Refuting the mystical, metaphysical concept of the existence of individual, discrete selves (while bearing in a non existent mind, that there is no universally accepted theory as to what the word "existence" means)
Many have wondered what it was that Christ wrote in the sand/dust when the woman was brought by the Pharisees to be stoned for adultery. The passage from St John, telling of this event, is the only one in the Bible where there is mention of Christ ever having written anything. Knowing the human tendency to make idols out of words and sacred books, Christ probably decided not to personally write any scriptures (neither did Muhammad nor the Buddha).
The Bible doesn't say what Christ wrote, and so there has been a lot of theological conjecture about it. The most interesting explanation is that He was writing down the sins of those who had gathered to carry out the stoning. In Jewish tradition, when an adulterer was brought to the Temple for punishment, their sin was written in the dust of the court floor and then brushed away (perhaps because the sin was considered too unmentionable to say aloud in such a holy place), but the Pharisees seem to have neglected to do this. They were also supposed to have brought for punishment the man caught in adultery, not just the woman. So, though they were presenting themselves as upholders of the law, they didn't even follow the letter of the law, let alone the spirit of the law, which is no doubt what Christ was trying to show them.
By writing down their hidden sins (as tradition stated the adulterer's sin should be written) Christ showed the Pharisees that He thoroughly knew the law. And when they saw their sins written on the earth, they were too shocked to carry out the stoning. John says they walked away one by one, leaving the woman with Jesus, who told her that no one will condemn her, including Himself.
Appealing to their consciences, by just telling the Pharisees they were hypocrites ("he who is without sin may cast the first stone") would not have been enough for such people. They had to see their sins written for all to read.
Knowing He preached forgiveness, the Pharisees had tried to trick Christ into publicly going against the Old Testament laws, so they could accuse Him of blasphemy. Only a divine personality could have resolved the situation so perfectly.
Jesus and the woman taken in adultery, by Julius Schnorr von Karolsfeld, 1860.
Translating poetry requires both a deep knowledge of the original language and of the poem’s historical, cultural, and literary context; more than anything, though, it requires a still deeper knowledge of the language into which it’s being translated, the translator’s own language. Added to this must be a love of that language, the language of the person receiving and then transforming the poem into a new poem—creating a new path.
Attempting to “transport” Emily Dickinson’s poems into Portuguese is a still harder task, because Dickinson’s poetry is notable for its peculiar agrammaticality: unexpected plurals, inverted syntax, and an often complete disregard for gender, person, or agreement between nouns and verbs. As for form, Dickinson uses the structure of hymns, though, as Mutlu Konuk Blasing says, “the metric norm so severely limits the verse it empowers that the verse grows cryptic, crabbed, and idiosyncratic and resists communication itself, thus undermining the religious and social function of hymns that the form alludes to as authorization for her ‘dialect,’ her ‘New Englandly’ tune.” The result is a compact, cryptic language full of ellipses, which translates into texts that challenge the tradition of poetry as communication and gives literary language an autonomy more akin to the aesthetics of modern poetry.
If you are absolutely effortless, meditation will work the best. Do not think about your problems at all. Just expose yourself to the vibrations. When the sun shines, all of nature exposes itself to the sun and receives the blessings of the sun effortlessly. It does not put in any effort. It just receives the sun. The sun’s rays start acting. In the same way, the all-pervading power starts working. You are not to maneuvre it. You are not to do anything about it. Just be effortless, absolutely effortless. It will go on working as long as it can and it will do the miracle that it has to do. You do not have to worry about it. It knows its job, but when you put an effort, you actually create a barrier for it. So no effort is needed. Be absolutely effortless, and say, “Let it go, let it go. “ That’s all.
On the battlefield of Kurukshetra, Lord Krishna appeared to Prince Arjuna as Vishwarupa, the universal form, all that is. All the worlds, deities, sages, and peoples appeared within this total form of Lord Vishnu. Another word for this omni-form is Virata.
Shri Mataji Nirmala Devi has explained that the Virata is the integrated brain and nervous system of the Divine, which can be awakened within us. It is the totality. It is everything that exists, the body of the Cosmos. It is also reflected within each human being as the subtle system of chakras and energy channels.
“It is all one whether I posit the universe in myself or myself in the universe.” - Novalis “We dream of travelling through the universe - but is not the universe within ourselves? The depths of our spirit are unknown to us - the mysterious way leads inwards. Eternity with its worlds - the past and the future - is in ourselves or nowhere.” - Novalis, Miscellaneous Observations, Novalis, Philosophical Writings, translated by Margaret Mahony Stoljar “The first step is introspection— exclusive contemplation of the self. But whoever stops there goes only half the way. The second step must be genuine observation outward—spontaneous, sober observation of the external world.” —Novalis, 1800
Woman before the Rising Sun (Woman before the Setting Sun), Caspar David Friedrich. 1818-20
“Mysticism” is often used as a derogatory term to describe obscure, fuzzy thinking, or woo. But in “The Mysticism of the Tractatus,” McGuiness uses the term to refer to an extraordinary form of perception described by sages east and west. In Varieties of Religious Experience, still the best scholarly treatment of mysticism, William James notes that during a mystical experience you feel as though you are encountering absolute truth, the ground of being, God. read more
Renowned for his literary masterpiece The Prophet(1923), Lebanese-American artist and writer Kahlil Gibran (1883–1931) began experimenting with the visual arts at a young age. Telfair Museums boasts the largest public collection of visual art by Kahlil Gibran in the United States, donated in 1950 by his lifelong supporter and mentor, Southern native Mary Haskell Minis. This exhibition concentrates on works that capture Gibran’s enduring belief in the oneness of all things, often characterized in his paintings and drawings as the feminine divine.
