Book: “The Trayvon Generation”

The Trayvon Generation

The Trayvon Generation

by Elizabeth Alexander 

From a Pulitzer Prize finalist and New York Times bestselling author and poet comes a galvanizing meditation on the power of art and culture to illuminate America’s unresolved problem with race.

*Named a Most Anticipated Title of 2022 by TIME magazine, New York TimesBustle, and more*

In the midst of civil unrest in the summer of 2020 and following the murders of George Floyd, Breonna Taylor, and Ahmaud Arbery, Elizabeth Alexander—one of the great literary voices of our time—turned a mother’s eye to her sons’ and students’ generation and wrote a celebrated and moving reflection on the challenges facing young Black America. Originally published in the New Yorker, the essay incisively and lovingly observed the experiences, attitudes, and cultural expressions of what she referred to as the Trayvon Generation, who even as children could not be shielded from the brutality that has affected the lives of so many Black people. 

The Trayvon Generation expands the viral essay that spoke so resonantly to the persistence of race as an ongoing issue at the center of the American experience. Alexander looks both to our past and our future with profound insight, brilliant analysis, and mighty heart, interweaving her voice with groundbreaking works of art by some of our most extraordinary artists. At this crucial time in American history when we reckon with who we are as a nation and how we move forward, Alexander’s lyrical prose gives us perspective informed by historical understanding, her lifelong devotion to education, and an intimate grasp of the visioning power of art.

This breathtaking  book is essential reading and an expression of both the tragedies and hopes for the young people of this era that is sure to be embraced by those who are leading the movement for change and anyone rising to meet the moment. 

(Goodreads.com)

Tarot Card for June 13: The Prince of Wands

The Prince of Wands

The person represented by the Prince of Wands will be an active, energetic person, with a warm and generous heart, and a good sense of humour. He will have a natural and infectious optimism about him, tackling every aspect of his life with enthusiasm and vigour.

He will be friendly, gregarious and open in his attitudes, possessed with a very healthy sense of his own value, but also supportive and encouraging to others. You’ll often come across him in working areas where healing, encouragement and development are involved.

The apparently easy-going happy-go lucky exterior conceals a deeply rooted moral sense. At his best he typifies the ‘shining white knight’ principle – always ready to stand up for what is right, and good; willing to fight to protect those who are more vulnerable than himself.

If the card comes up to indicate an inner response, rather than an actual person, it will signify rising confidence levels, and a positive attitude to life. This card is often the result of overcoming fears and surmounting obstacles which have previously hindered us, or held us back.

The Prince of Wands

(via angelpaths.com and Alan Blackman)

Ramayana

From Wikipedia, the free encyclopedia

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.
Find sources: “Ramayana” – news · newspapers · books · scholar · JSTOR (October 2021) (Learn how and when to remove this template message)
Ramayana
Rama with his wife Sita and brother Lakshmana during exile in the forest, manuscript, ca. 1780
Information
ReligionHinduism
AuthorValmiki
LanguageSanskrit
Chapters500 Sargas, 7 Kandas
Verses24,000
Part of a series on
Hinduism
HindusHistoryTimeline
showOrigins
showTraditions
showDeities
showConcepts
showPractices
showPhilosophical schools
showGurus, sants, philosophers
showTexts
showSociety
showOther topics
GlossaryOutline Hinduism portal
vte

The Rāmāyana (/rɑːˈmɑːjənə/;[1][2] Sanskrit: रामायणम्,[3] IASTRāmāyaṇam) is a Sanskrit epic from ancient IndiaRamayana is one of the two important legends of Hinduism, known as the Itihasas, the other being the Mahābhārata.[4]

The epic, traditionally ascribed to the Maharishi Valmiki, narrates the life of Rama, a legendary prince of Ayodhya city in the kingdom of Kosala. The epic follows his fourteen-year exile to the forest urged by his father King Dasharatha, on the request of Rama’s stepmother Kaikeyi; his travels across forests in the Indian subcontinent with his wife Sita and brother Lakshmana, the kidnapping of Sita by Ravana – the king of Lanka, that resulted in war; and Rama’s eventual return to Ayodhya to be crowned king amidst jubilation and celebration.

The Ramayana is one of the largest ancient epics in world literature. It consists of nearly 24,000 verses (mostly set in the Shloka/Anustubh meter), divided into seven kāṇḍas, the first and the seventh being later additions.[5] It belongs to the genre of Itihasa, narratives of past events (purāvṛtta), interspersed with teachings on the goals of human life. Scholars’ estimates for the earliest stage of the text range from the 7th to 4th centuries BCE,[6][7] with later stages extending up to the 3rd century CE.[8]

There are many versions of Ramayana in Indian languages, besides BuddhistSikh and Jain adaptations. There are also Cambodian (Reamker), IndonesianFilipinoThai (Ramakien), LaoBurmese and Malay versions of the tale. Retellings include Kamban‘s Ramavataram in Tamil (c. 11th–12th century), Champu Ramayanam[9] of Bhoja (c. 11th century), Kumudendu Muni’ s Kumudendu Ramayana (a Jain version) (c. 13th century) and Narahari’s Torave Ramayana in Kannada (c. 16th-century), Gona Budda Reddy‘s Ranganatha Ramayanam in Telugu (c. 13th century), Madhava Kandali‘s Saptakanda Ramayana in Assamese (c. 14th century), Krittibas Ojha‘s Krittivasi Ramayan (also known as Shri Ram Panchali) in Bengali (c. 15th century), Sarala Das‘ Vilanka Ramayana (c. 15th century)[10][11][12][13] and Balarama Dasa’s Jagamohana Ramayana (also known as the Dandi Ramayana) (c. 16th century) both in Odiasant Eknath‘s Bhavarth Ramayan (c. 16th century) in MarathiTulsidas‘ Ramcharitamanas (c. 16th century) in Awadhi (which is an eastern form of Hindi) and Thunchaththu Ezhuthachan‘s Adhyathmaramayanam (Kilippattu) in Malayalam (c. 17th century).

The Ramayana was an important influence on later Sanskrit poetry and the Hindu life and culture. The characters RamaSitaLakshmanaBharataHanuman, and Ravana are all fundamental to the cultural consciousness of the South Asian nations of IndiaBangladeshNepalSri Lanka and the South-East Asian countries of CambodiaIndonesiaMalaysia and Thailand. Its most important moral influence was the importance of virtue, in the life of a citizen and in the ideals of the formation of a state or of a functioning society.

