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.

Poems I Journey With 26

The car I escaped uninjured from

Life surely challenges us; everyday brings one or other crisis. That is seemingly the way we grow and mature. However, it is hard to see that from the depths of a problem or of a tragedy or from any event that brings us face to face with our fragility and mortality. I have just walked free, totally unscathed physically - indeed no one was injured at all, thank God, just twisted metal and and few blocks in a wall displaced -  from crashing my car having nodded off momentarily at the steering wheel. However, existentially I am shaken to the foundations of my being. This is surely what the Existential Psychotherapist and Psychiatrist Irvin Yalom has in mind when he speaks of death/dying/mortality as being one of the major ultimate concerns we encounter in life.  It is at times like these that I like to turn to poetry and music in the quiet corners of my soul when my friends and family have gone their busy way as they must. The poems of Wendell Berry are a wonderful comfort to me today as they are gentle, sublime and profoundly touching. I’d like to share several poems from the pen of this great author with the reader today as I grapple to make sense of what has happened to me the day before yesterday. Berry is 84 years old and still alive and writing prolifically. He is an American novelist, poet, environmental activist, cultural critic, and farmer. He is a recipient of many prestigious awards for writing, for the humanities and for his advocacy of environmental issues. Anyway, the first poem that is quieting my troubled soul today is this one:

The Peace of Wild Things - Poem by Wendell Berry

When despair grows in me
and I wake in the night at the least sound
in fear of what my life and my children's lives may be,
I go and lie down where the wood drake
rests in his beauty on the water, and the great heron feeds.
I come into the peace of wild things
who do not tax their lives with forethought
of grief. I come into the presence of still water.
And I feel above me the day-blind stars
waiting for their light. For a time
I rest in the grace of the world, and am free. 

The great Wendell Berry

The second poem is equally as simple and pure and touches me deeply where I need to be healed. This little poem calls me to be deeply present in what I do and to live in the blessed NOW.  I remember an old Dominican priest once telling me that “Now is the sacrament of the present moment.” I thought that was a lovely statement and a deep truth expressed theologically and poetically. The second poem reminds me of that truth, that healing truth.

What We Need Is Here

Geese appear high over us,
pass, and the sky closes. Abandon,
as in love or sleep, holds
them to their way, clear
in the ancient faith: what we need
is here. And we pray, not
for new earth or heaven, but to be
quiet in heart, and in eye,
clear. What we need is here. 

Once again the third poem I wish to share with you here is equally as simple and pure and once again touches me deeply where I need to be healed. When we get in touch with the deep peace that lies in natural things, even though nature can be violent and cruel at times too, we can be healed. When the calm after a storm touches our soul we can be healed. I’m sure survivors of natural disasters have often been healed in spirit thereafter by the healing power of the peace in nature. Anyway, I deeply need the healing power of the following beautiful lyric:

Woods - Poem by Wendell Berry

I part the out thrusting branches
and come in beneath
the blessed and the blessing trees.
Though I am silent
there is singing around me.
Though I am dark
there is vision around me.
Though I am heavy
there is flight around me. 

Poems I Journey With 21

A young S.T. Coleridge

One of my favourite Romantic poets is Samuel Taylor Coleridge. I was lucky to study him from two angles, once in an English Literature course at undergraduate level and once at the level of philosophical theology whilst studying at postgraduate level. That means that I have been lucky to have studied both his poems and his literary/theological/philosophical prose works. Coleridge (1772 –1834) was a complex individual and an extremely erudite dilettante, being a poet, a literary critic and philosopher as well as being an avid walker and lover of nature. He was also a wonderful raconteur who loved to regale his friends with stories and witticisms. Again, he was more Dionysian than Apollonian in temperament, yet in his philosophical and theological musings he could readily access and use profitably and aptly the higher reaches of logical argument and thought, thereby embracing both heart and head in a splendid and felicitous harmony.

