The sky was a faint lilac color now, overcast and reflecting the city glow. As we move on year by year in this life, we learn that telling does not necessarily purge; telling sometimes merely is a reliving and it is a torment. When Picasso paints a portrait of Gertrude Stein with one large eye in the middle of her forehead, what is he trying to communicate? When Cezanne gives this advice to young painters, “Paint nature in cubes, rectangles and planes,” what is he saying? Gertrude Stein has two eyes like the rest of us; Cezanne knows that there is no pure cube or rectangle in nature. Picasso and Cezanne are speaking in symbols. Why are symbols? A symbol is a condensed way of saying something below our customary discursive language. For that reason, symbols speak on several levels at once. A stop sign at the corner says only one thing, namely stop at that corner, and is understood by everyone from two years of age on. However, a symbol is an image, a form which communicates many things at once. This gives the symbol its rich meaning and its power to delight us. Picasso is saying that he sees Gertrude Stein a strong woman with commanding manner; she looks at you with the power of an X-ray machine. It also may symbolize the trinity and God’s omnipresence and divine providence. #RandolphHarris 1 of 15

Cezanne sees nature as much more than simple trees and clouds. He sees symbols which take in all the vertical lines in the World from a yardstick to a laser beam, and cones in all the curving lines of mountains and shores, say of Mont Saint Victoire and its lake, which he painted many times. He wants the young painters to grasp nature not superficially but in its heart and soul. A symbol, indeed, assumes two planes, two Worlds of ideas and sensations, and a dictionary of correspondences between them. This lexicon is the hardest thing of all to draw up. However, awakening to the two Worlds brought face to face is tantamount to getting on trail of their secret relationships. If I recount an experience of my own on a shop in the Mediterranean, it may help us to het on this trail of symbols in art. I stood on the prow of a Greek ship steaming into the harbor of Istanbul. I saw the flags of the different nations flying from the masts of the vessels in the harbor. I noticed the red and black of the Turkish flag, the yellow and red of the Rumanian and the French tricolor. I observed these colored cloths with interest, noted the various nations to which they belonged, and mused on how many countries it take to make up Europe. #RandolphHarris 2 of 15

Then, as my ship passed round the bend of the Golden Horn, I suddenly saw an American flag. My reaction was entirely different. I had an experience that grasped my total self—a surging moment of joy, then a longing for my country which I had not seen for two years. My mind was flooded with all the rich and potent connotations of homeland. I recalled my childhood in at 19735 Warrington Dr. in Detroit, Michigan in the charming brick English Colonial  Tudor mansion located in Sherwood Forest, and I felt a surge of loneliness for my parents and brothers and sisters who were still back there. The sight of the flag also cued off my conflicts about being American and identified with that country: I felt a guilt similar to what I felt when my dad told me about what happened to him from his service in Vietnam. I felt again the moral conflict and the soul sense of nationalistic power. The flags of other countries were signs. The flag of my own country was a symbol. Artistic symbols and myths speak out of the primordial, preconscious realm of the mind which is powerful and chaotic. Both symbol and myth are ways of bringing order and form into chaos. They are the instruments by which we continually struggle to make out experience intelligible to ourselves. #RandolphHarris 3 of 15

Myth is a large controlling image which gives meaning to the ordinary facts of life, and symbol is a small image which performs a similar function for specific events. Both are our ways of organizing our experience so that it makes sense. Dreams are so valuable because they are made up of symbols. It a dream I was successful in warding off a threatened disturbance of my sleep; this time the threat came from a sensory stimulus. It was only chance, however, that enabled me to discover the connection between the dream and the accidental dream-stimulus, and in this way to understand the dream. One midsummer morning in a Tyrolese mountain resort I woke with the knowledge that I had dreamed: The Pope is dead. I was not able to interpret this short, non-visual dream. I could remember only one possible basis of the dream, namely, that shortly before this the newspapers had reported that his holiness was slightly indisposed. However, in the course of the morning my wife asked me: “Did you hear the dreadful tolling of the church bless this morning?” I had no idea that I had heard it, but now I understood my dream. It was the reaction of my need for sleep to the noise by which the pious Tyroleans were trying to wake me. I avenged myself on them by the conclusion which formed the content of my dream, and continued to sleep, without any further interest in the tolling of the bells. #RandolphHarris 4 of 15

