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285. A Stick of Incense

On the altar there are usually three objects: a statue of manjushri, some flowers and a stick of incense in an incense bowl. The stick of incense is held in place by the ash of previous burnt incense sticks, and their little stumps lie there too.

Manjushri  is on the altar with his sword to cut the delusion of separation, using his sword to cut everything into one. The flowers and the incense are both concerned with impermanence, but in slightly different ways. 

With the flowers, we think of Dogen’s expression ‘the flowers of emptiness’, so it’s obvious that the flowers are beautiful and transient. The flowers on the altar now will just last a few days more. Further, flowers, additional to representing beauty and dignity and transience  are symbolic of karma. Zen teachers talk of flowers and fruit as a poetic way of talking about cause and effect.

The incense is more personal to this person. In our group, the incense stocks are sandalwood. Each one is representative of the practitioner, practicing now. The stick of incense will exhaust itself completely in its practice. The uprightness of the practitioner, the uprightness of the incense, enables the integrity and space of the present moment to be upheld, so that it does not collapse into nothingness. The body of the stick’s effort, its smoke and fragrance, permeates everywhere. Its ashes are the foundation for future uprightness, for the time being of future practitioners, both this being and all beings.

At the end of your life there is not just this stump of memory.

Although you look everywhere to find your true body you cannot find it.

Not because it is nowhere, but because it is everywhere.

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284. Dogen’s Dharma Hall Discourse number 24: An expression never before expounded

‘In the entire universe, in the ten directions there is no dharma at all that has not yet been expounded by all Buddhas in the three times. Therefore all Buddha’s say, “In the same manner that all Buddhas in the three times expound the dharma, so now I also will expect the dharma without differentiations”. This great assembly present before me also is practicing the way in the manner of all Buddhas. Each movement, each stillness is not other than the dharma of all Buddhas, so do not act carelessly or casually, Although this is the case I have an expression that has not yet been expounded by any Buddha. Everyone, do you want to discern it?’

After a pause Dogen said, ‘ in the same manner that all Buddhas in the three times expound the dharma, so now I also will expound the dharma without differentiations.’

The passage that Dogen cites and then repeats is a direct quote from the Lotus Sutra.

 To understand this dharma discourse it’s helpful that we understand the several uses of the word ‘dharma’. It originally meant teaching, as in the Buddha’s teaching. ‘Dharmas’ are all the individual things within experience: fences, walls, mountains, thoughts, dreams and so on. And because the Buddha’s teaching is about reality, a very creative combining took place of these two senses of the word, on the already fertile soil of chinese culture. It came to be thought that all beings (dharmas)  proclaim the dharma. Or, more precisely that everything (all dharmas) is the dharma. 

Thus, the movements of Dogen’s monks while they were listening to him, or their stillness were all expressions of the dharma. 

Which leaves the question: in what sense was Dogen’s simple repetition of a phrase from the Lotus Sutra a new expression?

It was new because everything’s new.

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283. A Person in the Mountains Should Love the Mountains

In volume 9 of Dogen’s Eihei Kōroku, at paragraph 25, there’s a poem (derived from the poem “Mount Lu” by Su Shi),

A person in the mountains should love the mountains.

 With going and coming, the mountains are his body.

 The mountains are the body but the body is not the self.

 So where can one find any senses or their objects?

Dogen, Eihei Kōroku

Dogen isn’t talking literally about mountains, or not just. In this poem the mountain signifies everything – the whole of dependent origination. And quintessentially for Dogen he’s always in some sense alluding to our experience in Zazen.

When we talk about dependent origination, the exemplar is our thoughts and emotions, which we usually regard as encumbrances, something to get rid of. But we’re mistaken. The instruction is often given that when thoughts arise in Zazen we should neither love them or hate them but just allow them to come and go freely.

I don’t think that’s an entirely helpful instruction. Certainly we shouldn’t try and push thoughts and emotions away and we shouldn’t attach to them. But I think primarily we should not attempt to fix these butterflies on the needle of our certainty. If we do, they are like ghosts caught in the suddenly appearing echo chamber of the self. They cannot manifest, or change, or live. Nor us.

For further information and references on this kusen, please click this link.

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282. The Body Is The Bodhi Tree

The first line of the poem in the Platform Sutra attributed to Shen-xui is, “the body is the bodhi tree.” In other words, the body in zazen is like the bodhi tree. 

What are we to make of that? 

The bodhi tree is the tree under which the Buddha attained enlightenment.

It has several distinctive qualities. It’s very old:  it lasts a very long time, has a very long life. The second, and more fundamental quality is that it’s hollow. It doesn’t have a core.

Like all trees, it is completely rooted in the great earth. It doesn’t require to move. And it’s completely expressive in the great sky. 

The emptiness inside of it isn’t the absence of anything, it’s the presence of everything. 

How does that compare with the emptiness–the space–inside us when we are practising?

