Matrignosis: A Blog About Inner Wisdom

Think Pyschologically; Live Spiritually

Muse, Anima, or Soul? September 1, 2015

The Ponte Vecchio (

The Ponte Vecchio (“old bridge”) in Florence, Italy

Recently a reader asked this question: “If a woman performs the function of being an artist’s ‘muse’ and if the artist believes (to paraphrase Joseph Campbell in ‘The White Goddess”) that ‘she is a representative of the goddess deconstructing and remaking him’ then where does muse/anima begin and end?”

I wasn’t exactly sure I understood the question fully, but here’s how I replied…in a slightly revised form now that I’ve decided to make a post of it.

Well, right off hand I’d say that the muse is one of several functions of the Anima.  Anima is the name Carl Jung gave to a man’s unconscious feminine side. As I use the term however, I essentially mean the unconscious or undeveloped feminine in everyone.  Sometimes I use Anima and Soul interchangably.  I do the same with the unconscious masculine:  i.e. Animus or Spirit. 

Our feminine side is associated with empathy, intimately relating, nurturing, receptivity, tender feelings, the instincts, and all the soulful, material, physical aspects of human life. Whichever of these are not consciously developed remain in the unconscious as our Anima.

Our instincts are the source of all creativity:  i.e. we need to eat (the instinct for nurturance), so we create weapons and tools to catch and kill animals and fish. Or look for work we can enjoy and earn money doing. Paradoxically, we contain an instinct for creativity itself, although not everyone activates it as much as artists and other unusually creative people. 

Patriarchal culture educates us into a one-sided way of thinking and behaving with values that are active, productive, dynamic, goal- and achievement-oriented, practical, clear, structured, logical, linear and competitive.  In this masculine-oriented environment, many of us repress our Soul into the unconscious, thus losing the ability to care deeply and have empathy for others, cultivate intimate relationships, feel and express tender emotions, tend lovingly to our bodies and the everyday physical requirements of life, and be receptive to our own repressed needs and instincts. Soul requires more time, quiet, stillness, space, receptivity and contemplation to get in touch with the inner life—including inspiring inner images, visions, dreams and imagination—than the fast track allows.

As a result, many, if not most, men project their Anima onto a woman and let her carry it for them.  A man can learn  a lot about Soul vicariously through her, but he won’t necessarily learn to experience his own Soul, which might be quite different from hers.

“In the middle of the journey of our life I came to myself within a dark wood where the straight way was lost.” ~Dante Alighieri

Dante sees Beatrice for the first time.

Dante sees Beatrice for the first time.

This can create real problems between them because he expects her to behave “appropriately,”  i.e. as his own idealized feminine side would.  When she doesn’t mirror his ideal image, or Anima, he may be critical, disappointed, or angry at her. This is because he doesn’t see her as she really is, or even necessarily like her;  he can only see her and appreciate her when she appears to be who he wants her to be.  Yet if she leaves him, he can be devastated.  It’s as if she’s taken away an essential part of him.  Which she has:  his connection to his feminine side.

Now, let’s assume this man has a strong, conscious connection with his creative instinct, and is a writer, artist, poet, composer, actor, etc. Let’s also assume that the woman onto whom he has projected his Anima inspires him to use his creative instinct in unusually imaginative and enormously satisfying ways.  In this case, the woman also assumes the function of his muse.  As such, she provides him with an important connection to the “inspiratrix” aspect of his own Anima.

This is exactly what happened to Dante when he first saw the girl Beatrice on the Ponte Veccio in Florence.  His Anima awoke with a lightning flash and immediately took residence in her image. Even though he married someone else and Beatrice died at a young age, her image forever after functioned as his Anima/Muse/Beloved and inspired him to write The Divine Comedy.

In bringing him in touch with his deeper inner life, the muse as his Beloved also provided access to his entire Soul, not just the inspiratrix part of her, but also the other instinctual parts that helped him care and feel deeply, develop intimate relationships, learn about his own feminine side, and ultimately connect with his Self.  It was this  inner relationship with his Soul and her conscious union with his Spiritual side that activated his authentic Self, expanded his vision into the Sacred Realm, and illuminated his brilliant masterpiece.