Etymology

The name Rāmāyaṇa is composed of two words, Rāma and ayaṇaRāma, the name of the central figure of the epic, has two contextual meanings. In the Atharvaveda, it means ‘dark, dark-coloured, black’ and is related to the word rātri which means ‘darkness or stillness of night’. The other meaning, which can be found in the Mahabharata, is ‘pleasing, pleasant, charming, lovely, beautiful’.[14][15] The word ayana means travel or journey. Thus, Rāmāyaṇa means “Rama’s progress”, with ayana altered to ayaṇa due to the Sanskrit grammar rule of internal sandhi.[16][17]

Textual characteristics

An artist’s impression of sage Valmiki composing the Ramayana

Genre

The Ramayana belongs to the genre of Itihasa, narratives of past events (purāvṛtta), which includes the Mahabharata, the Puranas, and the Ramayana. The genre also includes teachings on the goals of human life. It depicts the duties of relationships, portraying ideal characters like the ideal father, the ideal servant, the ideal brother, the ideal husband, and the ideal king. Like the MahabharataRamayana presents the teachings of ancient Hindu sages in the narrative allegory, interspersing philosophical and ethical elements.[citation needed]

Structure

In its extant form, Valmiki’s Ramayana is an epic poem of some 24,000 verses, divided into seven kāṇḍas (Bālakāṇḍa, Ayodhyakāṇḍa, Araṇyakāṇḍa, Kiṣkindakāṇḍa, Sundarākāṇḍa, Yuddhakāṇḍa, Uttarakāṇḍa), and about 500 sargas (chapters).[5][18]

Dating

Rama (left third from top) depicted in the Dashavatara, the ten avatars of Vishnu. Painting from Jaipur, now at the Victoria and Albert Museum

According to Robert P. Goldman, the oldest parts of the Ramayana date to between the mid-7th century BCE and the mid-6th century BCE. This is due to the narrative not mentioning Buddhism nor the prominence of Magadha. The text also mentions Ayodhya as the capital of Kosala, rather than its later name of Saketa or the successor capital of Shravasti.[6] In terms of narrative time, the action of the Ramayana predates the Mahabharata. Scholarly estimates for the earliest stage of the available text range from the 7th to 4th centuries BCE,[6][7] with later stages extending up to the 3rd century CE.[8]

Books two to six are the oldest portion of the epic, while the first and last books (Bala Kanda and Uttara Kanda, respectively) seem to be later additions. Style differences and narrative contradictions between these two volumes and the rest of the epic have led scholars since Hermann Jacobi to the present toward this consensus.[19]

Recensions

The Ramayana text has several regional renderings, recensions, and sub-recensions. Textual scholar Robert P. Goldman differentiates two major regional revisions: the northern (n) and the southern (s). Scholar Romesh Chunder Dutt writes that “the Ramayana, like the Mahabharata, is a growth of centuries, but the main story is more distinctly the creation of one mind.”

Times of India report dated 18 December 2015 informs about the discovery of a 6th-century manuscript of the Ramayana at the Asiatic Society library, Kolkata.[20]

There has been discussion as to whether the first and the last volumes (Bala Kanda and Uttara Kanda) of Valmiki’s Ramayana were composed by the original author. The uttarākāṇḍa, the bālakāṇḍa, although frequently counted among the main ones, is not a part of the original epic. Though Balakanda is sometimes considered in the main epic, according to many Uttarakanda is certainly a later interpolation and thus is not attributed to the work of Maharshi Valmiki.[5] This fact is reaffirmed by the absence of these two Kāndas in the oldest manuscript.[20] Many Hindus don’t believe they are integral parts of the scripture because of some style differences and narrative contradictions between these two volumes and the rest.[21]

Characters

Main article: List of characters in Ramayana

Bala Kanda

Main article: Bala KandaThe marriage of the four sons of Dasharatha with the four daughters of Siradhvaja Janaka and Kushadhvaja. Rama and Sita, Lakshmana and Urmila, Bharata and Mandavi and Shatrughna with Shrutakirti.

This Sarga (section) details the stories of Rama’s childhood and events related to the time frame. Dasharatha was the King of Ayodhya. He had three wives: Kaushalya, Kaikeyi, and Sumitra. He did not have a son and in the desire to have a legal heir performs a fire sacrifice known as Putra-kameshti Yajna. As a consequence, Rama was first born to Kaushalya, Bharata was born to Kaikeyi, Lakshmana and Shatrughna were born to Sumitra.

These sons are endowed, to various degrees, with the essence of the god Vishnu; Vishnu had opted to be born into mortality to combat the demon Ravana, who was oppressing the gods, and who could only be destroyed by a mortal. The boys were reared as the princes of the realm, receiving instructions from the scriptures and in warfare from Vashistha. When Rama was 16 years old, sage Vishwamitra comes to the court of Dasharatha in search of help against demons who were disturbing sacrificial rites. He chooses Rama, who is followed by Lakshmana, his constant companion throughout the story. Rama and Lakshmana receive instructions and supernatural weapons from Vishwamitra and proceed to destroy Tataka and many other demons.

Janaka was the King of Mithila. One day, a female child was found in the field by the King in the deep furrow dug by his plough. Overwhelmed with joy, the King regarded the child as a “miraculous gift of God”. The child was named Sita, the Sanskrit word for furrow. Sita grew up to be a girl of unparalleled beauty and charm. The King had decided that whoever could lift and wield a heavy bow, presented to his ancestors by Shiva, could marry Sita.[22]

Sage Vishwamitra takes Rama and Lakshmana to Mithila to show the bow. Then Rama desires to lift it and goes on to wield the bow and when he draws the string, it broke.[22] Marriages were arranged between the sons of Dasharatha and daughters of Janaka. Rama marries Sita, Lakshmana to UrmilaBharata to Mandavi and Shatrughna to Shrutakirti. The weddings were celebrated with great festivity in Mithila and the marriage party returns to Ayodhya.

Ayodhya Kanda

A gold carving depiction of the legendary Ayodhya at the Ajmer Jain temple.

After Rama and Sita have been married, an elderly Dasharatha expresses his desire to crown Rama, to which the Kosala assembly and his subjects express their support. On the eve of the great event, Kaikeyi was happy about this, but was later on provoked by Manthara, a wicked maidservant, to claim two boons that Dasharatha had long ago granted her. Kaikeyi demands Rama to be exiled into the wilderness for fourteen years, while the succession passes to her son Bharata.

The heartbroken king, constrained by his rigid devotion to his given word, accedes to Kaikeyi’s demands. Rama accepts his father’s reluctant decree with absolute submission and calm self-control which characterizes him throughout the story. He is joined by Sita and Lakshmana. When he asks Sita not to follow him, she says, “the forest where you dwell is Ayodhya for me, and Ayodhya without you is a veritable hell for me.”

After Rama’s departure, King Dasharatha, unable to bear the grief, passes away. Meanwhile, Bharata, who was on a visit to his maternal uncle, learns about the events in Ayodhya. Bharata refuses to profit from his mother’s wicked scheming and visits Rama in the forest. He requests Rama to return and rule. But Rama, determined to carry out his father’s orders to the letter, refuses to return before the period of exile.Rama leaving for fourteen years of exile from Ayodhya.

Aranya Kanda

Main article: Aranya KandaRavana fights Jatayu as he carries off the kidnapped Sita. Painting by Raja Ravi Varma

After thirteen years of exile, Rama, Sita, and Lakshmana journey southward along the banks of the river Godavari, where they build cottages and live off the land. At the Panchavati forest they are visited by a rakshasi named Shurpanakha, sister of Ravana. She tries to seduce the brothers and, after failing, attempts to kill Sita. Lakshmana stops her by cutting off her nose and ears. Hearing of this, her brothers Khara and Dushan organize an attack against the princes. Rama defeats Khara and his rakshasas.

When the news of these events reaches Ravana, he resolves to destroy Rama by capturing Sita with the aid of the rakshasa Maricha. Maricha, assuming the form of a golden deer, captivates Sita’s attention. Entranced by the beauty of the deer, Sita pleads with Rama to capture it. Rama, aware that this is the ploy of the demons, cannot dissuade Sita from her desire and chases the deer into the forest, leaving Sita under Lakshmana’s guard.

