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This is pleasure: the top pleasure of soul and body. Receiving sensual pleasure

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Sensual pleasures

Thus, Freud cannot be called a strict disciplinarian. And he was not an ascetic either. His sexual activity appears to have declined very early; We know that in August 1893, when he was only 37 years old, the founder of psychoanalysis preferred abstinence. However, this was not forever. Anna, his last child, was born in December 1895. IN next year he told Fliess, who was always interested in biological rhythms with a period of 28 days: “I have no sexual desire, and I am impotent - although in reality this is, of course, not yet the case,” and in 1897 he told him about a dream in which he walked up the stairs, almost naked, and was pursued by a woman. At the same time, he felt not fear, but erotic excitement.

Indeed, as we have already seen, in 1900 Freud noted that he was “done with childbearing.” However, there is intriguing evidence that he was not done with sexual arousal and intercourse - for the next 10 years or more. In July 1915, Sigmund Freud recorded and analyzed several of his dreams. One of them was about his wife: “Martha is coming to me, and I have to write something for her... in a notebook. I take a pencil... Then everything becomes blurry.” In interpreting the dream, Freud suggested several events of the previous day as a causative agent, among which there was inevitably a “sexual significance”: the dream “had to do with successful copulation on Wednesday morning.” At that time Freud was 59 years old. Thus, when he told James Putnam that same year that he had made “very moderate use” of the sexual freedom he preached, he was clearly showing an aversion to extramarital affairs. As in some dreams, in Freud's articles and random phrases there are hints of the violent erotic fantasies that haunted him for many years. For the most part, they remained fantasies. "Being cultured people“Kulturmenschen,” the founder of psychoanalysis admitted with a sardonic grin, “we are slightly predisposed to psychological impotence.” A few months later, Freud, jokingly but with a hint of melancholy, suggested that it would be useful to revive an ancient institution, “an academy of love where ars amandi would be taught.” How extensive his practice was in what would be taught in such an academy remained a mystery. However, the remark about "successful intercourse" in 1915 suggests that in some cases he failed.

Freud's abstinence was partly due to his apparent disgust with all known methods of birth control. We know that in the early 1990s, while studying - using the example of his patients and, quite possibly, his own marriage - the sexual origin of neuroses, Freud stated the psychological consequences of the use of contraception. He was convinced that, except in the most favorable cases, the use of a condom led to neurotic disorders. Other methods are no better than coitus interruptus; depending on the method used, either the man or the woman is ultimately doomed to become a victim of hysteria or fear neurosis. “Had Freud continued in this direction,” observed Jane Malcolm, “he would have become the inventor of the improved condom, rather than the founder of psychoanalysis.” Be that as it may, he considered the difficulties arising from the shortcomings of contraception as the keys to the work human psyche, including her own, and to its secrets. In a note sent to Fliess on this delicate topic, Freud talks not about himself, but about his patients and how their frank confessions helped his theory. However, the drafts, at once intimate and passionate, also testify to personal investment. They reflected his sexual experience, which could not even be called satisfactory.

Freud's abstinence appears to have had less to do with the expectation of imminent death. In 1911, he told Emma, ​​Jung's wife: "My marriage has long died out, and there is only one thing left for me - to die." However, Sigmund Freud also found reason for pride in abstinence. In his article on "cultural" sexual morality, published in 1908, he observed that modern civilization places unusually high demands on the capacity for sensual restraint. It requires people to abstain from sexual intercourse until marriage and then limit sexual activity to one partner. According to Freud, most people are unable to fulfill these demands or pay an excessive emotional price for their fulfillment. “To sublimate it, to divert the forces of the sexual instinct from its goal towards a higher cultural purpose possible for a tiny minority, and only temporarily.” The majority “become neurasthenic or even pay with their health.”

But Freud did not consider himself either neurasthenic or sick. Rather, he had no doubt that he had sublimated his instincts and was now engaged in “cultural” work higher order. However, old Adam could not be completely curbed: in his old age, the founder of psychoanalysis clearly admired pretty women. Lou Andreas-Salome, famous writer, philosopher and psychotherapist, activist cultural life Europe at the turn of the 19th and 20th centuries, beautiful and dangerous for men, was a striking example of this, but not the only one. In 1907, in a letter from Italy, Freud - at that time he was apparently engaged in the sublimation of his erotic impulses - told Jung that he had accidentally met a young colleague who “seemed to have acquired some woman again. This is how practice interferes with theory.” This incident made him reflect on his own experience: “When I have completely overcome my libido (in the usual sense), I will begin to write The Love Life of Humanity.” Obviously, in 1907 he had not yet overcome his libido - in the usual sense.

