Anam Cara Page 6

  It is far more creative to work with the idea of mindfulness rather than with the idea of will. Too often people try to change their lives by using the will as a kind of hammer to beat their life into proper shape. The intellect identifies the goal of the program, and the will accordingly forces the life into that shape. This way of approaching the sacredness of one’s own presence is externalist and violent. It brings you falsely outside yourself, and you can spend years lost in the wildernesses of your own mechanical, spiritual programs. You can perish in a famine of your own making.

  If you work with a different rhythm, you will come easily and naturally home to yourself. Your soul knows the geography of your destiny. Your soul alone has the map of your future, therefore you can trust this indirect, oblique side of yourself. If you do, it will take you where you need to go, but more important it will teach you a kindness of rhythm in your journey. There are no general principles for this art of being. Yet the signature of this unique journey is inscribed deeply in each soul. If you attend to yourself and seek to come into your presence, you will find exactly the right rhythm for your own life. The senses are generous pathways that can bring you home.

  A renewal, indeed a complete transfiguration of your life, can come through attention to your senses. Your senses are the guides to take you deep into the inner world of your heart. The greatest philosophers admit that to a large degree all knowledge comes through the senses. The senses are our bridges to the world. Human skin is porous; the world flows through you. Your senses are large pores that let the world in. By being attuned to the wisdom of your senses, you will never become an exile in your own life, an outsider lost in an external spiritual place that your will and intellect have constructed.

  THE SENSES AS THRESHOLDS OF SOUL

  For too long, we have believed that the divine is outside us. This belief has strained our longing disastrously. This makes us lonely, since it is human longing that makes us holy. The most beautiful thing about us is our longing; this longing is spiritual and has great depth and wisdom. If you focus your longing on a faraway divinity, you put an unfair strain on your longing. Thus it often happens that the longing reaches out toward the distant divine, but because it overstrains itself, it bends back to become cynicism, emptiness, or negativity. This can destroy your sensibility. Yet we do not need to put any strain whatever on our longing. If we believe that the body is in the soul and the soul is divine ground, then the presence of the divine is completely here, close with us.

  Being in the soul, the body makes the senses thresholds of soul. When your senses open out to the world, the first presence they encounter is the presence of your soul. To be sensual or sensuous is to be in the presence of your own soul. Wordsworth, careful of the dignity of the senses, wrote that “pleasure is the tribute we owe to our dignity as human beings.” This is a profoundly spiritual perspective. Your senses link you intimately with the divine within you and around you. Attunement to the senses can limber up the stiffened belief and gentle the hardened outlook. It can warm and heal the atrophied feelings that are the barriers exiling us from ourselves and separating us from each other. Then we are no longer in exile from the wonderful harvest of divinity that is always secretly gathering within us. Though we will consider each of the senses specifically, it is important to acknowledge that the senses always work compositely. The senses overlap. We can see this in the different responses people have to color, which indicates that colors are not perceived merely visually.

  THE EYE IS LIKE THE DAWN

  The first sense we will consider is the sense of sight or vision. The human eye is one place where the intensity of human presence becomes uniquely focused and available. The universe finds its deepest reflection and belonging in the human eye. I imagine the mountains dreaming of the coming of vision. The eye, when it opens, is like the dawn breaking in the night. When it opens, a new world is there. The eye is also the mother of distance. When the eye opens, it shows that others and the world are outside us, distant from us. The spur of tension that has enlivened all of Western philosophy is the desire to bring subject and object together. Perhaps it is the eye as mother of distance that splits the subject from the object. Yet infinity somehow invests our perception of every object. Joseph Brodsky said beautifully, An object makes infinity private.

  Yet in a wonderful way, the eye as mother of distance makes us wonder at the mystery and otherness of everything outside us. In this sense, the eye is also the mother of intimacy, bringing everything close to us. When you really gaze at something, you bring it inside you. One could write a beautiful spirituality on the holiness of the gaze. The opposite of the gaze is the intrusive stare. When you are stared at, the eye of the Other becomes tyrannical. You have become the object of the Other’s stare in a humiliating, invasive, and threatening way.

