Ecstatic Dance Quotes

Real-life may not always be a symphony of buoyant instants or ecstatic exploits. Downbeat emotional externalities can emerge unpredictably throughout our life journey. If we wish to turn life into an undying dance prom, let’s keep one foot in reality for sure. ("Blind date")

We watch a sunlight dust dance, and we try to be that lively, but nobody knows what music those particles hear. Each of us has a secret companion musician to dance to. Unique rhythmic play, a motion in the street we alone know and hear.

I wouldn't say that my emotions are extreme. I'd say they are committed. My moods are the equivalent of Madonna's dancing: inappropriate but all-out. If I'm going to be sad, I might as well be the saddest a girl can get. And if I'm happy, I want to be the happiest. The trouble is, I feel highs so ecstatic that just being normal feels like a thousand-mile drop and being unhappy is excruciating.

She danced the way she always did, holding her body and arms still while her legs and feet sprang across the floor. When she was sober, her head remained stationary; when she was drunk, it nodded in time to the music. She always closed her eyes. She always wore the same, ecstatic smile. And I, always, watched in wonder.

History is ending because the dominator culture has led the human species into a blind alley, and as the inevitable chaostrophie approaches, people look for metaphors and answers. Every time a culture gets into trouble it casts itself back into the past looking for the last sane moment it ever knew. And the last sane moment we ever knew was on the plains of Africa 15,000 years ago rocked in the cradle of the Great Horned Mushroom Goddess before history, before standing armies, before slavery and property, before warfare and phonetic alphabets and monotheism, before, before, before. And this is where the future is taking us because the secret faith of the twentieth century is not modernism, the secret faith of the twentieth century is nostalgia for the archaic, nostalgia for the paleolithic, and that gives us body piercing, abstract expressionism, surrealism, jazz, rock-n-roll and catastrophe theory. The 20th century mind is nostalgic for the paradise that once existed on the mushroom dotted plains of Africa where the plant-human symbiosis occurred that pulled us out of the animal body and into the tool-using, culture-making, imagination-exploring creature that we are. And why does this matter? It matters because it shows that the way out is back and that the future is a forward escape into the past. This is what the psychedelic experience means. Its a doorway out of history and into the wiring under the board in eternity. And I tell you this because if the community understands what it is that holds it together the community will be better able to streamline itself for flight into hyperspace because what we need is a new myth, what we need is a new true story that tells us where we're going in the universe and that true story is that the ego is a product of pathology, and when psilocybin is regularly part of the human experience the ego is supressed and the supression of the ego means the defeat of the dominators, the materialists, the product peddlers. Psychedelics return us to the inner worth of the self, to the importance of the feeling of immediate experience - and nobody can sell that to you and nobody can buy it from you, so the dominator culture is not interested in the felt presence of immediate experience, but that's what holds the community together. And as we break out of the silly myths of science, and the infantile obsessions of the marketplace what we discover through the psychedelic experience is that in the body, IN THE BODY, there are Niagaras of beauty, alien beauty, alien dimensions that are part of the self, the richest part of life. I think of going to the grave without having a psychedelic experience like going to the grave without ever having sex. It means that you never figured out what it is all about. The mystery is in the body and the way the body works itself into nature. What the Archaic Revival means is shamanism, ecstacy, orgiastic sexuality, and the defeat of the three enemies of the people. And the three enemies of the people are hegemony, monogamy and monotony! And if you get them on the run you have the dominators sweating folks, because that means your getting it all reconnected, and getting it all reconnected means putting aside the idea of separateness and self-definition through thing-fetish. Getting it all connected means tapping into the Gaian mind, and the Gaian mind is what we're calling the psychedelic experience. Its an experience of the living fact of the entelechy of the planet. And without that experience we wander in a desert of bogus ideologies. But with that experience the compass of the self can be set, and that's the idea; figuring out how to reset the compass of the self through community, through ecstatic dance, through psychedelics, sexuality, intelligence, INTELLIGENCE. This is what we have to have to make the forward escape into hyperspace.

Prince Andrei was one of the best dancers of his day. Natasha danced exquisitely. Her little feet in their satin dancing shoes performed their role swiftly, lightly, as if they had wings, while her face was radiant and ecstatic with happiness.

Sophia and Grandmother sat down by the shore to discuss the matter further. It was a pretty day, and the sea was running a long, windless swell. It was on days just like this--dog days--that boats went sailing off all by themselves. Large, alien objects made their way in from sea, certain things sank and others rose, milk soured, and dragonflies danced in desperation. Lizards were not afraid. When the moon came up, red spiders mated on uninhabited skerries, where the rock became an unbroken carpet of tiny, ecstatic spiders.

The universe is in fact the constantly reborn “child” of the lovemaking of the “Father” and “Mother,” Shiva and Shakti, who at all moments dance in and out of, and merge with, each other’s being with divine complexity, subtlety, passion, and ecstatic humor.

Pink Balloons My name is Olivia King I am five years old My mother bought me a balloon. I remember the day she walked through the front door with it. The curly hot pink ribbon trickling down her arm, wrapped around her wrist . She was smiling at me as she untied the ribbon and wrapped it around my hand. "Here Livie, I bought this for you." She called me Livie. I was so happy . I'd never had a balloon before. I mean, I always saw balloon wrapped around other kids wrist in the parking lot of Wal-Mart , but I never dreamed I would have my very own. My very own pink balloon. I was excited! So ecstatic! So thrilled! i couldn't believe my mother bought me something! She'd never bought me anything before! I played with it for hours . It was full of helium and it danced and swayed and floated as I drug it around from room to room with me, thinking of places to take it. Thinking of places the balloon had never been before. I took it in the bathroom , the closet , the laundry room , the kitchen , the living room . I wanted my new best friend to see everything I saw! I took it to my mother's bedroom! My mothers Bedroom? Where I wasn't supposed to be? With my pink balloon... I covered my ears as she screamed at me, wiping the evidence off her nose! She slapped me across the face as she told me how bad I was! How much I misbehaved! How I never listened! She shoved me into the hallways and slammed the door, locking my pink balloon inside with her. I wanted him back! He was my best friend! Not her! The pink ribbon was still tied around my wrist so I pulled and pulled , trying to get my new best friend away from her. And it popped. My name is Eddie. I'm seventeen years old. My birthday is next week. I'll be big One-Eight. My foster dad is buying me these boots I've been wanting. I'm sure my friends will take me out to eat. My boyfriend will buy me a gift, maybe even take me to a movie. I'll even get a nice little card from my foster care worker, wishing me a happy eighteenth birthday, informing me I've aged out of the system. I'll have a good time. I know I will. But there's one thing I know for sure I better not get any shitty ass pink balloons!