Thus, Freud for a long time did not give up sensual pleasures. He agreed with Horace's statement, carpe diem - "live in the present", a philosophical justification for the desire to seize the moment, citing the precariousness of life's realities and the futility of virtuous self-denial. After all, the founder of psychoanalysis admitted, “each of us had moments and periods when we recognized the correctness of this philosophy of life.” At such moments, people are inclined to reproach the ruthless severity of the teaching of morality: “It only knows how to demand, without rewarding anything.” Being a strict moralist, Sigmund Freud at the same time did not deny the need for pleasure.

The things that had accumulated over the years in Freud's house testify to a certain sensual pleasure that he, the doctor and family man, found it not only pleasant, but also acceptable. The apartment at Berggasse 19 was a small world that focused conscious choices; it completely reflected Freud along with his inherent culture - both what was in him and, strangely enough, what was not in him. Sigmund Freud was an educated burgher, a representative of the middle class of that era, but his attitude towards what was usually valued in this environment and what was often really valued - painting, music, literature, architecture - cannot always be predicted. Freud was by no means immune to man-made beauty. In 1913, the founder of psychoanalysis was happy to learn that Karl Abraham liked the Dutch resort of Noordwijk aan Zee, where he had vacationed before. “First of all,” Freud recalled, “the sunsets are magnificent.” But he appreciated even more what was created by human hands. “Tiny Dutch towns are charming. Deft is a little diamond.” Painters and sculptors, as well as architects, delighted his eye even more than landscapes.

Freud was very sensitive to beauty, but had traditional tastes. The things he surrounded himself with were uncompromising in their conservatism and adherence to established rules. The founder of psychoanalysis loved the little things that most bourgeois of the 19th century considered an integral part of their lives: photographs of family members and close friends, souvenirs from places he visited and which he recalled with pleasure, engravings and figurines that were, so to speak, the heritage of the old regime in art - invariably academic, without a spark of imagination or originality. The revolutions that raged in painting, poetry and music did not affect Freud in any way; when they drew attention to themselves, which was rare, he strongly disapproved of them. From the paintings on the walls of his apartment, one could not guess that at the time he moved to Berggasse 19, French impressionism had already flourished, or that Klimt, Kokoschka, and subsequently Schiele were working in Vienna. Commenting with obvious distaste on the "highly modern" portrait of Karl Abraham, he wrote to a student that he was horrified to see "how cruelly your tolerance or sympathy for modern 'art' could be punished." The sarcastic quotation marks around the word “art” are indicative. Faced with expressionism, Freud honestly admitted his limitations to Oskar Pfister.

Accordingly, the furniture that filled his apartment did not in any way reflect the experimental design that at that time was transforming the homes of trend-conscious Viennese residents. The family lived in solid Victorian comfort with embroidered tablecloths, velvet chairs, framed photographic portraits and oriental rugs galore. Their apartment breathes almost outright eclecticism, manifested in the mass of objects accumulated over the years, which do not obey a specific decorative plan, but testify to simple aspiration to comfort. It seems that in this closeness, which people of more austere taste would find oppressive, the family found support: it embodied the plan of domestic comfort drawn up by Freud before his marriage, confirmed the prosperity that had finally been achieved, and also supported cherished memories. And indeed, to the consultation room and personal account For Sigmund Freud, material wealth and memories of the past left no less an imprint than on the rest of the apartment at Berggasse 19. The founder of psychoanalysis's assessment of art was more radical than his perception of beauty.

A very similar conflict characterizes Freud's attitude towards literature. His books, monographs and articles testify to his erudition, tenacious memory and excellent sense of style. As we know, he often turned to his favorite German classics, especially Goethe and Schiller, as well as to Shakespeare, from whom he found fascinating riddles and large passages from which he could recite in his almost perfect English. Such wits as Heinrich Heine and cruder humorists such as Wilhelm Busch provided him with vivid illustrations. However, in choosing his favorites, Freud neglected the European avant-garde of his era. He knew Ibsen mainly as a courageous iconoclast, but, apparently, he paid little attention to the work of poets like Baudelaire or playwrights like Strindberg. Among the inhabitants of Vienna, who wrote, painted and composed music in a stormy atmosphere, permeated with avant-garde impulses, only Arthur Schnitzler, as we already know, achieved Freud’s unconditional approval - for his deep psychological study of the sexuality of modern Viennese society.

