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I suppose most of you are
familiar with this old optical illusion.

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You're asked the question, which of
the three thick black lines is the longer?

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And I suppose one's natural
reaction is to say the one on the left.

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And I think you know that this is a
result of the illusion of perspective.

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An illusion with which we are so
used, to which we are so used, and by

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which we are so easily fooled once
we've accustomed ourselves to it.

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You might, if that picture were drawn
more vividly, even be predisposed to

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thinking that was a real passage stretching
away from you with doors at the end.

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Of course if you came up against that kind of thing painted against the
wall you might make the mistake of walking into it and banging your nose but

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this is an example of what we were talking about last time as Maya that word
from Indian philosophy which generally has the meaning of illusion or rather

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illusions brought about by the acceptance of certain conventions of which perspective
was an example when we are not aware that certain things which we take for granted

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like the separateness of each of things from each other when we are not aware that this
is a matter of convention we are apt to be fooled now i think one of the conventions

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by which we tend to be fooled
more than almost any other, is time.

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And for all human beings, time is a
matter of extraordinary importance.

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And perhaps this is one of the principal
ways in which we differ from animals.

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Because man has been
called a time-binding animal.

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That is to say, a creature who is visibly
aware of the fact that his life moves

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as it were along a line from the past through the present and into the future animals
apparently live pretty much moment by moment they don't appear to have very strong memories

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but because man has a strong memory he is able to bear the past in mind and as it were
cast it forward into visions of the future based upon what has happened in the past

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and therefore although this facility gives man the most extraordinary ability to plan his life
to prepare for future eventualities at the same time there is a very heavy price which he pays

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for it and especially if he takes this ability too seriously in other words if he doesn't
realize that the true reality in which he lives is the present moment now for example the animal

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probably doesn't concern
itself very much with problems of

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future disease, death, or
starvation, and things of that kind.

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If an animal sees another dead
animal lying around, I don't suppose

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he thinks to himself, well, one
day that's going to happen to me.

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Rather, he just sees
a dead animal, sniffs it,

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sees whether it's good
to eat, and wanders away.

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But for human beings,
it's entirely different.

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Because we actually spend most of our time and a great deal of our emotional energy living in time which is not
here living in an elsewhere which is not concretely real so much so that although we may be quite comfortable

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and happy in our present circumstances if there is not a guarantee, not a promise of a good time coming tomorrow
and tomorrow and tomorrow and tomorrow we are at once unhappy even in the midst of pleasure and affluence

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and so we develop a kind of chronic anxiety about time we want to be sure more and
more because of our sensitivity to the feeling of time we want to be sure more and more

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that our future is assured and for this reason the future becomes of more importance to
most human beings than the present and in this sense we are hooked, taken in by a maya

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because it is of very little use to
us to be able to control and plan the

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future unless we are capable at the
same time of living totally in the present.

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And so, when in civilized societies we spend so much of our
time living for the future, we become very much like those

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celebrated donkeys, you know, that have a carrot fastened
on a stick that's tied to the neck, you know, behind here

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And it comes over and there's
the carrot dangling in front of them.

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And they pursue it, pursue it,
pursue it, but can never reach it.

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And so in exactly the same
way it's that way with us.

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My goodness, don't you remember
when you went first to school?

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You went to kindergarten.

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And in kindergarten
the idea was to push

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along so that you
could get into first grade.

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And then push along so that you can get into second grade, third grade, and
so on, going up and up, and then you went to high school and this was a great

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transition in life, and now the pressure is being put on, you must get ahead,
you must go up the grades and finally be good enough to get to college.

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And then when you get to college,
you're still going step by step, step by

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step, up to the great moment in which
you're ready to go out into the world.

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And then when you get out
into this famous world, comes

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the struggle for success
in profession or business.

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And again, there seems
to be a ladder before you,

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something for which
you're reaching all the time.

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And then, suddenly, when
you're about 40 or 45 years old,

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in the middle of life, you
wake up one day and say, huh?

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I've arrived.

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And by Jove, I feel pretty much
the same as I've always felt.

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In fact, I'm not so sure that I
don't feel a little bit cheated.

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Because you see you were fooled you were always living for somewhere where you aren't and
while as I said it is of tremendous use for us to be able to look ahead in this way and to plan

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there is no use planning for a future which when you get to it and it becomes a present you
won't be there you'll be living in some other future which hasn't yet arrived and so in this way

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one is never able actually to inherit and enjoy the fruits of one's action
you can't live at all unless you can live fully now and because now is never

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satisfactory because we're never really living in it we get more and more avid to
go ahead and pursue the future we develop our technology to a fantastic ability

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where we can more and more fulfill our desires for the future almost immediately
working towards a sort of push-button world but have you ever stopped to think what the

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world would be like if you could fulfill every wish the moment you wished it suppose for
example I'm going to bed at night you could always dream whatever you wanted to dream

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what would happen after a while?