Every time you come to the limit of what is demanded of you, you are faced with the same problem - to be yourself! And with the first step you make in this direction you realize that there is neither plus nor minus; you throw the skates away and swim. There is no suffering any more because there is nothing which can threaten your security. And there is no desire to be of help to others even, because why rob them of a privilege which must be earned? Life stretches out from moment to moment in stupendous infinitude. Nothing can be more real than what you suppose it to be. Whatever you think the cosmos to be it is and it could not possibly be anything else as long as you are you and I am I. You live in the fruits of your action and your action is the harvest of your thought. Thought and action are one, because swimming you are in it and of it, and it is everything you desire it to be, no more, no less. Every stroke counts for eternity. The heating and cooling system is one system, and Cancer is separated from Capricorn only by an imaginary line. You don't become ecstatic and you are not plunged into violent grief; you don't pray for rain, neither do you dance a jig. You live like a happy rock in the midst of the ocean: you are fixed while everything about you is in turbulent motion. You are fixed in a reality which permits the thought that nothing is fixed, that even the happiest and mightiest rock will one day be utterly dissolved and fluid as the ocean from which it was born.

[A]ny ecstatic experience can be healing not just for you but for others. Therapy is good to help you think differently and break patterns of pessimistic thinking or negative self-talk. But we have to be joyful, dance, and bring pleasure into our lives deliberately.

You know, when people who were once religious no longer believe in God, they never really change; they just go on, hunting for the ecstatic food, trying to satisfy that hunger.

Sensuality relates to how we can move, shake, and beguile our (desired) beloved into a deeper sense of communion. It’s a well-timed wink, the hug of cashmere on subtle curves, or the undulation of aromatherapy for sensual living sensuality and our senses hips on a dance floor. It’s salacious confidence seen in the way we hold ourselves in our bodies and in our lives.

The paradox is that by being ‘in love’ we are in fact falling in love with ourselves, and we have an opportunity to see ourselves in the eyes of another. It is an ecstatic place to be, the dance of romantic love, and one that cannot be denied, for it is the place where we are most likely to experience a divine tango with our soul. Love and myth go hand in hand, for myth is the most exquisite mirror of all for the reflection of self.

Fana is what opens our wings, what makes boredom and hurt disappear. We break to pieces inside it, dancing and perfectly free. We are the dreamer streaming into the loving nowhere of night. Rapt, we are the devouring worm who, through grace, becomes an entire orchard, the wholeness of the trunks, the leaves, the fruit, and the growing. Fana is the dissolution just before our commotion and mad night prayers become silence. Rumi often associates surrender with the joy of falling into the freedom of sleep.

One night he sits up. In cots around him are a few dozen sick or wounded. A warm September wind pours across the countryside and sets the walls of the tent rippling. Werner’s head swivels lightly on his neck. The wind is strong and gusting stronger, and the corners of the tent strain against their guy ropes, and where the flaps at the two ends come up, he can see trees buck and sway. Everything rustles. Werner zips his old notebook and the little house into his duffel and the man beside him murmurs questions to himself and the rest of the ruined company sleeps. Even Werner’s thirst has faded. He feels only the raw, impassive surge of the moonlight as it strikes the tent above him and scatters. Out there, through the open flaps of the tent, clouds hurtle above treetops. Toward Germany, toward home. Silver and blue, blue and silver. Sheets of paper tumble down the rows of cots, and in Werner’s chest comes a quickening. He sees Frau Elena kneel beside the coal stove and bank up the fire. Children in their beds. Baby Jutta sleeps in her cradle. His father lights a lamp, steps into an elevator, and disappears. The voice of Volkheimer: What you could be. Werner’s body seems to have gone weightless under his blanket, and beyond the flapping tent doors, the trees dance and the clouds keep up their huge billowing march, and he swings first one leg and then the other off the edge of the bed. “Ernst,” says the man beside him. “Ernst.” But there is no Ernst; the men in the cots do not reply; the American soldier at the door of the tent sleeps. Werner walks past him into the grass. The wind moves through his undershirt. He is a kite, a balloon. Once, he and Jutta built a little sailboat from scraps of wood and carried it to the river. Jutta painted the vessel in ecstatic purples and greens, and she set it on the water with great formality. But the boat sagged as soon as the current got hold of it. It floated downstream, out of reach, and the flat black water swallowed it. Jutta blinked at Werner with wet eyes, pulling at the battered loops of yarn in her sweater. “It’s all right,” he told her. “Things hardly ever work on the first try. We’ll make another, a better one.” Did they? He hopes they did. He seems to remember a little boat—a more seaworthy one—gliding down a river. It sailed around a bend and left them behind. Didn’t it? The moonlight shines and billows; the broken clouds scud above the trees. Leaves fly everywhere. But the moonlight stays unmoved by the wind, passing through clouds, through air, in what seems to Werner like impossibly slow, imperturbable rays. They hang across the buckling grass. Why doesn’t the wind move the light? Across the field, an American watches a boy leave the sick tent and move against the background of the trees. He sits up. He raises his hand. “Stop,” he calls. “Halt,” he calls. But Werner has crossed the edge of the field, where he steps on a trigger land mine set there by his own army three months before, and disappears in a fountain of earth.

The mind, unfettered by the constraints of the ego, dances with the cosmos in ecstatic union

Why is a dance beautiful? Answer: because it is an unfree movement. Because the deep meaning of the dance is contained in its absolute, ecstatic submission, in the ideal non-freedom.

Rave emerged spontaneously, neither planned or designed. It was a genuine grass roots phenomenon, egalitarian and welcoming. Thousands danced in fields all through the night, out under the moon, in order to achieve a trance-like, ecstatic state. It was a form of communion and it was pagan as fuck. Needless to say, it couldn't last. The press and the government, appalled by such non-violent having-of-a-good-time, moved quickly to crush it. Ultimately, though, they weren't quick enough. Rave grew too big too quickly, and it attracted the attention of those who felt they could make money from such events. Once this happened and the superstar DJs and the superclubs arrived, the focus shifted from the raw crowd back to the event itself. Rave's spell was broken.

may simply be his insanity, but when I freed the Rod of Tommus from the stones, Tizzy was looking happier, more ecstatic than I’ve ever seen him. He was literally dancing, or at least I think that was what he was doing. It could have been a seizure.