This does not mean that Sigmund Freud did not spend time reading novels, poems and essays for pleasure. He read, and his reading range was wide. When he needed rest, especially in his old age while recovering from operations, Freud entertained himself with murder stories from such master detectives as Dorothy Sayers and Agatha Christie. Nevertheless, he usually preferred more sublime literature. In 1907, responding to a questionnaire from his publisher Hugo Heller, who asked to name ten good books, Freud listed not works, but writers - two Swiss, two French, two English, one Russian, one Dutch, one Austrian and one American. These are Godfried Keller and Conrad Ferdinand Meyer, Anatole France and Emile Zola, Rudyard Kipling and Lord Macaulay, Dmitry Merezhkovsky, Multatuli, Theodor Gompertz and Mark Twain. These preferences, like those in the fine arts, are relatively traditional and much less daring than one might expect from such a rebel. Of course, a spirit of contradiction emerges in them too. Multatuli, the Dutch essayist and novelist Eduard Douwes Dekker, was something of a political and moral reformer. Kipling's The Jungle Book could be seen as a kind of protest against the artificiality of modern civilization, and Mark Twain was without a doubt the most irreverent of humorists.

Of course, some of Freud's favorite works, such as Macaulay's decidedly optimistic essays on English culture from the 17th to the 19th centuries, as well as Gompertz's equally liberal history of ancient Greek philosophy, could themselves be considered to subvert tradition. They remind us of Freud's unpaid debt to thought Enlightenment XVIII century with its critical spirit and hope for humanity - the founder of psychoanalysis became acquainted with it both directly, reading Diderot and Voltaire, and through the works of their heirs from the 19th century. The main topic The works of Macaulay and Gompertz were a triumphant spread of light and reason throughout a world immersed in the darkness of superstition and persecution. As we know, Freud liked to repeat that he spent his life destroying illusions, however, despite all his incorrigible pessimism, he sometimes enjoyed amusing himself with the illusion of the possibility of progress gradually accumulating in human affairs. It is noteworthy that when Freud wrote for publication, be it the psychology of the individual, the group, or the culture as a whole, he was less optimistic. But while reading for pleasure, the founder of psychoanalysis seemed to allow himself some of the desired fantasies that were harshly suppressed during his work.

It is not surprising that Freud's literary judgments were often purely political. One of the reasons why he praised Anatole France was the fact that France showed itself to be a resolute opponent of anti-Semitism, and he rated Dmitry Merezhkovsky, the author of the novel about Leonardo da Vinci, higher than he deserved, due to the fact that this author flattered a Renaissance artist whose independence and intellectual courage Freud admired. But most of his favorite writers were valued by him because they turned out to be talented lay psychologists. Sigmund Freud believed that he could learn from them in the same way that biographers and anthropologists could learn from him. That doesn't mean he was limited person– although these are Freud’s own words. Yes, the practicality of his tastes is undeniable. As he himself admitted in 1914 in an article on Michelangelo’s Moses: “I have often noticed that the content work of art attracts me more than its formal and technical qualities, to which the artist himself attaches paramount importance. To evaluate the numerous means and some of the effects of art, I actually lack correct understanding" Freud understood the difference between purely formal, aesthetic pleasure and the pleasure that the content of fine art or literature can provide, but he stopped there. Partly because he considered artistic methods beyond his understanding. “Meaning means almost nothing to these people; they only care about line, shape, and the correspondence of contours. They are guided by Lustprinzip.” In Freud, on the contrary, the reality principle prevailed over Lustprinzip, that is, the pleasure principle.

