Chapter 14 Passion: from whence all joy springs
Chapter 14 Passion: from whence all joy springs
第十四章 熱情是所有喜樂的泉源
第十四章 熱情是所有喜樂的泉源
中文有聲書
Ch14.m4a
14. Passion: from whence all joy springs
14. Passion: from whence all joy springs
What we most certainly admire about the artist, in any field, is their unbridled devotion to their craft. Many live an addled, tortured existence in their deepest desire to magnify their gift and bring it out into the world. As individuals, we hold a grudging respect and, some would say, admiration for the individual who has “thrown all caution to the wind” and bears down to create that one “what if piece.” What if I had not existed: would this creation have been brought to the world? In every breast beats the heart of the artist filled with curiosity and power and magnificence.
What we most certainly admire about the artist, in any field, is their unbridled devotion to their craft. Many live an addled, tortured existence in their deepest desire to magnify their gift and bring it out into the world. As individuals, we hold a grudging respect and, some would say, admiration for the individual who has “thrown all caution to the wind” and bears down to create that one “what if piece.” What if I had not existed: would this creation have been brought to the world? In every breast beats the heart of the artist filled with curiosity and power and magnificence.
We fail to act on this impulse because we do not like the consequences. This is one of those numerous apocryphal tales that wreak havoc on the aspirations of young people: that of the drunken, dissolute – and impoverished – virtuoso. It is better to live a life of quiet desperation than to step out into the world and take a chance – and maybe fail – with my life. “The mass of men lead lives of quiet desperation. What is called resignation is confirmed desperation. From the desperate city you go into the desperate country, and have to console yourself with the bravery of minks and muskrats. A stereotyped but unconscious despair is concealed even under what are called the games and amusements of mankind. There is no play in them, for this comes after work. But it is a characteristic of wisdom not to do desperate things.”1
We fail to act on this impulse because we do not like the consequences. This is one of those numerous apocryphal tales that wreak havoc on the aspirations of young people: that of the drunken, dissolute – and impoverished – virtuoso. It is better to live a life of quiet desperation than to step out into the world and take a chance – and maybe fail – with my life. “The mass of men lead lives of quiet desperation. What is called resignation is confirmed desperation. From the desperate city you go into the desperate country, and have to console yourself with the bravery of minks and muskrats. A stereotyped but unconscious despair is concealed even under what are called the games and amusements of mankind. There is no play in them, for this comes after work. But it is a characteristic of wisdom not to do desperate things.”1
Recently in one of our classes, I met a young man who worked for a restaurant company in their central office as a purchasing clerk. He was, however, an artist, ‘au fond.”2 I only discovered this after noticing him doodling in class on various occasions. As educators, we must be sensitive to the needs of our students. From the podium, I constantly cast my eyes across the room to see, through my solipsistic haze, if my material is failing in its intensity or whether it is profoundly stimulating, the latter being the ideal goal. It is a delicate balance because you can be but the conveyer of the message in any pedagogical situation not the thought itself. There are no teachers, I believe. There can be only locksmiths. The craftsman creates a key for the person and then proffers it. The receiving of knowledge and, God willing, wisdom, are private experiences. As Aristotle tells us: “The poet, being an imitator like a painter or any other artist, must of necessity imitate one of three objects -- things as they were or are, things as they are said or thought to be, or things as they ought to be. The vehicle of expression is language - either current terms or, it may be, rare words or metaphors.”
Recently in one of our classes, I met a young man who worked for a restaurant company in their central office as a purchasing clerk. He was, however, an artist, ‘au fond.”2 I only discovered this after noticing him doodling in class on various occasions. As educators, we must be sensitive to the needs of our students. From the podium, I constantly cast my eyes across the room to see, through my solipsistic haze, if my material is failing in its intensity or whether it is profoundly stimulating, the latter being the ideal goal. It is a delicate balance because you can be but the conveyer of the message in any pedagogical situation not the thought itself. There are no teachers, I believe. There can be only locksmiths. The craftsman creates a key for the person and then proffers it. The receiving of knowledge and, God willing, wisdom, are private experiences. As Aristotle tells us: “The poet, being an imitator like a painter or any other artist, must of necessity imitate one of three objects -- things as they were or are, things as they are said or thought to be, or things as they ought to be. The vehicle of expression is language - either current terms or, it may be, rare words or metaphors.”