BOWLS OF FOOD Moon and evening star do their slow tambourine dance to praise this universe. The purpose of every gathering is discovered: to recognize beauty and love what’s beautiful. “Once it was like that, now it’s like this,” the saying goes around town, and serious consequences too. Men and women turn their faces to the wall in grief. They lose appetite. Then they start eating the fire of pleasure, as camels chew pungent grass for the sake of their souls. Winter blocks the road. Flowers are taken prisoner underground. Then green justice tenders a spear. Go outside to the orchard. These visitors came a long way, past all the houses of the zodiac, learning Something new at each stop. And they’re here for such a short time, sitting at these tables set on the prow of the wind. Bowls of food are brought out as answers, but still no one knows the answer. Food for the soul stays secret. Body food gets put out in the open like us. Those who work at a bakery don’t know the taste of bread like the hungry beggars do. Because the beloved wants to know, unseen things become manifest. Hiding is the hidden purpose of creation: bury your seed and wait. After you die, All the thoughts you had will throng around like children. The heart is the secret inside the secret. Call the secret language, and never be sure what you conceal. It’s unsure people who get the blessing. Climbing cypress, opening rose, Nightingale song, fruit, these are inside the chill November wind. They are its secret. We climb and fall so often. Plants have an inner Being, and separate ways of talking and feeling. An ear of corn bends in thought. Tulip, so embarrassed. Pink rose deciding to open a competing store. A bunch of grapes sits with its feet stuck out. Narcissus gossiping about iris. Willow, what do you learn from running water? Humility. Red apple, what has the Friend taught you? To be sour. Peach tree, why so low? To let you reach. Look at the poplar, tall but without fruit or flower. Yes, if I had those, I’d be self-absorbed like you. I gave up self to watch the enlightened ones. Pomegranate questions quince, Why so pale? For the pearl you hid inside me. How did you discover my secret? Your laugh. The core of the seen and unseen universes smiles, but remember, smiles come best from those who weep. Lightning, then the rain-laughter. Dark earth receives that clear and grows a trunk. Melon and cucumber come dragging along on pilgrimage. You have to be to be blessed! Pumpkin begins climbing a rope! Where did he learn that? Grass, thorns, a hundred thousand ants and snakes, everything is looking for food. Don’t you hear the noise? Every herb cures some illness. Camels delight to eat thorns. We prefer the inside of a walnut, not the shell. The inside of an egg, the outside of a date. What about your inside and outside? The same way a branch draws water up many feet, God is pulling your soul along. Wind carries pollen from blossom to ground. Wings and Arabian stallions gallop toward the warmth of spring. They visit; they sing and tell what they think they know: so-and-so will travel to such-and-such. The hoopoe carries a letter to Solomon. The wise stork says lek-lek. Please translate. It’s time to go to the high plain, to leave the winter house. Be your own watchman as birds are. Let the remembering beads encircle you. I make promises to myself and break them. Words are coins: the vein of ore and the mine shaft, what they speak of. Now consider the sun. It’s neither oriental nor occidental. Only the soul knows what love is. This moment in time and space is an eggshell with an embryo crumpled inside, soaked in belief-yolk, under the wing of grace, until it breaks free of mind to become the song of an actual bird, and God.

How amazing to go to a gig thinking of nothing but how loud you will shout; how hard you will dance; how much you will sweat; how tightly you will hug your friends, as your favourite song plays. How amazing to react to music in the way music wants you - to become an ecstatic animal.

For you cannot live in New York City very long and not be conscious of the niceties of being rich—the city is, after all, an ecstatic exercise in merchandising—and one evening of his visit to Venezuela Sutherland sat straight up when he read a line of Santayana’s: “Money is the petrol of life.

She danced madly, ecstatically, drunk with pleasure, with no thought for anything, in the triumph of her beauty, in the pride of her success, in a cloud of happiness made up of this universal homage and admiration, of the desires she had aroused, of the completeness of a victory so dear to her feminine heart.

The longer we spent on Tarawa the more Sylvia and I came to realize that to live on Tarawa is to experience a visceral form of bipolar disorder. There is the ecstatic high, when you find yourself swept away in a lagoonside maneaba rumbling to the frenzied singing and dancing of hundreds of rapturous islanders. And there are the crushing lows, when you succumb to a listless depression, brought about by the unyielding heat, sporadic sickness, pitiless isolation, food shortages, and the realization that so much of what ails Tarawa, the overpopulation and all its attendant health and social problems, need not be as bad as it is.

Sufism (tasawwuf) is not wearing clothes that you patched; it is not weeping when the singers sing their songs; and it is not dancing, shouting, experiencing ecstatic states, or passing out as if you’ve gone mad. Rather, Sufism is to become whole without any impurities; to follow the truth, the Qur’an, and this religion; and to be seen in a state of awe, broken and remorseful about all of your sins.

Many ancient teachings tell us that we have the capacity to gain extraordinary powers through grit or grace. Techniques used to achieve these supernormal abilities, known as siddhis in the yoga tradition (from the Sanskrit, meaning “perfection”2, 5), include meditation, ecstatic dancing, drumming, praying, chanting, sexual practices, fasting, or ingesting psychedelic plants and mushrooms. In modern times, techniques also include participation in extreme sports, floating in isolation tanks, use of transcranial magnetic or electrical stimulation, listening to binaural-beat audio tones, and neurofeedback. Most of these techniques are ways of transcending the mundane. Those who yearn to escape from suffering or boredom may dive into a cornucopia of sedatives and narcotics. Others, drawn to the promise of a more meaningful reality, or a healthier mind and body, are attracted to yoga, meditation, or other mind-expanding or mind-body integrating techniques.

Why is the dance beautiful? Answer: because it is an unfree movement. Because the deep meaning of the dance is contained in its absolute, ecstatic submission, in the ideal non-freedom. If it is true that our ancestors would abandon themselves in dancing at the most inspired moments of their lives (religious mysteries, military parades), then it means only one thing: the instinct of non-freedom has been characteristic of human nature from ancient times, and we in our life of today, we are only consciously—

But he was ecstatic, because the prospect of those endless years of hard labor did not seem like a burden to him. Bill Gates had that same feeling when he first sat down at the keyboard at Lakeside. And the Beatles didn't recoil in horror when they were told they had to play eight hours a night, seven days a week. They jumped at the chance. Hard work is a prison sentence only if it does not have meaning. Once it does, it becomes the kind of thing that makes you grab your wife around the waist and dance a jig.

The flower-covered grave of the saint in the inner room could be seen dimly through the narrow doorway. In front of it was a wide vestibule where about two dozen people were seated in a circle. One of them was singing lustily some Persian verses, while others kept the time by clapping their hands; they joined in the refrain which was sung in chorus. Like rising tidal waves, the tempo of the singing was getting faster and faster, the clapping became more frantic and heads rolled from side to side, keeping time with the tempestuous melody. Eyes were closed and everyone was lost in the surging waves of emotion that seemed to flow out of the Sufistic poetry of the great Roomi. Then, to his amazement Anwar saw a man in the centre of the crowd open his eyes and stare vacantly. For a moment this man was silent, ominously silent and motionless in the midst of the emotional storm that raged around him. Then he was caught by a sudden frenzy, his whole body quivered and moved, beating time to the song which by now had reached a weird and frightening crescendo, faster and faster, louder and louder. The man's hands rose high in the air and as if clutching at an unseen rope, he raised himself and started to dance, wildly, ecstatically, tearing his clothes and pulling his hair, completely unselfconscious and unrestrained, oblivious of everything by some mysterious inner urge that demanded expression in this wild manner. And then the song died on the lips of the singer, the waves of emotion receded and in the ghostly silence that descended upon the assembly the standing figure of the man in the centre which looked inspired and hallowed a moment ago, suddenly appeared ridiculous and grotesque. For a few moments he stood as if poised for another outburst of frenzy. Then, deprived of the emotional support of the song, his knees sagged and he collapsed to the ground. For several minutes Anwar was speechless; so great had the effect of this spectacle been on him. His pulse beat faster, his mind was in a whirl and, as the song stopped, he felt a gnawing emptiness in his bowels. This then was Qawwali, the ecastatic ritual of the Persian Sufis.

Keep in mind the rewards ahead. Workouts provide awesome internal rewards; after a long dance practice or gym workout I always have more energy and a clearer mind, and I’m able to focus on things I need to get done. But we all know it’s hard to remember that great feeling when you’re headed off to the gym, dreading the work ahead. Conjuring that ecstatic state of mind you know you’ll find later can be a tremendous motivator. If you prefer external rewards, motivate yourself with baby steps every day to hit a bigger long-term goal--one with a luxurious reward as your prize. Once you’ve reached it, allow yourself to follow through with whatever reward it was that motivated you, whether it’s a great glass of wine or a Sunday movie marathon.