This practical mindset inevitably shaped Freud's rather detached and mocking attitude towards music. He specifically emphasized his ignorance of musical matters and admitted that he was unable to reproduce a melody without going out of tune. In The Interpretation of Dreams, Freud actually boasted of his lack of hearing: while singing the aria from The Marriage of Figaro in which the protagonist challenges Count Almaviva, he claims that a stranger would probably not recognize the tune. Those who heard the founder of psychoanalysis hum arias from Mozart's operas confirmed these words. He did not seek to meet musicians and, as his daughter Anna briefly noted, never went to concerts. Nevertheless, he liked opera, at least some operas. The daughters, looking through Freud's memoirs, were able to find five of these: “Don Giovanni,” “The Marriage of Figaro” and “The Magic Flute” by Mozart, “Carmen” by Bizet and “Die Mastersingers of Nuremberg” by Wagner. The list is as neutral as it is brief: no Claude Debussy, no Richard Strauss. Among all Wagner's operas, Die Meistersinger was, of course, the most acceptable - after such early works, How " Flying Dutchman" And Carmen - although it took some time to conquer Paris after premiering there in 1875 - quickly became a favorite opera in German-speaking countries. Brahms, Wagner and Tchaikovsky, who agreed with each other on almost nothing, considered Bizet's opera a masterpiece. Nietzsche, who saw at least 12 performances, contrasted its liveliness and Gallic charm with the ponderous and gloomy Teutonic musical dramas of Wagner. Bismarck, that connoisseur and lover of music, boasted that he had listened to the opera 27 times. You didn't have to be an admirer of the avant-garde to admire these musical works. There is no doubt that Freud knew them well enough, since, if necessary, he used quotes from them: Figaro’s aria “It would please the Count to start dancing,” Sarastro’s address to Princess Pamina in “The Magic Flute”, when he says that he cannot make her fall in love himself, as well as Leporello’s speech when he boastfully lists all Don Giovanni’s victories to Donna Elvira.

The appeal of opera to a non-musical person like Freud is no mystery. After all, opera is music and words combined with dramatic action song. Like most of the books that the founder of psychoanalysis read, opera could offer him the pleasant surprise of recognition. In its unusual, often melodramatic way, the opera tried to resolve the psychological problems that occupied Freud all his life: love, hatred, greed, betrayal. Moreover, opera is a performance, and Sigmund Freud was always particularly sensitive to visual impressions. He looked at his patients no less carefully than he listened to them. Moreover, the opera depicts disturbing moral conflicts that find a satisfactory resolution, and presents unusually eloquent characters engaged in the battle of good and evil. With the exception of Carmen, all five of Freud's favorite operas—especially The Magic Flute and Die Mastersingers of Nuremberg—depict the triumph of virtue over sin: a result that satisfies the most sophisticated of listeners while also providing insight into the struggle that goes on in the souls of men. and women.

Opera and, for that matter, theater were rare entertainments in Freud's life. A regular, daily recurring pleasure for him was food. The founder of psychoanalysis was not a gastronome or gourmet and did not tolerate wine well. However, he enjoyed food. Freud preferred to eat in silence and concentration. In Vienna, the main meal of the day was lunch, Mittagessen, which was served promptly at one o'clock in the afternoon and consisted of soup, meat, vegetables and dessert: "...the usual three-course meal, changing according to the season, when in the spring we have an additional dish, asparagus." Freud was especially fond of Italian artichokes, boiled beef - Rindfleisch - and roast beef with onions. But he didn’t like cauliflower and chicken. Freud also adored dense and satisfying b?rgerliche dishes, without any influence of sophisticated French cuisine.

He compensated for some primitive taste with cigars. Sigmund Freud could not do without them. When, in the early 90s of the 19th century, Fliess - a specialist in otolaryngology, anyway - ordered him to quit smoking in order to get rid of nasal catarrh, Freud was in despair and asked to soften the ban. He started smoking at age 24, first with cigarettes and then switched exclusively to cigars. The founder of psychoanalysis argued that this habit, or vice, as he called it, significantly increased his performance and facilitated self-control. It is noteworthy that his example was his father, who was heavy smoker and remained so until the age of 81. In those days, Freud's passion for cigars was shared by many. Before weekly meetings in his house, the maid placed ashtrays on the table, one for each guest. One Wednesday evening, when everyone had left, Martin Freud literally felt - no, he rather inhaled it - the atmosphere in the room. “The room was filled with thick smoke, and I wondered how people could stand in it for several hours, let alone talk, without suffocating.” When Freud's nephew Harry was 17 years old, the founder of psychoanalysis offered the young man a cigarette. Harry refused, and his uncle told him: “My boy, smoking is one of the most powerful and cheapest pleasures in life, and if you have decided in advance not to smoke, I feel sorry for you.” Freud could not deprive himself of this sensual pleasure, but for this he had to pay an exorbitant price in the form of pain and suffering. As we know, in 1897 he shared his opinion, never expressed in his articles and books, that bad habits- Freud included the habit of tobacco among them - they serve only as substitutes for “the only real habit, the “primary mania,” masturbation.” However, Sigmund Freud was unable to turn this guess into a decision by quitting smoking.