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Of course I suppose at first you would dream fantastic pleasures,
wonderful adventures, fulfillment of all the things you ever wished then

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as time went on don't you think you'd want to be oh, a little bit
surprised to have a little bit less control over what was happening to you?

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And after you'd experimented
with this for some months or

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years you might even want dreams
in which you suffered because

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there is no real delight no real fulfillment without delay doesn't every child know on a hot day you
think I'm terribly thirsty and I'd like an ice cream soda haven't you tried the experiment of putting

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off drinking it putting off so that you get thirstier and thirstier and it's so much fun when you
finally get to it and so in the same way impatience with time always wanting the future is frustrating

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now you know in Indian thought one of the basic myths or ideas is of Brahma
the world creator who has infinite power and has everything that he wants

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but he is like our dreamer and he wants to do something with the infinite
time at his disposal and therefore what he does is to dream just like this

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to dream the
existence of the world.

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And he does it over enormous and
incalculable periods of time, dreaming that

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he is the knower, the self, in every
single creature that exists in the world.

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Dreaming them all at once,
experiencing their joys and sorrows,

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completely plunging himself into
the adventure of forgetting who he is.

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But he does this

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for immense and vast periods,
rivaling in conception the

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latest modern astronomical
ideas of the extent of time.

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You know, the basic
reckoning period of time in

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the life of Brahma, the
creator, is called Ekalpa.

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And that is a period
of 4,320,000 years

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and the Kalpas are called the days of Brahma one day for Brahma's life is a Kalpa and so there are the
periods which you can call his days or nights whichever you wish where he goes into dream and he dreams

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the world then for the following Kalpa he wakes up and realizes who he is again and then he dreams again
going on and on and on through years of Kalpas of 360 days and nights of Brahma centuries of Kalpas

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endlessly endlessly endlessly for the Hindu doesn't think of time in quite the same
way that we do obviously we think of time as linear day after day after day after

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day going along in a line or sometimes we like to think of time as this sort of line
going up and up and up and up and up and up and getting better and better and better

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But that's not the fundamental
idea of time for almost

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any people in the world
outside of Western civilization.

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In nearly every other part of the
world, time is thought of as a circle.

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And they say, after all, isn't it
reasonable for it to be a circle?

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Look at your watch.

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Doesn't your watch
go round and round?

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But the Hindus not only think of time as cycling going round and round and round forever
just as the earth cycles round and around the sun they also think of it in another quite

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fundamentally different way from our conception of time I referred to this idea that's
common among us that time is going up and up and things are getting better and better

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but in the general Hindu view in every cycle of time things tend on the
whole to get worse and worse they divide the kalpa into a number of shorter

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periods each of which is called a yuga but the yugas are so arranged
that there are four of them in what is called a maha yuga or great yuga

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The first one occupying
this period is the longest.

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The second one occupies a
shorter period, from here to here.

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The third, still shorter
than the second.

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The fourth, the shortest of all.

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And the names that
are given to them are the

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names of the throws in
the Indian game of dice

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the best throw, the throw of four is called krita and that lasts for
the longest time it is the golden age where everything is just fine

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the next one is called treta the throw of three pretty good but not
quite so good the third is called dvapara the throw of two and here

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Good and evil are
equally balanced.

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Not so hot.

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The final throw, the
throw of one, is called Kali.

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The worst throw.

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And that's the shortest period.

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And of course, according to
Hindu ideas, we're living in it now.

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But in Kali Yuga, everything goes
to pieces and becomes dreadful.

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And time goes faster.

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Now why do they feel that
time deteriorates in this way?

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It is because

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as one lives in time and becomes more and more conscious of time we tend more and more to pursue the future
as I said a little while ago and as we pursue the future present time becomes more and more unsatisfactory

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and we feel that we have to chase our happiness at greater and greater speeds I was talking the other
day to a college president who said you know I'm so busy now that I'm going to have to get a helicopter

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I said, whatever
you do, don't do it.

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Because if you get it,
more will be expected of you.

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You'll be expected to
go to more places faster.

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And you see, in this whole problem of speed, of
getting advantages in life because we can move about

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rapidly, we forget that speed is only of real
advantage to you if you are the only person who has it.

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Then you can get
ahead of other people.

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But the minute everybody else catches up with you you're all back where you were only going
much faster and much more nervously going, as it were, faster and faster to less and less

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desirable objectives we hurry everything we do we make our products, our houses, our furniture,
our clothes so that they become obsolete quickly we're in such a hurry to get everything done

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We pay attention to the
front rather than the back.

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Who, for example, in this day and
age, has time to do anything like this?

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Here's a piece of
Chinese embroidery.

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Those among you who've ever done
any embroidery, some of the ladies,

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will no doubt recognize that this is
a kind of stitch called needlepoint.

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It's done on a material
made up of minute little

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squares of thread, like
a grid or lattice of thread.

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And this work here is so minute that
there are 1024 stitches to the square inch.

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So well done, furthermore,
that if you turn it over and

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look at the back, the back
is almost as neat as the front.