With his friend and colleague William Wordsworth, Coleridge was a founder of what is called the Romantic Movement in England. His most anthologised poems and well known poems are The Rime of the Ancient Mariner and Kubla Khan while his major prose work Biographia Literaria is an amazingly erudite, eccentric and extremely sui generis  work of his literary imagination. His critical work, especially on Shakespeare, was and is highly influential, and he helped introduce German idealist philosophy to English-speaking culture through his studies in the German language and German philosophy at Gottingen University.  Coleridge, as a result of his concentrated studies, coined many familiar words and phrases, including “suspension of disbelief, the “esemplastic power of imagination” and many more. He is noted as a major influence on Emerson and American transcendentalism. In short, then, we may summarise by saying that it was through Coleridge’s writings and translations that German transcendentalism entered the English and American Romantic Movements.

On a personal level, throughout his adult life, Coleridge had crippling bouts of anxiety and depression. Some have speculated that he had bipolar disorder, though that is impossible to prove definitively. However, it is important to note that he became an addict of opium through its medicinal and all-too-easily attainable form called Laudanum. All of this feeds into the wonderfully complex and inspiring thought of a great poet and marvellously talented critic.

The poem I wish to offer the reader this evening is one of what is called his “conversation poems” namely “Frost at Midnight.”

Frost at Midnight

The Frost performs its secret ministry,
Unhelped by any wind. The owlet's cry
Came loud--and hark, again ! loud as before.
The inmates of my cottage, all at rest,
Have left me to that solitude, which suits
Abstruser musings : save that at my side
My cradled infant slumbers peacefully.
'Tis calm indeed! so calm, that it disturbs
And vexes meditation with its strange
And extreme silentness. Sea, hill, and wood,
This populous village! Sea, and hill, and wood,
With all the numberless goings-on of life,
Inaudible as dreams! the thin blue flame
Lies on my low-burnt fire, and quivers not ;
Only that film, which fluttered on the grate,
Still flutters there, the sole unquiet thing.
Methinks, its motion in this hush of nature
Gives it dim sympathies with me who live,
Making it a companionable form,
Whose puny flaps and freaks the idling Spirit
By its own moods interprets, everywhere
Echo or mirror seeking of itself,
And makes a toy of Thought.

But O! how oft,
How oft, at school, with most believing mind,
Presageful, have I gazed upon the bars,
To watch that fluttering stranger! and as oft
With unclosed lids, already had I dreamt
Of my sweet birth-place, and the old church-tower,
Whose bells, the poor man's only music, rang
From morn to evening, all the hot Fair-day,
So sweetly, that they stirred and haunted me
With a wild pleasure, falling on mine ear
Most like articulate sounds of things to come!
So gazed I, till the soothing things, I dreamt,
Lulled me to sleep, and sleep prolonged my dreams!
And so I brooded all the following morn,
Awed by the stern preceptor's face, mine eye
Fixed with mock study on my swimming book:
Save if the door half opened, and I snatched
A hasty glance, and still my heart leaped up,
For still I hoped to see the stranger's face,
Townsman, or aunt, or sister more beloved,
My play-mate when we both were clothed alike!

Dear Babe, that sleepest cradled by my side,
Whose gentle breathings, heard in this deep calm,
Fill up the intersperséd vacancies
And momentary pauses of the thought!
My babe so beautiful! it thrills my heart
With tender gladness, thus to look at thee,
And think that thou shalt learn far other lore,
And in far other scenes! For I was reared
In the great city, pent 'mid cloisters dim,
And saw nought lovely but the sky and stars.
But thou, my babe! shalt wander like a breeze
By lakes and sandy shores, beneath the crags
Of ancient mountain, and beneath the clouds,
Which image in their bulk both lakes and shores
And mountain crags: so shalt thou see and hear
The lovely shapes and sounds intelligible
Of that eternal language, which thy God
Utters, who from eternity doth teach
Himself in all, and all things in himself.
Great universal Teacher! he shall mould
Thy spirit, and by giving make it ask.

Therefore all seasons shall be sweet to thee,
Whether the summer clothe the general earth
With greenness, or the redbreast sit and sing
Betwixt the tufts of snow on the bare branch
Of mossy apple-tree, while the nigh thatch
Smokes in the sun-thaw ; whether the eave-drops fall
Heard only in the trances of the blast,
Or if the secret ministry of frost
Shall hang them up in silent icicles,
Quietly shining to the quiet Moon. 