After some time, Sita hears Rama calling out to her; afraid for his life, she insists that Lakshmana rush to his aid. Lakshmana tries to assure her that Rama cannot be hurt that easily and that it is best if he continues to follow Rama’s orders to protect her. On the verge of hysterics, Sita insists that it is not she but Rama who needs Lakshman’s help. He obeys her wish but stipulates that she is not to leave the cottage or entertain any stranger. With the coast finally clear, Ravana appears in the guise of an ascetic requesting Sita’s hospitality. Unaware of her guest’s plan, Sita is tricked and is then forcibly carried away by Ravana.[23]

Jatayu, a vulture, tries to rescue Sita but is mortally wounded. In Lanka, Sita is kept under the guard of rakshasis. Ravana asks Sita to marry him, but she refuses, being totally devoted to Rama. Meanwhile, Rama and Lakshmana learn about Sita’s abduction from Jatayu and immediately set out to save her. During their search, they meet Kabandha and the ascetic Shabari, who direct them towards Sugriva and Hanuman.

Kishkindha Kanda

A stone bas-relief at Banteay Srei in Cambodia depicts the combat between Vali and Sugriva (middle). To the right, Rama fires his bow. To the left, Vali lies dying.

Citadel Kishkindha Kanda is set in the place of Vanaras (Vana-nara) – Forest dwelling humans.[24] Rama and Lakshmana meet Hanuman, the biggest devotee of Rama, greatest of ape heroes, and an adherent of Sugriva, the banished pretender to the throne of Kishkindha. Rama befriends Sugriva and helps him by killing his elder brother Vali thus regaining the kingdom of Kishkindha, in exchange for helping Rama to recover Sita.

However, Sugriva soon forgets his promise and spends his time enjoying his newly gained power. The clever former ape queen Tara (wife of Vali) calmly intervenes to prevent an enraged Lakshmana from destroying the ape citadel. She then eloquently convinces Sugriva to honor his pledge. Sugriva then sends search parties to the four corners of the earth, only to return without success from north, east, and west. The southern search party under the leadership of Angada and Hanuman learns from a vulture named Sampati (elder brother of Jatayu), that Sita was taken to Lanka.

Sundara Kanda

Main article: Sundara KandaRavana is meeting Sita at Ashokavana. Hanuman is seen on the tree.

Sundara Kanda forms the heart of Valmiki’s Ramayana and consists of a detailed, vivid account of Hanuman‘s heroics. After learning about Sita, Hanuman assumes a gargantuan form and makes a colossal leap across the sea to Lanka. On the way, he meets with many challenges like facing a Gandharva Kanya who comes in the form of a demon to test his abilities. He encounters a mountain named Mainakudu who offers Hanuman assistance and offers him rest. Hanuman refuses because there is little time remaining to complete the search for Sita.

After entering Lanka, he finds a demon, Lankini, who protects all of Lanka. Hanuman fights with her and subjugates her in order to get into Lanka. In the process, Lankini, who had an earlier vision/warning from the gods, therefore, knows that the end of Lanka nears if someone defeats Lankini. Here, Hanuman explores the demons’ kingdom and spies on Ravana. He locates Sita in Ashoka grove, where she is being wooed and threatened by Ravana and his rakshasis to marry Ravana.

Hanuman reassures Sita, giving Rama’s signet ring as a sign that Rama is still alive. He offers to carry Sita back to Rama; however, she refuses and says that it is not the dharma, stating that Ramayana will not have significance if Hanuman carries her to Rama – “When Rama is not there Ravana carried Sita forcibly and when Ravana was not there, Hanuman carried Sita back to Rama”. She says that Rama himself must come and avenge the insult of her abduction. She gives Hanuman her comb as a token to prove that she is still alive.

Hanuman asks Sita for food to eat as he was hungry. Sita tells him that she is only allowed to eat the fruits that are fallen from the trees and he may also find some on the ground to eat. Angry Hanumam then wreaks havoc in Lanka by destroying trees in the Naulakha Bagh and buildings and killing Ravana’s warriors. He allows himself to be captured and delivered to Ravana. He gives a bold lecture to Ravana to release Sita. He is condemned and his tail is set on fire, but he escapes his bonds and leaps from roof to roof, sets fire to Ravana’s citadel, and makes the giant leap back from the island. The joyous search party returns to Kishkindha with the news.

Yuddha Kanda

The Battle at Lanka, Ramayana by Sahibdin. It depicts the monkey army of the protagonist Rama (top left, blue figure) fighting Ravana—the demon-king of the Lanka—to save Rama’s kidnapped wife, Sita. The painting depicts multiple events in the battle against the three-headed demon general Trishira, in the bottom left. Trishira is beheaded by Hanuman, the monkey-companion of Rama.

Also known as Lanka Kanda, this book describes the war between the army of Rama and the army of Ravana. Having received Hanuman’s report on Sita, Rama and Lakshmana proceed with their allies towards the shore of the southern sea. There they are joined by Ravana’s renegade brother Vibhishana. The apes named Nala and Nila construct a floating bridge (known as Rama Setu)[25] across the sea, using stones that floated on water because they had Rama’s name written on them and one story also tells that they had been cursed by a sage that whatever they will throw in a water body will not sink rather it will float.

The princes and their army cross over to Lanka. A lengthy war ensues. During a battle, Ravana’s son Indrajit hurls a powerful weapon at Lakshmana, who is badly wounded. So Hanuman assumes a gigantic form and flies from Lanka to the Himalayas. Upon reaching Mount Sumeru, Hanuman was unable to identify the herb that could cure Lakshmana and so decided to bring the entire mountain back to Lanka. Eventually, the war ends when Rama kills Ravana. Rama then installs Vibhishana on the throne of Lanka.

On meeting Sita, Rama said, “the dishonour meted out to him and the wrong done to her by Ravana have been wiped off, by his victory over the enemy with the assistance of Hanuman, Sugreeva and Vibhishana”.[26] However, upon criticism from people in his kingdom, Rama disowns her and asks her to seek shelter elsewhere. Sita requests Lakshmana to prepare a pile of fire for her to enter. When Lakshmana prepares a pyre, Sita prays to the god Agni and enters into it, in order to prove her conjugal fidelity. Agni appears in person from the burning pyre, carrying Sita in his arms and restores her to Rama, testifying to her purity.[27] Rama later joyfully accepts her. The episode of Agni Pariksha varies in the versions of Ramayana by Valmiki and Tulsidas. In Tulsidas‘s Ramacharitamanas, Sita was under the protection of Agni (see Maya Sita) so it was necessary to bring her out before reuniting with Rama.

Uttara Kanda

Sita with Lava and Kusha

It narrates Rama’s reign of Ayodhya, the birth of Lava and Kusha, the Ashvamedha yajna and last days of Rama. At the expiration of his term of exile, Rama returns to Ayodhya with Sita, Lakshmana, and Hanuman, where the coronation is performed. On being asked to prove his devotion to Rama, Hanuman tears his chest open and to everyone’s surprise, there is an image of Rama and Sita inside his chest. Rama rules Ayodhya and the reign is called Ram-Rajya (a place where the common folk is happy, fulfilled, and satisfied).

This book (kanda) is not considered to be a part of the original epic but instead a later addition to the earliest layers of the Valmiki Ramayana and is considered to be highly interpolated. In this kanda, Rama is crowned ruler. The legend goes that one day Rama overhears the conversation of a fisherman and his wife. The wife allegedly spent a night in his absence and the fisherman is furious at his wife. He calls Rama shameless as he rescued Sita, who had spent a long time at Lanka in the presence of another man.

