Rumi composed a small eruption of a poem about love’s most beguiling and dangerous qualities. This gem of verse marks out, like a Morse code, the action, the alchemy of love. I’ve revisited this poem many times, and with each close reading new facets are revealed, sharper insights gleaned. It’s the gift that keeps on giving.
Love comes sailing through and I scream.
Love sits beside me like a private supply of itself.
Love puts away the instruments
and takes off the silk robes. Our nakedness
together changes me completely.
The opening conveys abrupt immediacy. Things are one way one minute and then — a surge: “Love comes sailing through…” Sailing evokes being on an ocean, perhaps the Sargasso Sea where we often drift in the humdrum trance of our day-to-day life. But then the majesty of love glides in. Also, the word ‘sailing’ connotes a particular sound, the movement of Cupid’s arrow perhaps?
Love’s entrance — and then: a scream. Not a yell or a shout. A scream. A kind of fright or terror. The shock of love. Rumi is writing about the ego’s perception and reaction to love. Unnerving, startling — a harbinger for what exactly?
P.D. Ouspensky wrote in Tertium Organum: “Love is the potent force that tears off all masks, and men who run away from love do so in order that they may preserve their masks.” I guess that would explain the screaming.
Should we endure, there’s the promise of an intimate alignment, a regulation that calms the initial shock: “Love sits beside me like a private supply of itself.” This line enchants me, the image it calls forth. “…like a private supply of itself.” This speaks to the notion that we are each a localized, unique expression of love — and when we experience love we’re given the opportunity, through the mirror of the Beloved, to remember, to see this condition. We relax, perhaps unaware of the disarming that will follow.
“Love puts away the instruments and takes off the silk robes.” Now Rumi’s describing another love action — the revealing, the stripping — making naked. The initial reading is a prelude to sex, and this can work in the poem too. But there’s something more; the instruments, the clothing — the ways the ego displays its talents, or how it hides behind a facade — all of that’s got to go in the presence of love. Nakedness implies as much. Read more
“To a man who is searching with all his being, with all his inner self, comes the unfailing conviction that to find out how to know in order to do is possible only by finding a guide with experience and knowledge, who will take on his spiritual guidance and become his teacher.
And it is here that a man’s flair is more important than anywhere else. He chooses a guide for himself. It is of course an indispensable condition that he choose as a guide a man who knows, or else all meaning of choice is lost.
Who can tell where a guide who does not know may lead a man?
Every seeker dreams of a guide who knows, dreams about him but seldom asks himself objectively and sincerely—is he worthy of being guided? Is he ready to follow the way?
Go out one clear starlit night to some open space and look up at the sky, at those millions of worlds over your head. Remember that perhaps on each of them swarm billions of beings, similar to you or perhaps superior to you in their organization.
Look at the Milky Way. The earth cannot even be called a grain of sand in this infinity. It dissolves and vanishes, and with it, you.
Where are you? And is what you want simply madness?
Before all these worlds ask yourself what are your aims and hopes, your intentions and means of fulfilling them, the demands that may be made upon you and your preparedness to meet them.
A long and difficult journey is before you; you are preparing for a strange and unknown land.
The way is infinitely long. You do not know if rest will be possible on the way nor where it will be possible. You should be prepared for the worst. Take all the necessities for the journey with you.
Remember where you are and why you are here. Do not protect yourselves and remember that no effort is made in vain. And now you can set out on the way.”
Views from the Real World: Early Talks of Gurdjieff
“Human beings are attached to everything in this life; attached to their imagination, attached to their ignorance, attached to their fear, attached even to their own suffering — and possibly to their own suffering more than anything else.
A person must first free himself from attachment. Attachment to things, identification with things, keeps alive a thousand false I’s in a person. These I’s must die in order that the big I may be born.
But how can they be made to die?…It is at this point that the possibility of awakening comes to the rescue.
