Further Reading

Wednesday, 26 May 2010

The Soundless Centre

We spend a lot of time attempting to put the feelings in our hearts into words, to communicate to others our passions, our emotions, and our love. Often we are so busy trying to translate our heart’s roar into language that we miss the most profound experience the heart has to offer, which is silence. Every poem arises from this silence and returns to it. When all the songs have been sung, the soliloquies delivered, the emotions expressed, silence is what remains. As each wave of feeling rises and falls back into the silence, we have an opportunity to connect with the vast, open, powerfully healing wisdom at the soundless center of our hearts. Our hearts may seem noisy and tumultuous so much of the time that we do not even associate them with silence. It takes a sensitive ear to tune in to the silence of the heart, but it is there in each one of us, so close and so large that we do not even notice it. We can begin to become aware of it in the same way we become aware of the negative space in a still life, the background of a photograph, or the open sky that contains the sun, clouds, moon, and stars. We are accustomed to tuning in to objects and sounds that are one-pointed, solid, and three-dimensional. Seeing and hearing the apparently empty space that contains these sounds and objects takes a little practice. We can bring our awareness into our hearts by simply breathing into the general area of our heart. The first thing we may notice is feelings like joy or sadness and physical sensations like tightness or tenderness. We acknowledge these as we continue to breathe and focus, listening attentively. We surround these feelings and sensations with breath and recognize that they are contained and held in an immeasurable substance like water or air, intangible, ineffable, but utterly real. This is the silence of the heart, and the more we listen for it, return to it, and accept it, the more we bathe and purify ourselves in the soundless center of our being.