hearth was dramatic. I had been really struggling to make sense of this part of the dream. What had a coal fire got to do with my situation, except as a memory of childhood with relatively little relevance? I decided I needed to sit right in front of the hearth of the house I was living in at the time and speak as the fuel itself.

The Fuel: I am peat. You dig me from the earth and I burn. You feed me to the flowers and they grow.

Need I go any further really with what I said? That first moment contains the key to unlocking a whole treasure chest of meanings.

On the 26th April 2003, at least five years after beginning to work on the dream, I wrote in my journal, trying to summarise some of my insights:

I’m part poet/writer, part psychologist, part educator, (both subsumed by the term mind-wright) – the words wright and writer catch one part of my essence – my tools are words by and large – mind does not quite catch the other part – soul is too grand and beyond my competence – the nearest I can get is being a wordsmith and a heartwright. The word heart helps because it includes in itself the words art and (h)ear, an essential combination of skills or qualities entailed in heartwork. It leads back to my concept of heart-to-heart resuscitation. Hearts have to connect. That it also links with my archetypal dream of the hearth, where the fire of spirit burns to give warmth to the mansion of being, makes it all the more powerful a word to use in this context. The essence of my being – peat – is to fuel this process. An additional thought: 28.04.03 – if you place Heart and Earth overlapping you get Hearth. Each is also an anagram of the other. In the Bahá’í Writings the heart is often spoken of as a garden and of having soil. Also I have prayed for God to ignite within my breast the fire of His love and Bahá’u’lláh refers to the ‘candle” of our heart. Hearth eloquently combines these notions of the heart as a garden and as a container of fire. What does this mean in practice?

I’m still trying to answer that question.

Digging Deeper

The progression up to this understanding and beyond is also intriguing.

When I first had the revelation that the fuel was a pun on my name in its shortened form, I took a narrow view of what it meant. The name my parents gave me was ‘Peter’ with all the associations of rock. When I first began to work on the idea of ‘peat,’ I felt that the dream was saying that I should draw on the essence of who I was, not the persona my upbringing had fabricated in me after the image of my silent and stoical father, hiding his undoubted love behind a wall of reserve.

Then, pushing it somewhat further, the idea of burning Pete came to mind, which suggested the idea of self-sacrifice. But increasingly, as time went on, an even deeper meaning, complementary not contradictory, began to come through: perhaps ‘peat’ was not ‘me’ but came from something outside me and far richer and much more substantial. The earth became a symbol for the realm of spirit and peat came to represent the power that could flow from that realm into my being to give me the strength, energy and wisdom to do far more, far more effectively than I could ever do by any other means.

Of course, none of this exhausts the implications of the dream. The quotation at the head of this post was one of the associations that came to mind when I was working on the dream very early on. It gives yet another level of meaning to the dream to interpret it in the light of that quotation.

I don’t expect to get to the bottom of this dream’s meanings in this life. I just think I have to keep referring back to it to see what else it can teach me. I think it is a dream about the heart that came from my heart. I feel the heart in this sense is the experience of soul or spirit in consciousness. Heart is used in other ways, I know, in our culture, and many of these ways connect it primarily with our emotions – anger, envy, desire, what passes for love, sadness and so on (I’ll be returning to that in a later sequence of posts). That is only one way of looking at what the heart might be. The heart is also a source of inspiration, and, while our emotions shout, the heart whispers its wisdom and we do not hear it unless our minds are quiet.

And that is where the approaches we will be looking at next time come into their own. We’ll have to leave Jack swinging from his pendulum of doubt for at least another week.

The Maiden Aunt

Read Full Post »

[S]election is what the egrets teach
on the wide open lawn, heads nodding as they read
in purposeful silence, a language beyond speech.

(White Egrets: page 10)

For those with little enthusiasm for poetry my current obsession must be getting somewhat tedious. However, I can’t quite let go of it without one more post at least on the subject.

Walcott has just produced a short collection called White Egrets, a series of beautiful meditations on old age, ageless works of art, loss, love and the beauties of nature. Not a big ask then at the age of eighty. It is no coincidence that egrets rhymes almost perfectly with regrets.