Briefest of Commentaries

Here in this wonderful poem we encounter the very quintessence of Romantic poetry: an openness to the splendour, wonder and magic of nature where even “[t]he frost performs its secret ministry.” In other words, from the very first line of this poem we encounter the mystery of nature in the wonderful patterns frost forms all around us on a winter’s night. It is important to note that Coleridge attributes power to the frost, namely the power to perform a ministry or ritual that brings the believer into communion with the very heart of nature, namely the Creator revealed through the mysterious and wondrous patterns performed by a minister called “frost.” Again, what we have here is the personification of nature in the workings of the frost. It is significant, also, the Coleridge ends the poem with a second reference to the frost’s ministry in the third last line of the last stanza.

From the first we are drawn into the profound solitude that obtains in the poet’s country cottage in Cumbria. We encounter all the sights and sounds of Coleridge’s surroundings depicted in wonderfully clear and vivid images: “my cradled infant slumbers peacefully,” “the thin blue flame lies on my low-burnt fire,” the “film which fluttered on the grate,” “the old church-tower,//Whose bells, the poor man's only music,” “My babe so beautiful! it thrills my heart//With tender gladness, thus to look at thee,” “For I was reared//In the great city, pent 'mid cloisters dim,” and so on and so forth.  Unlike his father, his son Hartley will be reared, attuned to the sounds of nature and not in a great and noisy city. Again, all these images and this last aspiration for his son are essentially Romantic in nature, that is, they serve to help us to commune with God in and through nature.

In conclusion, let me repeat here the final eleven lines of the poem, which essentially sum up the Romantic credo to which Wordsworth et al subscribed and that S.T. Coleridge so eruditely wrote about in his prose writings.  With that thought I leave the reader to contemplate these last lines of this great poem:

But thou, my babe! shalt wander like a breeze
By lakes and sandy shores, beneath the crags
Of ancient mountain, and beneath the clouds,
Which image in their bulk both lakes and shores
And mountain crags: so shalt thou see and hear
The lovely shapes and sounds intelligible
Of that eternal language, which thy God
Utters, who from eternity doth teach
Himself in all, and all things in himself.
Great universal Teacher! he shall mould
Thy spirit, and by giving make it ask.

Poems I Journey With 15

Old depiction of Horace

There is much richness in the classics, that is in Latin and classical Greek texts. Unfortunately, I never got to study classical Greek at school, though I did study Latin to Leaving Certificate level. Being reasonably good at languages, I also loved studying the poems of Virgil, Horace and Ovid and so on. Much of what I learned over forty years ago is unfortunately lost somewhere in the recesses of my memory.  Retirement will certainly entice me to reacquaint myself with the Latin language and some of the texts of those old poets. I remember well Horace’s agricultural metaphors and his love for wine. I’m sure the reader of these lines will know that most famous of quotes from his pen, namely “carpe diem” or “seize/pluck the day.”  These few lines from that famous Ode are worth quoting here for the beauty of the language: “Tu ne quaesieris — scire nefas — quem mihi, quem tibi finem di dederint, Leuconoë .... dum loquimur, fugerit invida aetas: carpe diem, quam minimum credula postero.” = “Do not ask — it is wrong to know (it is impossible to know) — what end (quem finem) the gods have in store for you or for me, Leuconoë .... while we talk (discuss) envious time flees away: pluck the day, and believe as little as possible in tomorrow!”  I wish I was at home in Latin so that I could translate the verses given on my own. I had to use an on-line dictionary and Google translate and compare to other translations.  Still I enjoyed the activity as I began to remember some of my old Latin skills.

The reason I begin this post with a diversion into an Horatian Ode is that I should like to share a poem from the great Professor, classical scholar and poet A.E. Housman (1859 – 1936) with you all this evening. He was steeped in all things classical and is reckoned to be one of the greatest classical scholars of the twentieth century. Such poets as those listed above and many others from both Latin and Greek would have influenced my chosen poet.

