Dreams of Art and Angels

Carolina A. Miranda reports on the Rubin Museum of Art’s “Dream Over” event:

On Saturday night, more than 80 artsy types in pajamas filed into the Rubin Museum of Art in Chelsea for its first ever adults-only sleepover. The purpose: to see what sorts of dreams the museum’s priceless collection of Himalayan art might inspire. I’m not generally the type to spend a lot of time parsing my dreams, which generally involve me showing up somewhere without any pants. But the opportunity to spend the night in a museum—à la Mrs. Basil E. Frankweiler—was something I couldn’t resist.

Things got cooking on Saturday at about 9 P.M., when a gaggle of pajama-clad New Yorkers—and their copious luggage (and AeroBeds!)—arrived in the museum’s lobby to check-in and be led to their assigned painting. As part of the registration process, we all had submitted forms outlining key episodes in our lives, along with a list of colors to which we felt a resonance. Museum staff selected works of art based on that information. I was placed under the stoic gaze of a 15th century Tibetan Medicine Buddha on the sixth floor—a selection that was intended to throw a little healing my way. (Freelance writers are pretty wounded people.)

The rest of the evening was designed to get us ready for dreaming. We carefully arranged our bedding. We attended a short lecture on memories and dreams led by clinical psychiatrist Dr. Edward Nersessian and Mt. Sinai neuroscientist Cristina Alberini. There was a group discussion on dreaming. We nibbled on tea and cookies and listened to super groovy sitar music. At around midnight, the museum’s docents came to our bedsides to tell us a “bedtime story” related to the work of art that we’d been assigned. My story was actually more of a guided meditation, intended to get me relaxed. (It worked.) By 1 A.M., all was quiet—except for the industrial plastic moans let out anytime someone rolled over on their AeroBed.

Naturally, the big questions were: would we dream? And, if so, what? The fact is that scientists know very little about dreaming. Nersessian explained that there are any number of theories as to what dreams could be—from the brain organizing new memories to our consciousness modulating its emotions to prophetic visions of the future. Whether any of us staring at a work of art would be able to internalize its meaning, have it manifest itself in a dream and then be able to remember it all the next day was anyone’s guess. To be sure that we didn’t forget anything, a group of “dream gatherers” came around to talk to us first thing in the morning (before we’d even gotten out of bed) to get everything down while it was still fresh.

As one could expect with a subject as personal as dreaming, the results—at least anecdotally—were mixed. There were a number of folks who didn’t dream, or couldn’t remember their dreams. Several others had so-called anxiety dreams, during which they dreamed about trying to dream in the museum. (So meta!) There were dreams that involved Natalie Portman, hair dye and pancakes. Interestingly, a number of folks reported visual elements in their dreams that recalled the paintings they had been looking at. Juan Carlos Andrews had a vision of four Asian, sage-like men all wearing beige. “It was so vivid,” he recalled. “And highly unusual. I’ve never dreamt anything like that.”

And me? I dreamt I was floating, pleasantly carried away by a current—the type of restful dream I haven’t had in eons. It’s hard to say whether this was because of the Medicine Buddha’s tranquilizing effects or because I’d been lulled to sleep in a serene spot to the tune of a sitar. What I do know is that it was a rare luxury to spend so much time before a single work of art. Over the course of an evening and a morning, I’d been able to study the myriad deities, the details of the Buddha’s geometric cloak and the throbbing palette of crimson that held the work together. And for that alone, the night on a museum floor was worth it.

Ralbag on the mysterious Biblical episode of the wrestling between Ya’akov and the “Man”:

והנה קם יעקב בלילה ההוא, ויעבר נשיו ושפחותיו וילדיו וכל קניניו את מעבר יבוק, אחר שעבר הוא בראשונה לראות עומק המים ולנסותו, ומאיזה מקום יכשר יותר שיעבור. ונשאר יעקב לבדו להעביר קצת קניניו שנשארו שם, וישן שם, ונראה לו מלאך השם בנבואה כאלו הוא איש; ולעוצם דבקותו בו וקורבת מדרגתו ממנו נדמה לו שהוא נאבק עימו. עם שכבר ראה יעקב זה ההתאבקות מפני טרדת דמיונו בענין עשו וחושבו להמציא תחבולות להפילו אם יקום עליו להכותו, כי אין מראין לאדם אלא מהרהורי לבו. והנה ארך זמן זה ההתאבקות עד עלות השחר, כי אז הגיע העת שהיה מקיץ יעקב לפי מנהגו. והנה נדמה לו שנגע בכף ירכו, ותקע כף ירך יעקב בהאבקו עימו. ואמר ליעקב שישלחהו כי עלה השחר והגיע העת שראוי ליעקב שיפנה לעסקיו, ולא הסכים יעקב להתיר הקשר אשר ביניהם אם לא יברכהו. ואמר אליו המלאך שלא יקרא עוד “יעקב” כי אם “ישראל”, כי הוא שרר עם מלאכי השם יתעלה עד שמדרגתו קרובה למדרגתם ולא נלאה כוחו בזה, ויהיה שר גם כן עם האנשים ולא ינוצח. ובזה היה ליעקב עוד ייעוד-מה, שלא ינצחהו עשו. …

והנה כאשר הקיץ קרא יעקב שם המקום ההוא “פנואל”, כי ראיתי אלקים פנים אל פנים ותנצל נפשי. והנה זרח לו השמש כאשר עבר את פנואל, והיה צולע על ירכו מפני מה שקרהו. על כן צוו בני ישראל על הר סיני שלא יאכלו החלק מגיד הנשה שהוא על כף הירך; אבל מה שהיה ממנו בזולת המקום הזה – לא נאסר להם לאוכלו. וזה הציווי היה לפרסם זאת הנבואה הנפלאה שהגיעה ליעקב, אשר מרוב הדבקות שהיה לו במלאך קרה לו זה המקרה; וזה, כי ההאמנה בנבואה הוא מפינות התורה. …1

והנה הסכמנו שיהיה זה ההתאבקות בעת השינה, לפי שהוא בלתי אפשר שיראה לאדם מלאך השם בזה האופן בהשתמשו בכוחותיו הגופיות. וכבר הודיענו הרב המורה שכבר נשמט במקומות רבים זכר היות הנבואה בחלום או במראה, להשענו שכל נבואה היא בזה התואר. ולזה לא זכר בזה המקום שתהיה זאת הנבואה בחלום או במראה.

ואם יספק מספק ויאמר: איך יתכן שישאר לו מזה זה-הרושם, בזה שהיה צולע על ירכו כאשר הקיץ? נאמר לו שזה אפשר אצלנו לאחת משתי סיבות: הסיבה האחת היא שאנחנו נראה התפעל כלי הנפש מהדמיונים שיהיו לאדם בעת השינה, לפי שהדמיונים ההם יניעו כלי הנפש הנעה-מה. וזה, שכבר תראה שיחלום האדם ששוכב עם אשה ויראה קרי, כאלו היה הפועל שלם בהקיץ; וכן תמצא שיחלום האדם שהוא נופל ממקום גבוה, ויתנועעו מפני זה איבריו בעת השינה תנועה חזקה נפלאה, וזה מבואר מאוד מן החוש. ולזאת הסיבה אפשר שיקרה לו כשראה שנקעה כף ירכו בחלום, שישאר מזה רושם במקום ההוא מצד התנועה תקרה לו, ולזה אפשר שקרה שמצא עצמו צולע על ירכו כאשר הקיץ.

והסיבה השנית היא שכבר יתעורר הדמיון לפעמים מהדברים שיתפעל האדם מהם בעת השינה. ולזה יקחו הרופאים ראיה חזקה על ענין החולי מחלומות החולה. והמשל, שאם יגע הישן בדבר קר – יחלום שהוא במים קרים, או שכבר ירד עליו השלג והכפור ומה שידמה לזה; ואם יגע הישן בדבר חם – יחלום שהוא באש, או שהשמש מכה עליו ומה שידמה לזה. וזה דבר אין ספק בו, כי החוש יעיד על זה. ולזאת הסיבה תמצא שכאשר יגבר המותר הזרעי באדם ויתעורר לצאת – יחלום שהוא שוכב עם אשה. ולזאת הסיבה בעינה הנה כשיתחדש לאדם כאב בעת השינה – יחלום שכבר הוכה במקום ההוא בסיבת ריב היה לו עם איש-מה בחלומו, וזה ממה שיקרה הרבה גם כן לפי מה שהושג לנו בחוש. ובהיות הענין כן, הנה היה אפשר שקרה ליעקב בסיבת העמל שעמל בהעברת הנחל לכל אשר לו, שיתחדש לו כאב בכף הירך בעת השינה, ונדמה לו מפני זה בחלומו-של-נבואה שיתאבק עם זה האיש ושתקע כף ירכו בהאבקו.

