Poems I Journey With 28

T.S. Eliot said in “Burnt Norton,” the first poem in the sequence of poems called “Four Quartets,” that “human kind cannot bear very much reality.” Reality here, I contend, can be interpreted as all that wears us down as human beings as we try to negotiate our way through life, as we try to cope with its many highs and lows and make some meaning of our own journey through it. Again, I repeat this great poet’s words merely to highlight our need for some form of escapism from time to time: a good holiday, an inspiring read, celebrations of all kinds, concerts, drama, plays, music recitals, and all the cultural conventions and traditions that attempt to help human kind cope with the “jagged edges of existence” or “reality” as T.S. Eliot puts it in the above quoted poem.

Here, I’d like to return to two poems from the pen of our great national Nobel Laureate for Literature, W.B. Yeats and reproduce here for the readers of these musings two lovely refreshing poems that quite soothe my drooping spirits in these stressful days after a traffic accident.

Poem 1: The Lake Isle of Innisfree (1888):

Lake Isle of Innisfree

I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made;
Nine bean rows will I have there, a hive for the honey bee,
And live alone in the bee loud glade.

And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight's all a glimmer, and noon a purple glow,
And evening full of the linnet's wings.

I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart's core.

Poem 2: The Song of Wandering Aengus

The Song of Wandering Aengus

I went out to the hazel wood,

Because a fire was in my head,

And cut and peeled a hazel wand,

And hooked a berry to a thread;

And when white moths were on the wing,

And moth-like stars were flickering out,

I dropped the berry in a stream

And caught a little silver trout.

When I had laid it on the floor

I went to blow the fire a-flame,

But something rustled on the floor,

And someone called me by my name:

It had become a glimmering girl

With apple blossom in her hair

Who called me by my name and ran

And faded through the brightening air.

Though I am old with wandering

Through hollow lands and hilly lands,

I will find out where she has gone,

And kiss her lips and take her hands;

And walk among long dappled grass,

And pluck till time and times are done,

The silver apples of the moon,

The golden apples of the sun.

Source: The Wind Among the Reeds (1899)

Briefest of Commentaries

Yeats was born in 1865 and so he was only 23 when he wrote “Lake Isle of Innisfree” while he was 34 when he wrote the second poem. Eleven years is a long time in anyone’s life, and the second poem is obviously a far more mature and far deeper poem than the first. However, they are both written against the background of the nourishing and sustaining power of nature for us humans. In short, a good walk out in nature can heal many a broken heart and lift many a depressed spirit. These poems help me cope with life then at this first level, that is, at the level of the balm, the comfort and the healing that nature can offer us if we are open to her charms.

As Yeats grew older he became much more interested in what we in Ireland call the “Celtic Twilight” period, namely that Romantic turning back not alone to nature, but also to mythology and the strong links that mythology had with nature as it developed.  Also Yeats as a poet became far more enchanted with anything to do with mystery, mystique and, indeed the mystical. To commune with nature was to commune with the sustaining power behind that universe – the pagan Celtic gods as represented in that wonderful body of Gaelic Celtic mythology that he himself did much to preserve and to promulgate.

The “fire” that was in his head is a very potent line because it shows the passion for nature that is in Aengus’s mind and indeed in that of the poet himself. Again, Aengus cuts and peels a “hazel wand” and we are immediately enchanted with a magical act that brings us into a more mystical world to which we can escape from the harsh reality around us.  Everything around Aengus is magical and mystical and shot through with the powers of the gods of nature. There are moths on the wing there while the very heavens contain the mystical “moth-like stars” and the repetition of words serves to enchant us further as this is indeed the song of a wanderer through nature with all its healing attributes – indeed it yields up a “silver trout” to feed us on our journey.

Then we are invited into Aengus’s company as he lights a fire on the forest or wood floor, and then some mysterious person calls Aengus, or indeed us the reader, by our name. For sure, we are now in the mythical and mystical woods of the Celtic imagination, of the Celtic Twilight.  Indeed, we are so enchanted that we want to stay there with Aengus.  Like a fairy presence, this female voice changes into a beautiful girl who enchants Aengus and us the readers:

It had become a glimmering girl

With apple blossom in her hair

Who called me by my name and ran

And faded through the brightening air.

Reading the final verse, this commentator writing these few reflections feels old like Aengus in the poem: “old with wandering” or old and worn out from looking for meaning in an often sad and painful world.  But this final verse is full of promise and hope; full of beauty and truth; full of wisdom and inspiration, for we truly can live in an enchanted world when we read those wonderful final lines of this second poem:

I will find out where she has gone,

And kiss her lips and take her hands;

And walk among long dappled grass,

And pluck till time and times are done,

The silver apples of the moon,

The golden apples of the sun.

Thoughts on the Tao Te Ching 41

Poem 41

When a superior man hears of the Tao,

he immediately begins to embody it.

When an average man hears of the Tao,

he half believes it, half doubts it.

When a foolish man hears of the Tao,

he laughs out loud.

If he didn't laugh,

it wouldn't be the Tao.

Thus it is said:

The path into the light seems dark,

the path forward seems to go back,

the direct path seems long,

true power seems weak,

true purity seems tarnished,

true steadfastness seems changeable,

true clarity seems obscure,

the greatest art seems unsophisticated,

the greatest love seems indifferent,

the greatest wisdom seems childish.

The Tao is nowhere to be found.

Yet it nourishes and completes all things.