XXXI

On Wenlock Edge the wood's in trouble;

His forest fleece the Wrekin heaves;

The gale, it plies the saplings double,

And thick on Severn snow the leaves.

'Twould blow like this through holt and hanger

When Uricon the city stood:

'Tis the old wind in the old anger,

But then it threshed another wood.

Then, 'twas before my time, the Roman

At yonder heaving hill would stare:

The blood that warms an English yeoman,

The thoughts that hurt him, they were there.

There, like the wind through woods in riot,

Through him the gale of life blew high;

The tree of man was never quiet:

Then 'twas the Roman, now 'tis I.

The gale, it plies the saplings double,

It blows so hard, 'twill soon be gone:

To-day the Roman and his trouble

Are ashes under Uricon.

Briefest of Commentaries

A.E. Housman

This poem occurs in a collection called A Shropshire Lad and was first published in 1896 at Housman's own expense after several publishers had turned it down. His colleagues and students were surprised by the emotional depth and vulnerability it revealed in an apparently distant and self-contained man.  This poem is the 31^st poem, its title designated in Roman numerals as XXXI of some 63 poems in the collection.  In the distance, some five miles to the north of Wenlock Edge, is a forested hill, the Wrekin (pronounced REE-kin).

“Holt” is an old Germanic word (and English, with its Anglo-Saxon ancestry, is a Germanic language) for a wood, a forested area.  “Hanger” also comes from an old Anglo-Saxon term; it means a wood on a slope, like the forest on Wenlock Edge. The wind blew through those woods “when Uricon the city stood.”  He is taking us back to Roman Britain — Britain after the Romans had invaded and settled there.  His “Uricon” was the Roman city Viriconium/Viroconium, also called Uriconium, which lay where the present day town of Wroxeter lies, several miles west of the Wrekin.  It was the fourth largest Roman City in ancient Britain.

As a classicist, A.E. Housman is reminded of Roman Britain.  As he views the restlessness of the fleecy trees on Wenlock Edge and on Wrekin hill or mountain he becomes aware of his own restlessness and realises that such discomfort has been part of the human condition for hundreds of years. We are in the province, of course, of what was classically called “pathetic fallacy,” namely the attribution of human feelings and responses to inanimate things or animals, especially in art and literature. Here “'Tis the old wind in the old anger,” and then we have the recalling or imagining of how a Roman soldier or official might have felt over 1500 years before:

Then, 'twas before my time, the Roman

At yonder heaving hill would stare:

The blood that warms an English yeoman,

The thoughts that hurt him, they were there.

A.E. Housman is moved by the restlessness of the wind in the trees and by his own inner restlessness as part of the human condition. He feels deeply his own continuity with the sympathies and emotions of another human being from more ancient times, especially with how a Roman soldier or official might have felt standing in the same spot as the poet. This is a wonderfully simple but an extraordinarily powerful poem from a very fine poet.

Poems I Journey With 12

The world throws up many wonderful and wondrous souls over and over again, but none so wonderful and wondrous as Isaac Rosenberg (1890 - 1918) who was sadly killed at the age of 27 as he and others were returning to their trenches, having just finished night patrol. Rosenberg was the least privileged of the British poets as he was born into a poor working-class Jewish family that had emigrated from Russia.  His economic circumstances militated against his attending either Cambridge or Oxford. However, he was a talented artist as well as a great poet, whom both Eliot and Pound acknowledged as a good modernist poet - great praise indeed.  Had he lived he would have matched them with work equally as good as theirs.  Alas that was not to be.  Too many young men were killed during the Great War - "half the seed of Europe one by one" as Wilfred Owen, another First World War poet would put it. As a talented artist, the young Rosenberg enrolled in evening classes in the Art School at Birkbeck College, London University. Indeed, he had hoped to make his living as a portrait artist and had moved to South Africa to pursue that career when war broke out. Like most young men of his time he would have felt he was abandoning his native homeland were he not to return to England and enlist. He was no sympathizer with the war at all - he simply felt duty-bound like many a young man of his era.  He was to write in a letter to a friend that "I never joined the army for patriotic reasons.  Nothing can justify war.  I suppose we must all fight to get the trouble over."  Commentators are united in their view that the voice of a modernist poet can be heard in his poems.