The arising of our thoughts, insofar as it’s not an attempt to  interpret our present experience, is surely interdependence in time. The experience now of thoughts and feelings is the tremble and echo of the activity of everything. 

The dynamic space which we experience in our body, in our breath, as we are balanced, breathing in and breathing out cannot be clearly separated from the space around us and in turn, that cannot be clearly separated from the greater space, extending in all directions, everywhere, like floodwater, surging in, surging out.

Outside my window is a great tree. When the wind blows it moves its limbs freely, like a dancer.

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281. The Expression of Water

When we practice we release the self and we release the world from the grip of our certainty.

In the ‘Mountains and Waters Sutra‘, Master Dogen says the following:

In seeing water there are beings who see it as a jewelled necklace, some see water as miraculous flowers. Hungry ghosts see water as raging flames, or as pus and blood. Dragons and fish see it as a palace, or a tower, or as the seven treasures, or the great jewel. Others see it as woods and walls, or as the dharma nature of immaculate liberation, or as the true human body, or as the physical form and mental nature. Humans see these as water. In these different ways of seeing are the conditions under which water is killed or given life.

Although Dogen is a great master, the statement is incomplete.

Even if he had said that each window through which all creatures who have ever lived or who ever will live see the world, if all these uncountable windows were taken and each smashed into a million, billion pieces and a tiny precious fragment was taken from each to form a great window, through which a great light would  illuminate the practitioner completely, the statement would still be deficient.

How so? Because from the perspective of the water, or the mountain, or the tree, or whatever, all the views of these infinite number of beings are not made standing on the passive body of the water, the tree, the mountain, the person, but rather, all these views, all these beings, are the expression of the water the tree, the mountain, the person, and the expression of this moment.

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280. Cave of the Whole World

In all his voluminous writings, so far as I’m aware, Master Dogen only makes a statement about Enlightenment once. And significantly he makes that not to his monks but to a lay follower. In the Genjokoan he says:

To carry the self forward to experience the myriad things is delusion. That myriad things come forth and illuminate the self is Awakening.

Genjōkōan, Dogen

To understand this we need to understand the word for self, “jiko’’, has two distinct meanings. One is self in the ordinary sense – the ego self. And the other is the big self of everything – of which the little self is a part – the whole universe. So if we paraphrase this statement it would be something like:

To carry my self forward to experience things is delusion. To allow each thing to manifest itself is Enlightenment.

Quintessentially of course, Dogen is always talking about our experience in zazen. And in zazen, this person of practice is the Cave of the whole world, illuminated.

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279. Not Personal, Relational

What’s distinctive about Zen is that the truth isn’t personal, it’s relational. Although there is a teacher and a student, the true teacher is the clear, open and whole hearted engagement of both of them, together.

My first teacher Nancy Amphoux was dying of cancer in 1992 when she came to Glasgow for the last time to teach.

At that time, the cancer had spread into her bones, particularly her sternum, which was crumbling away. I asked her if she intended to take pain relief and she said that she wouldn’t, because it was more important to be able to teach clearly than to suffer temporary pain.

It took me a long time to realize that the person she was teaching clearly was me.

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278. Joshu’s Man of True Practice

A monk asked, “I wonder if a man of true practice can be perceived by gods and demons, or not?” The master said, “They can perceive him.”

The monk said, “Where’s his fault?” The master said, “Faults are wherever they are looked for.”

The monk said, “In that case it is not practice.” The master said, “It is practice.

When we start sitting it may well be from the perspective of the Sravaka or Pratyekabuddha. In other words, we are drawn to practice in the belief that it  will lessen my suffering, or practice will bring me benefit, ideally enlightenment, but after a while we realise that we have completely misunderstood the nature of practice, and that the misunderstanding was necessary.

It is as if, within experience, there are multitudes. Our way of practice is not to skewer these dharmas on the needle of our definition, but to allow them to be, in all their multifacetedness and thus, quiescent, whether they vex us or not.

It may not be Nirvana as we imagine it, but it is.

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277. The Mind Verses Competition

One of the founding myths of the Zen School in China is the Mind Verses Competition between Shen-xui and Hui-neng, the Sixth Patriarch. All the subsequent Zen figures–Baso, Sekito, Rinzai, Joshu, everyone–trace their lineage through him.

In the story, which is sometimes known as the mind verses competition, the Fifth Patriarch, Hung-jen asks his monks to write a verse to demonstrate their understanding. His senior disciple,Shen-xui is the only one who responds. He composes a verse which reads: 

The body is the Bodhi tree

The mind a bright mirror’s stand

Always polish assiduously 

So that dust does not gather

In the story Hui-neng was resident in the monastery at the time, not as a monk but as a labourer, and he was illiterate. He asked someone to explain the verse to him and then asked someone to write his reply, which went as follows. 

Bodhi originally has no tree

Nor the mirror a stand

The Buddha nature is always clear and bright

Where is there room for dust?

