On Dreams, Poetry, and the Soul

I always assumed that everyone had “big dreams” at some time in their life. Everyone dreams but most people don’t listen to their dreams, they forget them as soon as they wake, or if the dream is remembered it is either ignored or sloughed off. They don’t want to be disturbed by dreams, or by re-visioning their life, or by becoming more conscious, or by the discomfort of psychological insight. This is how poets think: they allow for the presence of dreams as a form of communication from the unconscious, and the dream is then listened to.

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God communicates to people in two ways: through angels and through our dreams. If you want to communicate with God, or receive a message from God, then be open to your dreams. Dreams coming from God are the “big dreams”, and we may have only a few of these during our whole life. Dreams have some interest for poets and artists, dreams are psychic collages juxtaposing images that one would probably never put together. They are of interest in an aesthetic sense, as a curiosity, and importantly for therapists as a door into the psyche of their client. Discussing a dream is a way—an entrance, a door—into the psyche, it is a catalyst for discussion. Surrealism as a movement grew out of Freud’s positioning of dream interpretation as an important part of therapeutic work. The Surrealists were more fascinated by the dream as an aesthetic event than by its therapeutic value. Dreams, then, as life changing events, can be an important aspect of how poets think; as well, dream imagery can be transformed into a poem.
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Two other minor examples of poetic thinking: when I returned to live in the neighbourhood where I grew up, I would regularly see people who I used to see in the streets when I was young. They were not older versions of themselves, they were the same people that I used to see, as though, over the intervening years, they had never changed. I no longer see these people, they seem to have departed, where they have gone to I don’t know, but I would often see them, just as they were so many years ago. A second example: I have always believed that when we think of someone we used to know, but have lost contact with them, and they suddenly come to mind, for no reason at all, at that same moment they are thinking of us. For example, sometimes we think of an old friend with whom we have lost contact and then, only a few seconds later, the phone rings and it is the person we have been thinking of. Synchronicity reminds us that there is some kind of cohesion and meaning in life if we can see it.
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It is the essence of the shamanic journey that what is perceived is not a product of the imagination but is “real”. The important thing is the experience in which our awareness and consciousness is not always subject to cause and effect. Dreams juxtapose images that are usually not associated with each other. In essence, the dream is a collage or a "cut-up" (see Brion Gysin). Dreams fascinate us when they open the door of archetypal association. A door, for instance, allows us to enter a room, but a "door" for William Blake is an image opening our awareness and our perception of the symbolical world of the psyche. Almost two hundred years later Jim Morrison resonated to Blake's perception and the music of The Doors followed, music that is shamanic and archetypal.
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Dreams, Tarot cards, Sabian Symbols, the Aquarian Symbols, archetypal images, paintings by Odilon Redon, Magritte, and others, photographs by Man Ray, all help open an entrance into the deeper levels of the psyche. At this deeper level we become conscious of people, we can explore events that were formerly left unconscious, and a narrative becomes available to the conscious mind. I would include fairy tales and mythology as ways to access the unconscious mind.

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Poetry deals with the soul and soul making. Just about any subject can be transformed into poetry, but a poet’s soul is needed for this transformation of the everyday into poetry. The poet is the soul's alchemist. Poetry is transformation. Dreams are another form of alchemy; they transform everyday reality into an expression of the psyche or the soul, and these dreams can sometimes give us access into our own souls.

                                                                                                     

Some Notes on Poetry and Soul (edited and revised)

Many of C.G. Jung’s psychological concepts and related interests—for instance, shadow, archetype, symbolism, alchemy, animus and anima, mythology, the collective unconscious, and so on—are also interests of many poets. The major difference between poetry and psychology is that poetry is the voice of the human soul, while Jungian psychology tries to explain how the soul works; most other schools of psychology don't acknowledge the existence of the soul.

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Poetry and psychology are two very different disciplines. The Irish poet, Patrick Kavanaugh, writes in one of his poems, “He knew that posterity has no use/ For anything but the soul…” Kavanaugh’s poems resonate for us because we recognize in them, as we do in all great poetry and poets, someone who speaks to our inner being. We can tell if a poet is genuine or not, inflated or not, and if the poet’s work is an authentic expression of the soul. We resonate to the authentic expression of the inner being of a fellow human being. Great poetry is an expression of “where psyche is leading one.” This phrase, from one of James Hollis’s books, that we need to find “where psyche leads us,” is the quest for an authentic life, an expression of where soul will lead us if only we follow.

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C.G. Jung’s comments on the relationship of the collective unconscious and poetry in Modern Man in Search of a Soul are worth referring to in relation to poetry, they also help explain something of the importance of Patrick Kavanaugh’s poetry.

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Great poetry draws its strength from the life of mankind, and we completely miss its meaning if we try to derive it from personal factors. Whenever the collective unconscious becomes a living experience and is brought upon the conscious outlook of an age, this event is a creative act which is of importance to everyone living at that age. A work of art is produced that contains what may truthfully be called a message to generations of men. 
                                                                                           --C.G. Jung
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James Hillman’s “idea of psychopoesis” is also important; Hillman suggests that a poem is always at the heart of things. Depth psychology is referred to as soul making; however, poetry doesn't "make" the soul, it reveals the soul. One of the concerns of both poetry and depth psychology is the human soul: the intention of depth psychology is to unfold the complexity of a person’s life so that it can be better understood, and perhaps placed in a mythopoetic context; the poet’s intention, also to do with the soul, is to write poetry that is authentic to his or her soulful vision.

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Some poets are wounded healers; however, these wounds may also be the source of the poet’s creativity and, as such, something that he or she may not want to give up. Poetry isn’t therapy— poetry is a form of art—but as anyone who reads literature knows, poetry can have a healing and transformative quality.