May I never stop needing you, May you never stop needing me, May we always need one another, Not so much to full our emptiness, But to help us blossom into fullness. So, all that was aching inside, Finds an enchanting fulfillment, The fulfillment that you longed for, The fulfillment that I longed for, Found its way at last, on the Pebbled shores of love. May we need one another As a mountain needs a valley. As in this needing, a mountain Never loses the greatness, Neither does a valley seem so small, In the retreat of its majesty. May we open to each other, As a flower opens to the sun. As in this opening, The sunlight never ceases its splendor, As the flower never fails to kiss the light. May we mingle with each other, As a river mingles with the ocean. As in this mingling does the river fill the thirst, And the ocean finds its delight. May we meet each other, As “the sand meets the sea.” As in this meeting, does the sand greet the love That springs from the madness of sea.

He leaned in, held his breath so as not to make a noise, went close to her, inhaled the scent that emanated from the pores of her forehead; inhaled the air that bounced back from her head. He stopped there, listening intently to the blood flowing, heart beating, pulse pulsating, her hair drifting slowly below her ear resting where the carotid artery was. He closed his eyes as if picturing everything. Like a dexterous doctor discerning the malfunction in a patient or an adroit maestro listening to every note to discern where the one note is missing. He stacked everything neatly in his head, still the intent hearing continued. Finally, a smile came to his face just as easily as breath came to him. A ecstatic smoke rose in his head, he had heard the murmur of her thoughts, she was in a peaceful world now. She had drifted into slumber, through the doors to the dream worlds, nothing was troubling her now. He was filled with an air of comfort and triumph, he was there when she needed it. He was happy that nothing bothered her anymore, how he wanted to ostracize the world just a few moments before!? He wanted to drag this drab world out of her dreamy gleaming eyes, petal covered, almond eyes. She was stumbling in her own world now, as he sat beside her bed. He kissed her forehead, whisked the world with those thin lips of his; he whisked that pile of rubble. He leaned to the side and below, not knowing which side; right or left, it didn't matter; whispered in her ear: "I love you". A smile played on her lips as if she heard that. Again he kissed her forehead, had a good look at her closed eyes. His taverns, he thought; where he got drunk, placed so adjacent to each other. He was happy, that she was happy, she was happy so he was happy. The rest of the world didn't matter; No! No! There was no "Rest" she was his world the whole and entire of it, there was no "Rest of the world". He got up collected his phone, which played slow Beethoven, turned it off, switched the lamp off, pulled the blanket over her, got up, patted the dog along, made out of her room; into her balcony. He didn't want to go yet, he stood there as many thoughts danced in front of him, slow in the moonlight.

The Poetry that Searches Poetry that paints a portrait in words, Poetry that spills the bottled emotions, Gives life to the feelings deep inside, Breaks through all the times wept, To sweep you in a whirling ecstatic delight. The chiseled marble of language, The paint spattered canvas, Where colors flow through words, Where emotions roll on a canvas, And it all begins with you. The canvas that portrays the trembling you, Through the feelings that splash, Through the words that spatter, All over the awaiting canvas. Such is the painting sketched with passion, Colored with the heart's unleashed emotions. The poetry that reads your trembling heart, The poetry that feeds the seed of your dreams, That poetry that reveals light within rain, Takes you to a place where beauty lies in stain. The poetry that whispers- "May you find the stars, in a night so dark, May you find the moon, so rich with silver, May you sip the madness and delight In a night berserk with a wailing agony". Such words that arise from spilling emotions, So recklessly you fall, in love with life again. So, you rise shedding your fears, To chase after your dreams, As you hear thunder in the rain, That carries your pain, Through the painting of words, colored with courage, Splashed with ferocity, amidst the lost battles. Such is the richest color splash in words, Laid down on papers, that stayed so empty, For ages and ages. At times, you may feel lost, Wandering homeless in the woods, But poetry that you write, To drink the moonlight and madness, Poetry that you spill on a canvas with words, Calls you to fall, for life again. The words that evoke the intense emotions, The painting that gives the richest revelation, The insight that deepens in a light so streaming, Is the poetry that reveals the truth and beauty, In a form so elemental, in a way so searching, For a beauty so emotive, Which trembles, With the poetry's deepest digging. The words that take your eyes to sleep, The poetry that stills your raging feelings, Is the portrait of words that carries you, In emotions bottled within, held so deep, For an era so long. Forgotten they seemed, yet they arose, With the word's deepest calling, To the soul sleeping inside. The poetry that traces your emotions with words, Is a poetry that traces your soul with its lips, To speak a language that your heart understands. The Ecstatic Dance of Soul Copyright 2020 Jayita Bhattacharjee

I think we all collectively have gone a little crazy. We worry about the wrong things. I have an acquaintance, Christy, whose twelve–year–old son managed to get into a very violent PG–13 movie. I don’t know how many machine–gunnings, explosions, and killings this boy wound up witnessing. As I recall, the boy had nightmares for a week afterward. That disturbed his mother—but not as much as if her son had stumbled into a different kind of movie. “At least there wasn’t any sex,” she said with dead–serious concern. “No,” I said, “probably not a single bare breast.” I didn’t add that most societies do not regard the adult female breast as being primarily an object of sexual desire. After all, it’s just a big gland that makes milk in order to feed hungry babies. “You know what I’m talking about,” she snapped. “I mean graphic sex.” We were sitting in a café drinking tea. She cut off the volume of her speech at the end of her sentence, whispering and exaggerating the consonants of S–E–X as if she needed me to read her lips—as if giving voice to this word might disturb our neighbors and brand her as a deviant. “I don’t think children should see that kind of thing,” she added. “What should children see?” I asked her. I am not arguing that we should let our children buy tickets to raunchy movies. I never let my daughters bring home steamy videos or surf the Internet for porn. But something is wrong when sex becomes a dirty word that we don’t even want our children to hear. Why must we regard almost anything sexual as tantamount to obscene? I think many of us are like Christy. We wouldn’t want our children—even our very sexual teenagers—to see certain kinds of movies, even if they happened to be erotic masterpieces, true works of art. It wouldn’t matter if a movie gave us a wonderful scene of a wife and a husband very lovingly making love with the conscious intention of engendering new life. It wouldn’t matter that sex is life, and therefore must be regarded as sacred as anything could possibly be. It wouldn’t even matter that not one of us could have come into the world but for the sexual union of our fathers and our mothers. If a movie portrayed a man and woman in the ecstatic dance of love—actually showed naked bellies and breasts, burning lips and adoring eyes and the glistening, impassioned organs of sex—most people I know would rather their children watch the vile action movie. They would rather their “innocent” sons and daughters behold the images of bloody, blasted bodies, torture, murder, and death.