His representation of goddess imagery not only reflects his holistic belief in a Universal Spirit, embodied through symbolic female figures, but also reveals the powerful influence women exerted in his own life, molding him into the visionary poet and artist known to the world today. Gibran’s visual and literary works continue to inspire and resonate, as evidenced through contemporary women artists like Sawsan Al-Saraf, Sundus Abdul Hadi, and Tamara Abdul Hadi, whose work will be presented from May 26 through September 10 in the Jepson Center, creating a powerful dialogue between exhibitions.
Funding is provided by the City of Savannah’s Department of Cultural Affairs.
Mother Earth from Earth Gods, c. 1931 watercolor and pencil on paper gift of Mary Haskell Minis, 1950; 1950.8.10
“Soon the child’s clear eye is clouded over by ideas and opinions, preconceptions, and abstractions. Simple free being becomes encrusted with the burdensome armor of the ego. Not until years later does an instinct come that a vital sense of mystery has been withdrawn. The sun glints through the pines and the heart is pierced in a moment of beauty and strange pain, like a memory of paradise. After that day, we become seekers.”
A virtuous man when alone loves the quiet of the mountains. A wise man in nature enjoys the purity of water. One must not be suspicious of the fool who takes pleasure in mountains and streams, But rather measure how well he sharpens his spirit by them.
Muso Soseki was a 14th century Japanese Zen master, poet, and calligrapher. Today he is probably best known for developing the art of traditional Japanese Zen gardening. To pursue his meditative practice he resorted to remote places in nature, but was often summoned back to court where his advice was sought by officials, and even by the emperor himself. Muso was instrumental in the formation of the Five Mountain System network of Zen temples which became centres of learning and the arts, and had a long-lasting influence on Japanese culture.
In the realm of True Purity, there is no such thing as self or other.
When there is nowhere that you have determined to call your own, then no matter where you go you are always going home.
The American translator, Coleman Barks, has helped make Djalleledin Maulana Rumi’s spiritual and mystical epics, the Masnavi and the Divan, amongst the most loved poetry in the US. The growing popularity of the the 13th century Muslim poet has even spawned an upcoming Hollywood biopic, with Leonardo DiCaprio at one time favoured to play the lead role.
Though, as a mystic, Rumi transcended man-made religious dogmas, he was also a devout Muslim, and a renowned Islamic scholar. Barks' translations are beautiful, but his interpretations downplay the Islamic inspiration of the Rumi's works almost to the point of erasure. In New Age quotations and anthologies of Rumi, there is often little or no acknowledgement of Rumi's religion. Instead, images of people doing hatha yoga on beaches, or even photos of Buddhist statues, are likely to accompany the quotes.
On one level there is nothing wrong with this - it is a testimony to Rumi's universality - but it may also be a kind of whitewashing, as some have suggested is the case with the choice of an actor of European background to play a Persian historical figure.
This article in The New Yorker examines this phenomenon:
... Like many others, Omid Safi credits Barks with introducing Rumi to millions of readers in the United States; in morphing Rumi into American verse, Barks has dedicated considerable time and love to the poet’s works and life. And there are other versions of Rumi that are even further removed from the original—such as the New Age books by Deepak Chopra and Daniel Ladinsky which are marketed and sold as Rumi but bear little resemblance to the poet’s writing. Chopra, an author of spiritual works and an alternative-medicine enthusiast, admits that his poems are not Rumi’s words. Rather, as he writes in the introduction to “The Love Poems of Rumi,” they are “ ‘moods’ we have captured as certain phrases radiated from the original Farsi, giving life to a new creation but retaining the essence of its source.”
Discussing these New Age “translations,” Safi said, “I see a type of ‘spiritual colonialism’ at work here: bypassing, erasing, and occupying a spiritual landscape that has been lived and breathed and internalized by Muslims from Bosnia and Istanbul to Konya and Iran to Central and South Asia.” Extracting the spiritual from the religious context has deep reverberations. Islam is regularly diagnosed as a “cancer,” including by General Michael Flynn, President-elect Donald Trump’s pick for national-security adviser, and, even today, policymakers suggestthat non-Western and nonwhite groups have not contributed to civilization.
For his part, Barks sees religion as secondary to the essence of Rumi. “Religion is such a point of contention for the world,” he told me. “I got my truth and you got your truth—this is just absurd. We’re all in this together and I’m trying to open my heart, and Rumi’s poetry helps with that.” One might detect in this philosophy something of Rumi’s own approach to poetry: Rumi often amended texts from the Koran so that they would fit the lyrical rhyme and meter of the Persian verse. But while Rumi’s Persian readers would recognize the tactic, most American readers are unaware of the Islamic blueprint. Safi has compared reading Rumi without the Koran to reading Milton without the Bible: even if Rumi was heterodox, it’s important to recognize that he was heterodox in a Muslim context—and that Islamic culture, centuries ago, had room for such heterodoxy. Rumi’s works are not just layered with religion; they represent the historical dynamism within Islamic scholarship.