Freud's irresistible love for cigars testifies to the preservation of primitive oral needs, and his passion for collecting antiquities reveals in his adult life remnants of no less primitive anal pleasures. What Sigmund Freud once called his own penchant for antiquity was, as he confided to his physician Max Schur, a passion second only to his passion for smoking. The consultation room in which Freud received his patients and the adjacent office gradually became overflowing with oriental rugs, photographs of friends, and decorative plates. The glass bookcases were bursting with books and various souvenirs. The walls were decorated with drawings and engravings. The famous couch was a work of art in itself - high pillows, a blanket at the feet, with which patients covered themselves if they were cold. There was a Shiraz carpet on the floor. But most of all in Freud's workrooms there were sculptures that occupied all free surfaces: they filled the closed rows bookshelves, the covers of numerous tables and bureaus, and even interfered with the impeccable order of the desk - the founder of psychoanalysis admired them when he wrote letters or worked on books.

It was this forest of sculptures that his guests and patients remembered best. Hans Sachs, one of Freud's close friends, remarked on his first visit to the apartment at Berggasse 19 that although the collection was "still in its early stages, certain objects immediately attract the visitor's eye." The Wolf Man, which Freud began psychoanalyzing the following year, also found antiquities fascinating: in his opinion, there was always a sense of sacred peace and quiet in the adjoining consultation room and master's office. It resembled “not a doctor’s waiting room, but rather an archaeologist’s office. There were all kinds of figurines and other unusual objects, which even a non-specialist recognized as archaeological finds from Ancient Egypt. On the walls hung decorative stone dishes depicting scenes from bygone eras.”

This abundance was carefully and lovingly collected. Freud was interested in collecting antiquities until the end of his life. When his longtime friend Emanuel Levy, professor of archeology in Rome and then in Vienna, was in the city, he visited Freud and brought him news from the world of antiquities. The founder of psychoanalysis, in turn, was keenly interested in this world when he found time, and followed the excavations with the excitement of a knowledgeable amateur. "I brought great sacrifices“for the sake of collecting Greek, Roman and Egyptian antiquities,” he admitted to Stefan Zweig at the end of his life, “and even read more works on archeology than on psychology.” This is undoubtedly an exaggeration: the focus of Freud's ordered curiosity was always on the life of the soul, and the lists of books given in his works demonstrate his deep knowledge specialized literature. However, the founder of psychoanalysis took great pleasure from his figurines and fragments, the first purchases that he could hardly afford, and subsequently the gifts from friends and followers brought to the apartment at Berggasse 19. In his old age, looking around from a comfortable easy chair behind the couch consultation room, Freud could see a large painting of the Egyptian temple at Abu Simbel, a small reproduction of Ingres's painting of Oedipus solving the riddle of the Sphinx, and a plaster copy of the ancient bas-relief, Gradiva. On the opposite wall, above a glass cabinet filled with antiquities, he placed an image of the Sphinx of Giza: another reminder of mysteries—and of the brave conquistadors like himself who solved them.

Such expressed passion requires interpretation, and Freud readily provided it. He told the Wolfman that the psychoanalyst "...like an archaeologist on an excavation site, must uncover the patient's psyche layer by layer before reaching the deepest, most valuable treasures." But this powerful metaphor does not exhaust the meaning of this addiction for Freud. Antiquities gave him obvious visual and tactile pleasure. The founder of psychoanalysis caressed them with his gaze or stroked them while sitting at his desk. Sometimes he would bring a new acquisition into the dining room to get a better look. Besides, they were symbols. They reminded of friends who took the trouble to remember his love for such artifacts, they reminded of the south - of those sunny countries that he had visited, which he hoped to visit, as well as those too distant and unattainable, which he no longer hoped to visit. Like many northerners, from Winckelmann to E.M. Forster, an English novelist who was interested in the inability of people of different social groups understand and accept each other, Freud loved Mediterranean civilization. “I have now decorated my room with plaster casts of Florentine statues,” he wrote to Fliess at the end of 1896. – This was a source of extraordinary renewal for me; I want to get rich so I can repeat such trips.” Like Rome, Freud's collection served as an expression of his obscure desires. “Congress on Italian soil! (Naples, Pompeii),” he exclaimed dreamily after telling Fliess about those very plaster casts.