Unfortunately, most men never see the woman to whom they are profoundly attracted as an individual in her own right. Nor do they realize that the reason they are so attracted to her is because she represents the feminine half of their own authentic Self.

The Divine ComedyBut a man who can learn about his own Soul from the woman onto whom he projects it—i.e. a man who recognizes that the qualities he admires in her belong to him, and who can gain access to these qualities whether she is physically with him or not—is the most fortunate of men. Why? Because to consciously activate and create harmony between one’s own Soul and Spirit is the whole point of the human journey…or should I say, of the Divine Comedy?

And what is that point? To consciously make of one’s own life a work of art.

Image credits:  The Ponte Vecchio, http://www.asceville.org, Google Images. Dante and Beatrice, Henry Holiday, Wikipedia. Divine Comedy, Google Images.

Jean Raffa’s “The Bridge to Wholeness” and “Dream Theatres of the Soul” are at Amazon. E-book versions are also at KoboBarnes And Noble and Smashwords. “Healing the Sacred Divide” can be found at Amazon and Larson Publications, Inc.

 

My Animus is Afraid to Trust My Instincts June 30, 2015

puppy-pic2Two nights before my keynote speech to the 2015 International Association for the Study of Dreams I had this dream.

#4,642: My Animus is Afraid to Trust My Instincts:  Old friends have visited us for two days. I’ve just realized they left their dog alone at home. I’m worried about this. Will it have enough food?  I say to the husband, “Won’t it poop and pee all over the house?” He says with a shrug, “Maybe. We’ll see.” I can’t believe he’s so casual about this. It feels wrong.

We drive to their house in another town and go inside. As we approach the sliding glass door to the backyard, he points out little piles of poop that make a trail to the open door. I see their dog sticking its cute brown and white head out from some green undergrowth at back of the cement patio. It moves into the open looking wobbly and weak, as if it’s about to drop.

I go to it, sit on the ground, and pet it. It wags its tail happily and climbs into my lap, growing excited and playful. Another little black dog who looks like Peri [our son’s dog as a child] runs to me, jumps all over me, licks me, and wiggles around in my arms. The husband is watching us from the stoop of the open door. With an ironic smile he looks pointedly at his brown and white dog and says, “I’m afraid of you.” He turns away as if he’s lost interest.

My associations:  I associate the husband with the part of my animus that identifies with the Scholar archetype.  In waking life this man is an intelligent, creative former college professor. The dogs represent my animal, instinctual self, especially my instincts for nurturance and activity. My dream ego enjoys and trusts my instincts, but my animus neglects them and admits he’s afraid of his dog. Why?

The key to understanding this dream is the context. Anxiety about my upcoming speech had dominated my waking hours for over a month. The previous day, an artist friend who used to attend my classes at the Jung Center called and asked if I was ready. When I told her about my concerns she said, as other friends had been saying, “Relax.  You’re going to be great. You always are. Just trust your instincts.”

Bingo! My animus was afraid to trust my instincts. As a college professor, my instincts were of no importance. Nothing but an abstract concept. What was important was task-oriented, single-minded attention to texts written by outer authorities. We (my animus and ego) saw this as the only way to comprehend and express the course material clearly and correctly. This was how a good teacher prepared to teach.

When I quit teaching and began writing over 25 years ago, this habit persisted. By then my reading, studying and writing were focused on Jungian psychology and understanding my dreams.  But as I persisted in this inner work, something changed. I began to rely more on my dreams and instincts and less on outer authorities to guide the direction of my thinking and writing.

Following some inner compass I didn’t know I had, I spent mornings listening to my anima—my creative, feminine, instinctual self—by meditating and working on my dreams. When a dream image, emotion or theme felt unusually fascinating, I’d spend the afternoon—time reserved for my animus to manifest my anima’s creativity—incorporating it into my current manuscript. In respecting the needs of my feminine and masculine sides I was unknowingly activating the Self, the central authority of my psyche, and learning to trust it.

