that relied on it, in order to take advantage of detachment and abstract thought— the logos hendiathetos.70 Plato’s war on the poets, as recapitulated by Havelock in Preface to Plato, was thus the first all-out media war. For at stake was nothing less than the entire enterprise of abstract thought and the new mode of philosophy. Aristotle, for his part, found that the habit of thinking in images and emotions was a major impediment to the sensibility that he required of his students, and he took steps to evade that pernicious habit. Perhaps the major tool in his counteroffensive against the lingering poetic sensibility was the syllogism: it is impossible to syllogize in images.71 It just cannot be done.
Synesthesia
About ten people in a million live extraordinarily rich sensory lives. They live, that is, in full conscious awareness of the sensus communis: they live every moment submerged in the interactions of each of the senses with all of the others: they are called synesthetes. Writes Dr. Richard Cytowic:
Imagine that you are a synesthete, like Michael Watson. You are standing in front of the refrigerator late at night trying to decide on a snack. You look at the leftover roast but you say to yourself, “No, I’m not in the mood for arches.” Or, contemplating a slice of lemon meringue pie, decide you aren’t hungry for points. You dismiss the thought of a peanut butter sandwich because you know you couldn’t sleep well if you stuffed yourself full of spheres and circles.
There you stand, bathed in the refrigerator light, casting your eye from shelf to shelf. You shift your feet against the cool floor and finally take a slice of chocolate mint pie. As you do, you feel a dozen columns before you, invisible to the eye but real to the touch. You set the fork down and run your hand up and down their cool, smooth surfaces. As you roll the minty taste in your mouth your outstretched hand rubs the back curve of one of the columns. What a sumptuous sensation. The surface feels cool, refreshing, even sexual in a way.72
Early in his researches, Dr. Cytowic came across The Mind of a Mnemonist, A. R. Luria’s account of his patient known simply as “S.” “S was not aware of any distinct line separating vision from hearing, or hearing from any other sense. He could not suppress the translation of sounds into taste, shape, touch, color, and movement.”
Presented with a tone pitched at 2,000 cycles per second, “S” said, “It looks something like fireworks tinged with a pink-red hue. The strip of color feels rough and unpleasant, and it has an ugly taste—rather like a briny pickle...you could hurt your hand on this.”
The same synesthesia enabled him to visualize vividly each word or sound that he heard, whether in his own tongue or in a language unintelligible to himself. The thing to be remembered automatically converted itself without effort on his part into a visual image of such durability that he could remember it years after the initial encounter. So specific was his ability that the same stimuli would produce the exact synesthetic response.
“S” was a person who “saw” everything, who had to feel a telephone number on the tip of his tongue before he could remember it. He could not understand anything unless an impression of it leaked through all his senses.73
On display here is the bodily sensus communis in full operation. Here is how S described his world:
I recognize a word not only by the images it evokes, but by a whole complex of feelings that image arouses.it’s not a matter of vision or hearing but some over-all sense I get. Usually I experience a word’s taste and weight, and I don’t have to make an effort to remember it—the word seems to recall itself. But it’s difficult to describe. What I sense is something oily slipping through my hand.. .or I’m aware of a slight tickling in my left hand caused by a mass of tiny, light-weight points. When this happens, I simply remember, without having to make the attempt.74
S’s experience of words, reported in various ways by all other synesthetes, brings immediately to mind Grammar’s insistence on Realism (rather than Nominalism) as the raison d’etre for etymology as a science, the observation that words are rooted in experience, that words are the storehouse of experience, and that words have a real relation to the things and processes they name.75 And that a language is an organ of perception.
Like S, a synesthete simply experiences his sensus communis in the foreground of his awareness while the rest of us have it operating behind the scenes, outside consciousness.76 The mystical experience of anagogy, too, relies on the sensus communis both of body and of intellect. There is no place in anagogy for detachment or objectivity.
Concerning objectivity, there is the testimony of Jacques Lusseyran, who, when he was seven years old, was blinded in a schoolyard mishap. He recovered vision almost instantly through the operation of the sensus communis:
I did not become a musician, and the reason was a strange one. I had no sooner made a sound on the A string, on D or G or C, than I no longer heard it. I looked at it. Tones, chords, melodies, rhythms, each was immediately transformed into pictures, curves, lines, shapes, landscapes, and most of all colors. Whenever I made the a string sound by itself with the bow, such a burst of light appeared before my eyes and lasted so long that often I had to stop playing.
At concerts, for me, the orchestra was like a painter. It flooded me with all the colors of the rainbow. If the violin came in by itself, I was suddenly filled with gold and fire, and with red so bright I could not remember having seen it on any object. When it was the oboe’s turn, a clear green ran all through me, so cool that I seemed to feel the breath of night. I visited the land of music. I rested my eyes on every one of its scenes. I loved it till it caught my breath. But I saw music too much to be able to speak its language. My own language was the language of shapes.
Strange chemistry, the chemistry which changed a symphony into a moral purpose, an adagio into a poem, a concerto into a walk, attaching words to pictures and pictures to words, daubing the world with colors and finally making the human voice into the most beautiful of all instruments!77
He goes on:
For my part I had an idea of people, an image, but not the one seen by the world at large. Frankly, hair, eyes, mouth, the necktie, the rings on fingers mattered very little to me. I no longer even thought about them. People no longer seemed to possess them. Sometimes in my mind men and women appeared without heads or fingers. Then again the lady in the chair rose before me in her bracelet, turned into the bracelet itself. There were people whose teeth seemed to fill their whole faces, and others so harmonious they seemed to be made of music. But in reality none of these sights is made to be described. They are so mobile, so much alive that they defy words.
People were not at all as they were said to be and never the same for more than two minutes at a stretch. Some were, of course, but that was a bad sign, a sign that they did not want to understand or be alive, that they were somehow caught in the glue of some indecent passion. That kind of thing I could see in them right away, because, not having their faces before my eyes, I caught them off guard. People are not accustomed to this, for they only dress up for those who are looking at them.78
Moreover, he finds that he can read voices like a book.
What voices taught me they taught me almost at once. I ended by reading so many things into voices without wanting to, without even thinking about it, that voices concerned me more than the words they spoke. Sometimes, for minutes at a time in class, I heard nothing, neither the teacher’s questions nor the answers of my comrades. I was too much absorbed in the images their voices were parading through my head. All the more since these images half the time contradicted, and flagrantly, the appearance
