Recent discussions in the Think Tank have led me to consider the nature of โspiritual experience.โ To gain some insight into the matter, watch the following video and then read on. You can stop the video after the routine. The rest is commentary.
Ok, I admit it: Watching this was a spiritual experience for me. (Thatโs hard to admit because itโs a slippery slope; first youโre into figure skating, then you find yourself putting up pictures of ponies on your bedroom wall. Iโm not into ice-skating and Iโve never found an ice-skating routine that moving before. Honest injun.)
I think Iโve figured out why this was a spiritual experience for me.
A fundamental human drive or even imperative is to reach for the infinite/Imitatio Dei. That translates into a transformation from the concrete and material to, eventually, the completely abstract. Over the millennia, humanity seems to be progressing in this regard, which gives me great hope. We came down from the trees completely into the concrete world. It took time and genius to make the first cave painting. To take something from the concrete world and make a representation of it was a brilliant leap toward the abstractโa spiritual leap. Since then, improvements in representational technique may be admirable, but they are not further leaps toward the abstractโtheyโre technical. Which is why the art that moves Rabbi Cardozo does not move me. It may impress me. I may find it beautiful. But abstract artย movesย me.
Any human endeavor to reach for the infinite/the completely abstract moves me spiritually. The figure skating routine we saw required so much appreciation for the abstract in order to be admired by the thousands of people who applauded it. Someone had to think of ice as a medium for beauty, not just transport. Someone had to think it worthwhile to train flightless humans to soar and glide, for no reason. Why do people want to see this? It does not put food into their mouths, or make them warm, or raise their position in the social hierarchy. It is an absurd act of defiance against the physical. It is heartbreakingly noble. Weโre never actually going to get off the ground, but we never give up trying.
So why do I call this a spiritual experience rather than a religious one? Because it is informed by my instinctual recognition of this routine as highly abstract in its beauty. I posit that what turns a spiritual experience into a religious one is the training and preparation that creates a religiously shaped receptacle for an experience or at least a religious vector for channeling the experience. For the skater, the rigor that is required to become an accomplished figure skater does not create a religiously-shaped receptacle for the expression of the abstract. It creates something else (I guess). I imagine that it might be a spiritual high to finish that routine. I donโt think it could be a religious high, unless the skater also has religious training. Religious training channels the spiritual into a religious experience, and the occasional religious high.
And thatโs why I love religion in general and Judaism in particular. Religion is an absurd act of defiance against the purely material. And the rigor of the training of a halachic life creates a receptacle or vector for channeling fleeting moments of spirituality into further physicalย religiousย acts in the material world that in turn encourage the continued defiance against that same world. (Of course, a further advantage of halacha is that even if it results in no awareness of defiance of the physical, it makes the physical world a better place. Thatโs good enough for me.) If having witnessed this routineโthis beautiful, absurd, abstract act of defianceโencourages me to get off my chair and pray or remember to make a blessing after I eat, or to be nice to someone I might otherwise have ignored, then Iโll know that it was a religious experience, and not just a nebulous spiritual one.
I recommend reading William Jamesโย The Varieties of Religious Experienceย if you havenโt already. In any case, for the extreme summary, hereโs a bit from Wikipedia:
There are four key characteristics of religious experience: ‘passivity’, ‘ineffability’, ‘a noetic quality’ and ‘transiency’. Due to the fact that religious experience is fundamentally ineffable, it is impossible to hold a coherent discussion of it using public language. This means that religious belief cannot be discussed effectively, and so reason does not affect faith. Instead, faith is found through experience of the spiritual, and so understanding of belief is only gained through the practice of it.
I think here that James is actually talking aboutย spiritualย experience, rather than religious experience, at least at the beginning of the paragraph. Maybe it takes reason, training, commitment, and rigor to transform spiritual experience into religious experience.
Last week, my fellow Think Tank member, Michael, shared with us โBefore the Law,โ a parable by Franz Kafka.ย He said that reading the Kafka piece is (almost?) a spiritual experience for him, leaving him moved but static and therefore sad. I think that if heโs ever inspired by the piece to try to push away barriers and reach for the better world he thinks is behind them, then reading the piece may move from the realm of undefined spiritual experience into the realm of religious experience.
The Kafka piece reminds me of this mashal of the Baal Shem Tovโs:
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A king, by magic, surrounded his palace with many walls. Then he hid himself within the palace. The formidable walls were arranged in concentric circles, one inside the other, and they grew increasingly largerโhigher and thickerโas one approached the center. They had fortified battlements and were manned by fierce soldiers who guarded from above; wild animalsโlions and bearsโran loose below. All this was so that people would have proper awe and fear of the king and not all who desired to approach would be allowed to do as they pleased.