This transformation awakened my passion and creativity and informed my books. Dream Theatres of the Soul:  Empowering the Feminine Through Jungian Dream Work is the book on which my speech for the IASD was based. I knew this material. It had come from listening to my feminine instincts. Yet, in preparing for my speech I’d neglected Her in favor of His traditional, single-minded, outer-referential ego-mode.  And like the puppies in my dream, She was starved for attention, nurturance, and love.

Understanding this inner reality had a magical, mystical impact. With no mental effort other than a 30 minute meditation/ritual during which I thanked Dream Mother for this dream and reassured my animus that he could relax now, my concerns simply fell away.  For the next several days I was wrapped in a cocoon of calm and trust. Never have I been more relaxed before or after a presentation.

Yes, after 25 years of inner work, my animus’s fear of my instincts occasionally still floods me with anxiety, but so far this tension has served me well. Tolerating the interaction between the different perspectives of my masculine and feminine sides has not only insured my survival and thriving, but created and birthed self-knowledge, consciousness, and spiritual meaning.

Jean Raffa’s The Bridge to Wholeness and Dream Theatres of the Soul are at Amazon. E-book versions are also at KoboBarnes And Noble and Smashwords. Healing the Sacred Divide can be found at Amazon and Larson Publications, Inc.

 

The 52nd Week December 29, 2014

Izzie and Bear
Izzie and Bear

I love the week between Christmas and New Year’s Day. It has always stood out from the other 51 weeks in a year like a peaceful Zen garden, a special oasis where I attend to soul needs that require annual closure.

During the 80’s when I was juggling parenting with college teaching, I often spent this week assembling and basting together sandwiched layers of fabric backing, cotton batting, and the quilt tops I’d been working on all year. It took another year of hand-quilting everything together before I presented them to my children the next Christmas. After they each had a quilt of their own I used the last week of the year to start more quilts for our new mountain cabin. When these were finished we took them with us for our annual years’-end visit.

On the outside the 80’s were for me a time of perfecting and preserving my persona and the collective values of the times in which I was raised. But on the inside I felt I’d been shipwrecked and was living on my own private, isolated island. There I spent most of my time fishing in the watery depths of my psyche for psychological sustenance that could help me understand myself and resolve my inner conflicts.

Then, in the fall of 1989 I found what I was looking for:  I joined a Centerpoint group based on Jungian psychology, and suddenly the lights came on! I don’t remember what I did during the 52nd week that year but I’m pretty sure I would have spent most of it reading, studying and underlining one of the 20 or so books by Jungian analysts I had immediately ordered from Inner City Publishers.  Intense study was the first of the practices I undertook that made the year of 1990 a threshold into the most life-changing, soul-satisfying and creative period of my life.

My other main practice was recording and studying my dreams. Throughout the nineties I did dreamwork every morning and wrote every afternoon. I also meditated and practiced yoga. But I always devoted the 52nd week of each year to rereading my dream journals, summarizing important themes and trends, noting new developments, and highlighting valuable insights. Remembering and integrating my soul’s processes at the end of every year was an extremely valuable ritual for me in those days. Essentially I was building a new foundation for my psyche and I could feel it growing stronger with each passing year. This was my decade of finding, connecting with, and honoring the unconscious and the Self.

The new millennium brought new insights and year’s-end rituals.  Feeling an unprecedented need to get in touch with my body and nature, I usually spent the 52nd week hiking and climbing the mountains near our cabin.  As my grandchildren began arriving, they and their parents would join us;  we’d also play games and enjoy lots of physical, outdoor, non-cerebral fun like sledding, making snow angels, and building snowmen!

Once again it’s my favorite week of the year. This year Fred and I brought Izzie—our grand-dog who’s a female version of her predecessor, Bear—with us to the cabin. One of my favorite things so far has been to take a long daily hike around the property with her.  Another was to prepare a welcome meal of chili, salad, homemade biscuits, and key lime pie for my son’s family who joined us a few nights ago.

