Poetic Power

Herewith a brief quote from Jalaluddin Rumi, the Persian mystic poet:

God’s mirror: the front is the heart, its back the world.

I don’t know where it fits into Rumi’s work; I have it from Idries Shah’s Caravan of Dreams, p.80. What strikes me about it here is the amazing poetic power it shows in rendering the very fundamental nature of our being here in this dimension. In a way the heart is blind—and the world is infinitely diverse. And it is the heart that truly mirrors; the back of the mirror is just coarse brown paper, a rectangle of wooden framing, and in our day some staples to hold the paper in place. The heart is the mirror. But, to take another quote from Rumi, this one from the Divani Shamsi Tabriz XII:

The moment your entered this world of form, an escape ladder was put out for you.

That ladder? Could it be the heart? As concerns heart, I’ve noted things about it on this blog before (link).

The Organ of Intuition

The heart has its reasons of which reason knows naught. [Blaise Pascal, Pensées, §277]

We all have hearts, guts, and brains—also “heart,” will, and reason. I put that “heart” in quotes to signal what Pascal had in mind—which was not the cardiac muscle. In the modernist view only physical organs exist. Heart, will, and reason are epiphenomena, thus lacking hard reality. Epi- here means secondary or derivative. The heart is linked to love because lovers’ hearts beat faster as they think of one another or embrace; guts means will because our stomachs tense when we’re determined. The intellect is linked to brains by locational proximity: the eyes and ears that feed the brain—and the mouth that expresses the brain’s productions—are located in the head—which is mostly brains beneath a skull.

Human tradition knows better, it seems. We have spiritual powers already present before the fleshly organs even form. The organs are the means by which such powers manifest in a physical reality.

It pleased me to discover today that in Chinese traditional medicine refers to zàng-fǔ organs, thus functionalities of a transcending sort. Zàng being yin, fǔ being yang, shadow and light, the receptive and the creative. In that scheme the heart belongs to zàng and is associated with the soul. In Matthew 13, which begins with the parable of the sower, Jesus, explaining seeds that fell along the path, and the birds came and devoured them, elaborates that case by saying (13:19): “When any one hears the word of the kingdom and does not understand it, the evil one comes and snatches away what is sown in his heart; this is what was sown along the path.”

Sown in his heart. Which has its own reasons. And is the first organ of communication with the divine. For me the heart is the organ of intuition—and has a privileged role. To be sure, our attempts to isolate the innate powers of the soul are always dangerous—unless very carefully conducted to gain understanding. They cannot be really disentangled unless they become disarranged. Intuition, will, and intellect must be in harmony and well developed; then the seed lands in “good soil” and bears much fruit; and here too, the results will vary—hundredfold, sixty, and in another thirty.

When we discussed the parable this morning, Brigitte hoped for thirty; I said I hoped for a thirteen-fold gain—competing in humility. She said, always ready to defend: “But that’s not an option Jesus presented, Arsen. I just go with the choices I have.”

Heart Exam: Continued

Conceptual thought has a devil of a time capturing dynamism. Motion is a good example. We experience it without trouble; we find it tougher than nails to describe precisely. We have to do it piece-meal. The object was here, but now it is there, and whatever happened happened in between. We don’t know what it was, but have a name for it. We call it motion. But of course, we can usually find a spot half-way between here and there. And between that half-way point and here, there is another point that’s also half-way in between. To describe motion precisely, we have describe the tiniest increments. This is what calculus is intended to do: slicing and dicing space and time into infinitely small increments and then artfully summing them up. We get an illusion of control. At the conceptual level we never really get there—because we can’t reach infinity, but close enough for government work.

All right, but what does that have to do with heart? In looking at the dynamics of human development, we also engage in many differentiations. We have an experience of Self, but to grasp it intellectually, we parse it apart: intellect, emotion, imagination, will. They don’t exist independently, but the names do. But if we look at any one of these aspects or abstractions—these slices and dices of the Self—we detect even finer distinctions. Our feelings have many different qualities. There is raw emotion at one and joy at the other extreme; in between we find an infinity of other states. There is the emotion of watching Charles Bronson deal with the bad guys in one of the Death Wish movies. Raw emotion. There is the complex emotion at the end of watching The Death of a Salesman. There is the rock concert and Handel’s Messiah or Judas Maccabaeus. There is Mickey Spillane’s I, The Jury and Thomas Mann’s Buddenbrooks. To describe the curvature between these poles would require a kind of literary calculus no one has ever devised.

In dealing with the range of our capacity we associate different manifestations of the soul with different organs. We associate intellect with the brain, emotions with the gut, imagination with the eye, will with the fist, and all of the higher expressions of our nature with—the heart. Well, we’re finally there.

A somewhat hidden example of this is courage. Courage is an aspect of the will; and by real courage we don’t mean a man who, say, assaults a bigger, stronger fellow in a fit of rage. Rather, we call courageous someone who, in an extremely dangerous or risky situation, is able to overcome his fears to achieve a higher good. The word itself masks my point. Courage derives from the French coeur and ultimately from the Latin cor, both meaning heart. An interesting side note: the obsolete meaning of "courage" also includes mind, spirit, and temper. When we intend to speak of a lower kind of courage we label people who have it gutsy.