I walked over to his desk and asked him to show me a sample of his art. This is always the “acid test.”3 Much like any proud parent, the budding artist will always display his work. I was shocked. He was really good. “Why aren’t you pursuing this passion?” I inquired. I got the standard answer in response. “My parents said that there is no money in being an artist.” “Tell that to Picasso,” I responded. The meaning being that there is an income in anything, if you do it with verve and intensity. You must, nevertheless, be in your state of “flow.” This is when your personal, spiritual and intellectual powers align: genius and creativity spring forth.
I walked over to his desk and asked him to show me a sample of his art. This is always the “acid test.”3 Much like any proud parent, the budding artist will always display his work. I was shocked. He was really good. “Why aren’t you pursuing this passion?” I inquired. I got the standard answer in response. “My parents said that there is no money in being an artist.” “Tell that to Picasso,” I responded. The meaning being that there is an income in anything, if you do it with verve and intensity. You must, nevertheless, be in your state of “flow.” This is when your personal, spiritual and intellectual powers align: genius and creativity spring forth.
Flow is “the mental state of operation in which a person performing an activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity. In essence, flow is characterized by complete absorption in what one does, and a resulting loss in one's sense of space and time.” You are, essentially, doing what you love and, by definition, become good at it. Professor Csikszentmihalyi (b. 1934) presents us with a thought: “Contrary to what we usually believe, moments like these, the best moments in our lives, are not the passive, receptive, relaxing times—although such experiences can also be enjoyable, if we have worked hard to attain them. The best moments usually occur when a person’s body or mind is stretched to its limits in a voluntary effort to accomplish something difficult and worthwhile. Optimal experience is thus something that we make happen. For a child, it could be placing with trembling fingers the last block on a tower she has built, higher than any she has built so far; for a swimmer, it could be trying to beat his own record; for a violinist, mastering an intricate musical passage. For each person there are thousands of opportunities, challenges to expand ourselves.”4
Flow is “the mental state of operation in which a person performing an activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity. In essence, flow is characterized by complete absorption in what one does, and a resulting loss in one's sense of space and time.” You are, essentially, doing what you love and, by definition, become good at it. Professor Csikszentmihalyi (b. 1934) presents us with a thought: “Contrary to what we usually believe, moments like these, the best moments in our lives, are not the passive, receptive, relaxing times—although such experiences can also be enjoyable, if we have worked hard to attain them. The best moments usually occur when a person’s body or mind is stretched to its limits in a voluntary effort to accomplish something difficult and worthwhile. Optimal experience is thus something that we make happen. For a child, it could be placing with trembling fingers the last block on a tower she has built, higher than any she has built so far; for a swimmer, it could be trying to beat his own record; for a violinist, mastering an intricate musical passage. For each person there are thousands of opportunities, challenges to expand ourselves.”4
From the perspective of age, it is easy to dispense advice. It all sounds lofty and pompous without any real value. That being said, we have to try to impart something of our experiences of life. It is the fault of old people that they are not appreciated and respected by young people. Most of the elderly are so disenfranchised from the light-years speed that the younger generations exist in that they are like aliens living on Pluto or beyond. My real counsel to the aged: Wake up, join a club, teach a class and most importantly of all, become involved with the youth of our society. Your life only matters if you make it matter.
From the perspective of age, it is easy to dispense advice. It all sounds lofty and pompous without any real value. That being said, we have to try to impart something of our experiences of life. It is the fault of old people that they are not appreciated and respected by young people. Most of the elderly are so disenfranchised from the light-years speed that the younger generations exist in that they are like aliens living on Pluto or beyond. My real counsel to the aged: Wake up, join a club, teach a class and most importantly of all, become involved with the youth of our society. Your life only matters if you make it matter.