  When you really look deeply at something, it becomes part of you. This is one of the sinister aspects of television. People are constantly looking at empty and false images; these impoverished images are filling up the inner world of the heart. The modern world of image and electronic media is reminiscent of Plato’s wonderful allegory of the cave. The prisoners are in one line, chained together, looking at the wall of the cave. The fire behind them casts images onto the wall. The prisoners believe that what they see on the wall of that cave is reality. Yet all they are seeing are shadows of reflections. Television and the computer world are great empty shadow-lands. To look at something that can gaze back at you, or that has a reserve and depth, can heal your eyes and deepen your sense of vision.

  There are those who are physically blind; they have lived all their lives in a monoscape of darkness. They have never seen a wave, a stone, a star, a flower, the sky, or the face of another human being. Yet there are others with perfect vision who are absolutely blind. The Irish painter Tony O’Malley is a wonderful artist of the invisible; in a lovely introduction to his work, the English artist Patrick Heron said, “In contrast to most people, Tony O’Malley walks around with his eyes open.”

  Many of us have made our world so familiar that we do not see it anymore. An interesting question to ask yourself at night is, What did I really see this day? You could be surprised at what you did not see. Maybe your eyes were unconditioned reflexes operating all day without any real mindfulness or recognition; while you looked out from yourself, you never gazed or really attended to anything. The field of vision is always complex, and when your eyes look out, they cannot see everything. If you try to have a full field of vision, then details become unspecified and blurred; if you focus on one aspect of it, then you really see that, but you miss out on the larger picture. The human eye is always selecting what it wants to see and also evading what it does not want to see. The crucial question then is, What criteria do we use to decide what we like to see and to avoid seeing what we do not want to see? Many limited and negative lives issue directly from this narrowness of vision.

  It is a startling truth that how you see and what you see determine how and who you will be. An interesting way of beginning to do some interior work is to explore your particular style of seeing. Ask yourself, What way do I behold the world? Through this question you will discover your specific pattern of seeing.

  STYLES OF VISION

  To the fearful eye, all is threatening. When you look toward the world in a fearful way, all you see and concentrate on are things that can damage and threaten you. The fearful eye is always besieged by threat.

  To the greedy eye, everything can be possessed. Greed is one of the powerful forces in the modern Western world. It is sad that a greedy person can never enjoy what they have, because they are always haunted by that which they do not yet possess. This can refer to land, books, companies, ideas, money, or art. The motor and agenda of greed is always the same. Joy is possession, but sadly possession is ever restless; it has an inner insatiable hunger. Greed is poignant because it is always haunted and emptied by future possibility; it can never engage presence. However, the more siniste
r aspect of greed is its ability to sedate and extinguish desire. It destroys the natural innocence of desire, dismantles its horizons, and replaces them with a driven and atrophied possessiveness. This greed is now poisoning the earth and impoverishing its people. Having has become the sinister enemy of being.

  To the judgmental eye, everything is closed in definitive frames. When the judgmental eye looks out, it sees things in terms of lines and squares. It is always excluding and separating, and therefore it never sees in a compassionate or celebratory way. To see is to judge. Sadly, the judgmental eye is always equally harsh with itself. It sees only the images of its tormented interiority projected outward from itself. The judgmental eye harvests the reflected surface and calls it truth. It enjoys neither the forgiveness nor imagination to see deeper into the ground of things where truth is paradox. An externalist, image-driven culture is the corollary of such an ideology of facile judgment.

  To the resentful eye, everything is begrudged. People who have allowed the canker of resentment into their vision can never enjoy who they are or what they have. They are always looking out toward others with resentment. Perhaps they are resentful because they see others as more beautiful, more gifted, or richer than themselves. The resentful eye lives out of its poverty and forgets its own inner harvest.