Returning, We Hear the Larks

Sombre the night is. 

And though we have our lives, we know

What sinister threat lies there.

Dragging these anguished limbs, we only know

This poison-blasted track opens on our camp –

On a little safe sleep. 

But hark! joy - joy - strange joy. 

Lo! heights of night ringing with unseen larks. 

Music showering our upturned list’ning faces.

Death could drop from the dark

As easily as song –

But song only dropped, 

Like a blind man’s dreams on the sand

By dangerous tides, 

Like a girl’s dark hair for she dreams no ruin lies there, 

Or her kisses where a serpent hides. 

Isaac Rosenberg, selfportrait, 1915

It is somewhat ironic that it was when returning from such a patrol the the young artist and poet, Isaac Rosenberg was killed. "And though we have our lives, we know //What sinister threat lies there" are words sombre indeed as the night. The opening imagery is clear and stark: "dragging anguished limbs," "poison-blasted tracks," and then the wonder of hearing a little joyous song breaks the sombre tone with joyful aural images in the stanza

But hark! joy - joy - strange joy. 

Lo! heights of night ringing with unseen larks. 

Music showering our upturned list’ning faces,

lines that obviously make more sense when read aloud to get their full aural effect. And then, we are given the wondrous and wonderful final stanza that is loaded with mystery and magic interwoven with fear and dread. It is as if Rosenberg is taking the fear and awfulness created in the first and second stanzas and the joy, beauty and exultation of the third and combining them both into a rather eerily beautiful and shockingly scary mixture in the final stanza. It is indeed eerie and scary that death can drop from the dark sky just as easily as song, but that is the nature of war.  Then those wondrous and magical lines that suggest inevitable lostness (blindman's dreams) on "sands," (not a very stable support) which are right beside "dangerous tides" (being washed away to destruction.)  Then those juxtaposed opposites in "girl's dark hair" (love and beauty) and the "ruin" that may lie there is hauntingly bleak. Finally, then, even her kisses which should be sweet, may hide the serpent lurking deep within.  And so, to end, dear reader, let us reread and ponder the words of the last stanza:

Death could drop from the dark 

As easily as song – 

But song only dropped, 

Like a blind man’s dreams on the sand 

By dangerous tides, 

Like a girl’s dark hair for she dreams no ruin lies there, 

Or her kisses where a serpent hides. 

Thoughts on the Tao Te Ching 80

Poem 80

If a country is governed wisely,

its inhabitants will be content.

They enjoy the labor of their hands

and don't waste time inventing

labor-saving machines.

Since they dearly love their homes,

they aren't interested in travel.

There may be a few wagons and boats,

but these don't go anywhere.

There may be an arsenal of weapons,

but nobody ever uses them.

People enjoy their food,

take pleasure in being with their families,

spend weekends working in their gardens,

delight in the doings of the neighborhood.

And even though the next country is so close

that people can hear its roosters crowing and its dogs barking,

they are content to die of old age

without ever having gone to see it.

Commentary

This poem is certainly one we moderns would not understand as we live in a global village where the whole world has become our home. We can travel anywhere, now that air travel has become relatively cheap and within almost everyone's capacity.  Very few of us in the Western world do not go abroad for holidays or business or whatever.  Indeed, should we not wish to travel somewhere physically we can even journey there virtually by way of cinema or the Internet, both of which can bring us anywhere we wish imaginatively.  And the imagination and reality are next-door neighbours in a sense. 