We could say in therapy that one symbol used by a person in a dream has within it the person’s whole life. Hence symbols are so important in psychotherapy and art—and in all life. After experiential elements have been acquired and associated, in order that behavior be creative and useful rather than merely bizarre, it must be evaluated as to its relevance for satisfying the situation. Introducing sound of a screeching chalk into a symphony, or ketchup into a fine liqueur, or using a paper clip to dig a tunnel—all these are usual connections between diverse elements, but their value is somewhat dubious. Evaluating scientific products is often less ambiguous than judging the worth of artistic ones. Usually the techniques of experimentation and testing developed by science are adequate to evaluate the merit of a new achievement. Artistic excellence, however, seems more ephemeral, and depends on the artist’s own feeling of satisfaction, or on public reaction and social trends. The waxing and waning in popularity of Kafka, Sinatra, Telemann, Van Gogh, or Tiffany lampshades illustrates the difficulty of evaluating artistic achievement. Conscious methods of evaluation have been worked at extensively, especially in the scientific realm. The whole superstructure of experimental and statistical design of experiments is an attempt to evaluate ideas or hypotheses. #RandolphHarris 5 of 15

Other less objective methods from the unconscious realm are also used to evaluate a product. Scientists and artists will often talk of having a good or bad feeling about their work. Some mathematicians have reported waking up knowing they had solved a difficult problem. After this insight, it may have taken days to actually work out the details, but the scientists knew that within oneself were the elements sufficient to solve one’s problem. On the other hand, there is a feel of non-solution. An engineer reported a childhood incident in which he was building a model airplane. It has all parts but a motor. However, he reports, he knew that even with a motor it would not fly. As he analyzed it, his feel arose from a recognition that there just were not enough parts, and because he did not know enough about airplanes to make it fly. Apparently, in these cases, the unconscious had advance information about the adequacy of solutions, and signals this intelligence through bodily sensations. Ability to respond to these sensations can be very profitable in abandoning some trails and pursuing others. There will be errors, but learning to respond to the bodily sensations increases the likelihood of arriving at a satisfactory conclusion. #RandolphHarris 6 of 15

Emotional blocks to adequate evaluation occur in the matter of decision-making. On the one hand, fear of disappointing others or the self, general insecurity about personal competence, or a compulsive perfectionism can prevent a deservedly favorable evaluation of a mortal’s own productions. On the other hand, the need for wish fulfilment, the drive for achievement, or a competitive urge can give rise to unwarranted acceptance of one’s work. Conflict, vacillation, or premature decisions may result. (There are also, of course, many other causes of problems of appraisal.) To the degree that these factors are present, an individual will have difficulty in evaluating realistically one’s own productions and will tend either to accept them uncritically, or to reject worthwhile achievement. In either case, creative behavior will suffer. The following technique uses these ideas regarding evaluation. The primary implication for training methods of this analysis of the creative process’s evaluation phase concerns the bodily feeling of right or wrong. People can be taught to trust these intuitions, so that if they are uncertain about a course of action, they will rely upon their feeling about it. Not that these feelings are invariably right. However, teaching an awareness of their existence will allow them to be noticed and evaluated by each person. One individual may find that his or her feelings turn out to be valuable all the time, another may find them useful only in certain areas, while a third may learn to use some other cues in conjunction with them. #RandolphHarris 7 of 15