  To the indifferent eye, nothing calls or awakens. Indifference is one of the hallmarks of our times. It is said that indifference is necessary for power; to hold control one has to be successfully indifferent to the needs and vulnerabilities of those under control. Thus indifference calls for a great commitment to nonvision. To ignore things demands incredible mental energy. Without even knowing it, indifference can place you beyond the frontiers of compassion, healing, and love. When you become indifferent, you give all your power away. Your imagination becomes fixated in the limbo of cynicism and despair.

  To the inferior eye, everyone else is greater. Others are more beautiful, brilliant, and gifted than you. The inferior eye is always looking away from its own treasures. It can never celebrate its own presence and potential. The inferior eye is blind to its secret beauty. The human eye was never designed to look up in a way that inflates the Other to superiority, nor to look down, reducing the Other to inferiority. To look someone in the eye is a nice testament to truth, courage, and expectation. Each one stands on common, but different, ground.

  To the loving eye, everything is real. This art of love is neither sentimental nor naive. Such love is the greatest criterion of truth, celebration, and reality. Kathleen Raine, a Scottish poet, says that unless you see a thing in the light of love, you do not see it at all. Love is the light in which we see light. Love is the light in which we see each thing in its true origin, nature, and destiny. If we could look at the world in a loving way, then the world would rise up before us full of invitation, possibility, and depth.

  The loving eye can even coax pain, hurt, and violence toward transfiguration and renewal. The loving eye is bright because it is autonomous and free. It can look lovingly upon anything. The loving vision does not become entangled in the agenda of power, seduction, opposition, or complicity. Such vision is creative and subversive. It rises above the pathetic arithmetic of blame and judgment and engages experience at the level of its origin, structure, and destiny. The loving eye sees through and beyond image and effects the deepest change. Vision is central to your presence and creativity. To recognize how you see things can bring you self-knowledge and enable you to glimpse the wonderful treasures your life secretly holds.

  TASTE AND SPEECH

  The sense of taste is subtle and complex. The tongue is the organ of taste and also the organ of speech. Taste is one of the casualties in our modern world. Since we are under such pressure and stress, we have so little time to taste the food we eat. An old friend of mine often says that food is love. At a meal in her house one has to take one’s time and bring patience and mindfulness to the meal.

  We have no longer any sense of the decorum appropriate to eating. We have lost the sense of ritual, presence, and intimacy that were elemental to any meal; we no longer sit down to meals in the old way. One of the most famous qualities of the Celtic people was hospitality. A stranger always received a meal. This courtesy was observed before any other business was undertaken. When you celebrate a meal, you also taste flavors of which you are normally unaware. Much modern food lacks flavor completely; even while it is growing, it is forced with artificial fertilizers and sprayed with chemicals. Consequently it has none of the taste of nature. As a result, for most people, their sense of taste has become severely dulled. The fast-food metaphor provides a deep clue to the poverty of sensibility and lack of taste in modern culture. This is also clearly mirrored in our use of language. The tongue, the organ of taste, is also the organ of speech. Many of the words we use are of the fast-food spiritual variety. These words are too thin to echo experience; they are too weak to bring the inner mystery of things to real expression. In our rapid and externalized world, language has become ghostlike, abbreviated to code and label. Words that would mirror the soul carry the loam of substance and the shadow of the divine.

  The sense of silence and darkness behind the words in more ancient cultures, particularly in folk culture, is absent in the modern use of language. Language is full of acronyms; nowadays we are impatient of words that carry with them histories and associations. Rural people, and particularly people in the West of Ireland, have a great sense of language. There is a sense of phrasing that is poetic and alert. The force of the intuition and the spark of recognition slip swiftly into deft phrase. One of the factors that makes spoken English in Ireland so interesting is the colorful ghost of the Gaelic language behind it. This imbues the use of English with great color, nuance, and power. Yet the attempt to destroy Gaelic was one of the most destructive acts of violence of the colonization of Ireland by England. Gaelic is such a poetic and powerful language, it carries the Irish memory. When you steal a people’s language, you leave their soul bewildered.