Even more uncertain was the connection of his antiquities with the lost world to which he and his people, the Jews, could trace their distant roots. In August 1899, Freud informed Fliess from Berchtesgaden that on the next rainy day he would “march” to his beloved Salzburg, where he had recently “unearthed” several Egyptian antiquities. These objects, Freud noted, lift his spirits and “tell him about ancient times and distant countries.” Studying objects dear to his heart, he discovered, as Ferenczi admitted many years later, how a strange secret longing was born in him, perhaps “from my ancient ancestors - for the East and the Mediterranean, for a completely different life: desires from childhood that will never come true and will not adapt to reality.” And it is not at all a coincidence that the person whose life story Freud was interested in and whom, apparently, he envied more than anyone else, was Heinrich Schliemann, the famous archaeologist who discovered the mysterious Troy, shrouded in ancient legends. The founder of psychoanalysis considered Schliemann’s career so outstanding because in the discovery of “Priam’s treasure” he found true happiness: “Happiness exists only as the fulfillment of a child’s dream.” It was precisely this kind of dream that Sigmund Freud believed, in his gloomy mood, that was rarely realized in his own life.

However, as he told the “wolf man,” his undying passion for collecting antiquities became increasingly important and became the main metaphor for his life’s work. “Saxa loquuntur! - Freud exclaimed in 1896 in his lecture on the etiology of hysteria. “The stones are talking!” Indeed, they say. At least he heard them. In one emotional letter to Fliess, Freud compared the success he had just achieved in psychoanalysis with the discovery of Troy. With its help, the patient discovered deeply hidden fantasies, “a scene from early childhood (up to 22 months) that met all the requirements and into which all the remaining riddles fit; everything at once, sexy, innocent, natural, etc. I still don’t dare believe it. It’s as if Schliemann had once again excavated Troy, which was considered mythical.” Freud continued to use this metaphor: in the preface to Dora’s case history, he compares the problems arising from “the incompleteness of my analytical results” with the problems of “those researchers who were lucky enough to bring into the light of day priceless, albeit mutilated, remains from centuries-old burials.” antiquities". Freud restored what was missing, and “like a conscientious archaeologist,” he “did not miss the opportunity to show where my construction meets the reliable.” Three decades later in "Cultural Discontent", illustrating " common problem mental preservation,” he used a broad analogy with ancient Rome, which appears to the modern tourist: a series of cities, the remains of which are preserved next to each other or were discovered as a result archaeological excavations. Thus, Freud’s collecting of antiquities combined work and pleasure, childhood desires and sublimations mature age. But there was also a hint of painful dependence. There is something poetic about the fact that in the fall of 1902, at the first Wednesday meeting of the Psychological Society, the subject of discussion was the effect of smoking on the psyche.

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66. Control your desires and desire for sensual pleasures

Material desires and sense pleasures are unlimited. The more you enjoy, the more you crave pleasure.. One satisfied desire gives rise to new ones, and this chain is endless. Limit your desires to the basic, vital ones. Don’t strive for luxury, don’t cultivate desire after desire. Satisfaction of material and sensual desires is short-term and inevitably leads to pain . Such desires do not bring permanent satisfaction. We must restrain endless desires and cravings for sensual pleasures. Our mind and feelings always strive for momentary joys and pleasures. This is a manifestation of the base nature of man. We must overcome the influence of the base nature and strive for higher pleasures. We were not born to experience base pleasures. We must rise above momentary joys. Understanding life laws and how they can be used opens before us a veritable treasury of endless joy.

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How to learn to fulfill your desires Do you still not believe that you are capable of making your deepest desires come true? Then let's practice the role

From the author's book

12. Control your impulses, control yourself, learn patience B everyday life You should not be guided by impulses and say and do what comes into your head. This is a sign of a weak mind. Control your mind without becoming a slave to it. Be

Receipt sensual pleasure

Unlike physical pleasure, Sensual pleasure does not imply satisfaction of the body's needs for material sources of its functioning. Sensual pleasure arises when repeatedly viewing paintings, listening to music, reading books and other ways of perceiving already known information. The reason for sensual pleasure is the coincidence of the transversal speeds of the sensory image in the dynamics of its change with the transversal speeds of the image extracted from memory. Repeated perception of a sensory image increases the energy of the memory state corresponding to it. This state of memory is basic for the programmatic setting of human actions for the purpose of re-perceiving a sensory image. Positive feedback occurs. The human mind becomes dependent on sensual pleasure.