The feels are sometimes called prelogical thinking. This means that the total body is involved in resolving a problem, and there are some stirrings going on prior to the brain comprehending the problem and arriving at a logical solution. If a person can become aware of these preliminary stirrings and make use of them, he or she can acquire a quicker and sounder way to reach conclusions. This phenomenon often occurs during the making of important decisions throughout life. Often one has the experience that one course of action does not feel right although the reasons are not clear. Sometimes this is called hunch or intuition. Ability to use this process is often reported by creative people. Sculptors often speak of their products in these terms. They may look at a piece of sculpture and feel that it works or it does not. Most are reluctant or incapable of saying why it works or not, but they are certain of the feeling. They then proceed to change it until it does work. Cultivation of the sensitivity to prelogical cues expands a person’s capacity for making sensible judgments. It is simply a matter or training oneself to be sensitive to signals already present within, and being able to use them for one’s own benefit. Often we muddy up the swift, bright waters of anger by inserting demands into the situation. Lacking confidence in ourselves and the other person to deal creatively with feeling, we attempt to impose control on that person. At such times we often imply something like, “If you ever do that again, I will punish you [by leaving you, by not having anything to do with you, etcetera. #RandolphHarris 8 of 15

Perhaps there are times when it is necessary or desirable to issue a clear ultimatum of some kind. If a person means it and is willing to carry out the threat and is not attempting to manipulate the other, it may be a self-affirming expression. However, ultimatums go far beyond the simple expression of anger, and fighting with those we care for will usually be more creative if demands are not present. Again it needs to be pointed out that there are subtleties involved. There appears to be an unspoken communication that often occurs between people that makes words mean different things. For example, if some women say to their husbands in anger, “Darn it, I do not ever want you to do that again,” neither they nor their husbands will experience it as an attempt to control. Their total relationship says otherwise, whereas coming from some other women it might be experiences as a threat to the man’s freedom. It is hardly creative use of anger if a woman feels free to blow up at her husband at any provocation and then becomes a frightened, quaking, disaster area if he raises his voice. Nor is the husband any more effective who rants and rages, bullying his way through family life, too insecure to let anyone else voice their angry feelings. #RandolphHarris 9 of 15

It sometimes happens that, when an individual has been repressed for most of one’s life in the awareness and expression of anger, and then becomes free to have this experience, one appears to feel almost nothing except anger in one’s relationships with others. One seems, for the moment at least, to be cut off from other feelings that are also important, such as feelings of hurt, warmth, tenderness, and love. What happens is that we often mask these other feeling by expressing only our anger or by seeming to be angry when that is not our basic feeling at all. When we do this it is probably because we feel less vulnerable expressing anger. Genuine anger is a way of letting another person know we are involved with one. However, to let one know that one has hurt us is to go a step farther and say to one in effect, “I am not invulnerable to what you say and do. I can be reached. And you know how to do it.” And finally, to express love is to venture out even father on the limb of vulnerability. When we become angry with someone with whom we are closely involved, it can almost be assumed that some degree of hurt and caring is also present. If we are unaware of these feelings it is probably because of our fear of love and the vulnerability involved. Often the natural sequence of these feelings, if not inhibited, is to be first aware of the anger. When that is expressed the hurt comes into awareness. If the hurt is expressed the awareness of love often comes to the fore. #RandolphHarris 10 of 15

Christ made this clear enough with regard to the love of our neighbor. He said that he would one day thank his benefactors, saying to them: “I was anhungered and ye gave me meat.” Who but Christ himself can be Christ’s benefactor? How can a man give meat to Christ, if he is not raised at least for a moment to the state spoken of by Saint Paul, when he no longer lives in himself but Christ lives in him? The text of the Gospel is concerned only with Christ’s presence in the sufferer. Yet it seems as though the spiritual worthiness of one who receives has nothing to do with the matter. It must then be admitted that it is the benefactor oneself, as a bearer of Christ, who causes Christ to enter the famished sufferer with the bread he gives one. The other can consent to receive this presence or not, exactly like the person who goes to communion. If the gift is rightly given and rightly received, the passing of a morsel of bread from one mortal to another is something like a real communion. Christ does not call his benefactors loving or charitable. He calls them just. The Gospel makes no distinction between the love of our neighbor and justice. In the eyes of the Greeks also a respect for Zeus the supplaint was the first duty of justice. #RandolphHarris 11 of 15