ולפי מה שזכרנו היו להתאבקות שנראה לו בעת השינה שלוש סיבות: הסיבה האחת היא חוזק הדבקות שהיה לו עם זה המלאך; והשנית – מה ששוטטה מחשבתו בהקיץ להמציא תחבולות להפיל עשו אם יקום עשו להכותו; והשלישית – הכאב שנתחדש לו בעת השינה בכף הירך.2

I cite the above passages in an essay on Ralbag to be published in Hakirah; here is my translation:

And Ya’akov arose on that night and transported his wives and children and maidservants and all his possessions across the ford of the Yabok, after he first crossed himself to see the depth of the water and to test it, and [to ascertain] the point best suited for crossing, and Ya’akov remained alone to transport some of his possessions which had remained there, and he slept there, and an angel of God appeared to him in a prophecy as though he were a man, and due to his great attachment to him and the closeness of his [spiritual] level to him, it seemed to him that he wrestled with him, and Ya’akov also saw this wrestling because of the preoccupation of his imagination with the matter of Esav and his planning to devise stratagems to defeat him, were he to arise against him to smite him, for they only show a man the thoughts of his heart.

And the duration of the wrestling extended until daybreak, for the time had then arrived that Ya’akov would awaken, according to his custom, and it seemed to him that he wrenched his hip at its socket in the course of wrestling with him, and he said to Ya’akov that he should send him [on his way], for the day had broken and the time had arrived that it was appropriate for Ya’akov to turn to his affairs, but Ya’akov did not agree to release the tie between them unless he would bless him, and the angel then said to him that he would no longer be called Ya’akov but rather Yisrael, for he had striven with angels of God, may He be elevated, to the extent that his level was close to theirs, and his strength was not wearied in this, and he would also strive with men and not be defeated, and this was an additional promise to Ya’akov, that Esav would not defeat him …

And when he awoke, Ya’akov called the name of that place Penuel, [for] I have seen a divine being face to face, yet my life has been preserved, and the sun rose upon him as he passed Penuel, limping on his hip, because of what had befallen him, and the Sons of Israel were therefore commanded at Mount Sinai that they should not eat the portion of the thigh muscle which is on the socket of the hip, but that of it which is elsewhere was not prohibited to them to eat, and this commandment was to publicize this wondrous prophecy that Ya’akov experienced, that from his great cleaving which he had to the angel, this event befell him, for the belief in prophecy is among the cornerstones of the Torah …

And we have decided that this wrestling was during [Ya’akov’s] sleep, for it is impossible for an angel of God to appear to a man in this manner when he is utilizing his corporeal faculties, and the Rav Ha’Moreh has already informed us that in many places, the mention of the prophecy occurring in a dream or vision has been omitted, in reliance on the fact that every prophecy is of this character, and it therefore does not mention in this place that this prophecy was in a dream or vision.

And if a doubter shall raise a doubt against us and say, how is it possible that this effect upon him should remain from this, that he was limping on his thigh when he awoke? We say to him that we consider this possible for one of two causes: The first cause is that we see the influence on the faculties of the soul of the imagined [notions] that a man has during sleep, for these imagined ideas activate the faculties of the soul some activation, and so you will see that a man will dream that he is sleeping with a woman and he will see semen, as if this activity actually occurred while awake, and so will you find that a person will dream that he is falling from a high place and because of this his limbs will move during his sleep a strong and wondrous movement, and this is very clear from the senses, and for this cause it is possible that when he saw in his dream that the socket of his hip was wrenched, [a corresponding physical motion] befell him so that there remained an effect in that place from the movement that had then befallen him, and it is therefore possible that it occurred that he found himself limping on his thigh when he awoke.