Rama was furious as Sita had proved to everyone she was pure, through Agnipravesh. Sita, who was pregnant was sent to exile into the forest. She finds refuge in Sage Valmiki‘s ashram, where she gives birth to twin boys, Lava and Kusha. Meanwhile, Rama conducts an Ashwamedha yajna (A holy declaration of the authority of the king) and in absence of Sita places a golden statue of Sita.

Lava and Kusha capture the horse (sign of the yajna) and defeat the whole army of Ayodhya which come to protect the horse. Later on, both the brothers defeat LakshmanaBharataShatrughan and other warriors and take Hanuman as prisoner. Finally Rama himself arrives and defeats the two mighty brothers. Valmiki updates Sita about this development and advises both the brothers to go to Ayodhya and tell the story of Sita’s sacrifice to the common folk. Both brothers arrive at Ayodhya but face many difficulties while convincing the people. Hanuman helps both the brothers in this task.

At one point, Valmiki brings Sita forward. Seeing Sita, Rama is teary eyed and realises that Lava and Kusha are his own sons. Again complicit Nagarsen (one of the primaries who instigated the hatred towards Sita) challenges Sita’s character and asks her to prove her purity. Sita is overflown with emotions and decides to go back to Mother Earth from where she emerged. She says that, “If I am pure, this earth will open and swallow me whole.”

At that very moment, the earth opens up and swallows Sita. Rama rules Ayodhya for many years and finally takes Samadhi into Sarayu river along with his three brothers and leaves the world. He goes back to Vaikuntha in his Vishnu form (Lakshmana as Shesh Naga, Bharata as his conch and Shatrughana as the Sudarshan Chakra) and meets Sita there who by then assumed the form of Lakshmi.

More at: https://en.wikipedia.org/wiki/Ramayana

Simon & Garfunkel – Bridge over Troubled Water

Simon & Garfunkel Jan 24, 2020 The Story Of Bridge Over Troubled Water Listen to Simon and Garfunkel: https://simonandgarfunkel.lnk.to/list… Subscribe to the official Simon and Garfunkel YouTube Channel: https://SimonAndGarfunkel.lnk.to/subs… Watch more Simon & Garfunkel videos: https://SimonAndGarfunkel.lnk.to/list… Follow Simon & Garfunkel: Facebook: https://SimonAndGarfunkel.lnk.to/foll… Instagram: https://SimonAndGarfunkel.lnk.to/foll… Twitter: https://SimonAndGarfunkel.lnk.to/foll… Website: https://SimonAndGarfunkel.lnk.to/foll… Spotify: https://SimonAndGarfunkel.lnk.to/foll… YouTube: https://SimonAndGarfunkel.lnk.to/subs…

(Courtesy of Dan Rather)

The art of listening

The art of listening | Aeon

To listen well is not only a kindness to others but also, as the psychologist Carl Rogers made clear, a gift to ourselvesHusband and Wife (detail, 1945) by Milton Avery. Gift of Mr and Mrs Roy R Neuberger. Photo by Allen Phillips/ Wadsworth Atheneum

M M Owen is a British nonfiction author. He obtained his PhD at the University of British Columbia, and now splits his time between the UK and Portugal.

Edited by Pam Weintraub

30 May 2022 (aeon.co)

Love Aeon?

Support our workDONATE

Writing in Esquire magazine in 1935, Ernest Hemingway offered this advice to young writers: ‘When people talk, listen completely… Most people never listen.’ Even though Hemingway was one of my teenage heroes, the realisation crept up on me, somewhere around the age of 25: I am most people. I never listen.

Perhaps never was a little strong – but certainly my listening often occurred through a fog of distraction and self-regard. On my worst days, this could make me a shallow, solipsistic presence. Haltingly, I began to try to reach inside my own mental machinery, marshal my attention differently, listen better. I wasn’t sure what I was doing; but I had crossed paths with a few people who, as a habit, gave others their full attention – and it was powerful. It felt rare, it felt real; I wanted them around.

As a culture, we treat listening as an automatic process about which there is not a lot to say: in the same category as digestion, or blinking. When the concept of listening is addressed at any length, it is in the context of professional communication; something to be honed by leaders and mentors, but a specialisation that everyone else can happily ignore. This neglect is a shame. Listening well, it took me too long to discover, is a sort of magic trick: both parties soften, blossom, they are less alone.

Along the way, I discovered that Carl Rogers, one of the 20th century’s most eminent psychologists, had put a name to this underrated skill: ‘active listening’. And though Rogers’s work was focused initially on the therapeutic setting, he drew no distinction between this and everyday life: ‘Whatever I have learned,’ he wrote, ‘is applicable to all of my human relationships.’ What Rogers learnt was that listening well – which necessarily involves conversing well and questioning well – is one of the most accessible and most powerful forms of connection we have.

The paucity of my listening powers dawned on me as a byproduct of starting to meditate. This is not to make some claim to faux enlightenment – simply to say that meditation is the practice of noticing what you notice, and meditators tend to carry this mindset beyond the yoga mat, and begin to see their own mind more clearly. Among a smorgasbord of other patterns and quirks, what I saw was a self that, too often, didn’t listen.

The younger me enjoyed conversation. But a low, steady egoism meant that what I really enjoyed was talking. When it was someone else’s turn to talk, the listening could often feel like a chore. I might be passively absorbing whatever was being said – but a greater part of me would be daydreaming, reminiscing, making plans. I had a habit of interrupting, in the rather masculine belief that, whatever others had to say, I could say better for them. Sometimes, I would zone out and tune back in to realise that I’d been asked a question. I had a horrible habit, I saw, of sitting in silent linguistic craftsmanship, shaping my answer for when my turn came around – and only half-listening to what I’d actually be responding to.

The exceptions to this state of affairs, I began to see, were situations where there existed self-interest. If the subject was me, or material that might be of benefit to me, my attention would automatically sharpen. It was very easy to listen to someone explaining what steps I needed to take to ace a test or make some money. It was easy to listen to juicy gossip, particularly of the kind that made me feel fortunate or superior. It was easy to listen to debates on topics where I had a burning desire to be right. It was easy to listen to attractive women.

Bad listening signals to the people around you that you don’t care about them

On bad days, this attentional autopilot constricted me. On topics of politics or philosophy, this made me a bore and a bully. People avoided disagreeing with me on anything, even trivial points, because they knew it would balloon into annoyance and a failure to listen to their reasoning. In my personal life, too often, I could forget to support or lift up those around me. The flipside of not listening is not questioning – because, when you don’t want to listen, the last thing you want to do is trigger the exact scenario in which you are most expected to listen. And so I didn’t ask my friends serious questions often enough. I liked jokes, and I liked gossip; but I’d forget to ask them the real stuff. Or I’d ask them things they’d already told me a week ago. Or forget to ask about their recent job interview or break-up.

This is where bad listening does the most damage: it signals to the people around you that you don’t care about them, or you do but only in a skittish, flickering sort of a way. And so people become wary of opening up, or asking for advice, or leaning on you in the way that we lean on those people we truly believe to be big of heart.

All of the above makes for rather a glum picture, I know. I don’t want to overstate things. I wasn’t a monster. I cared for people and, when I concentrated, I could show it. I was liked, I made my way in the world, I apparently possessed what we call charisma. Plenty of the time, I listened fine. But this may be precisely the point: you can coast along in life as a bad listener. We tend to forgive it, because it’s common.

Kate Murphy, in her book You’re Not Listening (2020), frames modern life as particularly antagonistic to good listening:

[W]e are encouraged to listen to our hearts, listen to our inner voices, and listen to our guts, but rarely are we encouraged to listen carefully and with intent to other people.

