"Eastern Wisdom and Modern Life" The Life of Zen
ID | 13207073 |
---|---|
Movie Name | "Eastern Wisdom and Modern Life" The Life of Zen |
Release Name | Eastern Wisdom and Modern Life S01E14 theLifeOfZen1960 |
Year | 1960 |
Kind | tv |
Language | English |
IMDB ID | 27478215 |
Format | srt |
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There are some problems
which Western people have
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in understanding
the life of Zen.
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And I thought that before we
go any further, I would devote this
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program to discussing one of
the most crucial of these problems.
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It keeps coming up as people in the West
learn about Zen or in some way come under
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its influence, whether they be painters or
writers or just so-called ordinary people.
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And I think the central problem is
the question of whether Zen is a kind of
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capricious, do-as-you-like spontaneity,
or whether it's a very rigorous discipline.
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If you read, say, a book
like The Dharma Bums by
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Jack Kerouac, you might
get the impression that Zen
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is simply living the way
you feel, following the
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natural rhythm of your
own spontaneous inner life.
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On the other hand, if you read some of the
books by Dr. Suzuki or other authorities on Zen,
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you would gather quite the contrary, that it's
an extremely rugged and difficult undertaking.
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And what the old masters
have to say about this
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is sometimes rather confusing.
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For example, the old Chinese
master Lin Chi has this to
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say, In Buddhism, there
is no place for using effort.
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Just be ordinary
and nothing special.
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Move your bowels, pass water.
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When you're hungry, eat.
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When you're tired,
go and lie down.
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The ignorant will laugh at me.
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But the wise will understand.
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And then another old master,
Matsu, says, in the way, that
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is the Tao, there is nothing
to discipline oneself in.
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If there were, the
completion of such
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discipline would be the
destruction of the Tao.
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On the other
hand, if there is no
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discipline at all, one
remains an ignoramus.
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So they seem to say, no, it isn't
a discipline, and yet, yes, it is.
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And therefore, we
outsiders, trying to understand
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what's going on, remain
profoundly puzzled.
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For on the one hand, we
see the kind of floating life
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idealized by the old masters,
the life of cloud and water,
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As I told you, a Zen monk
is called unsui, which means
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that he drifts like a
cloud and flows like water.
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But on the other hand, here they are in their
monasteries, or more correctly, seminaries,
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living a very rugged life indeed, under
the stern supervision of their teacher.
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And so, to understand
this problem,
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I want to go back and look
at Zen in a social setting,
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so that we can understand
what kind of thing it is.
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And to do that, I want to introduce you to some
technical ideas which Buddhism has about the basic
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nature of the universe, so that we can understand the
function of discipline in relation to these ideas.
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Now, there is a special word
which designates the fundamental
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Buddhist idea of the character
of the universe in which we live.
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And this Sanskrit word
is the dharma dhatu.
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The word dharma has
many meanings in Sanskrit.
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Sometimes it's doctrine.
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Sometimes it's method.
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But here, I would say it
means something like function.
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And dhatu means realm or world.
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So this is the doctrine of the
whole functioning of the universe.
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And it gives us a picture of a
universe which is completely relativistic.
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What does that mean?
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If you stand on the earth, it seems
to you that the moon is moving.
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If you stand on the moon, it
seems that the earth is moving.
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And there's a Zen poem
which says, empty-handed
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I go, and yet a
spade is in my hand.
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I walk on foot, and yet
I'm riding the back of an ox.
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When I cross the river, the
bridge flows, and the water is still.
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In other words,
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I don't know what an empty hand is except
in relation to a hand with something in it.
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I don't know what it is to
walk on foot unless it's in
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relation to some other kind of
transportation such as riding.
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And I don't notice motion
unless it's a relationship
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between something that's still
and something that's moving.
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And so where you've
got an idea of the universe
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in which everything is
relative to everything else.
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You have, as it were, a scheme of interconnections
between innumerable points, reminiscent
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of a spider's web with dew on it, or the
image of Indra's net, which is a tremendous
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collection of jewels all linked
together in such a way that
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each jewel contains the
reflection of all the other jewels.