Derek Walcott is one of my favourite poets. He is an  inspirational figure whose identity cuts across so many cultural boundaries. His reputation as a poet has thankfully survived the personal innuendoes of the election campaign for the 2009 Oxford professor of poetry contest. His poetry is far more accessible than that of Geoffrey Hill, the winner of the 2010 election for that post, whose verse is, to put it mildly, maddeningly and elusively allusive. (It is good to see that since this post was first written Walcott has been awarded the T S Eliot prize.)

The Guardian quotes Adrian Mitchell disapprovingly when he said, “[M]ost people ignore poetry because most poetry ignores most people”. I’m with Mitchell on this and am happy to say that Walcott is a great poet who writes for everyone.

Obviously he’s not the first poet to tackle the experience of old age in his verse. Yeats had more than one idea about it. He looks at the power of art to offset mortality in Sailing to Byzantium.

An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence . . . .

(W. B. Yeats: Sailing to Byzantium)

In 1934 the Steinach rejuvenation operation has a less exalted effect on him:

How can I, that girl standing there,
My attention fix
On Roman or on Russian
Or on Spanish politics?
Yet here’s a travelled man that knows
What he talks about,
And there’s a politician
That has read and thought,
And maybe what they say is true
Of war and war’s alarms,
But O that I were young again
And held her in my arms!

(W.B.Yeats: Politics)

If we want to find out how bleak old age can be, then most poetry enthusiasts would agree that Thomas Hardy is a good place to start. And we would not be disappointed if we took their advice.

Strozzi: Old Woman at the Mirror

I look into my glass,
And view my wasting skin,
And say, “Would God it came to pass
My heart had shrunk as thin!”

For then, I, undistrest
By hearts grown cold to me,
Could lonely wait my endless rest
With equanimity.

But Time, to make me grieve,
Part steals, lets part abide;
And shakes this fragile frame at eve
With throbbings of noontide.

(Thomas Hardy)

There are shades of the late Janáček here, to my ear at least.

Those with more faith than he had will have noticed the comfortless notion of ‘endless rest.’ Hardy’s pessimism may be courageous but that does not, of course, make it true: nor does it make a deluded coward out of every believer as some of the evangelical atheists would have us think.

Shakespeare’s approach is more measured and more stately perhaps because he had fewer years behind him and also the sonnet tradition of his time was not used as a medium for baring all the agonies of your soul.

That time of year thou may’st in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin’d choirs, where late the sweet birds sang:
In me thou see’st the twilight of such day
As after sunset fadeth in the west,
Which by-and-by black night doth take away,
Death’s second self, that seals up all in rest . .

(Sonnet 28)

That word ‘rest’ again. It’s perhaps worth mentioning that George Herbert drew out the power that word has over our minds in his brilliant poem, The Pulley. I quote it in full. The implication is that weariness is the pulley that will hoist man up to God. The background idea, adding to the layers of meaning, is Pandora’s ‘box,’ a mistranslation, as Herbert would have been aware, of the word in the original Greek meaning ‘jar.’

When God at first made man,
Having a glasse of blessings standing by;
Let us (said he) poure on him all we can:
Let the worlds riches, which dispersed lie,
Contract into a span.

So strength first made a way;
Then beautie flow’d, then wisdome, honour, pleasure:
When almost all was out, God made a stay,
Perceiving that alone of all his treasure
Rest in the bottome lay.

For if I should (said he)
Bestow this jewell also on my creature,
He would adore my gifts in stead of me,
And rest in Nature, not the God of Nature:
So both should losers be.

Yet let him keep the rest,
But keep them with repining restlesnesse:
Let him be rich and wearie, that at least,
If goodnesse leade him not, yet wearinesse
May tosse him to my breast.

This is reminiscent of the Bahá’í view.

O SON OF MAN! Wert thou to speed through the immensity of space and traverse the expanse of heaven, yet thou wouldst find no rest save in submission to Our command and humbleness before Our Face.

(Bahá’u’lláh: Arabic Hidden Words: No. 40)

So, after all that, how does Walcott sound?