Why do we accept bad listening? Because, I think, listening well is hard, and we all know it. Like all forms of self-improvement, breaking this carapace requires intention, and ideally guidance.

When I discovered Rogers’s writings on listening, it was confirmation that, in many conversations, I had been getting it all wrong. When listening well, wrote Rogers and his co-author Richard Evans Farson in 1957, the listener ‘does not passively absorb the words which are spoken to him. He actively tries to grasp the facts and the feelings in what he hears, and he tries, by his listening, to help the speaker work out his own problems.’ This was exactly the stance I had only rarely adopted.

Born in 1902 – in the same suburb of Chicago as Hemingway, three years earlier – Rogers had a strict religious upbringing. As a young man, he seemed destined for the ministry. But in 1926, he crossed the road from Union Theological Seminary to Columbia University, and committed himself to psychology. (At this time, psychology was a field so new and so in vogue that, in 1919, during negotiations for the Treaty of Versailles, Sigmund Freud had secretly advised Woodrow Wilson’s ambassador in Paris.)

Rogers’s early work was focused on what were then called ‘delinquent’ children; but, by the 1940s, he was developing a new approach to psychotherapy, which came to be termed ‘humanistic’ and ‘person-centred’. Unlike Freud, Rogers believed that all of us possess ‘strongly positive directional tendencies’. Unhappy people, he believed, were not broken; they were blocked. And as opposed to the then-dominant modes of psychotherapy – psychoanalysis and behaviourism – Rogers believed that a therapist should be less a problem-solver, and more a sort of skilled midwife, drawing out solutions that already existed in the client. All people possess a deep urge to ‘self-actualise’, he believed, and it is the therapist’s job to nurture this urge. They were there to ‘release and strengthen the individual, rather than to intervene in his life’. Key to achieving this goal was careful, focused, ‘active’ listening.

That this perspective doesn’t seem particularly radical today is a testament to Rogers’s legacy. As one of his biographers, David Cohen, writes, Rogers’s therapeutic philosophy ‘has become part of the fabric of therapy’. Today, in the West, many of us believe that going to therapy can be an empowering and positive move, rather than an indicator of crisis or sickness. This shift owes a great deal to Rogers. So too does the expectation that a therapist will allow themselves to enter into our thinking, and express a careful but tangible empathy. Where Freud focused on the mind in isolation, Rogers valued more of a merging of minds – boundaried, but intimate.

On bad days, I would wait hawk-like for things I could correct or belittle

Active listening, for Rogers, was essential to creating the conditions for growth. It was one of the key ingredients in making another person feel less alone, less stuck, and more capable of self-insight.

Rogers held that the basic challenge of listening is this: consciousnesses are isolated from one another, and there are thickets of cognitive noise between them. Cutting through the noise requires effort. Listening well ‘requires that we get inside the speaker, that we grasp, from his point of view, just what it is he is communicating to us.’ This empathic leap is a real effort. It is much easier to judge another’s point of view, analyse it, categorise it. But to put it on, like a mental costume, is very hard. As a teenager, I was a passionate atheist and a passionate Leftist. I saw things as very simple: all believers are gullible, and all conservatives are psychopaths, or at minimum heartless. I could hold to my Manichean view precisely because I had made no effort to grasp anyone else’s viewpoint.

Another of my old mental blocks, also flagged by Rogers, is the instinct that anyone I’m talking to is likely dumber than me. This arrogance is terrible for any attempt at listening, as Rogers recognises: ‘Until we can demonstrate a spirit which genuinely respects the potential worth of an individual,’ he writes, we won’t be good listeners. Previously, on bad days, I would wait hawk-like for things I could correct or belittle. I would look for clues that this person was wrong, and could be made to feel wrong. But as Rogers writes, to listen well, we ‘must create a climate which is neither critical, evaluative, nor moralising’.

‘Our emotions are often our own worst enemies when we try to become listeners,’ he wrote. In short, a great deal of bad listening comes down to lack of self-control. Other people animate us, associations fly, we are pricked by ideas. (This is why we have built careful social systems around not discussing such things as religion or politics at dinner parties.) When I was 21, if someone suggested that some pop music was pretty good, or capitalism had some redeeming features, I was incapable of not reacting. This made it very hard for me to listen to anyone’s opinion but my own. Which is why, Rogers says, one of the first skills to learn is non-intervention. Patience. ‘To listen to oneself,’ he wrote, ‘is a prerequisite to listening to others.’ Here, the analogy with meditation is clear: don’t chase every thought, don’t react to every internal event, stay centred. Today, in conversation, I try to constantly remind myself: only react, only intervene, when invited or when it will obviously be welcome. This takes practice, possibly endless practice.

And when we do intervene, following Rogers, we must resist the ever-present urge to drag the focus of the conversation back to ourselves. Sociologists call this urge ‘the shift response’. When a friend tells me they’d love to visit Thailand, I must resist the selfish pull to leap in with Oh yeah, Thailand is great, I spent Christmas in Koh Lanta once, did I ever tell you about the Muay Thai class I did? Instead, I must stay with them: where exactly do they want to go, and why? Sociologists call this ‘the support response’. To listen well is to step back, keep the focus with someone else.

Anice example of Rogers’s approach, taken from his career, is his experience during the Second World War. Rogers was asked by the US Air Force to assess the psychological health of gunners, among whom morale appeared low. By being patient, and nonjudgmental, and gentle with his attention, Rogers discovered that the gunners had been bottling up one of their chief complaints: they resented civilians. Returning to his hometown and attending a football game, reported one pilot, ‘all that life and gaiety and luxury – it makes you so mad’. Rogers didn’t suggest any drastic intervention, or push any change in view. He recommended that the men be allowed to be honest about their anger, and process it openly, without shame. Their interlocutors, Rogers said, should begin by simply listening to them – for as long as it took, until they were unburdened. Only then should they respond.

Much like meditating, listening in this way takes work. It may take even more work outside the therapy room, in the absence of professional expectation. At all times, for almost all of us, our internal monologue is running, and it is desperate to spill from our brain onto our tongue. Stemming the flow requires intention. This is necessary because, even when we think an intervention is positive, it may be self-centred. We might not feel it, Rogers says, but, typically, when we offer our interpretation or input, ‘we are usually responding to our own needs to see the world in certain ways’. When I first began to observe myself as a listener, I saw how difficult I found it to simply let people finish their sentences. I noticed the infinite wave of impatience on which my attention rode. I noticed the slippery temptation of asking questions that were not really questions at all, but impositions of opinion disguised as questions. The better road, I began to see, was to stay silent. To wait.

The active listener’s job is to simply be there, to focus on ‘thinking with people instead of for or about them’. This thinking with requires listening for what Rogers calls ‘total meaning’. This means registering both the content of what they are saying, and (more subtly) the ‘feeling or attitude underlying this content’. Often, the feeling is the real thing being expressed, and the content a sort of ventriloquist’s dummy. Capturing this feeling involves real concentration, especially as nonverbal cues – hesitation, mumbling, changes in posture – are crucial. Zone out, half-listen, and the ‘total meaning’ will entirely elude us.

Everyone wants to be listened to. Why else the cliché that people fall in love with their therapists?

And though the bad listener loves to internally multitask while someone else is talking, faking it won’t work. As Rogers writes, people are alert to the mere ‘pretence of interest’, resenting it as ‘empty and sterile’. To sincerely listen means to marshal a mixture of agency, compassion, attention and commitment. This ‘demands practice’, Rogers said, and ‘may require changes in our own basic attitudes’.