The boy himself was in the grip of his impulse, without knowing what was happening to him. He was not performing a dance he already knew, a dance he had practiced before. This was no familiar rite of celebrating sun and morning that he had long ago invented. Only later would he realize that his dance and his transported state in general were only partly caused by the mountain air, the sun, the dawn, his sense of freedom. They were also a response to the change awaiting him, the new chapter in his young life that had come in the friendly and awe-inspiring form of the Magister. In that morning hour many elements conspired in the soul of young Tito to shape his destiny and distinguish this hour above a thousand others as a high, a festive, a consecrated time. Without knowing what he was doing, asking no questions, he obeyed the command of this ecstatic moment, danced his worship, prayed to the sun, professed with devout movements and gestures his joy, his faith in life, his piety and reverence, both proudly and submissively offered up in the dance his devout soul as a sacrifice to the sun and the gods, and no less to the man he admired and feared, the sage and musician, the Master of the magic Game who had come to him from mysterious realms, his future teacher and friend.

I AM LOVE I am the fountain of peace, lake of tranquility, I am the lips of blooming youth, I am the wine of soul and rose of nature’s bosom, I am the glimpse of beloved through amorous eyes. I am the elation, the sacred shrine in the heart of An innocent child; The chalice of my love overflows with divine grace, I am the rose whom lover’s lips have touched. The dawn breaks with the echo of my heart song, And whispers in the twilight; I am the beating heart inside of you, The twinkling star in the night sky, the ardent desire in the swell of passion, I am the tremulous lips parted in delight, an expression of love’s rhapsody. I breathe fragrance into your heart’s essence, tearing away the veil Of your sorrowful sigh, I am the flute which plays music to your ears, I am the nature’s call, the echo of mountains, the wild dance of a swelling ocean. I am the blazing fire of love arousing your soul to an eternal call; I flow towards the beloved like a dancing stream; I am the sweetness of your soul, Who fondles the book of caressing memories, beckoning you to be lost in my heart call. I am the lost gem of love that your hungry soul has been searching for years; I am the loving wreath of moments of happiness, Your name, engraved on my heart shines as a rarest treasure; That sparkles, illuminates on my desolate soul. From thee I arise, and to Thee I surrender; You are the gushing spring of my ecstasy, As the wine of my life rests in the chalice of your heart, Your lips press it to mine, sipping a sap of it, I die to rebirth in that soul wine. Beyond all language, beyond all words, wherein lies the land Of enchanting silence; a paradise where lovers yearn to dissolve, And clasp the timeless love to their bare bosom.  

CHALLENGES TO YOUNG POETS Invent a new language anyone can understand. Climb the Statue of Liberty. Reach for the unattainable. Kiss the mirror and write what you see and hear. Dance with wolves and count the stars, including the unseen. Be naïve, innocent, non-cynical, as if you had just landed on earth (as indeed you have, as indeed we all have), astonished by what you have fallen upon. Write living newspaper. Be a reporter from outer space, filing dispatches to some supreme managing editor who believes in full disclosure and has a low tolerance level for hot air. Write and endless poem about your life on earth or elsewhere. Read between the lines of human discourse. Avoid the provincial, go for the universal. Think subjectively, write objectively. Think long thoughts in short sentences. Don't attend poetry workshops, but if you do, don't go the learn "how to" but to learn "what" (What's important to write about). Don't bow down to critics who have not themselves written great masterpieces. Resist much, obey less. Secretly liberate any being you see in a cage. Write short poems in the voice of birds. Make your lyrics truly lyrical. Birdsong is not made by machines. Give your poem wings to fly to the treetops. The much-quoted dictum from William Carlos Williams, "No ideas but in things," is OK for prose, but it lays a dead hand on lyricism, since "things" are dead. Don't contemplate your navel in poetry and think the rest of the world is going to think it's important. Remember everything, forget nothing. Work on a frontier, if you can find one. Go to sea, or work near water, and paddle your own boat. Associate with thinking poets. They're hard to find. Cultivate dissidence and critical thinking. "First thought, best thought" may not make for the greatest poetry. First thought may be worst thought. What's on your mind? What do you have in mind? Open your mouth and stop mumbling. Don't be so open minded that your brains fall out. Questions everything and everyone. Be subversive, constantly questioning reality and status quo. Be a poet, not a huckster. Don't cater, don't pander, especially not to possible audiences, readers, editors, or publishers. Come out of your closet. It's dark there. Raise the blinds, throw open your shuttered windows, raise the roof, unscrew the locks from the doors, but don't throw away the screws. Be committed to something outside yourself. Be militant about it. Or ecstatic. To be a poet at sixteen is to be sixteen, to be a poet at 40 is to be a poet. Be both. Wake up and pee, the world's on fire. Have a nice day.

Then, like magic, the rain came, or we knew intuitively where to go and find a clear stream, or the hickory branch told us where to dig for water. Some wise men and women found that prolonged and frenzied dancing, enthusiastic drumming, intoxication and, especially ecstatic lovemaking worked to dissolve our small wills (and in a much more joyful and exuberant manner than the ascetic methods of fasting, and suffering which later became popular with the advent of the modem religion Christianity.) D.H. Lawrence, a fairly modem writer who worked towards stripping sex of its "bad reputation," said "in pure, fierce, passion of sensuality I am burned into essentiality." The essentiality which Lawrence speaks of is the "True Will" which is at once our own, yet also the Will of Everything. A Hermetic philosopher described this experience as an encounter with God whose "center is everywhere and circumference nowhere found." The Dionysians, one of the most popular of the Sexcentric religions, practiced the art of excess to "remove" the small will and join with the Universe. "Enough! or Too Much!" was their cry; prudence was a quality which their gods did not

Having discovered him[6] they gave full vent to their ecstatic delight by indulging in the most violent gesticulations, dancing, shouting, and, at the same time, wounding and gashing themselves in a frightful manner.

Irrationality is the opposite of rationality: it means unreasonable, unfounded, ill-conceived. Irrationality is reason, practiced badly. A trance brought about by ecstatic dancing or drumming is certainly not rational, but it isn't irrational either. It's non-rational—it belongs to another category of experience entirely. Indeed, much of its value lies quite precisely in the fact that it takes us on a holiday away from reason—

What has death and a thick body dances before what has no thick body and no death. The trumpet says: “I am you.” The spiritual master arrives and bows down to the beginning student. Try to live to see this!

