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\nHas anybody, at the end of the nineteenth century, any idea what poets of stronger ages called inspiration<\/em>? If not, let me describe it.<\/p>\n
With the smallest residue of superstition within oneself, one would indeed hardly escape the idea of being merely the incarnation the mouth-piece, the medium of super-human powers. The idea of revelation, in the sense that suddenly with incredible certainty and subtlety, something becomes visible<\/em> and audible, shaking us and overpowering us in our deepest being: all this is merely a description of facts. One listens, one does no search; one accepts, one does not ask, who is giving; like lightning a thought flashes up, with necessity, without hesitation with regard to its form \u2013 I never have had a choice.<\/p>\n
An ecstasy of joy<\/em>, whose immense tension sometimes dissolves into a stream of tears, and whose pace is sometimes like a storm and sometimes becomes slow; a state of being completely beside oneself, yet with the clearest consciousness of an infinite number of fine tremors and wave-like vibrations running down to the very toes<\/em>; a depth of happiness<\/em>, in which all that is painful and dark, does not act as a contradiction<\/em> but as a necessary condition, a challenge, as a necessary colour within such an abundance of light<\/em>; an instinct for rhythmic proportions, which spans extensive realms of form — the extension, the need for an all-encompassing rhythm ins almost a criterion for the power of inspiration<\/em>, a kind of compensating counter-force against its pressure and tension.<\/p>\n
All this happens involuntarily in the highest degree, and yet like a storm of freedom<\/em>, of unconditionality<\/em>, or power<\/em>, of godliness<\/em>\u2026The involuntary character of the inner image<\/em>, the simile, is the most remarkable part; one has no more the slightest idea what is image or simile, everything offers itself as the nearest, the most adequate, the simplest expression. ~ Friedrich Nietzsche<\/strong>\n<\/p><\/blockquote>\n
Lama Anagarika Govinda<\/strong> compares Nietzsche\u2019s experience to similar experiences of the meditative state of dhyana described in Buddhist texts:
\n<\/p>\n\n
- The visualization of inner experience.<\/li>\n
- The feeling of rapture and bliss, even down to the toes, i.e., to the smallest part of the body.<\/li>\n
- The bridging of contrasts through the incorporation and integration of all qualities and all Chakra centres.<\/li>\n
- The increasing luminosity of the mind and the gradual transfiguration of the body.<\/li>\n
- The feeling of release and freedom, beyond personal volition.<\/li>\n
- The awakening of powers of siddhis by awakening the psychic centres, and the attainment of the highest realization in the state of Perfect Enlightenment.<\/li>\n<\/ol>\n
The Lama points out that when the mind becomes luminous, then the body takes part in the luminosity. The opposite path of trying to illuminate the body in order to illuminate the mind, does not work, even if the path begins with the body as we will describe in an upcoming post.<\/p>\n
Please notice the passive, even priestly, aspect of Nietzsche\u2019s experience, as it involves a self-surrender, an inspiration. Yet that is not the whole story, since the lunar and solar energies must be integrated and sublimated as they rise from chakra to chakra. The attempt to be one or the other leads to imbalance. In the Dhammapada<\/cite>, we read this description of the Buddha<\/strong>:<\/p>\n
\nThe sun shines by day, the moon shines by night,
\nThe warrior shines in his armour,
\nThe Brahmin by his meditation.
\nBut the Buddha shines radiant both day and night.\n<\/p><\/blockquote>\nLama Govinda offers this commentary, keeping in mind what Rene Guenon<\/strong> says about the man who has realized all his possibilities:<\/p>\n
\nThese are not merely poetical metaphors, but expressions connected with an ancient Tradition, whose roots lie deeper than any known form of religion.<\/p>\n
Sun and moon correspond to the forces of day and night, to the outwardly directed activity of the warrior<\/strong> and the inwardly directed activity of the priest<\/strong>. The perfect man combines both sides of reality: he unites within himself the depth of the night and the light of day, the darkness of all-embracing space and the light of suns and stars, the creative primordial power of life and the luminous all-penetrating power of knowledge.<\/em><\/p>\n
The primordial creative power of life is blind without the power of knowledge, of conscious awareness, and becomes an endless play of passions\u2026The power of knowledge, without the unifying primordial force of life, turns into the deadly poison of the intellect, the demoniacal principle, aiming at the annihilation of life.<\/p>\n
Where, however, these two forces cooperate, penetrating and compensating each other, there arises the sacred flame of the enlightened mind, which radiates light as well as warmth, and in which knowledge grows into living wisdom, and the blind urge of existence and unrestrained passions into the power of universal love.\n<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"
An ecstasy of joy<\/em>, whose immense tension sometimes dissolves into a stream of tears, and whose pace is sometimes like a storm and sometimes becomes slow; a state of being completely beside oneself, yet with the clearest consciousness of an infinite number of fine tremors and wave-like vibrations running down to the very toes<\/em>; a depth of happiness<\/em>, in which all that is painful and dark, does not act as a contradiction<\/em> but as a necessary condition, a challenge, as a necessary colour within such an abundance of light<\/em>; an instinct for rhythmic proportions, which spans extensive realms of form — the extension, the need for an all-encompassing rhythm ins almost a criterion for the power of inspiration<\/em>, a kind of compensating counter-force against its pressure and tension. Continue reading