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And in this sense then,
Buddhist doctrine is saying
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that our universe is so
interconnected in all its parts
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that one part of it, so-called, can
exist only in relation to all the others.
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All motion, too, is in
relation to all other motion.
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So that it works, as we would say in
physical theory, as a field of forces.
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There is no separate center in
which any motion or activity originates.
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All activity that occurs at any spot, as it
were, originates over the whole system.
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And this is another meaning
of the Taoist idea of wu wei.
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You remember this
term, wu, not wei.
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Acting or striving, the deeper meaning of
this idea is that nothing acts of itself.
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There is, as it were, no such thing as an agent,
for action is the nature of the whole thing,
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and it, as it were, appears in one place in
relation to stillness in another, and so on.
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Now, when you have a highly
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relative system of this nature.
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If you want to introduce into it some kind
of order, as we want to introduce order into
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society, we can't base a social order on a
completely relative conception of the world.
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Because in order to have cosmos instead of
chaos, you've got to have some standards.
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But since these standards don't exactly
exist in the universe, we invent them.
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And therefore our social life depends, as
it were, on practicing certain deceptions.
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The Western philosopher Weyhinger
invented the term, the philosophy of as if.
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And all social order and
communication depends
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upon certain deceptions
being practiced.
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And I would say these
deceptions are as follows.
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The first deception is
that there are things.
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That is to say that these
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vortices or nexuses in the
total pattern of the universe are
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real and separate from each
other and can be treated as such.
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In other words, to describe,
to talk about the world,
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we have to break it down
into various different units.
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Just in the same way, if you're
going to eat a chicken, you
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have to chop it up in sections,
and it's easier to eat that way.
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The cut-up fryer doesn't
come out of the egg.
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It isn't found in nature.
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Nor do you find eggs
where there are no chickens.
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Nor do you find chickens where there is
no environment suitable to them, and so on.
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So the pretense that things
are separable for each other
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is necessary in order to
think and talk about them.
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The next thing we have to
pretend is that there are agents.
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That, in other words, the
human individual is a separate
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thing originating action
and responsible for it.
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But in this conception
of the completely relative
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universe, action does not
originate at any particular spot.
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It's a property of the whole field, as it
were, focusing action at these spots.
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But for purposes of social
intercourse, we have to pretend that
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We are individual agents
from whom action comes.
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And this pretense is enhanced by the
third thing, the rewards and punishments.
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Now, this is terribly important.
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The reward for regarding oneself as a responsible agent and acting accordingly is the
promise of something good coming in the future, whether it be in this life or whether
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it be in some other life, so that we are constantly attracted and kept at this game
based on these three deceptions by living for a good thing coming in the future.
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And this, as it were,
conceals from us.
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What our own proverb tells us
in saying tomorrow never comes.
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We are only really ever alive
now, and we get distracted
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from living fully now by
having our eye on the future.
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Now, of course, there is a reasonable advantage in planning
for the future, but a person who is, as it were, hypnotized
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by the future and unable to be awake now really has no use
in planning for the future, because when his plans develop,
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he won't really be
able to enjoy them.
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Punishments are not only the punishments that parents and
teachers mete out to recalcitrant children, but we begin to get
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the feeling that, for example, things like disease or accidents
are punishments, and that death, too, is a punishment.
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And as if that weren't sufficient,
societies have always invented
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a complicated system of post-mortem retribution,
various heavens and hells, whether they
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are permanent or impermanent, in which the
rewards and punishments are further extended.
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Now, this system of deceptions, we
could say creative deceptions, I don't want
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the word deception to have a bad
flavor, is inculcated into us in childhood
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in every culture in the world.
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And it leaves a
permanent mark on us.
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The mark being that we come to
believe that these three things are real.
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Having accomplished the job
of creating a social discipline
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and of getting human
beings to step the right paces
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to dance, as it were, to
the tune played by the piper.
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Having done that, they
are burned into us, and so
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we come to feel that we
really are separate things.