14. 熱情是所有喜樂的泉源
14. 熱情是所有喜樂的泉源
不論在哪個藝術的領域，我們最欣賞藝術家的地方是他們對於作品毫無保留的投入。很多藝術家過著混亂且痛苦的生活，在內心深處，他們渴望充分發展他們的天賦讓世人欣賞。我們對不計代價、全力以赴想創造「傑作」的人，就算不情願，也要給予他們尊重和賞識。他們心裡想的是：若我沒有活著，這項創作還會出現在這世上嗎？藝術家的心中充滿著好奇心、力量與卓越。
不論在哪個藝術的領域，我們最欣賞藝術家的地方是他們對於作品毫無保留的投入。很多藝術家過著混亂且痛苦的生活，在內心深處，他們渴望充分發展他們的天賦讓世人欣賞。我們對不計代價、全力以赴想創造「傑作」的人，就算不情願，也要給予他們尊重和賞識。他們心裡想的是：若我沒有活著，這項創作還會出現在這世上嗎？藝術家的心中充滿著好奇心、力量與卓越。
我們沒有發揮藝術家的這種動力，是因為我們不喜歡隨之而來的後果。有個不足為信的傳說毀了年輕人的抱負，也就是那爛醉、放蕩且貧窮的藝術大師的故事。這傳達了一個訊息，比起冒險去探索外在世界並面對可能的失敗，過著平靜但沒有希望的生活反而比較好。「大部分人都過著平靜卻沒有希望的日子。所謂聽天由命，不過是根深蒂固的絕望。你從絕望的城市搬到絕望的鄉村，以鼠輩的懦弱自我安慰。在人類所謂的遊戲與消遣底下，掩飾著一種固化且潛意識的絕望，這兩者都沒有樂趣可言，因為得在工作後才能享受娛樂。但不做鋌而走險的事是智慧的一種特徵。」1
我們沒有發揮藝術家的這種動力，是因為我們不喜歡隨之而來的後果。有個不足為信的傳說毀了年輕人的抱負，也就是那爛醉、放蕩且貧窮的藝術大師的故事。這傳達了一個訊息，比起冒險去探索外在世界並面對可能的失敗，過著平靜但沒有希望的生活反而比較好。「大部分人都過著平靜卻沒有希望的日子。所謂聽天由命，不過是根深蒂固的絕望。你從絕望的城市搬到絕望的鄉村，以鼠輩的懦弱自我安慰。在人類所謂的遊戲與消遣底下，掩飾著一種固化且潛意識的絕望，這兩者都沒有樂趣可言，因為得在工作後才能享受娛樂。但不做鋌而走險的事是智慧的一種特徵。」1
最近在我教的班級中，遇到一位在餐廳總公司擔任採購的年輕人。然而他基本上可稱得上是一位藝術家2，我是幾次看到他在課堂上塗鴉才發現的。身為老師，我們必須敏銳地察覺學生們的需求。站在講台上，我時常穿透那自我的迷霧，看著整間教室的學生，檢視我準備的教材是否過度簡單，或者能深入刺激學生思考，後者是比較理想的狀態。這是一種微妙的平衡，因為在任何教學情境中，你只是訊息的傳播者，而非是想法本身。我認為並沒有老師，有的只是鎖匠。鎖匠為人打造了一把鑰匙，並將它交出去。幸運的話，知識、智慧的吸收是個人的經驗。亞里斯多德說：「詩人是模擬者，如同畫家或者其他形式的藝術家，他們所模擬的對象必定是下列三者之一：應該依照事物過去或現在的樣子；事物被說或被想成的樣子，亦或者是事情應該是麼樣子。用來表達的工具是語言，不論是使用中的詞語，也可能是罕見的字或暗喻。」
最近在我教的班級中，遇到一位在餐廳總公司擔任採購的年輕人。然而他基本上可稱得上是一位藝術家2，我是幾次看到他在課堂上塗鴉才發現的。身為老師，我們必須敏銳地察覺學生們的需求。站在講台上，我時常穿透那自我的迷霧，看著整間教室的學生，檢視我準備的教材是否過度簡單，或者能深入刺激學生思考，後者是比較理想的狀態。這是一種微妙的平衡，因為在任何教學情境中，你只是訊息的傳播者，而非是想法本身。我認為並沒有老師，有的只是鎖匠。鎖匠為人打造了一把鑰匙，並將它交出去。幸運的話，知識、智慧的吸收是個人的經驗。亞里斯多德說：「詩人是模擬者，如同畫家或者其他形式的藝術家，他們所模擬的對象必定是下列三者之一：應該依照事物過去或現在的樣子；事物被說或被想成的樣子，亦或者是事情應該是麼樣子。用來表達的工具是語言，不論是使用中的詞語，也可能是罕見的字或暗喻。」
