Awareness and existence are the same There is more in the texts of nature and in the texts of literary and cultural consciousness than we have previously realized. No text, natural, technological or literary are shut – everything is open, waiting for us. Inside the book of life we may find the grand etching of the cosmos: exodus toward identity. “Divination means moving deeply into what is before you. The present, when you read a book and scan a screen and hear the global beat, pours over us; we are transported into the unifying moment that speaks to what comes. The moment is neither hallucinatory nor nostaligic…our higher selves emerge when we engage one another, and it reveals that we are connected.” =the process of knowledge moving from separative direct contact to intimate knowledge by identity (connection of consciousness between individuals, forms, patterns, etc.) Through circuitry – the emergent planetary consciousness – we recognize the true tale -The current of electricity is the flush of Nature and super-Nature, made up of individual currents (ourselves), melding into the Magnetic City.” -B.W Powe, Apocalypse and Alchemy, 894 DHVANI/ANAGOGIC-FRACTAL-LEVEL: At this level of discourse, language has a meaning that cannot be expressed through normal linguistic means; that meaning in fact transcends referential meaning itself. It can never be referred to. At first this supra-textual meaning, revealed only by suggestion, was associated with the emotional response of the reader or the playgoer to the epiphany that is the poem or the drama, which are themselves fiction s hen judged by ordinary standards of referential language. But in the interpretation of this emotion (or emotions, for there are several) by Abhinavagupta, its affinity with certain trance-like states induced by meditation on ultimate things is brought out an interpretation that places mere poetry on a trajectory that leads to the liberation of the person from the travails of life... a system advancing the notion that the core of reality is a consciousness reflecting on itself - the doctrine of pratyabhijna or recognition. This generalized emotional intuition transcends even the power of suggestion, for it is ever with us, being a component of our personality itself, explaining even the possibility of experience. It needs only to be awakened. The function of the work of art is more to strip away the obstacles to its being experienced in this pure form, but of course it is present in all experience, though modulated through the particulars of time, place, and personal history. And the work, to this end, functions in much the same way for the playgoer, as does the external world for the mystic or wandering ascetic- both are foils for inducing a recognition that the worlds (or the plays) multifarious content is chiefly significant as expression of ones own consciousness, which, in this sense, must coincide with all others consciousness. The character of the experience itself is closer to the cosmic experience at the heart of the Real, essentially common to all and nothing but reflexive, even responsible for its own content. Or rather, reevaluating the real so as to reveal its essential dependence on the experience itself. (Edwin Gerow, Escaping Language: Roman Jakobson and Abhinavagupta) “The concept of resonance in Chinese esthetics is intimately associated with the organismic nature of the universe envisaged by cosmologists and philosophers. In accordance with this view, all entities are related, such that they have an effect upon each other. This mutual relationship of entities results in the phenomenon known as ganying !$M (stimulus-response) whereby disturbing or acting upon one entity leads to a sympathetic reaction in another entity. As applied to esthetics, poetic sentiment or artistic expression may be said to reverberate in the mind of the auditor/reader/viewer, giving rise to shenyun (spirit resonance). .. Perfect, intuitive, enlightened apprehension of reality that was reflected in the poets creation. Shenyun was the tone, mood, or atmosphere with which a poem is charged, as well as the inner psychological and spiritual realities that characterize the individual poet.... In Indian esthetics, dhvani plays a role that is strikingly similar to that of shenyun in Chinese esthetics. Derived from the root dhvan (sound, roar, make a noise; echo), dhvani has a wide range of meanings: sound, noise, echo, voice, tone, tune; thunder; sounds of animate nature [e.g., calls of animals, bird songs, human voices, clapping, breaking wind, snoring]; sound of a drum; empty sound without reality; a word, allusion, hint, implied meaning; poetical style. A related word is dhvanitva (figurative allusion; poetical style)... dhvani not only signifies resonance and suggestion, but it also can refer to the evocation or connotation accompanying a word or phrase, as opposed to its linguistically derivable meanings. .. Through language - essentially sounds - ideas and images are evoked. These sounds reverberate and linger in the mind of the auditor (and reading a poem is a kind of internal auditory experience). As they resonate, deeper levels of realization are attained -Victor H. Mair The Synesthesia of Sinitic Esthetics and Its Indic Resonances Awareness and existence are the same https://youtube/watch?v=jskBuNIBIHs
Posted on: Tue, 16 Dec 2014 08:02:08 +0000
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