"Eastern Wisdom and Modern Life" Man and Nature
ID | 13207066 |
---|---|
Movie Name | "Eastern Wisdom and Modern Life" Man and Nature |
Release Name | Eastern Wisdom and Modern Life S01E01 ManAndNature1959 |
Year | 1959 |
Kind | tv |
Language | English |
IMDB ID | 15325314 |
Format | srt |
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And modern life
with Alan W. Watts.
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Produced by KQED San Francisco for the
Educational Television and Radio Center.
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Alan Watts is a
scholar, lecturer,
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and the author of many widely read books
on comparative philosophy and religion.
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It was as a result
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of looking at
paintings like this.
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But I first became interested
in Eastern philosophy.
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That was many years ago when I
was a boy, only about 14 years old.
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And the thing that grasped me and
excited me about this vision of the
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world was the astonishing sympathy
and feeling for the world of nature.
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Think, for example, of a painting like
this, which is called Mountain After Rain.
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A painting by the Chinese artist
Gao Kogung, showing the mist
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and clouds drifting away
after a wet night of pouring rain.
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And it's fascinating for us
to think that pictures of this
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kind are not what we would
call just landscape paintings.
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They are also icons.
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That is to say, they are a religious
and philosophical kind of painting.
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We are used, of course, in thinking of
iconographic or religious paintings, of
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thinking of pictures of human figures,
of angels and saints and divine beings.
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But when the mind of the
Chinese expresses its religious
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feelings, it expresses it
in the objects of nature.
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And their feeling for
nature is in one very
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important respect
strangely different from ours.
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And that is as a result of the
sensation that the human being
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is not someone who
stands apart from nature and
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looks at it from an
entirely outside position.
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But the human being has himself
the feeling of belonging right in nature.
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And this is very
startlingly illustrated.
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If you look at another painting,
this one by the great Song
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Dynasty painter, Ma Yuan,
called Poet Drinking by Moonlight.
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You would think
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It was just a landscape
painting and Puzzle find the poet.
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But if you look very closely in the bottom
part of the painting, you will see him right
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there, drinking a cup of wine, sitting at a
table with his boy attendant beside him.
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I suppose that's the equivalent
of what would be a graduate
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student or a professor of
English literature in these days.
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But that tiny man lost in the landscape is
representative and symbolic of the whole
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attitude of the Chinese mind and of Chinese
philosophy to the harmony of man and nature.
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Man not dominating nature but fitting
into it and feeling perfectly at home.
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But you know our attitude
is very strangely different.
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And we constantly use a
phrase which in the ears
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of Chinese people sounds
very peculiar indeed.
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We speak constantly of
the conquest of nature.
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The conquest of space.
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The conquest of
mountains like Everest.
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And they would say to us,
well what's the matter with you?
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Why must you be in such a fight
all the time as you're inbound?
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Aren't you grateful
to the mountain?
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That it itself lifted you up
when you got to the top of it?
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Aren't you grateful to
space that it opens itself
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out for you so that you
can travel through it?
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Why do you think all the time
of getting into a fight with it?
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But that is indeed, isn't
it, our dominant feeling?
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That we are using science and technology, the
powers of electricity and steel, to carry on
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a fight with our external world and to beat our
surroundings into submission with bulldozer.
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And it's also the same with
our attitude to our own nature.
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Because we've been brought up
in a religio-philosophical tradition
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which has taught us to a great
extent to mistrust ourselves.
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That is to say, it has taught
us as reasoning and willing
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beings to mistrust our
animal and instinctual nature.
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We have inherited a
doctrine of original sin which
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tells us not to be too
friendly, to be very cautious,
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with our own human nature and this is something which is all very well for we have indeed achieved
marvelous things by technological interference with and alteration of nature but if this thing is carried
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beyond a certain point it gets us into very serious trouble indeed as a result of what I would call
the law of diminishing returns now it's something like this to illustrate it in a very simple way
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supposing you start mistrusting your own senses
supposing you're the sort of person that when you go out
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for a walk in the morning you're going down to the
market and you wonder did I turn off the gas stove?
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And you've only gone a few paces from your house and you think you must go back and take a look
in the kitchen and see if you really did turn it off so back you go and you open the back door
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and look in the kitchen yes you did turn it off you close the back door and off you go again and
then a few paces out you think I wonder if I really saw correctly did I look carefully enough?