我走到他的書桌旁，請他讓我看看他的作品，這一向是個「測試實力」3的機會。如同驕傲的父母，剛要嶄露頭角的藝術家總會樂於分享作品。他的作品令我驚豔，真的很棒。「為什麼你不追求自己熱愛的夢想呢？」我問他，隨後就聽到那個標準答案。「我的父母認為當藝術家沒有賺錢的機會。」「這種話去跟畢卡索說吧。」我如此回應。我的意思是，如果你有足夠的魄力和力量，做任何事物都能賺到錢的。儘管如此，你仍必須保持「心流」的狀態，當你自己與精神上和知性上的力量緊密結合時，你的才華和創造力就會隨之湧現。
我走到他的書桌旁，請他讓我看看他的作品，這一向是個「測試實力」3的機會。如同驕傲的父母，剛要嶄露頭角的藝術家總會樂於分享作品。他的作品令我驚豔，真的很棒。「為什麼你不追求自己熱愛的夢想呢？」我問他，隨後就聽到那個標準答案。「我的父母認為當藝術家沒有賺錢的機會。」「這種話去跟畢卡索說吧。」我如此回應。我的意思是，如果你有足夠的魄力和力量，做任何事物都能賺到錢的。儘管如此，你仍必須保持「心流」的狀態，當你自己與精神上和知性上的力量緊密結合時，你的才華和創造力就會隨之湧現。
心流指的是「一個人在從事ㄧ項活動時的精神狀態，它讓人充分沈浸在一種充滿幹勁的專注之中，全然地投入，而且享受整個活動的過程。本質上，它的特點是完全的投入，以至於忘了時間的流逝和空間的變化。」基本上，你做你所喜歡的事情，你會對這件事變得很專精。 契克森米哈賴教授(1934-)提出了一個概念：「與我們一般人所相信的相反，生命中最美好的時刻，並非是被動接收，或是放鬆的時刻，雖然說你努力求得的這種經驗也會令人感到很愉快。最好的時刻通常發生在一個人將身體或心靈發揮到極限時，而且這是自發性想努力達成困難且值得做的事情。因此，最好的人生體驗是我們自己創造出來的。對於一個孩子來說，這可能是用顫抖的手，將最後一塊積木放上他有史以來堆出最高的塔上面。對於游泳選手來說，這可能是努力打破自己的紀錄。對於小提琴手來說，這可能是指駕馭複雜的音樂段落。對於每個人來說，這世上都有成千上萬的機會，去突破自我的極限。」4
心流指的是「一個人在從事ㄧ項活動時的精神狀態，它讓人充分沈浸在一種充滿幹勁的專注之中，全然地投入，而且享受整個活動的過程。本質上，它的特點是完全的投入，以至於忘了時間的流逝和空間的變化。」基本上，你做你所喜歡的事情，你會對這件事變得很專精。 契克森米哈賴教授(1934-)提出了一個概念：「與我們一般人所相信的相反，生命中最美好的時刻，並非是被動接收，或是放鬆的時刻，雖然說你努力求得的這種經驗也會令人感到很愉快。最好的時刻通常發生在一個人將身體或心靈發揮到極限時，而且這是自發性想努力達成困難且值得做的事情。因此，最好的人生體驗是我們自己創造出來的。對於一個孩子來說，這可能是用顫抖的手，將最後一塊積木放上他有史以來堆出最高的塔上面。對於游泳選手來說，這可能是努力打破自己的紀錄。對於小提琴手來說，這可能是指駕馭複雜的音樂段落。對於每個人來說，這世上都有成千上萬的機會，去突破自我的極限。」4
從年齡的角度，給人意見很容易。但是這聽來既崇高又浮誇，沒有真正的價值。話雖如此，我們仍必須嘗試傳承我們的生命經驗。年輕人之不欣賞和敬重年長者，是年長者自己的錯。大多數老年人在年輕人的光速世代裡格格不入，他們就跟住在冥王星或者更遠星球的外星人一樣。我給老年人衷心的建議是：快醒醒！去加入一個俱樂部、去開班授課，最重要的是，融入我們社會的年輕人之中。你的生命只有在你重視它的時候，才可能有意義。
從年齡的角度，給人意見很容易。但是這聽來既崇高又浮誇，沒有真正的價值。話雖如此，我們仍必須嘗試傳承我們的生命經驗。年輕人之不欣賞和敬重年長者，是年長者自己的錯。大多數老年人在年輕人的光速世代裡格格不入，他們就跟住在冥王星或者更遠星球的外星人一樣。我給老年人衷心的建議是：快醒醒！去加入一個俱樂部、去開班授課，最重要的是，融入我們社會的年輕人之中。你的生命只有在你重視它的時候，才可能有意義。