And the second cause is that the imagination is sometimes aroused from events that affect a man during sleep, and the physicians therefore draw strong inferences on the nature of a sickness from the dreams of the sick one. For example, if the sleeper touches something cold, he will dream that he is in cold water, or that snow or frost or that which is similar to this has descended upon him, and if the sleeper shall touch something hot, he will dream that he is in fire or that the sun is beating upon him, and that which is similar to this, and this is something about which there is no doubt, for the senses testify to this. And for this cause you will find, that when the excess of seed shall become strong in a man, and become aroused to leave, he will dream that he is sleeping with a woman, and from this exact cause, when a person develops some pain during sleep, he will dream that he has been struck in that place due to a quarrel that he had with another man in his dream, and this type of phenomenon occurs frequently, according to the perception of our senses. And this being the case, it is possible that it befell Ya’akov, due to the labor that he had labored in the transportation of all that was his across the river, that he had developed a pain in the socket of his hip during his sleep, and because of this, it appeared to him in his prophetic dream that he wrestled with the man and that he wrenched the socket of his hip when he wrestled with him.

And according to what we have mentioned, there were three causes for the wrestling that appeared to him during sleep: the first is the strength of the cleaving that he had with this angel, the second is the occupation of his thought while awake to devise stratagems to defeat Esav if he arose against him to smite him, and the third is the pain that he developed during sleep in the socket of his hip.

  1. פירוש רלב”ג על התורה (מהדורת ברכת משה / מעליות – מעלה אדומים) בראשית לב:כג-לג, עמודים תיא-ב []
  2. שם, סוף פרק לב, עמודים תיד-טו []

Art and Literature In the United Kindgom

I recently returned from a visit to the United Kingdom, where I saw a matinée performance of Shakespeare’s Henry IV, Part 1 at the reconstructed Globe theater. In two key scenes, Falstaff eloquently declares his preference for life over honor. The first occurs on the eve of the climactic battle:

Honor prickes me on. But how if Honour pricke me off when I come on? How then? Can Honour set too a legge? No: or an arme? No: Or take away the greefe of a wound? No. Honour hath no skill in Surgerie, then? No. What is Honour A word. What is that word Honour? Ayre: A trim reckoning. Who hath it? He that dy’de a Wednesday. Doth he feele it? No. Doth hee heare it? No. Is it insensible then? yea, to the dead. But wil it not liue with the liuing? No. Why? Detraction wil not suffer it, therfore Ile none of it. Honour is a meere Scutcheon, and so ends my Catechisme.1

He reiterates this sentiment during the battle, upon encountering the corpse of his ally, the eminently honorable Sir Walter Blunt:

Though I could scape shot-free at London, I fear the shot heere: here’s no scoring, but vpon the pate. Soft who are you? Sir Walter Blunt, there’s Honour for you: here’s no vanity, I am as hot as molten Lead, and as heauy too; heauen keepe Lead out of mee, I neede no more weight then mine owne Bowelles. I haue led my rag of Muffins where they are pepper’d: there’s not three of my 150. left aliue, and they for the Townes end, to beg during life. …

If Percy be aliue, Ile pierce him: if he do come in my way, so: if he do not, if I come in his (willingly) let him make a Carbonado of me. I like not such grinning honour as Sir Walter hath: Giue mee life, which if I can saue, so: if not, honour comes vnlook’d for, and ther’s an end.2

Faithful readers of this blog will realize that Falstaff’s attitude is the exact antithesis of Abravanel’s (see here and here). Falstaff would no doubt argue that his view is explicitly endorsed by the wisest of all men:

כִּי-מִי אֲשֶׁר יבחר (יְחֻבַּר), אֶל כָּל-הַחַיִּים יֵשׁ בִּטָּחוֹן: כִּי-לְכֶלֶב חַי הוּא טוֹב, מִן-הָאַרְיֵה הַמֵּת.3

but on the other hand, many have maintained that some of the opinions mentioned in Ecclesiastes are not actually correct, but are citations of the views of the wrongheaded. Indeed, Rav Saadia Gaon says just this about our verse:

והפן השלישי מה שאמר הכתוב:

כי מי אשר יבחר אל כל החיים יש [רכו] בטחון, כי לכלב חי הוא טוב מן האריה המת, כי החיים יודעים שימותו והמתים אינם יודעים מאומה, ואין עוד להם שכר כי נשכח זכרם. גם אהבתם גם שנאתם גם קנאתם כבר אבדה, וחלק אין להם לעולם בכל וגו’

שלשת הפסוקים הללו, ואף על פי שהם דברי החכם, לא אמרם דעת עצמו, אלא סיפור מה שאומרים הסכלים. …4

Later that day, I visited London’s National Portrait Gallery, which has an entire room dedicated to representations of one of the most sympathetic and attractive of all the British monarchs, Lady Jane Dudley (née Grey) (The Nine Day’s Queen). As William Hone says:

Young, beautiful, and learned Jane, intent
On knowledge, found it peace; her vast acquirement
Of goodness was her fall; she was content
With dulcet pleasures, such as calm retirement
Yields to the wise alone;–her only vice
Was virtue: in obedience to her sire
And lord she died, with them a sacrifice
To their ambition: her own mild desire
Was rather to be happy than be great;
For though at their request she claimed the crown,
That they through her might rise to rule the state,
Yet the bright diadem and gorgeous throne
She viewed as cares, dimming the dignity
Of her unsullied mind and pure benignity.

One particularly interesting portrait is actually a direct reference to her “intentness on knowledge”:

Interview between Lady Jane Grey and Dr Roger Ascham in the Year 1550

As the curators explain, this is a depiction of a celebrated anecdote related by Roger Ascham in his The Schoolmaster:

This print illustrates an episode recounted in Roger Ascham’s treatise on education, The Scholemaster (1570). In 1550, the royal tutor Ascham visited Lady Jane and found her reading Plato’s Phaedo in Greek while the rest of the household were out hunting. Ascham contrasted the joy that this ‘sweet and noble’ girl took in learning with her fear of her cruel parents. In the nineteenth century, Lady Jane’s reputation as a gentle and modest scholar made her a preferred role model for the education of girls.

Ascham:

Before I went into Germanie, I came to Brodegate in Leceter- shire, to take my leaue of that noble Ladie Iane Grey, to whom I was exceding moch beholdinge. Lady Iane Hir parentes, the Duke and Duches, with all the Grey. houshould, Gentlemen and Gentlewomen, were huntinge in the Parke: I founde her, in her Chamber, readinge Phædon Platonis in Greeke, and that with as moch delite, as som ientleman wold read a merie tale in Bocase.

After salutation, and dewtie done, with som other taulke, I asked hir, whie she wold leese soch pastime in the Parke? smiling she answered me: I wisse, all their sporte in the Parke is but a shadoe to that pleasure, that I find in Plato: Alas good folke, they neuer felt, what trewe pleasure ment.

And howe came you Madame, quoth I, to this deepe knowledge of pleasure, and what did chieflie allure you vnto it: seinge, not many women, but verie fewe men haue atteined thereunto. I will tell you, quoth she, and tell you a troth, which perchance ye will meruell at. One of the greatest benefites, that euer God gaue me, is, that he sent me so sharpe and seuere Parentes, and so ientle a scholemaster. For when I am in presence either of father or mother, whether I speake, kepe silence, sit, stand, or go, eate, drinke, be merie, or sad, be sowyng, plaiyng, dauncing, or doing anie thing els, I must do it, as it were, in soch weight, mesure, and number, euen so perfitelie, as God made the world, or else I am so sharplie taunted, so cruellie threatened, yea presentlie some tymes, with pinches, nippes, and bobbes, and other waies, which I will not name, for the honor I beare them, so without measure misordered, that I thinke my selfe in hell, till tyme cum, that I must go to M. Elmer, who teacheth me so ientlie, so pleasantlie, with soch faire allurementes to learning, that I thinke all the tyme nothing, whiles I am with him. And when I am called from him, I fall on weeping, because, what soeuer I do els, but learning, is ful of grief, trouble, feare, and whole misliking vnto me: And thus my booke, hath bene so moch my pleasure, & bringeth dayly to me more pleasure & more, that in respect of it, all other pleasures, in very deede, be but trifles and troubles vnto me. I remember this talke gladly, both bicause it is so worthy of memorie, & bicause also, it was the last talke that euer I had, and the last tyme, that euer I saw that noble and worthie Ladie.5

[See also here, and see here for many other depictions of this conversation.]

