Why are we so moved by art, poetry and music that we are reduced to tears...
August 30th 2009 20:54
Signature Tune
'When your mind, brain and soul meet!'
Men ought to know that from the brain, and from the brain only, arise our pleasures, joys, laughter and jests, as well as our sorrows, pains, grief and tears…
Hippocrates
When we refer to our minds, we often touch our hearts, or our heads. Yet, the mind as a physical entity, one that can be localised in a scan for example, does not reside anywhere in the human body. Our feelings, thoughts and emotions do — they are represented in our brains. To try and unravel this conundrum, let us take a computer analogy. When we consider cognition and behaviour, our brain is the hardware, the equipment and processes that make computers work. On the other hand, the mind is an operating system that draws upon the hardware but does not have significant physical representation, much like the software in our computers. The mind, therefore, is a virtual entity, one that reflects the workings of the neural networks, chemical and hormonal systems in our brain.
Having accepted that the brain and the mind are a unitary organ with diverse functions, it becomes imperative that we consider the “soul”, traditionally an esoteric and controversial concept. A noun variously defined as “psyche, inspiration and energy”, the soul has many synonyms in the English language. Where the soul resides is, however, a matter of conjecture; a question that is both difficult to answer and difficult to objectively experiment on. However, if one were to consider “the soul” as the vital force that inspires, energises and stimulates us, then it may be possible to study its manifestations and effects in all human activity having those qualities.
The possibility that one could study the soul by associating inspirational human experience, religion, music, poetry and literature, with the brain, is tantalising to say the least. In his book The Soul in the Brain, Michael R. Trimble, Emeritus Professor of Behavioural Neurology at University College of London, expounds the neurological correlates of such inspirational human experiences that were once considered to be the exclusive purview of the heart. Trimble commences his book with the words, “If you fear that opening your mind will cause your brain to fall out, then this book is not for you. If you are unhappy discussing neuroscience in the context of poetry, music and, above all, religion, then again this text cannot be recommended.”
Basis of emotions
Trimble begins by exploring the brain anatomy of human emotion, implicating the Limbic System as the seat of human emotion. Seated deep within the brain and consisting of a network of critical structures, the Limbic System is the oldest part of the mammalian brain. There is considerable data today from brain imaging studies to show that this part is closely associated with emotional disorders. For example, the Amygdala, a multinucleated structure intricately connected with many brain parts, has been shown to both vary in size and to have different levels of neurochemical activity in various emotional disorders. The Amygdala is today the focus of much of the brain research that is concerned with human emotion and emotional disorders. Expounding on the neurobiology of emotion beyond these structures, Trimble discusses their links with other critical brain areas. He quotes extensively from the work of 20th century experts who have contributed to our understanding of emotional brain function, exploring brain anatomy beyond limbic structures that has a role in human emotion.
“While the hypothalamus was essential for the expression of emotion, the experience of emotion required the cortex, ‘the stream of feeling’ depending on strong interconnections between the cortex and the hypothalamus.” (Papez, 1937.)
Poetry and literature are areas that Trimble explores at some length in this book. He describes how the use of the language of poetry and metaphor produces heightened activity of the right hemisphere of the brain. Pointing out that certain neuropsychiatric conditions have strong associations with specific creative pursuits, he draws attention to the links between literary creativity and Bipolar Affective Disorder (Manic Depressive Illness), an association strangely not witnessed with another major mental illness, Schizophrenia. He quotes extensively from the works of several poets with Bipolar Affective Disorder such as William Cowper (1731-1800), Robert Lowell (1917- 1977) and Anne Sexton (1928-74). For example, Anne Sexton, who frequently took drug overdoses and finally committed suicide, wrote:
Sleepmonger,
deathmonger,
with capsules in my palms each night,
eight at a time from sweet pharmaceutical bottles
I make arrangements for a pint-sized journey.
I’m the queen of this condition.
I’m an expert on making the trip
and now they say I’m an addict.
Now they ask why.
WHY!
Don’t they know that I promised to die!
…
Yes
I try
to kill myself in small amounts,
an innocuous occupation.
One cannot help but draw a parallel with the famous Tamil poet of the Indian independence movement, Subramanya Bharathi, who was renowned for his extraordinary creativity, intermingled with profound emotionality supplemented by generous doses of nationalistic and religious fervour (see box). Indeed, the creative human brain has perhaps an excessive proclivity for emotionality; quite understandably, given that creativity is often inspired; and inspiration in all forms requires feeling!
From: The Hindu click here for the article and more yes, right here
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