A hand touched her shoulder. “Miss Erstwhile,” Martin said. Jane spun around, guilty to have just come from a marriage proposal, ecstatic at her refusal, dispirited by another ending, and surprised to discover Martin was the one person in the world she most wanted to see. “Good evening, Theodore,” she said. “I’m Mr. Bentley now, a man of land and status, hence the fancy garb. They’ll allow me to be gentry tonight because they need the extra bodies, but only so long as I don’t talk too much.” His eyes flicked to a point across the room. Jane followed his glance and saw Mrs. Wattlesbrook wrapped in yards of lace and eyeing them suspiciously. “Let’s not talk, then.” Jane pulled him into the next dance. He stood opposite her, tall and handsome and so real there among all the half-people. They didn’t talk as they paraded and turned and touched hands, wove and skipped and do-si-doed, but they smiled enough to feel silly, their eyes full of a secret joke, their hands reluctant to let go. As the dance finished, Jane noticed Mrs. Wattlesbrook making her determined way toward them. “We should probably…” Martin said. Jane grabbed his hand and ran, fleeing to the rhythm of another dance tune, out the ballroom door and into a side corridor. Behind them, hurried boot heels echoed. They ran through the house and out back, crunching gravel under their feet, making for the dark line of trees around the perimeter of the park. Jane hesitated before the damp grass. “My dress,” she said. Martin threw her over his shoulder, her legs hanging down his front. He ran. Jostled on her stomach, Jane gave out laughter that sounded like hiccups. He weaved his way around hedges and monuments, finally stopping on a dry patch of ground hidden by trees. “Here you are, my lady,” he said, placing her back on her feet. Jane wobbled for a moment before gaining her balance. “So, these are your lands, Mr. Bentley.” “Why, yes. I shape the shrubs myself. Gardeners these days aren’t worth a damn.” “I should be engaged to Mr. Nobley tonight. You know you’ve absolutely ruined this entire experience for me.” “I’m sorry, but I warned you, five minutes with me and you’ll never go back.” “You’re right about that. I’d decided to give up on men entirely, but you made that impossible.” “Listen, I’m not trying to start anything serious. I just--” “Don’t worry.” Jane smiled innocently. “Weird intense Jane gone, new relaxed Jane just happy to see you.” “You do seem different.” He touched her arms, pulled her in closer. “I’m happy to see you too, if you’d know. I think I missed you a bit.” “That’s the nicest thing you’ve ever said to me.

Life is nothing but a few ecstatic dancing atoms.

The early Christian patriarchs may not have realized that, in attempting to suppress ecstatic practices, they were throwing out much of Jesus too.

She was said to have been tenderly attached to a youth of remarkable beauty, named Atys, who, to her grief and indignation, proved faithless to her. He was about to unite himself to a nymph called Sagaris, when, in the midst of the wedding feast, the rage of the incensed goddess suddenly burst forth upon all present. A panic seized the assembled guests, and Atys, becoming afflicted with temporary madness, fled to the mountains and destroyed himself. Cybele, moved with sorrow and regret, instituted a yearly mourning for his loss, when her priests, the Corybantes, with their usual noisy accompaniments, marched into the mountains to seek the lost youth. Having discovered him[6] they gave full vent to their ecstatic delight by indulging in the most violent gesticulations, dancing, shouting, and, at the same time, wounding and gashing themselves in a frightful manner.

As Karyatis she rejoiced in the dances of the girls of the nut-tree village of Karyai, those Karyatides who in their ecstatic round-dance carried on their heads baskets of live reeds, as if they were dancing plants.

At her best, no one has ever surpassed George Sand as the novelist of Nature, because her style pulsates with a natural vigor and music and because she was a countrywoman as well as a Romantic. Her range includes not only the mysteries and enchantments of distant horizons and perilous wanderings, of superstition and legend, of ecstatic (and often feminist) solitude; but also the closely observed and dearly loved realities of peasant life: the greeds and frugalities, the labor of the seasons, the farm animals and insects, the stolid silences of illiterate folk radiated with their music and dancing, their enchanting dialect speech. Her romans champêtres (La Mare au Diable, François le Champi, La Petite Fadette, Jeanne, Les Maîtres sonneurs, Le Meunier d'Angibault) are those of Sand's novels which have never gone completely out of fashion and to which the English country novelists (George Eliot and Thomas Hardy) were most in debt. But Sand had something her English imitators did not and that was her grasp of history. "Tout concourt à I'histoire," she wrote, "tout est I'histoire, meme les romans qui semblent ne se rattacher en rien aux situations politiques qui les voient eclore." Her country tales and her love stories take place in the churning past and the open future of a world of toppling regimes, shifting classes, and clashing ideologies.

With Spirit’s shocking Self-recognition, Forms continue to arise and evolve, but the secret is out: they are all Forms of Emptiness in the universe of One Taste, endlessly transparent and utterly Divine. There is no end limit, no foundation, no final resting place, only Emptiness and endless Grace. So the luminous Play carries on with insanely joyous regard, timeless gesture to timeless gesture, radiant in its wild release, ecstatic in its perfect abandon, endless fullness beyond endless fullness, this miraculously self-liberating Dance, and there is no one anywhere to watch it, or even sing its praises.

Maenad: A female devotee of Dionysus. In many ways, the Maenads served as the prototype of the wild, free, ecstatic female witch. Eventually they too would come to be hysterically persecuted and outlawed. Among the theories of historical witchcraft is that it is a surviving vestige of Dionysian spirituality. See CREATIVE ARTS: Dance: Maenad Dances; DIVINE WITCH: Dionysus;.

What’s my big beef with capitalism? That it desacralizes everything, robs the world of wonder, and leaves it as nothing more than a vulgar market. The fastest way to cheapen anything—be it a woman, a favor, or a work of art—is to put a price tag on it. And that’s what capitalism is, a busy greengrocer going through his store with a price-sticker machine—ka-CHUNK! ka-CHUNK!—$4.10 for eggs, $5 for coffee at Sightglass, $5,000 per month for a run-down one-bedroom in the Mission. Think I’m exaggerating? Stop and think for a moment what this whole IPO ritual was about. For the first time, Facebook shares would have a public price. For all the pageantry and cheering, this was Mr. Market coming along with his price-sticker machine and—ka-CHUNK!—putting one on Facebook for $38 per share. And everyone was ecstatic about it. It was one of the highlights of the technology industry, and one of the “once in a lifetime” moments of our age. In pre-postmodern times, only a divine ritual of ancient origin, victory in war, or the direct experience of meaningful culture via shared songs, dances, or art would cause anybody such revelry. Now we’re driven to ecstasies of delirium because we have a price tag, and our life’s labors are validated by the fact it does. That’s the smoldering ambition of every entrepreneur: to one day create an organization that society deems worthy of a price tag. These are the only real values we have left in the twilight of history, the tired dead end of liberal democratic capitalism, at least here in the California fringes of Western civilization. Clap at the clever people getting rich, and hope you’re among them. Is it a wonder that the inhabitants of such a world clamor for contrived rituals of artificial significance like Burning Man, given the utter bankruptcy of meaning in their corporatized culture? Should we be surprised that they cling to identities, clusters of consumption patterns, that seem lifted from the ads-targeting system at Facebook: “hipster millennials,” “urban mommies,” “affluent suburbanites”? Ortega y Gasset wrote: “Men play at tragedy because they do not believe in the reality of the tragedy which is actually being staged in the civilized world.” Tragedy plays like the IPO were bound to pale for those who felt the call of real tragedy, the tragedy that poets once captured in verse, and that fathers once passed on to sons. Would the inevitable descendants of that cheering courtyard crowd one day gather with their forebears, perhaps in front of a fireplace, and ask, “Hey, Grandpa, what was it like to be at the Facebook IPO?” the way previous generations asked about Normandy or the settling of the Western frontier? I doubt it. Even as a participant in this false Mass, the temporary thrill giving way quickly to fatigue and a budding hangover, I wondered what would happen to the culture when it couldn’t even produce spectacles like this anymore.