Commentary

Scene on the Garovogue River, summer 2006

Once again, we are in the realm of myth and mysticism, and consequently we are immediately in the domain of poetry with its metaphors, images, paradoxes and seeming contradictions.  Quite simply, when we are in these environs we have to let go of all literalism.  Philosophers of the analytic school of philosophy seek to reduce reality to statements that either make sense or don't, to a reflection on experience that seeks to analyse it conceptually and express those concepts in logical statements.  From their point of view none of the above poem makes any rational or reasonable sense and is merely a flight of the imagination.  For us folk who have a religious or spiritual sense which we believe opens us to a mystery or a unity or a truth beyond our finite human reason and reasoning, the above poem brings us into a sense of wonder at the very mystery and often the painful beauty of life.  For the sceptic or the atheist such is mere delusion.  However, that is the way life is.  As the great scholar and theologian, John Henry Cardinal Newman, once remarked, "one can neither argue a man into or out of a religious commitment or belief" as it is as much, if not more, a question of the heart as well as of the head.

Scene from the Garavogue River, Sligo, Summer 2006

To achieve the status of the "superior man" is no mean feat and requires a lot of practice and discipline.  So few of us are able to so "embody the Tao."  To embody the Tao equates with what the Buddhists term "enlightenment."  It would be nothing short of hubris to insist that such a state is achievable with ease and facility.  This is the import of stanza one. Stanza two is the one that abounds in well balanced polar images: light vs dark; forward vs back; strong vs weak; pure vs tarnished; permanence vs change; clarity vs obscurity; sophistication vs simplicity; wisdom vs stupidity; love vs indifference and being lost vs being found.

In conclusion, I invite the reader to read the above poem reflectively and to let whatever word or phrase suggests itself become a mantra for a short meditation.

Namaste, friends. 

Thoughts on the Tao Te ching 25

Poem 25

There was something formless and perfect

before the universe was born.

It is serene. Empty.

Solitary. Unchanging.

Infinite. Eternally present.

It is the mother of the universe.

For lack of a better name,

I call it the Tao.

It flows through all things,

inside and outside, and returns

to the origin of all things.

The Tao is great.

The universe is great.

Earth is great.

Man is great.

These are the four great powers.

Man follows the earth.

Earth follows the universe.

The universe follows the Tao.

The Tao follows only itself.

Commentary

Who knows what came before the beginning of the universe?  In these big questions theoretical physics, philosophical theology and spirituality-meditation are paradoxically similar or parallel.  In psalm 110 we read:

A prince from the day of your birth 

on the holy mountains;
from the womb before the dawn I begot you.

According to Christian tradition this psalm foretells the birth of Jesus which, according to the psalmist, was preordained from before the beginning of the universe or from before the initiation of time.  In other words, this psalm like the Taoist poem attempts to describe the mystery of the origins of the universe.  The Taoism poet puts it in equally paradoxical and poetic terms:

There was something formless and perfect

before the universe was born.

Alexander Vilenkin contends that the Big Bang wasn't a one-off event, but merely one of a series of big bangs creating an endless number of bubble universes.  In this model, there is neither a single Big Bang nor a single beginning.  Instead the universe continually goes through oscillating cycles of expansion, contraction, collapse and expansion anew. (See HERE) 

Of the above three accounts, one could contend that The Taoist poet offers us a Taoist take or Taoist myth of creation; that the Biblical author offers us a Jewish take or Jewish myth of creation and finally that Alexander Vilenkin offers us a scientific take or scientific myth of creation.  Here, obviously, I am using myth in a particular sense and certainly not in its usual sense of an unfounded or false notion or contention.  I am using the word "myth" in the sense that humankind always needs to propose a meaning and an explanation for the existence of the world in which he lives as well as a meaning for his own life.  Fair enough, the first two accounts may be pre-scientific, allegorical or metaphorical or even literal efforts at explaining existence in ancient times - however, they are legitimate efforts even if somewhat fanciful.  I use the term "scientific myth" in a similar way, that is, as a modern presentation of the meaning and significance of life in the twenty-first century which will itself appear more than a little pre-scientific to thirtieth century humankind.  Myth for me represents any valid and authentic attempt at explaining the meaning of life in any particular culture at any particular time, in any particular context.  Now re-read the first stanza of our Taoist poem above. 

There was something formless and perfect

before the universe was born.

It is serene. Empty.

Solitary. Unchanging.

Infinite. Eternally present.

It is the mother of the universe.

For lack of a better name,
I call it the Tao.

One of the best attempts to link theoretical physics and spirituality/meditation is surely that of Dr Fritjof Capra's classic The Tao of Physics (1975) wherein Dr Capra argued that Theoretical Physics could be reconciled with Eastern Mysticism.  Near the end of this book, the author summed up his motivation in the following words: "Science does not need mysticism and mysticism does not need science, but man needs both."

The interpretation of a literary text is a complex process that involves much learning and not a little intuition.  A good reader of a text is aware of its many layers: literal, allegorical, metaphorical, poetic, aesthetic, historical, linguistic and structural and so on and so forth.  It is when the reader insists on reading the text at any one level solely that problems emerge.  As we have seen from the recent horrific massacres wrought by a fundamentalism of one kind, literalism can lead to sheer terrorism. Needless to say, fundamentalism in "-isms" of all kinds from fascism to communism to scientism can and will lead to the same bloody conclusion.

Finally, let us read the above poem reflectively letting a word or phrase suggest itself to us as a mantra for a five or ten minutes reflection.

Namaste, friends.