Evans Sea Remedies Contents Reading Excerpt 1
Evans Sea Remedies Contents Reading Excerpt 1
Evans Sea Remedies Contents Reading Excerpt 1
Jo Evans
Emryss
Materia Medica
PORIFERA: marine sponges
Tree of Life
Natural History
Spongia tosta (roasted sea sponge)
R EMEDY I NDEX
R EMEDY NAME COMMON NAME A BBRE. PAGE
C ORRESPONDENCES
At times, the living temple, Nature, allows faint whispers to
filter through her sentient pillars.
S
ea Remedies: Evolution of the Senses provides a comprehensive guide to the
marine invertebrate remedies used in homeopathy. Additional chapters ex-
plore the evolution of the senses and the relationship of our human sensory
experience to that of this group of early animals: in nature, symbolically and as
medicines.
GASTROPODS & SHELLS
In conventional medicine, marine invertebrates are the focus of research into fun-
damental biological processes, allowing scientists to observe and test life at work
in single cells and cell membranes. Researchers also benefit from the evolutionary
adaptations of certain species, such as the squid’s giant eyes and super-sized nerves,
the immune system of a sponge and the blood of the horseshoe crab. Molluscs are
used to learn about human diseases such as diabetes, neurodegenerative disease, can-
cer and the ageing process. Invertebrate poisons – from cone shells to sea anemone
venom – are of special interest in connection with diseases of the nervous system.
There are many other examples in the pages of this Materia Medica, accessible in a
section towards the end of individual remedy chapters, entitled Other Medical Uses.
Are we ruled by heart, head or senses? The answer to this can never be simple for
anyone, but by exploring the evolution of the senses, insights can be gained into the
way we perceive, experience and respond to life. Sensory cells began to form before
hearts and brains, and we look to the sea – our original home – and to the earliest
animals in evolution, to understand how our bodies evolved, how they work and
how they may be cured.
Scientific research has shown how, despite their diverse forms and functions, the
8 human instruments of sight, smell, taste, hearing and touch evolved from the same
genetic code.1 Our senses have their genetic roots in the very first multi-cellular ani-
mals, such as sponges, whose aggregation of single cells specialise and co-operate.
Sponges have certain sensory abilities but no actual sensory organs, and have been
found to possess, yet leave dormant, the precursory genes that enable the develop-
ment of sensory organs in animals higher up the evolutionary tree. This has been
likened to a black box that has never been unpacked.
Early animals, such as jellyfish, provide clues to the story of the senses, with their
combined sensory apparatus located in hubs called rhopalia. The synaesthetic nature
1 E.g. Gehring, W.J. and Ikeo, K. (1999). ‘Pax 6: Mast ering eye morphogenesis and eye evolution’. Trends Genet
15: 371-7.’
of perception is clear in the sensory life of marine invertebrates. Smell and taste are
chemically infused; movement, balance, sound and touch form a quartet; and touch
melts fluidly into taste, sight and sound. The traditional five senses normally applied
to human beings appear to know no boundaries in sea life, and indeed more than
five senses operate in the oceans, electric and magnetic being just two of them. From
sensorially unified beginnings, over 500 million years ago, animals have developed
ever more sophisticated, specialised and separate means of sensing.
The evolution of the senses begins like an ancient map of the world on which conti-
nents now separated by vast oceans were once one land mass. We can trace common
origins, despite the great divide and drift of plates, or the pull of tides under count-
less moon cycles, just as linguists can chart the evolution of language using arrows
on an atlas. Language drifts over an infinitely narrower time-scale than tectonic
plates, changing within months and years rather than millennia.
Homeopaths work with the tension between language and sensation. We work
with the script of the case, the exact words of the patient describing how they feel,
in relation to the words that originally stem from homeopathic provings.2 Proving
experiments represent the language of nature expressing its healing capacity through
individual forms: animal, mineral and vegetable. Each remedy ‘speaks’ in emotional
and physical symptoms, through the participants of a proving, as if they were one
voice. In case-taking, after studying the manner in which the patient’s subjective sen-
sations and symptoms are expressed, verbally and physically, an appropriate homeo-
pathic medicine will be prescribed. This decision is made according to the degree of
correspondence between the ‘voice’ of the medicine and that of the patient.
The idea of language as an outcome of sensory evolution has been richly explored
by David Abram in Th e Spell of the Sensuous, Perception and Language in a
More than Human World.4 Abram points out that Plato, the Italian philosopher
Giambattista Vico (1668-1744), Jean-Jacques Rousseau (1712-1778) and Johann
Gottfried Herder (1744-1803) had also argued that language has its roots in our
instinct ive sensory response to the natural world’s shapes, colours, sounds, smells,
textures, tastes and shadows.