In the at least three-thousand-year-old struggle between Pentheus and Dionysus— between popes and dancing peasants, between Puritans and carnival-goers, between missionaries and the practitioners of indigenous ecstatic danced religions — Pentheus and his allies seem to have finally prevailed. Not only has the possibility of collective joy been largely marginalized to the storefront churches of the poor and the darkened clubs frequented by the young, but the very source of this joy—other people, including strangers—no longer holds much appeal.

Why do the skeletons dance so ecstatically, I wonder. Is it the fall of the world? Is it the dance of death which has been so often heralded? To see millions of skeletons dancing in the snow while the city founders is an awesome sight.

As to Orphism, it soon blended with the worship of the god Dionysus, who originated in Thrace, and who was worshipped there in the form of a bull. Dionysus was quickly accepted in seventh-century Greece, because he was exactly what the Greeks needed to complete their pantheon of gods; under the name Bacchus he became the god of wine, and his symbol was sometimes an enormous phallus. Frazer speaks of Thracian rites involving wild dances, thrilling music and tipsy excess, and notes that such goings-on were foreign to the clear rational nature of the Greeks. But the religion still spread like wildfire throughout Greece, especially among women—indicating, perhaps, a revolt against civilisation. It became a religion of orgies; women worked themselves into a frenzy and rushed about the hills, tearing to pieces any living creature they found. Euripides’ play The Bacchae tells how King Pentheus, who opposed the religion of Bacchus, was torn to pieces by a crowd of women, which included his mother and sisters, all in ‘Bacchic frenzy.’ In their ecstasy the worshippers of Bacchus became animals, and behaved like animals, killing living creatures and eating them raw. The profound significance of all this was recognised by the philosopher Nietzsche, who declared himself a disciple of the god Dionysus. He spoke of the ‘blissful ecstasy that rises from the innermost depths of man,’ dissolving his sense of personality: in short, the sexual or magical ecstasy. He saw Dionysus as a fundamental principle of human existence; man’s need to throw off his personality, to burst the dream-bubble that surrounds him and to experience total, ecstatic affirmation of everything. In this sense, Dionysus is fundamentally the god, or patron saint, of magic. The spirit of Dionysus pervades all magic, especially the black magic of the later witch cults, with their orgiastic witch’s sabbaths so like the orgies of Dionysus’s female worshippers, even to the use of goats, the animal sacred to Dionysus. (Is it not also significant that Dionysus is a horned god, like the Christian devil?) The ‘scent of truth’ that made Ouspensky prefer books on magic to the ‘hard facts’ of daily journalism is the scent of Dionysian freedom, man’s sudden absurd glimpse of his godlike potentialities. It is also true that the spirit of Dionysus, pushed to new extremes through frustration and egomania, permeates the work of De Sade. As Philip Vellacot remarks of Dionysus in his introduction to The Bacchae: ‘But, though in the first half of the play there is some room for sympathy with Dionysus, this sympathy steadily diminishes until at the end of the play, his inhuman cruelty inspires nothing but horror.’ But this misses the point about Dionysus—that sympathy is hardly an emotion he would appreciate. He descends like a storm wind, scattering all human emotion.

People with wombs have always known that bodies and consciousness are cyclical, tied to a rhythm that is larger than the individual. The cycle is twenty-eight days, full moon to full moon. Moon sounds like a name or a noun. But let us remember that moon is a gerund. Always moving. Always moon-ing. It is time to give the masculine back its lunar knowledge. Wombs swell, yearn, mulch, and release in twenty-eight days. But a womb is not just an organ. It is an invitation that anyone of any physicality and any gender expression can accept. It is an invitation to dance inside change for twenty-eight days. To practice softness for a cycle. The masculine has a womb, too. A moon. All it need do is look up at the night sky. What is lunar wisdom? Even on a new moon night, the moon is still present: replete and whole, while also void and occluded. This is a completion that holds loss tenderly inside its body. It is neatly summed up by Octavia Butler’s powerful words: “God is change.”1 The moon is every gender, every sexuality, mostly both, always trans: waxing and waning. The moon only ever flirts with fullness or emptiness for a brief, tenuous moment before slipping into change. Here is our blended, androgynous Dionysus. Wine-drunk, love-swollen, wind-swept, in ecstatic union with the holy, the moon encourages us to dissolve our edges rather than affirm them. Lunar knowledge keeps us limber. Keeps us resilient. Awe, whether somatic or spiritual, transforms us. The alternative to patriarchy and sky gods is not equal and opposite. It is not a patriarchy with a woman seated on a throne. The Sacred Masculine isn’t a horned warrior bowing down to his impassive empress. The divine, although it includes us, is mostly inhuman. Mutable. Mostly green. Often microscopic. And it is everything in between. Interstitial and relational. The light and the dark. Moonlight on moving water. The lunar bowl where we all mix and love and change.

The mind, unfettered by the constraints of the ego, dances with the cosmos in ecstatic union

I celebrate myself, and I hope soon the day will come you will be celebrating yourself. And when thousands and thousands of people around the earth are celebrating, singing, dancing, ecstatic, drunk with the divine, there is no possibility of any global suicide. With such festivity and with such laughter, with such sanity and health, with such naturalness and spontaneity, how can there be a war? Life is not given to you to murder, to destroy. Life has been given to you to create, and to rejoice, and to celebrate. When you cry and weep, when you are miserable, you are alone. When you celebrate, the whole existence participates with you. Only in celebration do we meet the ultimate, the eternal. Only in celebration do we go beyond the circle of birth and death.

While the churches, bringing the sweet smell of piety for the soul, came in prancing and farting like brewery horses in bock-beer time, the sister evangelism, with release and joy for the body, crept in silently and gravely, with its head bowed and its face covered. You may have seen the spangled palaces of sin and fancy dancing in the false West of the movies, and maybe some of them existed—but not in the Salinas Valley. The brothels were quiet, orderly, and circumspect. Indeed, if after hearing the ecstatic shrieks of climactic conversion against the thumping beat of the melodeon you had stood under the window of a whorehouse and listened to the low decorous voices, you would have been likely to confuse the identities of the two ministries. The brothel was accepted while it was not admitted.

My name is Olivia King I am five years old. My mother bought me a balloon. I remember the day she walked through the front door with it. The curly hot-pink ribbon trickling down her arm, wrapped around her wrist. She was smiling at me as she untied the ribbon and wrapped it around my hand. “Here, Livie, I bought this for you.” She called me Livie. I was so happy. I’d never had a balloon before. I mean, I always saw balloons wrapped around other kids’ wrists in the parking lot of Walmart, but I never dreamed I would have my very own. My very own pink balloon. I was so excited! So ecstatic! So thrilled! I couldn’t believe my mother bought me something! She’d never bought me anything before! I played with it for hours. It was full of helium, and it danced and swayed and floated as I pulled it around from room to room with me, thinking of places to take it. Thinking of places the balloon had never been before. I took it into the bathroom, the closet, the laundry room, the kitchen, the living room. I wanted my new best friend to see everything I saw! I took it to my mother’s bedroom! My mother’s Bedroom? Where I wasn’t supposed to be? With my pink balloon… I covered my ears as she screamed at me, wiping the evidence off of her nose. She slapped me across the face and reminded me of how bad I was! How much I misbehaved! How I never listened! She shoved me into the hallway and slammed the door, locking my pink balloon inside with her. I wanted him back! He was my best friend! Not hers! The pink ribbon was still tied around my wrist so I pulled and pulled, trying to get my new best friend away from her. And it popped. My name is Eddie. I’m seventeen years old. My birthday is next week. I’ll be the big One-Eight. My foster dad is buying me these boots I’ve been wanting. I’m sure my friends will take me out to eat. My boyfriend will buy me a gift, maybe even take me to a movie. I’ll even get a nice little card from my foster-care worker, wishing me a happy eighteenth birthday, informing me I’ve aged out of the system. I’ll have a good time. I know I will. But there’s one thing I know for sure. I better not get any shitty-ass pink balloons!