The king then had proclamations sent throughout the kingdom saying that whoever came to see him in his palace would be richly rewarded and given a rank second to none in the king’s service. Who would not desire this? But when many came and saw the outer wall’s awesome size and the terrifying soldiers and animals, most were afraid and turned back. There were some, however, who succeeded in scaling that wall and fighting past the soldiers and animals, but then the second wall loomed before their eyes, even more imposing than the first, and its guards even more terrible. Seeing that, many others turned back. Moreover, the king had appointed servants to stand behind the walls to give money and precious stones to whoever got beyond each wall. Those who had crossed one or a few walls soon found themselves very rich and satisfied with what they had gained from their efforts; so they too turned back. For one reason or another, either from fear at the increasing obstacles or satisfaction with the accumulated rewards, none reached the king … Except for the king’s son. He had only one desire: to see the face of his beloved father. When he came and saw the walls, soldiers, and wild animals, he was astonished. He could not understand how his dear father could hide himself behind all these terrifying barriers and obstacles. ‘How can I ever reach him?’ he thought. Then he began to weep and cried out, ‘Father, Father, have compassion on me; don’t keep me away from you!’ His longing was so intense that he had no interest in any rewards. Indeed, he was willing to risk his life to attain his goal. By the courage of his broken heart, which burned to see his father, he ran forward with reckless abandon and self-sacrifice. He scaled one wall and then another, fought past soldiers and wild animals. After crossing the walls, he was offered money and jewels, but he threw them down in disgust. His only desire was to see his father. Again and again he called out to him: My God, My God, why have you forsaken me when I believe in you and do all in your honor? His father the king, hearing his son’s pathetic cries and seeing his total self-sacrifice, suddenly, instantaneously, removed the walls and other obstacles. In a moment, they vanished as if they had never existed. The man found himself before the merciful king. He fell on his face and cried: Why did you hide yourself from me for so long? Why did you erect barriers that separated me from you and dangers that frighten? I was almost lost! The King answered, โLook around you. Is there anything bad there? Are there any barriers?โ The man saw that multitudes of servants stood near to serve him and heavenly choirs sang his praises. Gardens and orchards surrounded the palace on all sides. And the whole earth shone from the king’s glory. Everything was tranquil, and there was nothing bad or terrible at all. The man understood that all the barriers and frightening things were illusory. Then the king gave the man his daughter and placed a crown on his head. He also praised the man and brought him to the level of the righteous. |
ืกืืคืจ ืืืขืฉ”ื [ืืืขื ืฉื ืืื] ืืฉื:
ืืื ืืื ืื ื ืืืืืช ืจืืืช ืกืืืื. ืจืื, ืจืขืฉ, ืืฉ ืืชืืงืืช, ืืชืืื ืืืงืื ืืืืืืช ืฉื ืืจืื ืืื ืฉื, ืืื ืชืขืืืช ืืื, ืืืืื ืืืจืืืช ืื ืืฉืื ืืขืงืจืืื. ืืืืื ื ืืจื, ืืืืจ ืคื ืื ืืืืจ ืืื ืืขืืื ืืืืืื ืืื ืขืืื, ืืื ืฉืืืืืืช ืฉืื ื ืืกืชืืจื ืืช ืืืจื. ืืืจืืืื ืืืฆืืื ืืืืจืืืื, ืื ืื ืฉืืืื ืืืจืื ืคื ื ืืืื ืืืื ืื ืืืฉื ึถื ืืืฃ ืืืื ืืืชื. ืื ืืื ืฉืืื ื ืจืืฆื ืืื?ืจืืื ืืฆืื ืืืกืข ืื ืืืื, ืืื ืืฉืจืื ืืื ืืคืืืื ืืืืืื ืืื ืืืืื ืืจืืฉืื ื ืืืื ืืืืืืช ื ืกืืื ืืืืืจ. ืืืฉ ืืื ืฉืืืจื ืขื ืืฆืจื ืืจืข ืืขืืจื ืืื ืืืืืช. ืืื ืฉืืื ืืืื ืืืืื ืืื ืืฉืจืื ืฉื ืืืื ืืคืืจืื ืืืฆืจืืช ืจืืื, ืฉืื ืืื ืืื ืจืื ืืงืืืฉ ืืืื ืืื ืืืื ืืคืขืื ืืฉืคืข ืืืืฉืืขื ืืืขื ืืฉืจืื. ืืืฆืจืืช ืืงืจืื ืืื ืืจืื ืืื ืฉืจืืื, ืืืืคืฉืืชื, ืขืฆืจื ืืืงืื ืื ืืื ืืืฉืืื ืืืจืื, ืื ืืื ืฉืืืืชื ืืืืื ืงืจืืื ืืืชืจ ืื ืืืื ืื ืืืืชื ืืืืืื ืืืกืืื ืช ืืืชืจ. ืืืืื ืขืฉื ืืืช ืืื ืฉืื ืืชืงืจื ืืืื ืื ืื ืฉืืจืฆื. ืืื ืื ืฉืืื ืืช ืืืื ืืืืช, ืืืื ืืื ืืืฉืชืืงืง ืืจืืืช ืืช ืคื ืื, ืืืฉืื ืืกืืื ืขืฆืื ืืืืกืืจื ืืืจื, ืขื ืฉื ืื ืก ืื ืืขืืจ ืืืืืืช. ืืื ืืชืคืชื ืืงืืช ืืืจื ืืืจ ืื ืืืืฆืจืืช ืฉืืื ืืคืืืจืื ืฉื, ืื ืืืชืจ ืืืื ืืื ืืฉืื ืื ืืืืืข ืื ืืืื. ืืืฉืืืืข ื”ืืืื” ืื ืืืืืืช ืื ืืจืืช ืืืื, ืื ืืฉืืจืืช ืืืืืืื ืืื ืืืืืื ืืื ืืฉืื ืืืขืงืจืืื, ืชืื ืืืืจ: “ืืื ืจืืื ืืืืชื, ืืืืข ืชืกืชืืจ ืคื ืื ืืืกืชืจืืช ืืฉืื ืืช ืืืื!” ืืฆืขืง: “‘ืึตืึดื ืึตืึดื ืึธืึธื ืขึฒืึทืึฐืชึผึธื ึดื’ (ืชืืืื ืื, ื) โ ืืื ื ืืืืื ืื, ืืืืื ืืื ืืืืื!” ืืื, ืืืกืืจืืช ื ืคืฉ, ืขืืจ ืืืืฉ ืืช ืืืืืืช ืืืืืช ืืืจืฃ. ืื ืืืกืจื ืืืืืฆืืช, ืืืืืฉ ื ืืฆื ืขืืื ืืคื ื ืืืื ืืจืืื. ื ืคื ืืืืฉ ืขื ืคื ืื ืืืื: “ืืืืข ืืกืชืจืช ืคื ืื ืืื ื ืืื ืจื ืื ืื. ืืืืข ืืขืืืช ืืืืืช ืืืืืฆืืช ืืืกืชืืจืืช ืืืชื ืืืืืืืืช ืื ืืื, ืืื ื ืืืขื ืฉืืืืชื!” ืขื ื ืื ืืืื: “ืจืื ืืืืื. ืืื ืื ืืืืฅ. ืืื ืงืืื ืืืจ ืจืข? ืืื ืงืืืืช ืืกืชืจื?”ย ืืืื ืืืืฉ, ืืื ื ืืื ืฉื ืื ืืืื ืืื ืืืืฆื ืืืืืื, ืจืง ืืจืฅ ืืืฉืืจ, ืื ืื ืืคืจืืกืื, ืืืฉืจืชืื ืฉื ืืืื ืขืืืืื ืืืืื ืคืืจ ืืื ืื ืื ืืืื ืืืจ, ืืืืื ืืืฉื, ืืืืจืฅ ืืืืจื ืืืืืื. ืจืื ืืื ื ืืื ืฉืื ืืืจ ืจืข ืืขืืื, ื”ืึฐืืึนื ืึธื ืึธืึธืจึถืฅ” ืืืืื ืฉื ืืืื, ืืืื ืืืืฉ ืื ืื ืืืืืฆืืช ืืืืืจืื ืืืืืืืื ืื ืืื ืืื ืืืืืช ืขืื ืืื. ืื ื ืชื ืืืื ืืช ืืชื ืืืืฉ ืืฉื ืืชืจ ืืืืืช ืขื ืจืืฉื. ืื ืืจืขืืฃ ืืืืื ืขื ืืืืฉ ืืืืืื ืื ืืืจืืช ืืฆืืืงืื. |
Note, in case at any point in this post it seems that I am came close to the position of theologians who claim that religion must be true because it is absurd (or at least that the highly improbable stories of religion are unlikely to be invented precisely because they are so highly improbable), I didnโt mean to. I think that human appreciation for absurdity is a noble reach for the Infinite, but that has nothing to do with Godโs absurdity, of which I am less enamored.
Yael Valier
Yael Valier is the creative director of <a href="http://www.theaterandtheology.com/">Theater and Theology</a>, a Jerusalem-based theater company. The company allows her to combine her experience in theater and her interest in the beauties and quirks of religion to produce meaningful entertainment during productions and in post-performance discussions with her audiences. Yael is a drama teacher at Midreshet Emuna VโOmanut, another forum in which to explore Torah through the arts. Yael translates from Hebrew to English texts that are meant to be heard โ TV screenplays, rhyming childrenโs books, and publicity videos. She also translates from French to English, specializing in Jewish history and scholarship. Yael is a voice actor, and you can hear her voice multiple characters in several current programs for the Fox Networkโs Baby TV channel. Yael and her patent attorney husband, Dan Goldstein, collaborate on various fun educational projects, such as this science and geography album that they co-produced: <a href="www.TremendousEarth.com">www.TremendousEarth.com</a>.