GASTROPODS & SHELLS
The relatively recent discovery of mirror neurons, found in humans, primates and
some birds, lends a physiological basis to this view. Eminent neuroscientist Vilayanur
S. Ramachandran has suggested that mirror neurons are likely to be fundamental
to the process of language acquisition. First discovered in the early 1990s, these are
the neurons of recognition, mimicry and sympathy: a type of brain cell that fires
equally when we perform an action and when we witness someone else perform the
same action, mirroring the movement. On the cellular level, it as if the observer
is acting out the actions of the observed. An example might be when we witness
someone having an accident, and we flinch or flail as they do. Mirror neurons allow
us to put ourselves in the position of the other and to feel or act as they feel or act,
empathising and learning how to respond.
In the sea, invertebrates such as the octopus and cuttlefish mirror their immediate
environment by means of a language of the skin, merging seamlessly into the sea-
scape of shadow, reef and sand; they also converse using body patterns and gestures.
This mirroring and patterning is said to be an automatic reaction of the nervous sys-
tem, relating to moments when visual silence is required, and also when it becomes
necessary to communicate.
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The mirroring process in cephalopods (such as cuttlefish, squid and octopus) takes
place by means of reflector cells in their skin; these sense the wavelengths of ambient
light and instantly replicate the brightness and tone of the environment. Is there an
evolutionary link between the mirror neurons in our brains and the reflector cells
in a cephalopod’s skin? I cannot provide the answer to that question, but do explore
crypsis and communication amongst cephalopods in The Sense of Touch, under the
sub-heading The Language of the Skin.
3 Hahnemann, S, 1842, Organon of the Medical Art, paragraph 84. All references to the Organon in this book,
relate to the edition: ed. Wenda Brewster O’Reilly, 1996, Birdcage Books, USA.
4 Abram, David, 1996, The Spell of the Sensuous, Perception and Language in a More than Human World,
Vintage Books, Random House, USA. See the sect ion The Flesh of Language in particular.
“This expression or naming is not art, but a second nature, grown out of the first, as
a leaf out of a tree. What we call nature, is a certain self-regulated motion, or change;
and nature does all things by her own hands, and does not leave another to baptize
her, but baptizes herself; and this through the metamorphosis again.”7
Like the poet, the homeopath is a conduit for the voices of nature. Poetic insight
is required in order to tentatively and delicately break open the fossil specimens
provided by patients – the script of their lives, both verbal and physical – to see the
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evolutionary roots of their true essence, to unify past and present and to facilitate
healing on an immediate energetic level. Rather than seeing and hearing life-his-
tories of dates, conditions and events transferred onto a page, homeopaths listen to
their patients, as Merleau-Ponty put it, “singing the world”.
The mission of the palaeontologist is to devote his or her life to walking the length
and breadth of a beach on which there is an infinite number of grey pebbles. Here,
he or she hopes to tap the right pebble with a hammer, carefully break it open and
find a prized specimen; the prize will contain precious signs, meanings and messages
5 Merleau-Ponty, Maurice, 1945/2005, Phenomenology of Perception, Routledge Classics, Page 217
6 Emerson, Ralph Waldo, 1844, Essays: The Poet
7 Ibid.
dating back to early evolution. So it is with the homeopath in case-taking and analy-
sis; one hopes to understand the essential nature of the patient and the roots of their
illness: the essence beyond the symbol.
These thoughts led me to feel that there was much to be gained from a study of
early life in the sea and the evolution of the senses; hence the creation of this book.
Language, symptoms, sensations, patient and remedy: all are energy, and all are in
the process of evolution; each individual life is evolving, and is part of the evolution
of life on earth as a whole. The sea sponge, jellyfish and squid are our sensory ante-
GASTROPODS & SHELLS
cedents. For all the reasons explained in this opening chapter, this Materia Medica
has been organised around the senses, allowing sensations to be accessed more
readily in the text, distinct from functions. The word sensation is used throughout
this book in the sense that the homeopath Dr Constantine Hering (1800-1880)
intended in his Guiding Symptoms, taking the sensation from provers’ language and
from rubrics.8
Hering wrote: “Things in nature are words in colour and form; a language which
expresses itself to those who can read”. I would add to Hering’s colour and form:
the perceptions of all the senses combined. It is vital for homeopaths to know how
to read the homeopathic materia medica and their patients’ expressions as the lan-
guage of nature. In nature lies the analogous cure: the reflection of the patient’s inner
disturbance. And to find the simillimum9 requires observance of all the senses and
a synaesthetic approach.
David Abram’s Spell of the Sensuous is partly responsible for the inspiration to write
this book and to find a new way of presenting homeopathic Materia Medica. I
develop these ideas further throughout the book, particularly in the sensory chapter
on hearing, under the subtitle, ‘Singing the World: Homeopathic Poetry’.
12
As much as it aspires to inspire healing connections and enjoyment of nature’s cor-
respondences, this book is intended to delight the senses and inspire the imagination,
connecting you to the wonder of sea life visually as well as through the written word.
8 Distinct from the definition of the current Bombay School, who use a capitalised ‘Sensation’, which loads the
word with specific connotations. See the works of Rajan Sankaran.
9 The remedy with a symptom complex as similar as possible to that of the patient’s.