To awaken means to realize one’s nothingness, that is, to realize one’s complete and absolute mechanicalness, as well as one’s complete and absolute helplessness…So long as a person is not horrified at himself, then a person knows nothing about himself or life.”
— P.D. Ouspensky quoting G.I. Gurdjieff
I’ve always put up a Christmas tree. Despite the halfhearted participation (and groaning) of my boyfriends, I’ve faithfully, right after Thanksgiving, headed out and bought (or here on Vashon, cut down) a tree to lug home. It’s a ritual I rarely miss.
After visiting India some years ago I returned home in the winter and the notion of putting a bauble-laden tree on display felt absurd. This is a rite of passage for anyone who ventures to India: Your brain cells are rearranged and you never view your world, or its customs, the same. I know that was true for me as a Westerner. Christmas in America, after the dust and squalor of India, felt gluttonous. So I skipped the holidays that year — though I missed having a tree in the house.
I enjoy the act of arranging the colors, textures and lights on a tree. It’s similar to making a painting, the alchemy of conjuring art. Simpler, but no less magical. I especially love the ricochetting of light amidst the ornaments, as it envelops the tree at nighttime. As I’ve grown older I’ve come to understand that the ritual of displaying a tree is a sacred act — although I’ve never fully understood why.
Most of us are familiar with the historical origins of the Christmas tree. Its association with the pagan rite of celebrating the solstice. When the light of the Sun ‘returns’ in the Northern hemisphere and begins its increase and ascent, the radiance grows stronger and longer through the ensuing months. Trees would be displayed to honor the burgeoning of light and life. And the fruits and trinkets that would decorate the tree honored the bounty, the wish of a successful harvest in the year to come.
And yet the historical perspective never impressed me much. I mean, none of those facts would drift through my mind as I’d lounge on the couch in the evening — no matter my age — and stare at the tree until I fell asleep. Nope, another set of mysterious associations would encircle me and send me into a reverie. And it wasn’t until I came to the conclusion of one of my favorite books this year that I began to make sense of my devotion.
Martha Heyneman‘s book The Breathing Cathedral is a fantastic interweaving of the cosmologies of Gurdjieff, Dante, Aquinas, Stephen Hawking and others, into a new model, a new interpretation of the universe we inhabit. I was drawn to the book because, as a longtime student of Gurdjieff’s teachings, I was intrigued to see how Heyneman, a zoology student turned poet, was bringing Gurdjieff’s teachings forward and marrying them to the world of science.
The last chapter of her book is titled O Christmas Tree, and at first the subject — the family Christmas tree — seemed an odd way to summarize all that she’d explored in the previous chapters. But in the end I understood completely. Read more
Fritz Peters recounts an episode when he was a twelve year old boy at Gurdjieff’s Institute for the Harmonious Development of Man at the Prieuré in Fontainebleau-Avon:
He then asked me to look out of the window and to tell him what I saw. I said that, from that window, all I could see was an oak tree. And what, he asked, was on the oak tree? I told him: acorns.
“How many acorns?”
When I replied, rather uncertainly, that I did not know, he said impatiently: “Not exactly, not ask that. Guess how many!”
I said that I supposed there were several thousand of them.
He agreed and then asked me how many of the acorns would become oak trees. I answered that I supposed only five or six of them would actually develop into trees, if that many.
He nodded. “Perhaps only one, perhaps not even one. Must learn from Nature. Man is also organism. Nature make many acorns, but possibility to become tree exist for only few acorns. Same with man — many men born, but only few grow. People think this waste, think Nature waste. Not so. Rest become fertiliser, go back to earth and create possibility for more acorns, more men, once in a while more tree — more real man.
Nature always give — but only give possibility. To become real oak, or real man, must make effort. You understand this, my work … not for fertilizer. For real man only. But must also understand fertilizer necessary to Nature. Possibility for real tree, real man also depend just this fertilizer.”
From the book Boyhood with Gurdjieff p.43
Ansel Adams, Oak Tree, Sunset City, California 1962. From Ansel Adams at 100.