Rogers’s theories were developed in a context where one person is attempting, explicitly, to help another person heal and grow. But Rogers was always explicit about the fact that his work was ‘about life’. Of his theories, he said that ‘the same lawfulness governs all human relationships’.

I think I started off from a lower point; by nature, I think my brain tends toward distraction and self-regard. But one would not need to be a bad listener to benefit from Rogers’s ideas. Even someone whose autopilot is an empathetic, interested listener can find much in his work. Rogers did more than anyone else to explore listening, systemise its dynamics, and record his professional explorations.

Certainly, being a good listener had an impact on Rogers’s own life. As another of his biographers, Howard Kirschenbaum, told me, Rogers discovered that ‘listening empathically to others was enormously healing and freeing, in both therapy and other relationships’. At his 80th birthday party, a cabaret was staged in which two Carl Rogers impersonators listened to one another in poses of exaggerated empathy. The well-meaning gag was a compliment; in a somewhat rare case of intellectuals actually embodying the ideas they espouse, Rogers was remembered as an excellent listener by everyone who knew him. Despite the kind of foibles that can weigh down any life – a reliance on alcohol, a frustration with monogamy – Rogers appears to have been a decent man: warm, open, and never cruel.

That he was able to carry his theories into his life should give encouragement, even to those of us who aren’t world-famous psychologists. Everyone wants to be listened to. Why else the cliché that people fall in love with their therapists? Why else does all seduction start with riveted attention? Consider your own experience, and you will likely find a direct correlation between the people you feel love you, and the people who actually listen to the things you say. The people who never ask us a thing are the people we drift away from. The people who listen so hard that they pull new things out of us – who hear things we didn’t even say – are the ones we grab on to for life.

Perhaps above all, Rogers understood the stakes involved in listening well. All of us, when we are our best selves, want to bring growth to the people we choose to give our time to. We want to help them unlock themselves, stand taller, think better. The dynamic may not be as direct as with a therapist; there is more of an equal footing – but when our relationships are healthy, we want those around us to thrive. Listening well, Rogers showed, is the simplest route there. Be with people in the right way, and they become ‘enriched in courage and self-confidence’. They feel the releasing glow of attention, and develop an ‘underlying confidence in themselves’. If we don’t want this for our friends, then we are not their friends.

Indeed, such is the generosity of active listening that one can view the practice as one that borders on the spiritual. Though Rogers traded theology for psychology in his early 20s, he always maintained an interest in spirituality. He enjoyed the work of Søren Kierkegaard, an existentialist Christian; and, over the years, he had public discussions with the theologians Paul Tillich and Martin Buber. In successful therapy sessions, said Rogers, both therapist and client can find themselves in ‘a trance-like feeling’ where ‘there is, to borrow Buber’s phrase, a real “I-Thou” relationship’. Of his relationship to his clients, Rogers said: ‘I would like to go with him on the fearful journey into himself.’

Perhaps this is a bit rich for you; perhaps you would rather frame active listening as simply good manners, or a neat interpersonal hack. The point is: really listening to others might be an act of irrational generosity. People will eat up your attention; it could be hours or years before they ever turn the same attention back on you. Sometimes, joyfully, your listening will yield something new, deliver them somewhere. Sometimes, the person will respond with generosity of their own, and the reciprocity will be powerful. But often, nothing. Only rarely will people notice, let alone thank you, for your efforts. Yet this generosity of attention is what people deserve.

And lest this all sound a bit pious – active listening is not pure altruism. Listening well, as Rogers said, is ‘a growth experience’. It allows us to get the best of others. The carousel of souls is endless. People have deeply felt and fascinating lives, and they can enfranchise us to worlds we would never otherwise know. If we truly listen, we expand our own intelligence, emotional range, and sense that the world remains open to discovery. Active listening is a kindness to others but, as Rogers was always quick to make clear, it is also a gift to ourselves.

Brains learn from other brains, and listening well is the simplest way to draw a thread, open a channel

Rogers became a hero of the 1960s counterculture. He admired their utopian dreams of psychic liberation and uninhibited communication; late in life, he was drawn to the New Age writings of Carlos Castañeda. All of this speaks to one of the key critiques of Rogers’s philosophy, both during his lifetime and today: that he was too optimistic. Rogers recognised himself that he was, in Cohen’s words, ‘incorrigibly positive’. His critics called him a sort of Pollyanna of the mind, and thought him naive for believing that such simple interventions as empathy and listening could trigger transformation in people. (Perhaps certain readers will harbour similar critiques about my own beliefs as expressed here.)

Those inclined to agree with this assessment of Rogers will probably think that I have overstated the case. Listening as love? Listening as spiritual practice? But in my own life, a renewed approach to listening has improved how I relate to others, and I now believe listening is absurdly under-discussed. Good listening is complex, subtle, slippery – but it is also right here, it lives in us, and we can work on it every day. Unlike the abstractions of so much of ethics and so much of philosophy, our listening is there to be honed, every day. Like a muscle, it can be trained. Like an intellect, it can be tested. In the very same moment, it can spur both our own growth and the growth of others. Brains learn from other brains, and listening well is the simplest way to draw a thread, open a channel. I don’t think it’s a coincidence that I couldn’t write nonfiction that anyone else actually wanted to read until I began trying to truly listen.

‘The greatest compliment that was ever paid me,’ said Henry David Thoreau, ‘was when one asked me what I thought, and attended to my answer.’ Left on autopilot, I can still be a bad listener. I’ll interrupt, finish sentences, chivvy people along. I suspect many of the people I know still find me to be, on balance, an average listener. But I try! With anyone I can impact – and especially those whose souls I can help to light up – I follow Rogers; I offer as much ‘of safety, of warmth, of empathic understanding, as I can genuinely find in myself to give.’ And I open myself to whatever I can learn. I fail in my attentions, again and again. But I tune back in, again and again. I believe it is working.

Thinkers and theories Self-improvement Psychiatry and psychotherapy

Special Guest at Misty’s Funky Friday Groove

Wendy Cicchetti | Twixt Earth and Sky Jun 11, 2022 Misty invited me to do a Q&A and some readings for her Groovers. With coupon code “Groove”, you receive 50% off my life changing Full Initial Life Reading: https://twixtearthandsky.com/Payments/ Sign up for my free Bi-monthly news Letter, Celestial Updates. Scroll down on my home page to see the signup: https://twixtearthandsky.com/ To sign up for my new Subscription Program where we share candid conversation about the world today: https://twixtearthandsky.com/member_a… Learn Astrology. My popular Basic Astrology course will give you what you need to be able to read and interpret a chart: https://twixtearthandsky.com/member_a…

Traditionalist Metaphysics Live Stream with Charles Upton

“Polarity is the essence of manifestation. . . . Without polarity, there is no existence.”

–Charles Upton

New Thinking Allowed with Jeffrey Mishlove Started streaming 87 minutes ago Charles Upton’s first books of poetry were published in 1968 and 1969 by Lawrence Ferlinghetti of City Light Books in San Francisco. He was then considered the youngest member of the “beat generation” as he was still in high school. He has subsequently written many books associated with the traditionalist school of spirituality including The Science of the Greater Jihad, System of the Antichrist, Vectors of the Counter-Initiation, Folk Metaphysics, Alien Disclosure Deception: The Metaphysics of Social Engineering, and Day and Night on the Sufi Path. His website is https://charles-upton.com/.

“The last stage of the world will be best because in the last stage of the world, everything will be useless except to say the name of God.”