The Lady’s custom is reminiscent of Rema’s, as per his autobiographical note:

ומכל מקום אומר שסהדי במרומים שכל ימי לא עסקתי בזו [חכמת הפילוסופיא] רק בשבת ויום טוב וחול המועד בשעה שבני אדם הולכים לטייל, וכל ימות החול אני עוסק כפי מיעוט השגתי במשנה ובתלמוד ובפוסקים ובפירושיהם ושרי לצורבא מרבן לאודועי נפשיה כו’:6

[We have discussed this responsum of Rema here.]

Another interesting portrait that I saw in the Gallery is Thomas Jones Barker’s The Secret of England’s Greatness’ (Queen Victoria presenting a Bible in the Audience Chamber at Windsor):

'The Secret of England's Greatness' (Queen Victoria presenting a Bible in the Audience Chamber at Windsor)

The curators:

This group epitomises the Victorian concept of the British Empire, which was seen as conferring the benefits of European civilisation, and Christianity in particular, on the peoples over whom it ruled. Prince Albert stands to the left of Queen Victoria, while on the right in the background are the statesmen Lord Palmerston and Lord John Russell. In the foreground Victoria presents a Bible to a man wearing African dress. Although the portraits of the British sitters are accurate as is the setting of the audience chamber at Windsor, including Benjamin West’s large painting of The Institution of the Order of the Garter carefully indicated in the background, no actual occasion for the picture’s subject has been identified. It was engraved under the title The Bible: The Secret of England’s Greatness in 1864, suggesting that it was conceived, in part at least, as an allegory of Empire.

This compares favorably to a story told of Ben-Gurion, who at a speech at Yeshiva University once declared:

הִנֵּה לֹא-יָנוּם, וְלֹא יִישָׁן– שׁוֹמֵר, יִשְׂרָאֵל.7

A member of the audience challenged Ben-Gurion: “Who is the שומר ישראל, God or the Haganah?” According to one version of the story, Ben-Gurion did not answer; another has him muttering “The Haganah, of course.” In any event, the heckler was forcibly removed from the room, protesting all the way.

The next day, after a repeat visit to the Portrait Gallery, I visited the National Gallery. I was only able to spend a very brief time there, as it was almost Shabbas, but one painting that caught my attention was Peter Paul Rubens’s The Brazen Serpent:

Image removed at the behest of the censor, due to the dishabille of a woman therein.

The curators:

Moses at the left, with the hooded Eleazar beside him, calls to the people of Israel who are being attacked by a plague of serpents that God sent them because of their sinfulness. He tells them to look at a bronze serpent he has set up on a pole, upper left, because ‘everyone that is bitten, when he looketh upon it shall live.’ Old Testament (Numbers 21: 6-9).

Several days later, I visited the National Museum of Wales at Cardiff, where I saw three more representations of Hagar and Yishmael:

Andrea Sacchi’s Hagar and Ishmael in the Wilderness:

Hagar and Ishmael in the Wilderness

Thomas Gainsborough’s Rocky Landscape with Hagar and Ishmael:

Rocky Landscape with Hagar and Ishmael

Jan Victors’s The Dismissal of Hagar:

The Expulsion of Hagar and Ishmael

[The image of this last one taken from here.]

  1. Act V Scene I – link. []
  2. Ibid. Scene II. []
  3. קוהלת ט”ד – קשר []
  4. הנבחת באמונות ובדעות (תרגום של רב קאפח), מאמר שביעי פרק ג’ – קשר []
  5. From here. []
  6. שו”ת הרמ”א סימן ז []
  7. תהילים קכא:ד – קשר []