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And if at that point you break
down and go back again, the more
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careful you're going to be, you're
never going to get out shopping.
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You're going to
be tied in a bind.
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And although you may say, well that's only the
sort of thing a very stupid person needs to do,
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as a matter of fact, this is what our culture
is beginning to carry on in very big dimensions.
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For example, we are
privileged in the United States
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to enjoy freedom in a way that many
other people in the world don't have it.
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Yet at the same time we are very anxious to
be sure that our freedom won't be abused.
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And we keep saying when
somebody does something that is
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an abuse of freedom, there
ought to be a law against it.
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And so hundreds and
thousands of laws are put into
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effect to prevent people
from abusing their freedom.
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And so much
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legislation involves the most complicated processes of record keeping as for example the records you
have to send in every April to be sure you didn't cheat on your financial affairs records which become
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more and more and more complicated so that nowadays sending in an ordinary individual income tax return
is as complicated as extracting the cube root of a complicated number and the net result of our anxiety
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to write down just exactly and to the last hair, so that
some shyster lawyer won't find a loophole, exactly and to the
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last hair what we may and may not do, the net result of this
is it's becoming increasingly difficult to do anything at all.
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In other words, if you want to start a business enterprise, if you
want to create, say, a non-profit society, you have to hire lawyers,
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you have to have whole staffs of secretaries to attend to the
bookkeeping, the records, the returns that must be made to the government.
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And some of our great
universities even have vice
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presidents in charge of
relations with the government.
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The same thing comes out, for
example, also, in our animosity
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to nature in the sense of
wanting to obliterate distance.
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We want to go faster and
faster everywhere we go.
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And so annihilating
the span of the earth
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between ourselves and
the place we want to reach.
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But what is the
ultimate result of this?
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Just think of it.
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If you're getting faster and
faster from point to point, and
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obliterating the distance
between points, two things happen.
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In the first place, all points
that are set next to each
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other by, say, jet propulsion,
tend to become the same point.
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In other words, the faster you
can get from Los Angeles to
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Hawaii, the more Hawaii
becomes exactly like Los Angeles.
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And therefore tourists keep
asking, well, has it been spoiled yet?
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And by that they mean,
is it just exactly like home?
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And furthermore, if we begin to think about our goals in life as destinations,
as points to which we must get it begins to cut out all that makes the
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point worth having it's like saying, well, instead of giving you a full banana
to eat I will give you the two precise ends of the banana and that would not
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be in any sense a
satisfactory meal.
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But that is what happens as we
tend to fight our environment and to
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want to get rid of the wonderful
limitation of space and distance.
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And you know, if we carry this kind of
thing to its ultimate extreme, we get into a
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most extraordinary tangle, which I think
I could very well illustrate in this way.
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Let's go and have
a look over here
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at a sentence which has been written on the board that is the
sentence which is behaving like we are behaving in our mistrust
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of nature that is a sentence which fundamentally does not
trust itself and it says of itself this statement is false now
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What do you see
funny about that?
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This sentence behaves in
an extremely peculiar way.
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Because if it is true,
then it is not true.
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And if it's not true,
then that's what it says.
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That it isn't
true, so it's true.
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So that if this statement
is true, it is false.
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And if it is false, it is true.
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And so on and so on.
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In other words, the meaning
of the sentence is oscillating.
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It's shaking from true to false, true
to false, like an electric bell vibrating.
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In other words you might say that this particular sentence is suffering from anxiety for
anxiety is the condition that comes upon us when we fundamentally mistrust ourselves when we
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mistrust our own nature and are trying to keep such a tight grip on it that we start to
tremble as one's hand starts to tremble if you become extremely anxious to hold it still now
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Chinese thinking, of which there
are really two main currents, the Taoist
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current and the Confucian, Taoist,
that's spelled T-A-O-I-S-T, and Confucian.
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And both of these main currents of
Chinese thought agree on one fundamental
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principle, and that is that the natural world
in which we live and human nature itself
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must basically be trusted they would say
of a person who can't trust his own nature
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well, if you can't trust your own nature how
can you trust your very mistrusting of it?