As a man of 58 years who was born in a small rural Irish town in 1958 and who experienced at least for a few years pre-television era in that country setting, I would have an inkling of what the poet in the above poem is getting at.  I well remember a young friend's parents having bought their first tv set as RTE, the Irish public broadcaster began life on the 31st of December 1961.  They must have bought it soon enough thereafter, so I would have been about 4 years of age at the time. The TV ushered in the New Ireland, as from then on the global visited in a virtual and imaginative sense the sitting rooms of all the homes in Ireland. Therefore, I can slightly understand the above poem.  Now, we must remember that the Tao Te Ching was written roughly around the sixth century BCE in a very rural and primitive setting so the values of a small community would have been the prevailing ones: working in the fields, ploughing, planting seeds, watering the crops, going to the market, harvesting, participating in  the local gatherings, chatting and conversing.  Everything would have revolved around the extended family or clan, and then around the local tribe or community. The home and the community and the values asssociated with both would have been the origins of the only values known to anyone.  Therefore, it is against this background that we have to understand the above poem.

The above poem presents us with the ideal, indeed with the idyll.  It is purely romantic and is filled with Utopian sentiments.  No such place on earth could possible exist.  However, when we remember that it is a poem, that it was written so long ago and that as a poem it should not be taken literally. Bearing all this is mind, we may then read it and meditate upon it and see what wisdom we might learn from it.

One lesson is that of valuing our lives, valuing our experiences of life in the now, valuing simply being.  We are all so busy rushing to succeed, make more money, get a better job, travel to more countries, gain more wealth, acquire X, Y or Z new item that we often forget that it is the simple things in life that really make us happy like those mentioned in the poem: (i) enjoying our workaday life, (ii) getting in touch with nature, (iii) gardening, (iv) building up and enjoying our homes, (v) enjoying simple but good meals with our families and friends, (vi) supporting all the events that take place in the community, and (vii) happily growing old listening to the sounds of what naturally occurs in nature.

These are obviously extremely romantic and Utopian ideas, but the poem hints that we may experience an intimation of that blessed state by being more mindful and attuned to living in the now.

Namaste, friends. 

Thoughts on the Tao Te Ching 64

Poem 64

What is rooted is easy to nourish.

What is recent is easy to correct.

What is brittle is easy to break.

What is small is easy to scatter.

Prevent trouble before it arises.

Put things in order before they exist.

The giant pine tree

grows from a tiny sprout.

The journey of a thousand miles

starts from beneath your feet.

Rushing into action, you fail.

Trying to grasp things, you lose them.

Forcing a project to completion,

you ruin what was almost ripe.

Therefore the Master takes action

by letting things take their course.

He remains as calm

at the end as at the beginning.

He has nothing,

thus has nothing to lose.

What he desires is non-desire;

what he learns is to unlearn.

He simply reminds people

of who they have always been.

He cares about nothing but the Tao.

Thus he can care for all things.

Commentary

Modern building, Milan, Easter, 2016

At the risk of boring the reader let me repeat what I have said here in this sequence of posts many times.  One concept I have underlined before is that of the psychological concept of flow as proposed by the Hungarian psychologist Mihály Csikszentmihályi.  Flow is a central concept in positive psychology, and it is also known as the zone.  Children can far more readily enter this zone than we adults because they are closer to their hearts and to their intuition that we adults are.  We adults are far more likely to be locked in the world of logic and intellect.  Flow or the zone is the mental state or that state of being where the person doing some action or activity is fully immersed in his/her experience of the moment, and is fully energized and well focused on the task at hand.  Flow is characterized by complete absorption in what is being experienced.  

In a sense, what the above amounts to is an appreciation for the quality of living and being in the now of experience, of going with the natural flow of life, by doing everything that is not using and abusing energy by pushing against its natural flow.  It is in this sense that we read our first stanza above:

What is rooted is easy to nourish.

What is recent is easy to correct.

What is brittle is easy to break.

What is small is easy to scatter.

Milan Cathedral, Easter 2016

The second stanza is about very much being prepared and proactive, of planning out things in a natural way, consistent with the flow of life, of living and of being.  In this stanza we read the  often quoted line that "the journey of a thousand miles" begins with our taking the first step now. 

Stanza three makes for good sound wisdom.  Forcing an item into a space it will not naturally fit into will distort or break the item.  Pushing one another in a queue for a bus or train will certainly not improve matters - indeed, it will most likely slow the loading of the bus down and actually delay the departure time, and perhaps even result in injury to some one.  Rushing into things never helps, while doing things mindfully certainly will. 