So far, the only theme I see emerging during this decade is to listen and follow the guidance of my instincts and energy.  I don’t feel much need for closure any more—annual or otherwise—and the days of making special preparations for the 52nd week are long gone. In fact, I rarely do much of that any other time of the year either.  Mostly I just like staying present with myself, my family, and the moment and its opportunities.

Above all, I’ve been spending a lot of time savoring the many blessings of my life.  Believe me, I’ve had more than my share and I’ve never felt more grateful for them. Right now, that’s enough for me. Whatever the new year may bring, I welcome it with open arms.

May the new year bring you renewed awareness and gratitude for the special times of your one, precious life.

If you’re interested in hearing more about my introduction to Jungian psychology, you might enjoy this radio interview I did for the Centerpoint Foundation.

Ebook versions of Jean Raffa’s The Bridge to Wholeness and Dream Theatres of the Soul are at Amazon, Kobo, Barnes and Noble and Smashwords. Healing the Sacred Divide can be found at Amazon and Larson Publications, Inc.

 

Creativity: The X Factor December 9, 2014

The Birth of New Spiritual Life

The Birth of New Spiritual Life

The unconscious is a repository of infinite properties which are unknown to our conscious egos. A recent dream vividly highlights this reality:

Dream #4592.  The Root Cellar: I’m looking through a window into the old root cellar carved from the base of the mountain on our North Carolina property.  The large, light-filled room contains peacefully meditating people.  Where the back wall used to be is a wide lit hallway extending far into the mountain with passageways on either side.  Where the wall to the right of the window used to be is another opening into another generous space of warm light and more meditating people.  Someone tells me that somewhere inside there is a portal to an underground system of rooms underlying the entire property. I’m thrilled and can’t wait to explore it.

After my last post, Five Links to Creativity, was published I realized I had failed to address a crucial source of creativity. This dream which came two nights later, showed me what was missing and inspired this post.

The “me” standing at the window represents my ego. The cave in the mountain represents my inner life which my ego observes. In waking life, the stone root cellar has no window and the entire structure measures maybe 12′ X 12′; but in the dream it’s much larger and filled with light and people.  The areas I can see represent the aspects of my inner life of which my ego is conscious. I am unaware of the left wall, i.e. the parts of my personal unconscious I have yet to “see” into. The dream tells me that my inner work has brought light into many formerly unknown parts of myself. But there’s far more, both in my personal unconscious and the collective unconscious below, about which I know nothing.

The X Factor of creativity is one of these things. Why have I always felt compelled to create?  Why did I draw pictures of horses throughout elementary school, start a novel at the age of ten, write a serial story for the 5th grade monthly newspaper?  Why make my own clothes, keep a diary, write plays and poems throughout Jr. High and High School? Why the college art class and pencil drawn portraits?  Why the urge to write stories and essays in my 20’s and 30’s?  Why the pottery classes? The Christmas card linoleum prints? The hand-made quilts? I have no idea.

There’s an X Factor I can’t explain that may have far more to do with creativity than anything we can know. It’s that unknown component in Mozart that made him a child prodigy who performed throughout Europe at the age of six. Can we credit his creativity to self-knowledge? Certainly not as a child.  What about psychological balance? Not really. In his own words he suffered from “black thoughts” and deep depression, leading some historians to believe he may have had some form of bipolar disorder. He also had periods of hysteria and spells of hectic creativity. Yet he was an innovative genius whose creative daemon expressed itself in some of the most beautiful, violent and sensual music the world has ever known.

Vincent Van Gogh was deeply frustrated by the inactivity and incoherence brought about by his bouts of mental illness including a nervous collapse, an acute psychotic episode, and a hospital diagnosis of generalized delirium.  Yet, during his worst years his daemon expressed itself in some of his best work.

What is this daemon that drives us to create no matter how balanced, turbulent or comfortable our inner or outer lives may be?  The term “daemon” derives from a Greek word meaning “godlike power, fate, god.”  In classical mythology daemons were benevolent nature spirits similar to spirit guides who dispense riches, guidance, protection and good fortune to humans.  It was believed that every individual had its own spirit, daemon, or genius which was the source of their exceptional creativity in certain areas of their lives.