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How do you know that
that's not wrong too?
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And so if you don't trust your own
nature you are as fundamentally balled up
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as anyone can get now it's interesting
to look at the fundamental Chinese word
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which we translate as nature because it has a rather different meaning
from the word that we use in Chinese nature is written like this you
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know that Chinese characters are fundamentally pictures and this first
one is the picture that used to be a face and so it means oneself or
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of itself and the second character, I don't
know what this was originally, it's become
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now a very abstract figure that means so
and so the whole figure means of itself so
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And we should give the rough
English equivalent of that as spontaneity.
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That which happens of itself, just in the same way, for example, that your hair is growing
by itself, your heart is beating by itself, so that if you feel your pulse, you get
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the funny sensation of movement going on inside your body, and you think, ha ha, I'm
not doing that, that's something queer going on inside me over which I have no control.
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But when you come to think
of it, what is more fundamental?
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What is more central to you?
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What is more the very middle
of yourself than your own heart?
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And so this idea of nature, that which happens of itself so, is
a process which is fundamentally not under our control, which is
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happening all on its own, just as our breathing is happening all on
its own, and just as our heart beating is happening all on its own.
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And the fundamental thought
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of Daoist philosophy is that this self-sow process has to
be trusted if you turn now to Confucian ideas we will find
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another word that represents the basis of human nature this
word written like this has a funny pronunciation although
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When we romanize this word in English,
we spell it J-E-N, it's pronounced J-E-N.
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Sort of like rolling an R, or
rather saying R but not rolling it.
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And this word is the cardinal virtue in
the whole system of Confucian morality.
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It's usually translated
human-heartedness or humanness.
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But when Confucius was asked to give
a precise definition of it, he refused.
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He said, you have to feel
the meaning of this virtue.
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You must never
put it into words.
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And the wisdom of his attitude
about not defining young is simply this.
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That a human being is always greater
than anything he can say about himself
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and anything he can
think about himself.
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If we formulate ideas about our own nature, about how our own minds
and emotions work, those ideas are always going to be qualitatively
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inferior, that is to say, far less complicated, far less alive
than the actual author of the ideas themselves, and that is us.
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So there's something
about ourselves which we
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can never get at, which
we can never define,
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in just the same way that you can't bite your own
teeth, you can't without the aid of a mirror look
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into your own eyes, you can't hear your own ears, and
you can't make your own hand catch hold of itself.
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So that you must
basically trust this.
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Confucius would say he would rather
trust human passions and instincts
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than he would sometimes trust
human ideas about what is right.
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For example,
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when people go to war.
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They very often go to war about
who has the right ideology, who
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has the right of this particular
dispute, and who has the wrong.
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And because there can be no agreement,
no compromise between principles of
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right and wrong, ideological wars
generally tend to be vastly destructive.
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On the other hand, when
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we go to war for simple, ordinary greed, because I'm greedy of
another people, of another nation, I want to carry off their goods,
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I want to carry off their women, I will at least be sure in going
to war with them that I don't destroy the thing I want to possess.
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And so, if we are then
bound to trust our own nature,
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This attitude of hands-off, of not
interfering with oneself beyond a certain
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point is called, again in Laubs's Taoist
philosophy, this Wu Wei This character
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means no, not, or don't and it's said to have been originally based on a picture
of bunches of grass tied together like this indicating that a certain area
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is taboo you mustn't step on this area, the ground is sacred so don't, keep off,
is its meaning and it's possible that this was originally a drawing of a hand
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over a bird like this so the meaning of this is grasping
a bird the whole idea is don't grasp the bird in
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other words don't clutch at what is living if for instance
you like sometimes little children pick up a kitten
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and they're so eager to hold the
kitten, they squeeze it tightly and
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the kitty says, yeah, yeah, and
scratches the child all over the place.
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It's because he is loving it,
he is grasping it too tightly.
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And so in the same
way, we have to allow all
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living things to let go
and manage themselves.
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Look, supposing if in drawing,
I wanted to be absolutely
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certain that my hand
didn't go away from a line.
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And, oh, I began to get anxious.
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Is it going to go straight?
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So let's bring in this
hand to hold on to it.
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Oh, and let's send
this one straight.