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That we are agents and sources of action, that
we are actually responsible for what we do, that
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there is that ego thing inside us which is the
initiator, the doer, the will behind all action.
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And so we also come to believe in these various rewards and punishments,
whether it be the Christian system of heaven and hell, or whether it
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be the Hindu-Buddhist system of transmigration or reincarnation, living
life after life after life, inheriting in each following life the karma
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or destiny which we prepared
for ourselves in the preceding one.
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And this is very convenient
because then there
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is no, as it were, way
of escaping the police.
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There are celestial
police as well as terrestrial
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police, and by this
we are kept in order.
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But you see, this stratagem
of these social deceptions
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is really like a raft that
we use to cross a river.
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When we have
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in young people
inculcated the order.
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To go on being taken in by these deceptions
is like picking up the raft when you've
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crossed to the opposite bank and carrying
it with you, and it becomes a burden.
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And so what Zen is, basically, is a
way of freeing human beings from those
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deceptions, returning them to the vision
of the world in its complete relativity.
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Now, the training which one
goes through with a Zen teacher,
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shall we say, lifts these
deceptions off one's mind.
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Now, you might say, I can
understand intellectually.
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I can understand the idea that I only seem
to be an agent, a source of action, and
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that things only seem to be separate from
each other but are actually interconnected.
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But does this make me
feel any different inside?
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And you might say, well,
no, I don't think it really does.
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To understand it fully, I would
like to change the way I feel.
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But here comes the crucial
point in the understanding of Zen.
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On the one hand, if
you set out to change the
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way you feel, that might
be called a discipline.
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On the other hand, if you decide simply
to accept the way you feel and not try
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to change your inner feelings at all,
that might be called letting things alone.
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But here's the point.
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If you have understood clearly that you as a
separate will or a separate ego are a fiction,
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then on the one hand, you can't change it, and
on the other hand, you can't do nothing about it.
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Because there is no agent,
no separate doer, either
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to do something about it
or to do nothing about it.
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And so, this situation
seems, as it were, paralyzing.
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If you can't do, and if you can't
don't, what's going to happen?
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But the point of this is
that that paralysis is a
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realization of the unreality
of the individual agent.
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So what happens?
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From this point, one ceases
to take oneself seriously.
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Now, of course, there is
always a danger in not taking the
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things seriously which society
says we should take seriously.
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There's the case of, you
know, the raw youth, the sort of
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juvenile delinquent type
who's in revolt against society.
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And would use the experiences and ideas
of Buddhism to justify that revolution.
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And that is why the practice
in Asia is to reveal this
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point of view only to those
who are socially mature.
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And so the discipline of the Zen
school is a safeguard for the dangerous
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understanding or the dangerous
insight which is there being hatched.
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And so all those rigorous tests which I explained,
the rigorous regimen of life, these, as it were,
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do not directly produce the understanding, but they
are, as it were, the guarded stockade around it.
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For Zen, you see, is
fundamentally an insight.
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The recognition, in other words, of
the deception, the as-if-ness of these
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fundamental assumptions about the
world which are necessary to social life.
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But then, when you don't take
them seriously anymore, when you
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don't take your own separate
existence seriously anymore, then
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you have, as it were, been
inwardly relieved of the burden
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of this feeling of responsibility
which society inculcates.
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And so you might say that the object of Zen is
not to obliterate the order of society or to get
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rid of its conventions, but to take them lightly,
to treat the conventional unconventionally.
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And this is reflected in the art
of Zen, as where you see this
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Zen monk, the Chinese Hanshan,
treated like a kind of clown.
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Or, again, in such a painting
as this, which shows the
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great master Hakuin, a Japanese
master of the 17th century.
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This was painted by one of his students,
and Hakuin himself wrote a poem above it.
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And here is the man, you see,
who doesn't take himself seriously.
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It says, In the assembly
of one thousand Buddhas,
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the one disliked by
one thousand Buddhas.
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In the company of a
multitude of demonic spirits,
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the one hated by all
the demonic spirits.