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You know, ordinarily when you embroider,
you take shortcuts around the back

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and take threads, jumping spaces
and tying knots and things of that kind.

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But here, no hurry.

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Or take such an ordinary
object as a lady's pocketbook.

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This again is Chinese
embroidery work in shaded silk.

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Very patiently
done over a padded

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base underneath so
that the figures stand out.

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And inside it, a little sewing case,
which opens up, showing concealed

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within, the place for the scissors,
but the most delicate work.

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But in this day and age,

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we don't have time for it because we are always in a hurry to get things
finished and so the things that we finish weren't worth finishing because

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they were done so fast after all, the enjoyment of our world is not really
unlike listening to music we don't play music in order to get somewhere

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I mean, if the objective of music were to arrive at a point, say, the
last bar, the final great crashing chords of the symphony, well, then

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all we'd do, we'd be just hurry up its playing, play it as fast as
possible so as to get to the culmination, the end, as soon as possible.

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Or just cut out the whole
symphony and play only the last bars.

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To be able to enjoy it.

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We have got to live each
moment of the playing and listen

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to it as if it were the only
thing important to listen to.

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And then if we do that, our time
has an entirely different quality.

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It's represented in a Buddhist saying
that spring does not become the summer.

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There is spring and
then there is summer.

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Firewood does
not turn into ashes.

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There is first firewood,
and then there are ashes.

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The two stages being, as it
were, sufficient by themselves.

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And this is intended to
give the idea of living in

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a fully concrete present
into which you settle in.

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I mean, the present for most of
us is, isn't it, just a hairline on a dial.

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And the hand goes by it, flash, and
there's nothing in it, one after another.

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But here there is an
entirely different sense of

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the present, as something
you can settle into.

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There's a line behind me from
a Chinese poem, and it says,

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literally, day, ditto, in other
words, day, day, that is good day.

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Every day is a good day.

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And it comes as the
last line of this poem.

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In spring, hundreds of flowers.

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In summer, refreshing breeze.

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In autumn, the moon.

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Free your mind from idle
thoughts, and for you, every

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season is a good season,
or every day is a good day.

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And idle thoughts mean

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illusory thoughts, thoughts of
pursuing a future, thoughts of

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making one's happiness depend
on something which isn't here at all.

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But when one can
come to realize that the

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present is the only
place in which you live,

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And that the past and the future
are now no more than useful illusions.

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Still useful, but useful only
if one can live in the present.

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Then, as I say, one can settle
into full participation with the

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momentary reality of life as it
goes along, just like movement.

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And so, in the arts of
the Far East, there is

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reflected a kind of
delight in momentariness

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One can really consider, for
example, this stem of a broken bamboo.

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Or, not only in painting, but in
poetry, a poem in the Japanese

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haiku style, poems which
just crystallize a single moment.

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In the dark forest,
a berry drops.

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The sound of the water.

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Or a painting of a man sitting all alone
in his boat and listening to the water.

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He's not asleep.

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He's not dreaming.

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He's a man living in
an entirely real world.

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A world

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which we neglect because we have no time to sit and listen to the
water after all are not the memories which you go over memories which

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persuade you that it's really worth being alive really memories of
certain moments in which life itself brought you completely awake

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I know we all think of
things like the smell of

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coffee and bacon cooking
on an autumn morning.

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The smell of burning leaves.

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I remember particularly for
me one glimpse of a flock of

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sunlit pigeons against the dark
background of a thundercloud.

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And it's incidents like that
that are very largely celebrated

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in far eastern art and poetry.

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Perceptions of the full reality
and intensity of the moment.

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Such a one as this.

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The sea darkens.

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The voices of the wild
ducks are faintly white.

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A brushwood gate,
and for a lock, this snail.

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Or paintings where one sees just a few
birds on a branch, so vividly alive that

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you somehow think the next time you look
at the branch, the birds won't be there.

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This is all an art form
possible for people who feel

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themselves to be living in
this real momentary world.

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I remember once a very
wise man who used to give

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lectures on philosophical
matters of this kind.

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Before he started giving
any lecture, would sit for a

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while looking at his
audience very intently like this.

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And then quite suddenly
he would say, wake up!

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You're all fast asleep and if you don't wake up I won't
give any lecture and another Chinese sage pointed one day

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to some flowers while talking to a friend and said most
people look at these as if they were in a dream and Buddha

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One of the wisest
of the sons of Asia.

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His real name was Gotama.

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But he was called Buddha because
Buddha means the awakened one.

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The man who woke up.

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Now in what sense was he awake?

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He was awake in the sense
that he was completely all here.

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After all, we say about a person
who's nuts, he's not all here.

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He's not all there.

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But our whole culture, our whole civilization insofar as it is involved with time and living
only for a future is nuts it's not all here we are not awake we are not completely alive

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now and consequently we are so hungry and so greedy because everything seems tasteless we
are living for an abstraction which has not yet come to be and we don't know what really is

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