The danger of dependence on sensual pleasures is not recognized by everyone. For earthly life, many consider this pleasure to be a blessing. Indeed, it can be perceived as a reward for passivity that contributes to the stability of society. But, like any attachment to material things, it is objectively harmful. The human mind is only a moment in process eternal life exists in an embodied state in material world, and these attachments will be a burden to him.

Can the Mind of a collector of stamps, paintings, and other works of art be considered to have completed its task? Its development is one-sided and by earthly standards. While living in the conditions of Paradise, his intellect will develop, increasing the imbalance. There can be no talk of harmony, good weather on the planet of memory. Obtaining supersensible information and developing the Intellectual sphere of the Mind in the area of ​​lower dimensions will be difficult. There will always be a danger of manifestation of programmatic attitudes of attachment in any situation.

Attachment to sensual pleasures is one of the links of karma and causes the need for re-incarnation. Collecting works of art makes sense for the wider dissemination of their information content, expressed more in the circumstances of creation and the motivation for the activities contained in them than in the aesthetic forms themselves. Collecting for personal use and enjoying the beautiful cannot cause anything other than the birth of black karma.

The question arises: did brilliant artists and musicians, poets and writers cultivate black karma and are therefore doomed to re-incarnation and new suffering? No, their creativity is not a source of black karma. The creative achievements of geniuses are based on supersensible information received from the Essence. Among sensory perceptions there is only creative inspiration, ecstasy, which is akin to the feelings experienced upon achieving Enlightenment. These feelings contain a programmatic installation of the desire for supersensible knowledge, which will remain forever and will become the basis for the formation of the macroprogram of the individual in the process of future eternal life in a disembodied state. They have no attachment to their own works. On the contrary, they tend to be critical of them. They have the same attitude towards the achievements of their colleagues.

For many geniuses, the problem of karma lies elsewhere - in attachment to drinking alcohol. Creative process proceeds more intensely with a decrease in potential barriers that prevent the penetration of the Mind of lower dimensions into the area of ​​consciousness. But the elimination of vicious dependence will require a new incarnation in a different capacity, with a different, maybe very difficult fate when the karmic link of attachment to alcohol is broken.

This does not mean that you need to be indifferent to works of art. Brilliant creations reflect the achievements of civilization, are role models, guide creative thought, and drive the progress of society. They constitute the main material content of the achievements of the collective Mind. Their influence on spiritual life cannot be overestimated. An example to follow should be the process of creating a work of genius and the programmatic setting of the activity that it contains, and not the form of this work itself. Works of art are material objects. Their contemplation enhances the energy of the basic states of memory. But only the program settings contained in them have a positive impact on the birth of white karma.

Sensory perception of works of art helps to overcome many program settings for the reproduction of black karma. However, one must keep in mind that after the destruction of black karma, white karma will lose its white color. Further increase in the energy of its program settings can create a new karmic link of attachment to the sensual material object. Then it will turn black. It is impossible to draw an exact line between white and black karma. A person is forced to balance between them all his life, but there is no other way. Only works aimed at improving spirituality and mastering true knowledge do not pose a danger of changing the color of karma. On the path of spiritual improvement, karma does not change its white because this path is endless.

Sometimes, trying to achieve success in life, to start some new business or business, we run forward, live in the world of our thoughts and plans, in the world of illusions and emotions. But we completely forget about our body, about our physical shell, about the need to experience bodily pleasures and feel this world with your body first of all.

Many esoteric teachings teach us to immerse ourselves in meditation, to seek truth in other realities, believing in magic and the power of thought.

Our religion elevates the mortification of one's flesh and dislike for one's body to the rank of holiness.

For many, their body is simply a vehicle to get their brain from point A to point B.

But the truth is that without paying due attention to your body and bodily pleasures, without the ability to rejoice and express your bodily matrix, you can hardly talk about any harmonious spiritual and personal development.

Many people live their whole lives inside their heads, don’t love themselves and their bodies, and are always surprised that they make mistakes again and again, although from the point of view of their heads they do everything right. And the truth is very close!

Our body is a highly accurate tool for orientation in this life, a tool for separating truth from lies, our own from someone else’s, promising from meaningless. But whether you know how to use it or not is another question!

Video clips of the seminar (beginning):