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Such an ugly, shabby, dim-sighted,
bald-headed one that he is.
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As he is portrayed here, his ugliness
is all the more aggravated indeed.
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Or again, art treated
artlessly in this vase of
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flowers by the modern
Chinese painter Bai Shi.
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A great master of the craft
of painting, but here painting
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almost as naively as a
child, for this is artless art.
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Or again, the sacred treated in a
secular way, as in this painting of
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by Sengai, another 17th century
Japanese master, of the three sages,
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Buddha in the center, Lao Tzu to
the left, and Confucius to the right.
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You see, they're treated
in this slightly humorous
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vein that doesn't take
them quite seriously.
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Now, in order to
understand the real
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element of discipline
in Buddhism.
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Western students often get fazed or muddled
by a kind of what I would call mysterious East
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department, a projection of too much excellence
on something foreign that is not familiar to us.
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And this occurs particularly among people who think of Buddhist
practices as producing all kinds of fantastically miraculous and psychic
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powers, and who think that if they go to Japan to study Zen, they're
going to come back converted from human beings into supermen.
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In popular superstition
in Asia itself.
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Buddhism is sometimes
regarded in this way.
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But really, it's a very natural thing,
and we shouldn't be taken in by that.
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And when we see works of art such as this,
we sometimes have difficulty in judging.
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What kind of excellence is in them, what difference
there is between formal art on the one hand and
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Zen art on the other, because we are so un-with
these productions, we belong to a foreign culture.
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Now let's take an example of
a certain piece of calligraphy.
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I'm showing you now
an informal piece of Zen
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calligraphy by a very
great Chinese master.
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We, of course, can't read it,
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It doesn't mean anything to us, and
therefore it seems to be nothing more
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than just lines on paper, rather
interestingly and dynamically drawn.
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But now this might be compared
with another piece of calligraphy.
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Which I'm showing you here.
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This, like the one done by the
Chinese master, is also written by
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someone to whom the written
forms have been familiar all his life.
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He's practiced them again and
again and again, and he's written
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them in the same kind of
cursive, running, informal style.
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But you see, here it is.
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The moon and the water,
written in English with the brush.
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With the same amount of fundamental
practice involved, informing the
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00:24:58,247 --> 00:25:01,792
letters that anybody goes through
in China or Japan to learn to write.
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But the style is the same informality
showing the dynamics of the brush.
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So you see, a great part of the discipline of Zen is simply the
discipline of Far Eastern culture, whether it be the way of life, such as
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the moral and ritual principles of Confucianism, whether it be the art
of painting, or of writing, or of gardening, or whatever it may be.
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Zen is something
that exists in relation to
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and is manifested through the ordinary
cultural disciplines of the Far East.
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But in itself, what Zen is, is something
quite different from these disciplines.
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You see, every discipline
that we undergo envisages
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success in achieving
certain skills, and success
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is something that we must
always think about in relation
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to the individual considered
as a separate agent or will.
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Do I succeed or
do I not succeed?
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Zen, however, you
see, is the essential
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insight that this
individual will is a fiction.
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00:26:47,147 --> 00:26:50,567
It isn't a question of fatalism
either, because fatalism is the
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idea that the individual will is
the puppet of circumstances.
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The insight of Zen is that
there is no individual will,
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and therefore Zen is fundamentally
not a matter of success.
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It's outside the range of
failure and success, and
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therefore outside the range
of discipline or no discipline.
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00:27:16,468 --> 00:27:19,847
You know, one of the best books
about Zen that's been written is called
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Zen in the Art of Archery by a
German professor, and it describes there
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a man who was so proficient
in archery through the
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00:27:29,398 --> 00:27:32,609
study of Zen that he could
hit the bullseye in the dark.
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But a friend of mine, the composer
John Cage, was recently traveling in Japan,
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and a Japanese said to him, you know,
something needs to be added to that book.
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We have a very, very highly
regarded Zen archery master in Japan
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today, and he can't even hit
the bullseye in broad daylight.
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