According to the Dictionary of Creativity: Terms, Concepts, Theories & Findings in Creativity Research, “the concept of genius still holds some mystical connotations suggesting inspiration from the supernatural powers, the unconscious or the higher states of consciousness.” And in terms of our psychological development, “The ideology of genius as an exceptional personality possessing some extraordinary qualities assumes that the function of genius is to eliminate alienation (of the self and the world from themselves), and to establish “a higher order in which unity is achieved or restored, and in which humanity is fully realized.”

Psychological alienation and spiritual inspiration can both be components of creativity. Certainly alienation played an important role in mine. Perhaps that’s why I’ve been stressing the psychological aspects:  how the ego’s search for greater consciousness and balance can activate our creativity.

But a few nights ago my dream reminded me of the existence of a vast realm beyond the knowable psyche. To ignore the X Factor of the collective unconscious wherein the spirits dwell is a great mistake. It gives too much credit to the ego and conscious mind and not enough to the Great Mystery of life, our source, essence and reason for Being.

Have you found creative inspiration from your dreams?  How does your daemon manifest?

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Image:  The Birth of New Spiritual Life.  A linoleum print I made in the early 70’s. 

Quote:  From Carl Jung Depth Psychology, a web site moderated by Lewis Lafontaine.

Ebook versions of The Bridge to Wholeness and Dream Theatres of the Soul are at Amazon, Kobo, Barnes and Noble and Smashwords.  Healing the Sacred Divide can be found at Amazon and Larson Publications, Inc.

 

Five Links to Creativity December 2, 2014

ChiefOsceolaandRenegadeLast time in “The Psychology of Creativity” I discussed how creativity originates in the body’s physical instincts.  But, you might wonder,  what does this mean for me in practical terms?  How do I gain access to my creativity? Where do I direct my energy and attention? What, exactly, is the link that connects my body’s natural instincts with my ego’s potential to produce something truly original?

Actually, more than one link needs to be forged between our conscious and unconscious selves before we can fully activate and manifest our creativity.  Here are five I consider to be of primary importance.

1.  Libido:  Libido is psychological energy, the zest for life which enables us to get out of bed every day and act on our instinctual urges, including the instinct for creativity.  We all have the urge to grow and learn, but life presents many obstacles that can sap it. Chief among these is the ego’s lethargy.  Our child-like desire to regress into unconscious dependence is extremely powerful;  nobody finds it easy to rouse themselves from the cozy maternal matrix we inhabited during our early years. Other drains come from early trauma, lack of nurturance,  self-destructive habits, poverty, debilitating accidents and illnesses, toxic relationships, grief, and anything else that stifles our instincts and brings hopelessness and despair.  It’s not impossible for an individual with insufficient libido to find a creative outlet, and that in itself will provide an increase of libido, but we can’t develop our fullest creativity without a good dose of it.

2.  Balance:  Psychological one-sidedness can imprison our instincts, thus inhibiting our creativity. Some examples:  the person whose obsession with logic and reason causes scorn for spontaneity, intuition and emotion.  The one whose extreme emotions eliminate the possibility of rational decision-making. The person full of inspired, creative ideas who can’t handle the daily show-up and follow-through.  The religious fanatic who idealizes disembodied Spirit and fears and hates his bodily temptations. Balance is a bridge that allows opposites to interact, and the resulting fertilization creates something new.

 3. Self-Awareness:  You can’t mend your psychological imbalance if you don’t see it. Most of us spend the first half of our lives on auto-pilot. As long as we’re driven to do what we need to do without questioning or taking over the controls, our creative offerings are minimal. This may be fine for one who doesn’t feel the creative urge, but for those who do, self-awareness is indispensable.  Noticing the different ways you feel in different situations, then figuring out where you feel best and spending more time there, frees up repressed libido.  The more you watch your actions, listen to yourself talk, or notice the direction your life is taking, the more aware you are of alternatives. The more alternatives you have, the more original your choices can be.