When we meet spiritually advanced people, no matter what their overt religious or even non-religious affiliation, the striking characteristic we notice is that of equanimity, calmness, peace of mind and a sense of deep attention to living in the now.  We are singularly blessed when we meet these beacons of hope and peace in our lives.

Let us read the above poem reflectively and mindfully once again and let any line or phrase offer itself to us by way of a short meditation to begin our day with the goal of being present to all whom we meet and most essentially to our own self.

Journal of a Soul 31

Beyond Debate III

Personal Experience

(i) Preliminary Remarks

It is hard to contradict or deny personal experience.  It is, moreover, more difficult still to do so when someone declares they have had a religious experience.  We literally have to take them at their word, or write them off as simply hallucinating. I'm sure we have all encountered sincere and rational individuals who are convinced that they have encountered the divine  or the transcendent in their lives.  There are many millions upon millions of people on this earth who have declared their witness to the truth of these experiences.  Such cannot be denied.  No matter what our debaters on the negative side of the debate say - like Dennett, Dawkins, Hitchens et al - there is no persuading these many millions that they are simply deluded. 

Firstly, let me declare the obvious truth of the observation that many individuals from the lunatic fringe are quite easily drawn to religions of all kinds.  Let us take this as a given. Indeed, I have known a certain few individuals who have manic depression (or more correctly bipolar disorder) and at least one of these individuals goes on a hyper-religious trip during his manic phase.  This is a given, but it is certainly and obviously NOT a valid argument against the truth of religion.

Secondly, let me declare the equally obvious truth that much harm in the form of wars, attempted genocide, torture and suffering of all kinds have been done in the name of religion and by individuals who claim to be firm believers in God.  Once again, this is a given.  And yet, logically it can never be adduced as an argument against religion per se.  Why?  Simply because the operative and significant phrase in the above sentence is "in the name of religion."  Who is at fault when a nation goes to war inspired by religion - the religion qua religion or the fallible fault-ridden human interpreters of that religion?  I would argue logically for the fault of the latter.  

Again, my favourite author on this topic is Fyodor Dostoevsky who, in his inspiring parable "The Grand Inquisitor" in his wonderful novel The Brothers Karamazov deals exactly with this persistent problem of the corruption of power within official religious circles.  Whether one accepts that religion is a sociological phenomenon that naturally grew up for societal needs from the earliest of times or that it is a divinely inspired organisation, one still has to grant that one is relying upon fallible human beings within that organisation.  Having spent some three years of my life within a Roman Catholic religious order in my younger years I can attest to (i) the existence of people who loved power  and who equally loved exercising it and who delighted in lording it over others.  It's the natural lust for power in all humans that comes to the fore in every organisation under the sun. However, I can also attest to (ii) much good done by many sincerely motivated and genuinely good people in the name of the vision which they attribute to their founder, to Jesus and to God ultimately. 

I am no sociologist, but an understanding of the sociological basis of all religions as well as the sociological understanding of organisations both need to be considered here, not just the abstract notions, considered or otherwise, of the negative side of the argument against religions and God as adduced by Hitchens, Dawkins, Dennett et al. 

(ii) A Higher Spiritual Power 

I know a certain few individuals who are recovering alcoholics and they have informed me that but for their trust in a higher spiritual power they would indeed be lost, if not dead. This belief in a higher power is an integral part of the twelve steps programme developed by that wonderful international organisation Alcoholics Anonymous.  Strangely, or maybe not so strangely after all, these twelve steps read like a spiritual/religious programme.  The first four principles or steps run:  

1. We admitted we were powerless over alcohol - that our lives had become unmanageable.
2. Came to believe that a Power greater than ourselves could restore us to  sanity.
3. Made a decision to turn our will and our lives over to the care of God as we understood Him.
4. Made a searching and fearless moral inventory of ourselves.  (See this link for the web page of the Irish branch of the AA and for more information on The Twelve Steps.) 

