The Talking Stick

[Chris Anderson/Onefeather]

In recent headlines there’s been a momentary round of hysteria about the congressman who inadvertently (or perhaps with denied intention) blurted out the words “You lie!” in the midst of a Presidential speech. Although this incident was sized upon by media and fellow members of the political establishment (with a desired resultant “shaming” of the “socially challenged” politician)... the sad fact is, institutions of government across this land have a longstanding and tawdry history of similar incidents beginning with the inception of America.

For the people of the First Nation, spirituality was inclusive of all levels of life, including the governing of the interests of the “People”. The council fires were believed to be a part of the grand design that Creator was unfolding on behalf of the nations in their coming together to establish rules and agreements. One senses this pervasiveness, by innuendo, in a statement by Dave Chief, Grandfather of Red Dog. He observed; "Respect means listening until everyone has been heard and understood. Only then is there a possibility of "Balance and Harmony"... the goal of Indian spirituality." The aforementioned “spirituality” incorporated every stratum of tribal life.

Many American Indian tribes made use of the talking stick or, alternately, the talking feather (an eagle feather), the Pwagen (the pipe), a wampum belt, the sacred shell or other instrument, as a means of just and impartial dialogue. This device was commonly used in council circles to designate who had the right to speak, especially when matters of great concern came before the convention.

The leading elder would hold the talking stick and begin the discussion... and as he finished speaking, he would hold out the totem, allowing whoever wished to speak after him to take it. An act of decorum and civility, the stick was passed from one individual to another until all who wished to speak had done so. The stick was then passed back to the leading elder for safekeeping. Even today within the Nations this icon is a symbol of respect for free-speech, assuring the speaker he has the freedom and power to say what is in his heart without fear of reprisal or humiliation.

Whoever holds the talking stick has within his hand the sacred power of words, the centerpiece of oral-tradition societies. The speaker is conscious that one should not forget he carries within himself a sacred spark of the Great Mystery, with the subsequent understanding that he, himself, is also sacred. Should he feel he cannot honor the talking stick with his words, he will refrain from speaking so as not dishonor himself. When he reclaims control of his words, the stick will be returned to him.

It naturally follows that the American Indian is alert to meter and rhyme, context and innuendo, in the speaking of words. He embraces silence until something worthy of sharing comes into his mind naturally, like the filling of an empty cup. Within the ever-present void, he maintains in his awareness the flow of life and whatever is in his surroundings. His breathing is a metronome, the very pulse of Universal life that he places his attention on while considering and forming his homily.

It is words, and the placement of words in forming patterns, that Indians identify as “Powers”... and this brings us to A Course in Miracles.

During my initial reading of the text I noted that vast portions of the Course were written in iambic pentameter, a writing device used by poets and playwrights to enfold the listener. In this type of verse, each line has five "feet" of two syllables each, and in each "foot" the second syllable is stressed, resulting in lines of ten syllables with every other syllable stressed. When you read the Course, you will notice that the iambic pentameter lends a melodic rhythm to the material, and because every other syllable is stressed, it feels as if there’s a heart beating within each line. The use of iambic pentameter goes on unbroken for hundreds of pages in the Course. A universal pulse.

As an example: T-24.V.1. The Christ in you is very still. 2 He looks on what He loves, and knows it as Himself. 3 And thus does He rejoice at what He sees, because He knows that it is one with Him and with His Father. 4 Specialness, too, takes joy in what it sees, although it is not true. 5 Yet what you seek for is a source of joy as you conceive it. 6 What you wish is true for you. 7 Nor is it possible that you can wish for something and lack faith that it is so. 8 Wishing makes real, as surely as does will create. 9 The power of a wish upholds illusions as strongly as does love extend itself. 10 Except that one deludes; the other heals.

Breaking the text into verse we see it paced thusly:

T-24.V.1. The Christ in you is very still.
2 He looks on what He loves, and knows it as Himself.
3 And thus does He rejoice at what He sees,
because He knows that it is one with Him
and with His Father.
4 Specialness, too, takes joy in what it sees,
although it is not true.
5 Yet what you seek for is a source of joy
as you conceive it. 6 What you wish is true for you.
7 Nor is it possible that you can wish for something
and lack faith that it is so.
8 Wishing makes real, as surely as does will create.
9 The power of a wish upholds illusions
as strongly as does love extend itself.
10 Except that one deludes;
the other heals.

Almost a quarter of the Text is written in this form of verse (beginning in Chapter 24), as well as two thirds of the Workbook (beginning in Lesson 98), and key portions of the Manual for Teachers. It’s noteworthy that the Course started coming through in this way for an extended period of time before Helen and Bill even noticed.

Iambic pentameter is the rhythm of the English language in addition to being the cycle of the pulse that sustains our bodies... a line of poetry that aligns with the very measure of our heartbeat and fills the human lung perfectly, becoming the natural cadence of our speech. More to the point, it attunes us to ourselves and the Universal heartbeat of the Cosmos.

Art, both visual as well as spoken word, connects us to the abstract, experiential vibration of the Divine, above and beyond the boundaries of rational, analytical thinking. Native American speech and the Course both use a procedure of “art” because they share the aims of art. The reason for art is to stimulate us emotionally in order to shepherd us to a new way of perceiving... and that’s the intention of the Course as well. It gently summons us to awaken from a state of dreaming... wherein we have allowed ourselves to enact the descent into madness in mindless repetition since time began.

The Indian elder herein offers a suggestion: Read the Course aloud, speak and share it as spoken word. Observe what happens... it’s my belief that you’ll experience the Course as you’ve never done by simply reading it. It will infuse you with the vibration of the “Word” that Creation is.