the school the Seer had set up trained select men in the calling of prophet. If a man felt he had the calling upon him, he would be interviewed by the Seer for sincerity and integrity. If accepted into the school, he was then educated in the Torah and Wisdom literature of Israel and surrounding nations. Prophecy was not merely foretelling of the future by revelation from Yahweh. It was mostly forth-telling of truth, be it directly from Yahweh’s revelation or from the learned precepts of their sacred texts. Prophets would spend long hours in the spiritual exercises of religious devotion and scribal disciplines of learned education to become messengers of Yahweh. Hearing from their god involved both supernatural and natural pursuits to be both holy and wise. Part of that education included the playing of musical instruments that would accompany ecstatic trances and dances.

It was music first of all that brought us together. Without being professionals or virtuosos, we were all passionate lovers of music; but Serge dreamed of devoting himself entirely to the art. All the time he was studying law along with us, he took singing lessons with Cotogni, the famous baritone of the Italian Opera; while for musical theory, which he wanted to master completely so as to rival Moussorgsky and Tchaikovsky, he went to the very source and studied with Rimsky-Korsakov. However, our musical tastes were not always the same. The quality our group valued most was what the Germans call Stimmung, and besides this, the power of suggestion and dramatic force. The Bach of the Passions, Gluck, Schubert, Wagner and the Russian composers – Borodin in ‘Prince Igor’, Rimsky and, above all, Tchaikovsky, were our gods. Tchaikovsky’s ‘Queen of Spades’ had just been performed for the first time at the Opera of St Petersburg, and we were ecstatic about its Hoffmannesque element, notably the scene in the old Countess’s bedroom. We liked the composer’s famous Romances much less, finding them insipid and sometimes trivial. These Romances, however, were just what Diaghilev liked. What he valued most was broad melody, and in particular whatever gave a singer the chance to display the sensuous qualities of his voice. During the years of his apprenticeship he bore our criticisms and jokes with resignation, but as he learned more about music – and about the history of art in general – he gained in self-confidence and found reasons to justify his predilections. There came a time when not only did he dare to withstand our attacks but went on to refute our arguments fiercely.

How would you really enjoy spending your life? Imagine when we get to the final moment in which the world is blown up. Have you never experienced what’s on the inside of this game? You never got down to the root of reality, you don’t know that state of consciousness. You’ve never experienced bliss, and so you’re frantically trying to patch everything up and pin it all together and screw the universe up so that its fixed. You can never do it. Why don’t you do something for yourselves? Because you’re going to find out now who you really are. You could design for yourself what would be the most ecstatic life, love affairs, banquets, dancing girls, wonderful journeys, music beyond belief. What could you take? Abandonment of your power. What dimension of that could you stand? To be able to realise that this world is simply a dream; a dancing play of smoke, you know, imagine the count down. This is the end, somebody’s pushed the button, 8,7,6,5,4,3,2,1…. People who live for the future never get there. We are such stuff as dreams are made of.

The colt closed its eyes. I was still kneeling next to it and something felt wrong. “I think it stopped breathing.” Maurus knelt beside me. The colt’s chest was definitely not moving. I bent and pressed my ear to its chest. The wet hide was slick and warm. “His heart is beating,” I said, “but weak and fast.” Maurice rubbed the colt’s chest briskly, but it did not start breathing. He strongly massaged the spine along its neck and smacked its flank, but it did not respond. He grimaced with sadness. “So close, little son. So close! Why won’t you breathe?” Owiti seemed on the verge of tears. “Let me try,” I said. I had once seen my cousin breathe into a lamb’s nostrils after a rough birth to prompt its respiration. The lamb had not resuscitated. But I needed to try whatever I could to help the newborn colt. I lifted the colt’s heavy head into my lap and opened my mouth wide, wrapping my lips around its soft nostrils. Holding its mouth closed with a hand pressed above and below its jaws, I breathed into it. Its lungs inflated, and I paused. The air spilled out. I filled its lungs and let them deflate again. I kept up a rhythm breathing into the nostrils, its lungs swelling and spilling like bellows, but it would not breathe on its own. Tears sprang to my eyes. The colt was so beautiful—new life still damp with the dew from the dawn of creation. A loud cry erupted from my heart and I slugged its chest with the heel of my palm, commanding it with all my love and hope, “Ata khayav likhiot—You must live!” The colt snorted and bucked in a spasm, kicked its long legs and jerked up its head, eyes wide open. He began inhaling and exhaling. I looked at Maurus, delighted. He regarded me with open wonder, then pulled me up off my knees into a crushing hug. He lifted me over his head like a straw doll and twirled around once, then set me down and repeated his ecstatic dance with Owiti. When he had set Owiti back on the dirt floor, Maurus beamed at me. “Did I just witness a miracle? Tell me the truth. Can you command the spirit of life?” “Of course not,” I said, laughing. “I’m Martis, not Mithras! No man tells the spirit what to do.” Yet in that moment in the lamp-lit stable, I knew what the Tanakh calls Ruach ha’Kodesh, the Whole Breath. The one breath the newborn colt and I shared, the very same breath the Giver of Life shared with man, blowing into Adam’s nostrils. The mutual breath of all existence.

We come much closer together when the Heart of the matter is unveiled, when the best of Hinduism and Islam and Christianity are uncovered, then we are dealing with people who love God. We're not dealing with inculturated things, with prejudices of different times and places, we're dealing with ecstatic love of God. Think of Rumi the poet, also known as Mevlana, whose delight in the reality of God caused him to dance spontaneously and it gave rise to the Dervishes of Sufism, the mystical dimension of Islam.

God is wonderfully different from what our natural thinking tells us, for this God delights in social existence, ecstatic dance, creativity and spontaneity. This is why we humans love to play in the midst of the seriousness of ordinary life—play bespeaks eternity.

Bhakti, love of God, is the only essential thing. One kind of bhakti has a motive behind it. Again, there is a motiveless love, pure devotion, a love of God that seeks no return. Keshab Sen and the members of the Brāhmo Samāj didn’t know about motiveless love. In this love there is no desire; it is nothing but pure love of the Lotus Feet of God. “There is another kind of love, known as urjhitā bhakti, an ecstatic love of God that overflows, as it were. When it is awakened, the devotee ‘laughs and weeps and dances and sings’. Chaitanyadeva is an example of this love. Rāma said to Lakshmana, ‘Brother, if anywhere you see the manifestation of urjhitā bhakti, know for certain that I am there.