4. Feeling:   At your psyche’s core you are a unique individual with important values, ideas and images that contribute to your creativity and give shape to your life’s purpose. But from the moment you first saw a frown on Mother’s face or heard the impatient edge in Daddy’s voice you started covering up your true Self until you lost touch with your essence. Reconnecting with the Self requires trust in what feels meaningful and important regardless of what others think.

I was reminded of this while watching the Florida State vs. Florida football game Thanksgiving weekend.  Back when FSU’s football program was young and unknown, Fred was one of two freshmen to earn a walk-on scholarship.  Naturally, we’ve rooted for the Seminoles ever since.  In those days I’d watch Chief Osceola stir up the crowd during a game and think, “That Indian needs a horse!”  I wasn’t aware of Horse’s symbolic meaning.  I just knew a horse could bring pride, unity and strength to our struggling athletic program. I had no idea it could do the same for my psyche!  Nine years after we left, FSU got a horse mascot.  Today Chief Osceola and Renegade are national icons and Horse has a profound influence on my writing.

I’m not suggesting there’s anything new about a Native American on a horse, or that there’s a cause and effect relationship here, or that winning and fame should be our ultimate goals!  My point is that recurring feelings and images signal creative developments emerging from the spirit of the depths, and taking them seriously can enhance our creativity.

5. Self-Love:  The final and most important link to be forged between our egos and instincts is Love.  If we can’t love our bodies and their instincts, we can’t love our flawed humanness, and without a measure of self-love we are in grave danger of living libido-deprived, unbalanced, unaware, unfeeling and uncreative lives. Living with love and creativity is our greatest joy and reason for being. We bring forth these life-giving qualities through conscious dialogues with our instincts.  This is holy work.

Ebook versions of The Bridge to Wholeness and Dream Theatres of the Soul are at Amazon, Kobo, Barnes and Noble and Smashwords.  Healing the Sacred Divide can be found at Amazon and Larson Publications, Inc.

 Image: Mark Wallcheiser, Chief Osceola on Renegade, Wikipedia

 

The Psychology of Creativity November 25, 2014

1024px-Macarons_Marcolini_04“From the living fountain of instinct flows everything that is creative; hence the unconscious is not merely conditioned by history, but is the very source of the creative impulse.” (Carl Gustav Jung)

I’m feeling inspired to write poetry these days, and this has me thinking about creativity.  Jung says creativity originates in our instincts.  In other words, our body, with its physical needs and functions, is the matter (L. Mater), or mother, of our urge to create.  And the psyche governs our responses to our instinctual urges.

Jung said we have five basic instincts:

“Whatever creativity is, it is in part a solution to a problem.” (Brian W. Aldiss)

Nurturance: Our bodies need fuel, and we get hungry, irritable and desperate when we don’t get it. They also need protection from the dangerous and uncontrollable forces of nature.  Some human caring and creature comfort don’t hurt either. So if we, our loved ones and our tribe are to survive and prosper, our basic needs for nurturing and being nurtured must be met.  Thus, creativity originally arose in the marshalling of conscious thought and focused behavior to create the necessary tools, weapons, strategies, rules and codes of conduct that would satisfy this instinct.

1280px-Paul_Gauguin_104“The essential ingredient for creativity is wasting time.” (Anonymous)

“I have always regarded manual labour as creative and looked with respect – and, yes, wonder – at people who work with their hands. It seems to me that their creativity is no less than that of a violinist or painter.” (Pablo Casals)

Activity:  Food and water don’t just automatically show up in edible and potable form when we need it, so we have to get off the couch and do something to procure them!  And once we have thoroughly stuffed ourselves it feels good to celebrate with other creative activities such as walking dinner off, participating in games and athletic competitions, and cleaning and fixing up the cave.