–Charles Upton paraphrasing the Mahayana

Hesychasm

From Wikipedia, the free encyclopedia

Part of a series on
Palamism
Gregory Palamas
showHistory
hideTheologyEssence–energies distinctionHesychasmTheoriaTheotokosTheosisTabor LightHypostatic unionApophatic theology
showInfluences and precursors
showPalamites
showSimilar positions
showContrary positions
showRelated
 Christianity portal
vte
Part of a series on the
Eastern Orthodox Church
Mosaic of Christ PantocratorHagia Sophia
Overview
StructureTheology (History of theology)LiturgyChurch historyHoly MysteriesView of salvationView of MaryView of icons
showBackground
showOrganization
showAutocephalous jurisdictions
showNoncanonical jurisdictions
showEcumenical councils
showHistory
hideTheologyHistory of Eastern Orthodox theology(20th century (Neo-Palamism))ApophaticismChrismationContemplative prayerEssence vs. EnergiesHesychasmHoly TrinityHypostatic unionIconsMetousiosisMystical theologyNicene CreedNepsisOikonomia vs AkribeiaOusiaPalamismPhilokaliaPhronemaSinTheosisTheotokosDifferences from the Catholic ChurchOpposition to the FilioqueOpposition to papal supremacy
showLiturgy and worship
showLiturgical calendar
showMajor figures
showOther topics
vte
Part of a series on
Christian mysticism
showTheology · Philosophy
showPractices
showPeople (by era or century)
showLiterature · Media
vte

Hesychasm (/ˈhɛsɪkæzəm, ˈhɛzɪ-/;[1] Greek: Ησυχασμός) is a mystical tradition of contemplative prayer in the Eastern Orthodox Church. Based on Jesus‘s injunction in the Gospel of Matthew that “whenever you pray, go into your room and shut the door and pray to your Father who is in secret; and your Father who sees in secret will reward you”,[2] hesychasm is the process of retiring inward by ceasing to register the senses, in order to achieve an experiential knowledge of God (see Theoria).

Etymology

Meaning

Hesychasm (Greek: ἡσυχασμός, Modern Greek pronunciation: [isixaˈzmos]) derives from the word hesychia (ἡσυχία, Greek pronunciation: [isiˈçia]), meaning “stillness, rest, quiet, silence”[3] and hesychazo (ἡσυχάζω Greek pronunciation: [isiˈxazo]) “to keep stillness”.

Usage

Metropolitan Kallistos Ware, a scholar of Eastern Orthodox theology, distinguishes five distinct usages of the term “hesychasm”:

  1. “solitary life”, a sense, equivalent to “eremitical life”, in which the term is used since the 4th century;
  2. “the practice of inner prayer, aiming at union with God on a level beyond images, concepts and language”, a sense in which the term is found in Evagrius Ponticus (345–399), Maximus the Confessor (c. 580 – 662), and Symeon the New Theologian (949–1022);
  3. “the quest for such union through the Jesus Prayer“, the earliest reference to which is in Diadochos of Photiki (c. 450);
  4. “a particular psychosomatic technique in combination with the Jesus Prayer”, use of which technique can be traced back at least to the 13th century;
  5. “the theology of St. Gregory Palamas”, on which see Palamism.[4]

History of the term

The origin of the term hesychasmos, and of the related terms hesychasteshesychia and hesychazo, is not entirely certain. The basic term hesychia and its various derivatives appear in the Greek Septuagint Old Testament (LXX), from the Book of Genesis (Gen. 4:7.) In total “hesychia” is found 60 times in the Septuagint in various forms and through the Septuagint it had entered the Judaic vocabulary as early as the 3rd century BC. In the Greek New Testament it is found 11 times. In total in the Greek Bible of the ancient Church it is found 71 times (57 times in the 66-book Bibles.) According to the entries in Lampe’s A Patristic Greek Lexicon, the basic terms hesychia and hesychazo are also found in such fathers as St. John Chrysostom and the Cappadocians. The terms also appear in the same period in Evagrius Pontikos (c. 345 – 399), who although he is writing in Egypt is out of the circle of the Cappadocians, and in the Sayings of the Desert Fathers.

The term hesychast is used sparingly in Christian ascetical writings emanating from Egypt from the 4th century on, although the writings of Evagrius and the Sayings of the Desert Fathers do attest to it. In Egypt, the terms more often used are anchoretism (Gr. ἀναχώρησις, “withdrawal, retreat”), and anchorite (Gr. ἀναχωρητής, “one who withdraws or retreats, i.e. a hermit”).

The term hesychast was used in the 6th century in Palestine in the Lives of Cyril of Scythopolis.[5] Many of the hesychasts Cyril describes were his own contemporaries; several of the saints about whom Cyril was writing, especially Euthymios and Savas, were in fact from Cappadocia. The laws (novellae) of the emperor Justinian I (r. 527–565) treat hesychast and anchorite as synonyms, making them interchangeable terms.

The terms hesychia and hesychast are used quite systematically in the Ladder of Divine Ascent of St. John of Sinai (523–603) and in Pros Theodoulon by St. Hesychios (c. 750?), who is ordinarily also considered to be of the School of Sinai. It is not known where either St. John of Sinai or St. Hesychios were born, nor where they received their monastic formation.

It appears that the particularity of the term hesychast has to do with the integration of the continual repetition of the Jesus Prayer into the practices of mental ascesis that were already used by hermits in Egypt. Hesychasm itself is not recorded in Lampe’s Lexicon, which indicates that it is a later usage, and the term Jesus Prayer is not found in any of the fathers of the church.[6] Saint John Cassian (c. 360 – 435) presents as the formula used in Egypt for repetitive prayer, not the Jesus Prayer, but “O God, make speed to save me: O Lord, make haste to help me.”[7][8]

By the 14th century, however, on Mount Athos the terms hesychasm and hesychast refer to the practice and to the practitioner of a method of mental ascesis that involves the use of the Jesus Prayer assisted by certain psychophysical techniques. Most likely, the rise of the term hesychasm reflects the coming to the fore of this practice as something concrete and specific that can be discussed.

Books used by hesychasts include the Philokalia, a collection of texts on prayer and solitary mental ascesis written from the 4th to the 15th centuries, which exists in a number of independent redactions; the Ladder of Divine Ascent; the collected works of St. Symeon the New Theologian (949–1022); and the works of St. Isaac the Syrian (7th century), as they were selected and translated into Greek at the Monastery of St. Savas near Jerusalem about the 10th century.

More at: https://en.wikipedia.org/wiki/Hesychasm

The Power of the Bittersweet: Susan Cain on Longing as the Fulcrum of Creativity

By Maria Popova (themarginalian.org)

“Oh, there must be a little bit of air, a little bit of happiness… to let the form be felt… but let the whole be sombre,” Van Gogh wrote to his brother as he exulted in the beauty of sorrow — not in that wallowing way some have of making an identity of their suffering, not in the way our culture has of fetishizing the tortured genius myth, but in the way of Whitman, who saw the plain equivalence between feeling deeply all of life’s hues and so touching its beauty more deeply, the contact we call art: Those who reach “sunny expanses and sky-reaching heights,” Whitman knew, are also apt “to dwell on the bare spots and darknesses.” He had “a theory that no artist or work of the very first class may be or can be without them”; his own life was living proof of that theory. Two millennia before him, Aristotle too had wondered why an undertone of melancholy seems to reverberate across the personalities of the most fertile minds, the greatest leaders, and the finest artists.