We have invented the distinction between justice and charity. It is easy to understand why. Our notion of justice dispenses one who possesses from the obligation of giving. If one gives all the same, one think one has a right to be pleased with oneself. One thinks one had done a good work. As for one who receives, it depends on the way one interprets this notion whether one is exempted from all gratitude or whether it obliges one to offer servile thanks. Only the absolute identification of justice and love makes the coexistence possible of compassion and gratitude on the one hand, and on the other, of respect for the dignity of affliction in the afflicted—a respect felt by the sufferer oneself and the others. It has to be recognized that no kindness can go further than justice without constituting a fault under a false appearance of kindness. However, the just must be thanked for being just, because justice is so beautiful a thing, in the same way as we thank God because of his great glory. Any other gratitude is servile and even animal. The only difference between the mortal who witnesses an act of justice and the mortal who receives a material advantage from it is that in such circumstances the beauty of justice is only a spectacle for the first, while for the second it is the object of a contact and even a kind of nourishment. Thus the feeling which is simple admiration in the first should be carried to a far higher degree in the second by the fire of gratitude. #RandolphHarris 12 of 15

To be ungrateful when we have been treated with justice, in circumstances where injustice is easily possible, it to deprive ourselves of the supernatural and sacramental virtue contained in every pure act of justice. Nothing better enables us to form a conception of this virtue than the doctrine of natural justice as we find it set forth with an incomparable integrity of spirit in a few marvelous lines of Thucydides. The Athenians, who were at war with Sparta, wanted to force the inhabitants of the little island of Melos, allied to Sparta from all antiquity and so far remaining neutral, to join with them. It was in vain the men of Melos, faced with the ultimatum of the Athenians, invoked justice, imploring pity for the antiquity of their own town. As they would not give in, the Athenians razed their city to the ground, put all their men to death, and sold their women and children as slaves. Thucydides has put the lines in question into the mouth of these Athenians. They begin by saying that they will not try to prove that their ultimatum is just. “Let us treat rather of what is possible…You know it as well as we do; the human spirit is so constituted that what is just is only examined if there is equal necessity on both sides. However, if one is strong and the other week, that which is possible is imposed by the first and accepted by the second.” #RandolphHarris 13 of 15

The men of Melos said that in the case of a battle they would have the gods with them on account of the justice of their cause. The Athenians replied that they saw no reason to suppose so. “As touching the gods we have the belief, and as touching men the certainty, that always, by a necessity of nature, each one commands wherever he has the power. We did not establish the law, we are not the first to apply it; we found it already established, we abide by it as something likely to endure forever; and that is why he apply it. We know quite well that you also, like all the others, once you reached the same degree of power, would act in the same way.” Such lucidity of mind in the conception of injustice is the light that comes immediately below that of charity. It is the clarity that sometimes remains where charity once existed but has become extinguished. Below comes the darkness in which the strong sincerely believe that their cause is more just than that of the weak. That was the case with the Romans and the Hebrews. Possibility and necessity are terms opposed to justice in these lines. Possible means all that the strong can impose upon the weak. #RandolphHarris 14 of 15

It is reasonable to examine how far this possibility goes. Supposing it to be known, it is certain that the strong will accomplish one’s purpose to the extreme limit of possibility. It is a mechanical necessity. Otherwise it would be as though one willed and did not will simultaneously. There is a necessity for the strong as well as the weak in this. When two human beings have to settle something and neither as the power to impose anything on the other, they have to come to an understanding. Then justice is consulted, for justice alone has the power to make two wills coincide. It is the image of that Love which in God unites the Father and Son, and which is the common thought of separate thinkers. However, when there is a strong and a weak there is no need to unite their wills. There is only one will, that of the strong. The weak obeys. Everything happens just as it does when a mortal is handling matter. There are not two will to be made to coincide. Then mortal wills and the matter submits. The weak are like things. There is no difference between throwing a stone to get rid of a troublesome dog and saying to a slave: “Chase that dog away.” Beyond a certain degree of inequality in the relations of mortals of unequal strength, the weaker passes into the state of matter and loses one’s personality. The men of old used to say: “A man loses half his soul the day he becomes a slave.” #RandolphHarris 15 of 15