“The emotional mind creates, and the rational mind explains it. Another way of saying this is, your ‘heart’ perceives it and your ‘head’ translates it.” (Alvaro Castagnet)

Reflection:  If, after all this eating and fooling around we have a spare moment or two, and if we still feel comfortable and secure, our thoughts move into new areas. For example, we might reflect on how beautiful the sunset is;  figure out how not to starve or freeze to death next winter; wonder why the kids are so cranky!  So we ask questions and try to solve problems. We devise strategies and make plans. We create religious rituals to thank the earth, the animals, the plants and the gods for meeting our needs and to make sure the sun will rise in the morning, spring will return, and a saber toothed-tiger won’t have us for dinner.

Hermann-Paul_-_Les_Danseuses“The creative process is a cocktail of instinct, skill, culture and a highly creative feverishness. It is not like a drug; it is a particular state when everything happens very quickly, a mixture of consciousness and unconsciousness, of fear and pleasure; it’s a little like making love, the physical act of love.” (Francis Bacon)

Sex:  Every living creature is born with the instinct to preserve the species. Plus, humans and other complex animal forms have an instinctive need for love and intimacy with others. And it feels good! So we use our creativity to attract partners and be appealing to them.

“I believed that I wanted to be a poet,
but deep down I just wanted to be a poem.” ~ Jaime Gil de Biedma

Creativity:  So the instincts activate our creativity and creativity is itself an instinct, an urge that satisfies our souls and enriches our lives in numerous ways and forms.  Stories told around the fire.  Figurines of animals and gods.  Vessels for food and flowers, gathering and gifting.  Music:  songs, dances symphonies and the instruments to play them.  Painted images from myths and dreams.  Delicious foods.  Ornaments for our bodies, fabrics to wear and beautify our homes, poems to enlighten and inspire us, to make works of art of our very lives.

NPG 1899,Elizabeth Barrett Browning,by Michele GordigianiAnd in the process, to make life worth living.

“Creative activity is more than a mere cultural frill, it is a crucial factor of human experience, the means of self-revelation, the basis of empathy with others; it inspires both individualism and responsibility, the giving and the sharing of experience.” (Tom Hudson)

“If I didn’t have my films as an outlet for all the different sides of me, I would probably be locked up.” (Angelina Jolie)

“The truly creative mind in any field is no more than this: A human creature born abnormally, inhumanly sensitive. To them… a touch is a blow, a sound is a noise, a misfortune is a tragedy, a joy is an ecstasy, a friend is a lover, a lover is a god, and failure is death.  Add to this cruelly delicate organism the overpowering necessity to create, create, create – so that without the creating of music or poetry or books or buildings or something of meaning, his very breath is cut off from him. He must create, must pour out creation. By some strange, unknown, inward urgency he is not really alive unless he is creating.” (Pearl S. Buck)

“When I can no longer create anything, I’ll be done for.” (Coco Chanel)

I’m with you, Coco.

Ebook versions of The Bridge to Wholeness and Dream Theatres of the Soul are at Amazon, Kobo, Barnes and Noble and Smashwords.  Healing the Sacred Divide can be found at Amazon and Larson Publications, Inc.

All quotes except the one from Jaime Gil de Biedma are from the website Art Quotes.  That one comes from my friend Jenna Farr Ludwig’s Facebook page.

Images: Macarons, Marcolini, Wikimedia Commons.  Paul Gauguin, Wikimedia Commons.  Hermann Paul, Les Danseuses, Wikimedia Commons. Elizabeth Barrett Browning, Michele Gordigiani, 1858, Wikimedia Commons.

 

And the Beat Goes On November 17, 2014

In September I had a particularly meaningful dream about my remodeled childhood home.  When I shared it in The Interior Designer Within, the feedback was so fascinating and the discussion so provocative that I wrote two more posts about it: Viewing Your Life Through Mythic Eyes, and Written in the Stars.  Meanwhile, nine nights after that dream my unconscious gave me another “house” dream:

#4570:  The Remodeled Hall. I’m standing with my back to the back porch of my childhood home. In front of me is the hall that leads to the kitchen.  What used to be a narrow, musty passage between the two, with a bathroom on one side and my parents’ room on the other, is now a large spacious gallery, perhaps 18 feet wide, with a ceiling so high I can’t even see it. It’s filled with light and the walls are painted a bright, glossy white. I think someone is painting the last coat on it now.  I think this would make a beautiful art gallery and imagine a huge square painting on one side. The dominant color should be red and other fiery colors. Yes, I’ll use this room for art, but not too much. I don’t want it to be cluttered or distracting.  Just simple and beautiful. I wake up planning where ceiling lights should go.

