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Do You Hear What I Hear ? Does the Universal Mind Speak to Us ?

{written by : Brian Joseph}

Article word count : 1160 -- Article Id : 597
Article active date : 2008-09-15 -- Article views : 7961


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Article is about :
Is there hidden meaning in songs that we are familiar with?

Reincarnation The Neverending Journey
In Reincarnation The Neverending Journey an attempt is made to explore the conundrum of our existence. An existence that spans yesterday, today and even tomorrow. Questions surrounding the existence of the soul and our connections to the physical world, the fundamental mechanisms and the processes by which reincarnation operates through time, are carefully examined. Plausible revelations on memories and karma and their intrinsic connections to our lives today and tomorrow are explored. It is a Neverending Journey.. Your Neverending Journey....

by Pieter Heydenrych




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In his Apology to the Athenians, Socrates tells of coming upon a group of poets who did not understand the meaning of their own poems. In Republic, Plato states that all good poets are inspired, and are possessed when they create. Plato also said, “It is God Himself who addresses us through them,” and that God takes away the minds of poets, using them as his ministers. The Sufi speak of poetry and prose that comes to them in an ecstatic state; they refer to this prose as shathiyat. Joseph Campbell spoke of poetry that comes from a transcendent source and how poets can be unaware of what they are talking about. Some Christian fundamentalists view “speaking in tongues” as the babbling of nonsense syllables. Is it possible that speaking in tongues is another term for the ecstatic poetry that Socrates, Plato, Campbell, and the Sufi spoke of? First Corinthians makes reference to spiritual gifts, stating that speaking in tongues and the interpretation of tongues were separate gifts. Is “tongues” a poetic language received through open channeling of the Universal Mind? Those who have had transformational experiences often attempt to describe them poetically, and often succeed in communicating to others that have had similar experiences. Is there something beyond that? Is there a higher level of communication that is beyond describing personal mystical experiences and the resulting world view? Does the Universal Mind communicate to us through visionaries and poets, at times unbeknownst to them? The poet William Blake said he often wrote poetry as if it were dictated to him. In their book Higher Creativity, Willis Harman and Howard Rheingold discuss the self and the limits cultures impose on creativity. “All persons are hypnotized from infancy by the culture in which they grow up.” These imposed limits may be what Blake referred to as “the mind-forged manacles” in his poem “London.” As the saying goes, we don’t know what we do not know. Harman and Rheingold call the higher Self “the supraconscious,” and say that people are usually not consciously aware of this higher part of the Self. In the consensus paradigm, the idea that a person can receive information from a higher level of reality, that God can speak through people, is considered psychotic. It is considered psychotic if someone claims the ability to interpret or understand these communications. As Stanislav Grof states in Psychology of the Future, many experiences of early religious founders are considered delusional when people experience them today. By “God,” I don’t mean the fundamentalist’s cosmic boogey man, the deadbeat dad that lives outside creation, as if that were possible. (The term “fundamentalist” has always struck me as being a misnomer since what it refers to is anything but fundamental or basic. Besides, it’s not much fun and it’s not very mental.) Are there familiar poems that fit these descriptions? I think there are. Years ago, when I first discussed this idea with others, there were raised eyebrows and changes of subject that indicated lack of interest or the belief that I had ventured too far “out there.” It was easy to dismiss my few examples as reading into things and drawing unsupported conclusions. When I eventually wrote a novel (The Gift of Gabe) incorporating the concept and supplying additional examples, I began to hear from readers who thought that I was on to something. Most people are familiar with the music of The Beatles. For lack of a better label, I use the term “conscious lyrics” for lyrics written when the writer is aware of what he or she is attempting to express. My novel explored conscious lyrics by The Beatles and other songwriters, but most relevant to this essay are the songs of Lennon and McCartney – those from what Campbell called the “transcendent realm.” In a 1968 interview with Rolling Stone, John Lennon said he’d written lyrics that he didn”t understand the meaning of until later. He mentioned the beginning of “I am the Walrus” as one example. Paul McCartney, in a 1980s newspaper article, describes the first time he played “Hey Jude” for John Lennon, telling Lennon that he planned to change a line in the song. Lennon told him not to change it, saying that it was the best line in the song. McCartney admitted to Lennon that he hadn’t understood the meaning of the line when he’d written it. In John Lennon and Yoko Ono’s final interview, published in the January 1981 issue of Playboy, Ono described The Beatles as mediums, with ideas and songs coming through them without their awareness. The Age of Rock, edited by J. Eisen, contains a McCartney interview by Alan Aldridge, in which McCartney states that The Beatles understood their songs to mean one thing, but sometimes listeners would take the songs as meaning something else. He admitted he couldn’t deny that the listeners might be right. In an interview in the November 2001 issue of Reader’s Digest, McCartney talked about his method of songwriting and his view of inspiration. He used the term “magic,” and discussed his faith in creativity, saying he had a spiritual sense that there was something magical in the creative process. Some of the Lennon and/or McCartney songs which I feel could be shathiyat, tongues, poetry from the transcendent realm, or an open channeling of the Universal Mind include “I’m Looking Through You,” “You Won’t See Me,” “Hey Bulldog,” “Nowhere Man,” “Martha My Dear,” “Hey Jude,” “Eleanor Rigby,” “The Fool On the Hill,” “Your Bird Can Sing,” and “We Can Work It Out.” The George Harrison song “Blue Jay Way” is another example. The post-Beatles Lennon song “Whatever Gets You Through the Night” is yet another example of possible poetry from the transcendent realm, in my opinion. Do popular songs have alternate meanings in alternate realities? Is there a way of seeing or hearing the music that requires a different perspective, one completely different from consensus reality? There appear to be commonalities in the symbolism, meaning, and alternate perspective in many of The Beatles’ songs. While this alternate perspective is not limited to Beatles songs, obviously, they serve as a familiar example. Considering alternate interpretations can help us realize that we are not always as familiar with the meanings of songs as we think. Consider the song “Every Breath You Take” by the Police. Sting has said that the song is about possessive relationships, and he was surprised to hear that some couples were calling it “their song,” interpreting it as a positive and supportive message. The general listener didn”t understand what Sting intended to say. Could there be another understanding, different than either of these? Is it possible that “Every Breath You Take” is shathiyat? What a room looks like depends upon where one stands in the room – or as McCartney said, the people who thought his songs meant something else just might be right.

Author Bio :
Brian Joseph writes short inspirational stories. He is the author of the mystical musical novel, The Gift of Gabe. http://www.giftofgabe.com/

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