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The intention of poet and psychologist is substantially different; the difference is that while poetry is an expression of the soul, psychology speaks about the soul if it mentions the soul at all. The two disciplines should not be conflated or confused; we need to remember that poetry is the oldest art form while psychology is about a hundred years old and, in some ways, it is still in its infancy. With this perspective in mind, we need to re-evaluate the importance of poetry and remember its relationship to soul.

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                                                          Edited and revised on 23 March 2018

                                                          Stephen Morrissey

Poetry as place, history, soul

I wrote these notes before a reading at the Visual Arts Center in Westmount, QC, on 17 October 2017:

Poets aren't nomads, we all come from somewhere; and this "somewhere" is our psychic center, our home, the place we identify with, the place where we have a history. Personally, place is very important to me—I think it is essential in poetry—and I identify with Montreal, the home of my family since we moved here 180 years ago. Everywhere I go in this city I find something that expresses my soul, my inner being, the place of my ancestors and my family. That is why I say I am a Montreal poet, for nowhere else I have been is home as much as Montreal is home. So, not only is poetry an expression of location but it is also a place of history, of what happened in the past, of names, places, dates, events; that is to say it is a place of psyche, of the soul.

Lane behind Girouard Avenue.

Lane behind Girouard Avenue.

Lane behind Girouard Avenue.

Looking towards Girouard Park, one street west of Girouard.

A few years ago when they renovated 2226 Girouard, my grandmother's home from 1925 to 1965, they didn't put in a new door (as seen above) that leads to the basement. 

Looking up at the back porch of my grandmother's flat on Girouard. 

Some notes on poetry and soul

Many of C.G. Jung’s psychological concepts and related interests—for instance, shadow, archetype, symbolism, alchemy, animus and anima, mythology, the collective unconscious, and so on—are the natural interests of many poets. The major difference between poetry and psychology is that poetry is the voice of the human soul, while Jungian psychology tries to explain how the soul works. They are two very different disciplines. The Irish poet, Patrick Kavanaugh, writes in one of his poems, “He knew that posterity has no use/ For anything but the soul…” Kavanaugh’s poems resonate for us because we recognize in them, as we do in all good poets, someone who speaks to our inner being. We can tell if a poet is genuine or not, inflated or not, and if the poet’s work is an authentic expression of the soul. We resonate to the authentic expression of the inner being of a fellow human being. Great poetry is an expression of “where psyche is leading one.” This phrase, from one of James Hollis’s books, that we need to find “where psyche leads us,” is the quest for an authentic life, an expression of where soul will lead us if only we follow.

C.G. Jung’s comments on the relationship of the collective unconscious and poetry in Modern Man in Search of a Soul are worth referring to here in relation to poetry and as they help explain something of the importance of Kavanaugh’s poetry:

"Great poetry draws its strength from the life of mankind, and we completely miss its meaning if we try to derive it from personal factors. Whenever the collective unconscious becomes a living experience and is brought upon the conscious outlook of an age, this event is a creative act which is of importance to everyone living at that age. A work of art is produced that contains what may truthfully be called a message to generations of men."

James Hillman’s “idea of psychopoesis” is also important, Hillman suggests that a poem is always at the heart of things. Depth psychology is referred to as soul making; however, poetry doesn't "make" the soul, it reveals the soul. One of the concerns of both poetry and depth psychology is the human soul: the intention of depth psychology is to unfold the complexity of a person’s life so that it can be better understood, and perhaps placed in a mythopoetic context; the poet’s intention, also to do with the soul, is to write poetry that is authentic to his or her soulful vision.

Some poets are wounded healers; however, these wounds may also be the source of the poet’s creativity and, as such, something that he or she may not want to give up. Poetry isn’t therapy -- poetry is a form of art -- but as anyone who reads literature knows, poetry can have a healing and transformative quality. The intention of poet and psychologist is substantially different; the difference is that while poetry is an expression of the soul, psychology speaks about the soul. The two disciplines should not be conflated; we need to remember that poetry is the oldest art form, thousands of years old, while psychology is about a hundred years old and still in its infancy. With this perspective in mind, we need to re-evaluate the importance of poetry and remember its relationship to soul.

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These are excerpts taken from rough drafts of a review on Patrick Kavanaugh's poetry and Jungian psychology. SM

From a poem by Patrick Kavanagh

Living room at 4350 Montclair Avenue

. . . posterity has no use
For anything but the soul

        --Patrick Kavanagh
        "If Ever You Go to Dublin Town"

The Great Year: Age of Virgo, c. 13,000 - 10,800 B.C.

September 2016

The Age of Virgo

(c. 13,000 - 10,800 B.C.)

The months begin
and are like winter,
always longer than expected:
five months of winter, so you
long for it to end;
consider it
a time of rest and quiescence,
a time to turn inward:
add drawings to earth walls
white as fields--
grass brown in the cold,
and then disappearing beneath
more snow;
fields that are
austere,
the soul's condition
in winter.
The moon
cold and white
as earth,
it is also woman
round and open
unfolding secrets
of existence, repetition
of birth and death,
seasons, tides,
sunlight and moonlight,
planting crops,
bears hibernating
in caves, snakes
in a crevice,
deer's antlers
on the forests' floor:
this is the time
of silence, of
the soul's gestation--
at night
we see stars
moving in the sky.

Note on Poetry: Soul

                                                                It strikes me that so many

                                                                people writing poetry,

                                                                who claim to be poets,

                                                                lack the one essential

                                                                for all poets: it is

                                                                to have a poet’s soul.