As we saw in the last post, Pascal associated a higher kind of reason with the heart. Paracelsus differentiated lower and higher forms of imagination. He called the higher form of it true imagination (imaginatio vera), the lower form fantasy. There is also a kind of intellectual imagination which we label foresight, thus imagination based on calculating the complex vector of events—in which the weighing of probabilities is to the front.

If heart is thus associated with a kind of thought, a kind of imagination, with courage, and with higher feelings, of which the highest is self-less love, it might be argued—I argue this point—that what tradition calls the heart, and treats as if it were a higher organ—is just a way of making a differentiation between a highly but comprehensively developed self and one that is more primitive and still largely undeveloped. The self as it appears most commonly is strongly conditioned by societal norms. Concerning this form of the self, Idries Shah has this interesting comment about this as yet undifferentiated form of the self. Writing in Learning How to Learn (pp. 157-157) he writes:

Remember that the human being is so intensely standardized that an outside observer, noting his reactions to various stimuli, need not infer an individual controlling brain in each person. He would be more likely to infer the existence of a separate, outside brain, and the people as mere manifesters of its will.

If we examine the polarities I’ve noted above using movies and other works of art, the chief difference between the low and the high is level of complexity. To appreciate the high, the self has to be developed enough to do so—and not simply intellectually. The self as a whole has to be developed, the will as much as the emotions, the imagination as much as the intellect. We are here faced with a dynamic of development. When we observe higher expressions of the self, we grope for a different way of rooting them. We recruit the heart as the organ. For lower expressions, we locate them in those organs most tangibly associated with different manifestations of the self that permeates the human body.

The Heart

Le cœur a ses raisons, que la raison ne connaît point. The heart has its reasons, which reason does not know. [Baise Pascal, Pensées §277]

Shah does not hesitate to make the claim … that nearly all we claim as “religion,” as “higher feelings,” as “mystical experience,” is no more than emotionalism. We are taught that there are emotions and intellect, but not that there is something else possible, beyond both and not to be confused with either. [Doris Lessing, in her Introduction to Learning How to Learn, by Idries Shah]

In artistic and spiritual matters, problems of communication arise. Art will illustrate this. When I was in college, “What is Art?” used to be bandied about with a certain irony. My friends and I argued about the subject for hours on end. One side held that beauty was in eye of the beholder; it was subjective through and through. The other held that beauty existed in reality, out there somewhere, beyond the beholder; but the beholder had to be capable of perceiving it. The debate no doubt continues. I belong to those who think that art holds something real, something apart.

I worked once for a major research institute. We rarely ever left the main building by its front entrance; we used back entries and exits going to and from parking lots. I was in the lobby one day waiting for someone to pick me up for a trip to the airport. Leather furniture, fancy tiled entry; the wide glass expanse opened on a distant fountain and a sculpture. As I waited, my eye fell on a large painting hung over the leather couch. My eye swept over it indifferently. Then I did a double-take. It was a Madonna and child. “Wow!” It was beautiful. Renaissance. I'd never seen it before. The Institute had an arrangement with a neighboring art gallery. The paintings changed from time to time. I looked around. The reception was farther inside; I was safely alone. I stepped up on the dark-leather couch to examine a small golden tab affixed to the frame. I jumped off, nodding to myself. It was a Fra Lippo Lippi. Something had reached me from that picture. I knew that something with the heart.

Problems arise precisely because the quality we’re talking about transcends the operations of the way we ordinarily see reality. The crux of this problem is that different people have different capacities. The seed of these capacities everyone must have, but they develop by chance and effort. Things get more complicated. Art appreciation, and piety, can be and are often faked, based on external signs—especially if a pay-off can be had. Only those who have the real stuff dare to turn away from what isn’t genuine. They can smell the genuine. There is no better way to put it. It isn’t visible. It’s felt. Something speaks. Many things on display in a gallery reveal themselves to people like that as mute, deaf, blind—even when the themes are grand, the names immortal, and the display is splendiferous. Others may also feel this but may be uncertain. They think that, perhaps, they lack some sophisticated skill. No. They already have it; they just don’t know that they do—because their experience is limited.

In traditional societies in which the transcendent dimensions still has standing, the organ of this perception is called the heart. Obviously it’s not the blood-pumping muscle. Heart is merely a way of speaking. But neither are emotions in the glands or mentation really in the brain. We have a way, a capacity, to perceive the energetics of a higher order, and if we say that it’s the heart, why not?

I’ve merely touched the subject. This much will serve as an introduction. But I’ll come back and look more closely at this capacity, experienced, if mildly, all the time, very difficult to disentangle from conceptualization and emotion: the very capacity we have to use in order to see, feel, or hear anything at all in the regions of the border. By way of concluding this initial posting on the subject, let me simply add that energetic activity of intellect (in the sense of a passion for debate) or of the emotions (excitement) both act to inhibit the function of the heart. And when they do, we cannot see much and understand even less about the mysteries of being than we ordinarily do when we’re just bored.