He’s a modern poet so his music sounds somewhat different, but his roots go deep into the tradition from which I’m quoting as well as drawing on the very different cultural influences of St Lucia.

Perhaps the most striking difference between his treatment of this theme and the poets I have quoted is his humour:

. . . . . . . . . In the cool lobby
the elderly idle. I was now one of them.
Studying the slow, humped tourists was my only hobby,
racked now by a whimsical bladder and terrible phlegm.

(page 33)

And these are not isolated touches. There are many more, of which the most outrageous is the pun in these lines about the British Empire:

He hears the mocking cannonade of battle
from the charging breakers and sees the pluming hordes
of tribesman galloping down the hills of sand
and hears the old phrase “Peccavi. I have Sind.”

(page 41)

He also has command of the elegaic tone:

. . . . . . . I have come this late
to Italy, but better now, perhaps, than in youth
that is never satisfied, whose joys are treacherous,
while my hair rhymes with those far crests, and the bells
of the hilltop towers number my errors,
because we are never where we are, but somewhere else,
even in Italy. This is the bearable truth
of old age; . . . . .

(page 29)

You will not find such a flood of half-rhymes as these poems display – ‘treacherous’/’errors’, ‘else’/’bells’ – in the older poetry we saw earlier, but here their lack of full closure adds to the melancholy of his musings. Ironically, only ‘truth’ and ‘youth’ rhyme fully.

In Barcelona his own aging is echoed in that of his friend, Robert Antoni:

. . . . you take time in portions
one cough at a time, your personal thunder
that turns compassionate heads.

(page 85)

This paves the way for his wry reflections on his own state:

I could never join the parade; I can’t walk fast.
Such is time’s ordinance. Lungs that rattle, eyes
that run. Now Barcelona is part of the past.

(ibid.)

It takes a skilled poet to hit on the contrast between what his eyes can do that his legs now can’t, and introduce the humour without taking away the pain.

And there is no sense of self-pity. The backdrop to these musings is an undiminished love of nature and of art. It reminds me of Landor‘s wonderful lines composed on his 75th birthday:

I strove with none, for none was worth my strife;
Nature I loved, and next to Nature, Art;
I warmed both hands before the fire of Life;
It sinks, and I am ready to depart.

Walcott’s book of poems is like an extended examination of that idea. It opens with a reference to an astonishing work of art:

The chessmen are as rigid on their chessboard
as those life-sized terra-cotta warrriors whose vows
to their emperor with bridle, shield and sword
were sworn by a chorus that has lost its voice; . . .

(Page 3)

It draws on many other references, from the Pharaohs (page 8) to van Gogh (page 68). The egrets combine with a reference to art (page 8) as well as representing nature at its most wonderful:

The perpetual ideal is astonishment.
The cool green lawn, the quiet trees, the forest
on the hill there, then the white gasp of an egret sent
sailing into the frame then teetering to rest
with its gawky stride, erect, an egret emblem!

(page 8)

The beauty of nature comes in at many other points but it is in the sequence of poems from which the volume takes its title that one of the clearest links with age and death is made.

. . . . Some friends, the few I have left
are dying, but the egrets stalk through the rain
as if nothing mortal can affect them . . . .
Sometimes the hills themselves disappear
like friends, slowly, but I am happier
that they [the egrets] have come back now, like memory, like prayer.

(page 9)

Among all the celebrations of art and nature, the memories of love in a variety of forms, the reminders of old age, that twine their threads together in a complex pattern throughout the book, one of the most straight forwardly lyrical that can perhaps stand for all the rest is on page 70:

Wake up again to a dawn trembling with joy,
the silver beads on a dasheen leaf; the dew
of the small morning at Vigie when you were a boy,
a vessel, a trembling branch, a nodding acolyte
with the blackbird, not in the geometry of galleons
or abstract museum openings. Cherish the uninterpreted light
of approaching eighty, let your ignorance increase
as fashion fades, and cities decide what is right.

(page 70)

As with all poetry, this book has to be experienced to be understood. I think it’s well worth its purchase price and is a worthy companion to those long-established favourites on my shelves.

Read Full Post »