Moonlight, Winter by Rockwell Kent. (Available as a print and as stationery cards.)

I too have wondered this while falling in love with the people I live with — Rachel Carson, with her uncommon grasp of the beauty inside the tragedy of transience; Rockwell Kent, who went to the remotest wilderness to discover loneliness as a catalyst of creativity; Beethoven, who turned a lifetime of sorrow into universal joy; Lincoln, who made of his melancholy a source of poetry and power; and Emily Dickinson, who turned the interleaving of love and loss into an eternal garden of delight.

I suspect that beneath it all is not an acceptance of but the longing for an acceptance of the elemental interplay between darkness and light, beauty and sorrow, mortality and meaning — the longing we transmute into meaning, that great act of creation.

Virginia Woolf called this the “shock-receiving capacity” necessary for being an artist — the willingness to see the totality of life, in all its syncopations of grief and gladness, of beauty and brutality, and feel the shock of it all, and make of that shock something that shimmers with meaning. Susan Cain calls it “the bittersweet” — “a tendency to states of longing, poignancy, and sorrow; an acute awareness of passing time; and a curiously piercing joy at the beauty of the world.” Whitman and Woolf, Carson and Kent, Lincoln and Dickinson were all paragons of the bittersweet.

The Dreaming Horses (1912) by Franz Marc, a classic bittersweet type. (Available as a print and as stationery cards.)

First awakened to it by a curiosity about her own disproportionate love of music in a minor key, Cain realized that “the music was just a gateway to a deeper realm, where you notice that the world is sacred and mysterious, enchanted even” — a realm we can enter through music or a walk in an old-growth forest, through poetry or prayer. She began seeing echoes of this nebulous yet surprisingly common capacity for noticing in the lives of artists and thinkers she admired — Beethoven and Buckminster Fuller, Rumi and Alexander the Great, but none more exemplary than the creative patron saint of her life: Leonard Cohen.

So she gave that flavor of the spirit a name, then set out to understand it by following a procession of researchers who study its kaleidoscopic facets across neurobiology, psychology, social science.

In Bittersweet: How Sorrow and Longing Make Us Whole (public library), she writes:

The bittersweet is… an authentic and elevating response to the problem of being alive in a deeply flawed yet stubbornly beautiful world. Most of all, bittersweetness shows us how to respond to pain: by acknowledging it, and attempting to turn it into art, the way the musicians do, or healing, or innovation, or anything else that nourishes the soul. If we don’t transform our sorrows and longings, we can end up inflicting them on others via abuse, domination, neglect. But if we realize that all humans know — or will know — loss and suffering, we can turn toward each other.

Art by Margaret C. Cook for Leaves of Grass. (Available as a print.)

There is in this notion an echo of Oscar Wilde’s stirring prison letter, in which he resolved to turn his suffering into transcendence; an echo of Beethoven’s resolve to “take fate by the throat” once he began losing his hearing; an echo of Marina Abramovič, who turned a harrowing childhood into raw material for art.

At the heart of it all is an inspired inquiry into “transforming pain into creativity, transcendence, and love,” posed with sensitivity to the realities and varieties of pain we live with, not all of them easily mutable into a poem or a painting or a song.

It is an act of quiet courage for Cain to reckon with these questions in a culture that so readily cosigns the verdict on matters of complexity with a bellicose X illiterate of nuance. For these are indeed complex, nuanced matters beyond easy binaries, murky even as a spectrum — where do the fertile blues of melancholy end and the deadening black of depression begin? The bittersweet — this enchanted loom of longing on which we weave the tapestry of meaning — exits in the liminal space between the spiritual, the physiological, and the psychological. It is an orientation of the soul laced with neurochemistry and chance.

That is where Cain’s notion of longing as the litmus test for the bittersweet becomes useful — there is a subtlety in it that sets the spiritual apart from the clinical. Across languages and cultures, across epochs and sensibilities, we have always longed to name our longing. It is encoded in one of Sappho’s most ravishing surviving fragments and bellows from Beethoven’s “Ode to Joy” and radiates from everything Nina Simone’s gum stands for. In a passage evocative of Woolf’s “shock-receiving capacity,” Cain writes:

C. S. Lewis called it the “inconsolable longing” for we know not what, or Sehnsucht, a German term based on the words das Sehnen (“the yearning”) and sucht (“an obsession or addiction”). Sehnsucht was the animating force of Lewis’s life and career. It was “that unnameable something, desire for which pierces us like a rapier at the smell of bonfire, the sound of wild ducks flying overhead, the title of The Well at the World’s End, the opening lines of ‘Kubla Khan,’ the morning cobwebs in late summer, or the noise of falling waves.” He’d felt it first as a young boy, when his brother brought him a toy garden in the form of an old biscuit tin filled with moss and flowers, and he was overcome by a joyous ache he couldn’t understand, though he would try for the rest of his life to put it into words, to find its source, to seek the company of kindred spirits who’d known the same wondrous “stabs of joy.”

One of teenage artist Virginia Frances Sterrett’s century-old illustrations for French fairy tales. (Available as a print.)

The bittersweet, Cain observes, is most palpable in “those out-of-time moments when you witness something so sublime” — something like, say, a shimmering red leaf twirling in midair without falling — “that it seems to come from a more perfect and beautiful world.” Capturing with extraordinary precision the twin realities between which some of us spend our lives interpolating, she writes:

At their worst, bittersweet types despair that the perfect and beautiful world is forever out of reach. But at their best, they try to summon it into being. Bittersweetness is the hidden source of our moon shots, masterpieces, and love stories. It’s because of longing that we play moonlight sonatas and build rockets to Mars. It’s because of longing that Romeo loved Juliet, that Shakespeare wrote their story, that we still perform it centuries later.

[…]

When you went to your favorite concert and heard your favorite musician singing the body electric, that was [the bittersweet]; when you met your love and gazed at each other with shining eyes, that was it; when you kissed your five-year-old good night and she turned to you solemnly and said, “Thank you for loving me so much,” that was it: all of them facets of the same jewel. And yes, at eleven p.m. the concert will end, and you’ll have to find your car in a crowded parking lot; and your relationship won’t be perfect because no relationship is; and one day your daughter will fail eleventh grade and announce that she hates you.

One of artist Rosalind Hobley’s haunting cyanotype portraits of flowers.

In this sense, then, longing becomes not the craving for perfection — for the shimmer of glory, for the myth of closure, for the happily ever after — but a kind of tenderness for imperfection, for the recognition that the place between no more and not yet is the place where the chance-miracle of life lives itself through us, and that is a beautiful place. Cain writes:

Longing is momentum in disguise: It’s active, not passive; touched with the creative, the tender, and the divine. We long for something, or someone. We reach for it, move toward it. The word longing derives from the Old English langian, meaning “to grow long,” and the German langen — to reach, to extend. The word yearning is linguistically associated with hunger and thirst, but also desire. In Hebrew, it comes from the same root as the word for passion.

In a sentiment evocative of Rosanne Cash’s transcendent science-laced reflection on what it means to be an artist, lensed through Adrienne Rich and Marie Curie, Cain adds:

The place you suffer, in other words, is the same place you care profoundly — care enough to act.

Bittersweet is a beautiful read in its entirety. Complement it with poet and philosopher David Whyte on the deepest meaning of longing, then revisit Rilke — a classic bittersweet — on the relationship between solitude, longing, and creativity and Nick Cave — the monarch of the modern bittersweet — on hope, cynicism, and the salve for despair.