  Poetry is the place where language in its silence is most beautifully articulated. Poetry is the language of silence.

  If you look at a page of prose, it is crowded with words. If you look at a page of poetry, the slim word shapes are couched in the empty whiteness of the page. The page is a place of silence where the contour of the word is edged and the expression is heightened in an intimate way. It is interesting to look at your language and the words that you tend to use to see if you can hear a stillness or silence. One way to invigorate and renew your language is to expose yourself to poetry. In poetry your language will find cleansing illumination and sensuous renewal.

  FRAGRANCE AND BREATH

  The sense of smell or fragrance is deft and immediate. Experts tell us that smell is the most faithful of all the senses in terms of memory. The smells of one’s childhood still remain within. It is incredible how a simple scent on a street or in a room can bring you back years to an experience you had long forgotten. Animals, of course, work wonderfully with the sense of smell. To take dogs for a walk is to realize how differently they experience landscape. They are glued to trails of scent and enjoy a complete adventure, tracing invisible smell pathways everywhere. Each day we breathe 23,040 times; we have 5 million olfactory cells. A sheepdog has 220 million such cells. The sense of smell is so powerful in the animal world because it assists survival by alerting the animal to danger. The sense of smell is vital to the sense of life.

  Traditionally, the breath was understood as the pathway through which the soul entered the body. Breaths come in pairs except the first breath and the last breath. At the deepest level, breath is sister of spirit. One of the most ancient words for spirit is the Hebrew word Ruah; this is also the word for air or wind. Ruah also denotes pathos, passion, and emotion—a state of the soul. The word suggests that God was like breath and wind because of the incredible passion and pathos of divinity. In the Christian tradition, the understanding of the mystery of the Trinity also suggests that
the Holy Spirit arises within the Trinity through the breathing of the Father and the Son; the technical term is spiratio. This ancient recognition links the wild creativity of the Spirit with the breath of the soul in the human person. Breath is also deeply appropriate as a metaphor because divinity, like breath, is invisible. The world of thought resides in the air. All of our thoughts happen in the air element. Our greatest thoughts come to us from the generosity of the air. It is here that the idea of inspiration is rooted—you inspire or breathe in the thoughts concealed in the air element. Inspiration can never be programmed. You can prepare, making yourself ready to be inspired, yet it is spontaneous and unpredictable. It breaks the patterns of repetition and expectation. Inspiration is always a surprising visitor.

  To labor in the world of learning, research, or in the artistic world, one attempts again and again to refine one’s sense of readiness so that the great images or thoughts can approach and be received. The sense of smell includes the sensuality of fragrance, but the dynamic of breathing also takes in the deep world of prayer and meditation, where through the rhythm of the breath you come down into your own primordial level of soul. Through breath meditation, you begin to experience a place within you that is absolutely intimate with the divine ground. Your breathing and the rhythm of your breathing can return you to your ancient belonging, to the house, as Eckhart says, that you have never left, where you always live: the house of spiritual belonging.

  TRUE LISTENING IS WORSHIP

  With the sense of hearing, we listen to creation. One of the great thresholds in reality is the threshold between sound and silence. All good sounds have silence near, behind, and within them. The first sound that every human hears is the sound of the mother’s heartbeat in the dark lake water of the womb. This is the reason for our ancient resonance with the drum as a musical instrument. The sound of the drum brings us consolation because it brings us back to that time when we were at one with the mother’s heartbeat. That was a time of complete belonging. No separation had yet opened; we were completely in unity with another person. P. J. Curtis, the great Irish authority on rhythm and blues music, often says that the search for meaning is really the search for the lost chord. When the lost chord is discovered by humankind, the discord in the world will be healed and the symphony of the universe will come into complete harmony with itself.