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But now how can I be sure
my left hand's going to stay still?
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Maybe the right one will
have to catch hold of it.
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Oh, and then we're
in a total mess.
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But you see, we in the
West are basically afraid
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that if we trust our own nature everything will turn into chaos
we're afraid, as it were, not to keep holding a club over our head to
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keep watching on our instincts and our passions and our so-called
uncivilized animal natures fearing that they will go awry but you know
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when you let go of that grip on yourself sometimes astounding things happen you get out of your
own life you're functioning all together in one piece I mean after all a person who is basically
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divided against himself who is in inner conflict and is trying to go in two directions at once
he can't go anywhere he just has to sit and dither whereas if I'm going all in one direction
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then at least I'm going and even if I'm going in the wrong way I can change the direction
if I'm trying to go in two ways at once I don't get anywhere at all now artists in
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the Far East have made a great deal of what they call the controlled accident marvelous
things which happen as surprises when an artist does not try to dominate his music
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but let the medium itself do some of the work take for example
this cigarette jar that I have here you see the glaze has just
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been slopped on it with a swift motion of the wrist and you notice
as I turn it that there are all sorts of little flecks of white
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inside the black outline there.
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A little flecks of black, like right
here, outside the main band of black.
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It's incidental things like this, which
to the Chinese and Japanese mind,
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and increasingly to our own way of
thinking, make the real beauty of things.
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For instance, consider
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a shell like this.
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Here is an object which any one of you
would pick up on the beach if you saw it.
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And yet, what does it represent?
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If you saw a painting with
markings on like that, you
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might say, well, that's
not what I call a painting.
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It doesn't look like anything.
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And yet, as I say, none
of you would hesitate
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to pick that up and
treasure it if you found it.
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For it, too, like the jar, is a
sort of controlled accident.
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And it is the art of trusting
the medium to express itself
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along with your own
contribution to it as an artist.
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When this harmonious relationship
of man and nature is brought
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into play, we get marvelous
little objects of this kind.
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And so in the same way, if we can learn to trust our
own nature, we will, I think, be profoundly surprised
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that things don't go out of control at all, but
on the contrary, suddenly come back into control.
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Take, for example, a
very familiar instance.
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Supposing you're
learning to ride a bicycle.
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Some of you will have known that when you started out this rather difficult art you found yourself immediately falling over
and your first instinct was to turn the wheel right opposite the direction in which you were falling and in this way you
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collapsed totally on the ground it seemed to be common sense to turn away from the direction in which you were falling and
yet the thing you have to learn to do is to turn the wheel in the direction in which you are falling and in this way you
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suddenly come up straight again and you're in control you expected to
fall you went with the fall and you came to yourself again in precisely
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the same way when we go with our own nature our own inner feelings
we come into control of them we don't lose control if we fight them
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We get in that state of
balled-upness, of anxiety, of
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dither, which makes us
incapable of doing anything at all.
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An anxiety and a dither which
is comparable to the whole
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problem of maintaining
freedom in a world like ours.
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A problem that we are
in danger of losing our
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freedom through being
over-anxious to preserve it.
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Oh, think of another
illustration, those of
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you who live in the East
and the Middle West,
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are familiar every winter
with the problems of icy roads.
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But any good driver knows that
when you skid on an icy road, you
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have to turn in the direction of
your skid and not against your skid.
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That again brings
you into control.
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To fight the trend of things, to
fight what the Chinese call the Tao,
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the T-A-O, the way of nature, is
to come into conflict with nature
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so that you can't do anything at all or another common example everybody who ever used a
sailing boat knows that if you are going to move you've got to keep the wind in your sails
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even if you want to go against the wind you would never dream of turning the boat directly
into the path of the wind so you always have in some way to keep the wind behind you
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but when you want to go against the wind, you don't fight the wind, you use the wind you, in other words, tack
against it at an angle so that it blows you into itself and this is the fundamental principle of Chinese philosophy
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which underlies that startling manifestation of it in Japanese wrestling called Judo where you overcome the
enemy not by opposing him but by using his own strength to bring about his downfall for this is the philosophy
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of bend and survive, of the strength of
weakness, as the willow trees under snow go
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supple and drop the snow, but the pine with
its tough branch piles up the snow and cracks.
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