Now, the operative phrase I'd like to stress is the underscored one, "God as we understand Him" as it defines God in an absolutely non-denominational sense, or in an open or broad religious sense, leaving it to the individual to interpret who they believe that God to be in their own lives.  

Once again, let me stress here that these persons who have encountered their own demons through the struggle with alcohol, and indeed others through their fight with addictions of all kinds, are utterly convinced that they can do nothing from any of their own inner resources (which are at their lowest ebb, like a totally drained battery, if I may use a metaphor here.) Therefore, they insist that they have to rely on an outer or outward power which they might call God. Admittedly, space is left for the addicted to call that higher power an Energy Source if they do not wish to call it God as such.  

(iii) My Own Spiritual Experiences

I readily admit that I prefer the term "spiritual" to "religious", quite simply because religion has got such a bad press through the actions of so-called believers of all hues and due to the negative press given by the debaters on the negative side of the God-debate.  That I was a religious/spiritual boy goes without saying:  as a young lad I remember being transfixed by the beauty of the old Latin Mass with its Gregorian chant, smell of incense, and the whole aesthetics of that ceremony and others. Also much of the music associated with the traditional Roman Catholic Church is exquisite to say the least.  Each year I still attend the annual performance of Handel's wonderful Messiah and certainly I can attest as can anyone who attends or rather participates in that musical experience, that deep spiritual depths are touched in the human heart through its sheer beauty and overwhelming power.  

I have also had other experiences where I felt I was close to a primal Energy which somehow was sustaining me and indeed the world around me - an experience of God in nature.  I can still remember once when I was a young monk walking around the wonderfully wild and green grounds of our novitiate and experiencing a cloud-burst on a sunlit day. It was more experientially for me than a mere and thorough drenching.  It was, in fact, in a very real sense what is called in theology a theophany, or at least that is the way I remember describing it when I was later writing down the experience in my spiritual diary at the time. A theophany is the appearance of God through nature, or at least, through the power of nature, literally a showing or manifestation of the divine.  Indeed, James Joyce also adverted to such inspirational and transfixing moments as "epiphanies."  In other word we experience a profound spiritual depth in a through a physical occurrence. 

Another link I would make here is what the philosophers have described as "the experience of the sublime." Here is how the WIKI defines this specific notion, and I believe it is a wonderfully clear definition at that: 

In aesthetics, the sublime (from the Latin sublīmis) is the quality of greatness, whether physical, moral, intellectual, metaphysical, aesthetic, spiritual or artistic. The term especially refers to a greatness beyond all possibility of calculation, measurement or imitation. (See Sublime )

As an erstwhile hill walker, I believe that we cannot not be captivated by the sheer beauty and power of nature.  Some of my friends have stood beside either Niagara or Victoria Falls and have been overcome by the sheer frightening and transfixing power and beauty of nature, by its sublimity. I have stood by the Cliffs of Moher here on the west coast of Ireland and have marvelled at their sheer power and beauty.  Then there is the Grand Canyon and many many other beautiful, awe-inspiring and powerfully overwhelming wonders of nature besides these few I have mentioned here. They have been written about widely and many have attested to their awe-inspiring power.  When people declare that they have been moved by a power beyond them, by a deep spiritual energy which is both within and beyond them at one and the same time, who are we to deny the validity of their experiences? Indeed, one can argue that such is a mere psychological or para-psychological experience and not a religious or spiritual experience of a sustaining God.  Atheists could certainly argue that.  However, there are atheists who, while denying the existence of God, readily admit that we humans have a spiritual dimension.  This latter point is one to which I shall return later in these notes here, but for the moment such a diversion is beyond our present purposes. 

What I simply want to underscore here is the validity and authenticity of religious or spiritual experiences no matter whether one can attribute such to a divine source or to a powerful energy beyond us.  To deny the testimony of our lived experiences and those of millions upon millions of believers over thousands of years and well as those of our own times is surely to deny the complexity of human nature and the role of powers beyond our limited ken.  It must surely also betray our pride or hubris in thinking that we know more than fallible creatures actually could ever possibly master.