Although the two dreams occurred several days apart, they felt connected.  The first said that the living room, dining room and kitchen—symbolically, areas of my psyche related to my conscious living—had been dramatically remodeled over the years.  The second one said that remodeling was also underway in the hall at the back of the house—symbolically, my personal unconscious.  Whereas the front of the house was occupied with the more public and practical aspects of my life, this central part in the back was becoming a space for light, art, and creativity.

I loved these dreams.  I loved my childhood home and my life there. And I love the growth I’ve undergone since then. Perhaps that’s why all my dreams of that house leave me with good feelings that last for days. It also makes sense that this recent series of house dreams came at a time when I was feeling particularly good about my life, my work, and myself.

The beat goes on, beat goes on
Drums keep pounding a rhythm to the brain
La de da de de, la de da de da

Charleston was once the rage, uh huh
History has turned the page, uh huh
The miniskirt’s the current thing, uh huh
Teenybopper is our newborn king, uh huh

And the beat goes on, beat goes on
Drums keep pounding a rhythm to the brain
La de da de de, la de da de da

My two most recent dreams, 7 days apart, speak to a different experience of life. Both feature stressful situations in unknown public places where I’m looking for my husband, my car, and my cell phone. Here’s a brief summary of the latest.

#4587:  Stressed and Unprepared I wake up from a nap in a public place. I realize it’s 3:30 in the afternoon on Thanksgiving Day! I have 20 people coming for dinner in two-and-a half hours and I forgot to put the turkey in the oven and peel the potatoes! I start searching through a crowd of hurried passers-by for my purse, my cell phone, my car keys, my husband. I see my husband and send him to Costco in his car for the potatoes and green beans.  As I head for the parking lot I worry: How will I have time to do everything?  How will I even get home?  I can’t find the keys to my car and I can’t call for a cab because I don’t have my phone!

I was frowning and feeling frustrated when I awoke from this dream Monday morning, and the mood lasted half the day! So what’s my issue? Have I been doing too much or too little?  Are my priorities out of whack?  Am I wasting time on things I love which are not that important in the bigger picture?  Should I give more attention to my outer life and less to the inner? Do I feel guilty for loafing all day Sunday?  Am I afraid of being unprepared for Thanksgiving dinner?  For the book I’m starting to write?  For my keynote speech next summer? Am I having trouble communicating my concerns to Fred and/or my animus and asking for their help?  These are all things I’ve wondered lately.

My “childhood home” dreams tell me what I’m doing well.  They remind me to be grateful.  They affirm my growth and encourage me to keep going.  Stress dreams tell me when things are out of balance. They set up possible scenarios and rehearse strategies I might want to consider. And though they may bring me down for a time, I usually bounce back before long.

Neither state of mind is a constant and this is as it should be.  The psyche needs balance, just as Nature’s seasons.  And the opposites of life deserve their due.  Yet, regardless of which phase we’re in, we can be assured that the beat goes on. Like my two favorite kinds of jazz, sometimes the pace is frenetic, sometimes it’s slow and easy. But it goes on.

And the beat goes on, beat goes on
Drums keep pounding a rhythm to the brain
La de da de de, la de da de da

Songwriters
PRINI, ROSSANO / SANDRINI, PAOLO / NARAINE, WILLIAM / ULIVI, VITO / BARATTA, MARCO / SUDANO, RICCARDO

Published by
Lyrics © Sony/ATV Music Publishing LLC, Universal Music Publishing Group, Warner/Chappell Music, Inc.

 Ebook versions of The Bridge to Wholeness and Dream Theatres of the Soul are at Amazon, Kobo, Barnes and Noble and Smashwords.  Healing the Sacred Divide can be found at Amazon and Larson Publications, Inc.

 

 
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