When the Fifth Patriarch heard Hui-neng’s verse, he secretly gave him the transmission, making him the Sixth Patriarch rather than Shen-xui, and Hui-neng then clandestinely left the monastery in the dead of the night.

The problem with the story is that it is completely made up. All those people existed, both would have been at Hung-jen’s monastery at some time,  but they certainly weren’t there together.

Shen-xui was a very prominent meditation teacher at the end of the Seventh century, and had the patronage of Empress Wu.

Hui neng is a manufactured person. There was someone of that name, that much we know, but we also know that everything attributed to him is created later, primarily in ‘The Platform Sutra,’which contains these verses. 

The interpretation given to these two verses over time was that Shen-xui’s perspective was deficient because it allegedly suggested a gradualistic model of practice: if we practice assiduously enough,we get the mirror.The criticism that Hui neng made is that practice serves no purpose unless we have a primary insight into emptiness. If we don’t have that insight we can practice as long and as hard as we like, to no effect

Let’s look at Shen-xui’s poem.

The bodhi tree is the tree under which the Buddha is said to have gained enlightenment. It’s a special type of Fig tree, with heart shaped leaves which lives for a very long time. I’ll talk more about it another time, but for our purposes, that’s not the part of the poem which is criticised, it’s the remainder which is accused of fostering a gradualistic approach. 

However, Shen-xui does not say that the personal mind is the mirror. He says that the mind is the mirror’s stand. 

To understand what that means you need to know that in the China of that period, mirrors were made of metal, so required to be polished consistently to retain their powers of reflection. And they were also round, so if they didn’t have a stand, they were likely to just roll away.

So the metaphor of the mind being the mirror’s  stand is quite a subtle metaphor. It’s clearly not saying that through practice I somehow attain enlightenment, but rather that it is the effort of my whole being, my body and my mind, which enables the mirror, which is not mine to manifest here. The mirror is not my personal possession, it is not something which I ever attain. 

So the criticism that is made of Shen-xui isn’t fair. And we don’t know if he even wrote the poem. But whether he did or not, I’ll comment on it further.

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276. Labelling a Thought

Is it helpful if we label our thoughts during Zazen?

I first came across this with the great Charlotte Joko Beck, who encouraged people doing Zazen who were vexed with a thought to label it as, say, anxiety, or dissatisfaction, or excitement. She seemed to think that if a thought was labelled, it was easier to put it to one side.

There’s obviously a number of separate issues arising here. 

One issue is that the risk of labelling a thought is that you’re then caught up in a narrative. So if you label a thought as anxiety, then you’re tempted to ask, “Well, why am I anxious?” and then, before you know it, you’re making up a big story, and becoming disconnected from your actual, embodied experience.

But the other thing is, you might be wrong. Very often people label an emotion in an obviously mistaken way. Very often, people who are angry say that they’re sad, for example. I wonder about the origin of this. Perhaps, as little children, we were upset or angry or whatever, and our mother came to us and comforted us explaining what we’re feeling and why we’re feeling it. Once we’ve got that explanation, then, in a way, it’s contained–it’s comfortable. 

As adults we can do something similar, but of course our mothers’ effort is an effort of translation. And that translation could be mistaken, and our own translation of what we’re experiencing might be mistaken also. In fact it might be impossible to translate our actual experience without making mistakes. 

This issue of translation has been very familiar in Buddhism from the outset. In the original enlightenment story of the Buddha, the Buddha originally thought that what he’d understood was too difficult to explain to people. It was only after a lot of reflection that he thought that he should share it. 

It’s an issue in Buddhist history how he decided to share that. So, whether he expressed the truth as he experienced it, or whether he expressed the truth by what’s called “expedient means”–expressing the truth in a way that makes sense to the person that you’re talking to. 

Although it might seem weird to put it in this way, as it were, we’re all clairvoyant, but clairvoyant with ourselves. We’re always experiencing this flood of “something,” which we then require to make intelligible–first to ourselves and then to someone else.

In Chapter 1 of the Lotus Sutra, the Buddha, whilst meditating, shoots out a beam of light from his Third Eye in the direction of the Eastern Lands, illuminating 18,000 worlds. Within all those worlds there are people going through the Six Realms of Transmigration together with the sravakas, the pratyekabuddhas, the bodhisattvas and the Buddhas teaching those people in those lands.

It appears to be a fantastical image, but I think it’s an accurate description of our experience in Zazen. There’s the scale and range and diversity of experience, and expression, and emotion and thought, and all the rest of it. But it’s all contained within this all-encompassing light, emanating from the Buddha. So this incredible, vast and diverse experience is all held within the illuminating space of this awareness.

And that seems to me to be a crucial clue for how we should regard everything, which arises within zazen. So we’re not, obviously, labelling a thought in the sense of labelling a piece of luggage or labelling an inert thing. But generally I can’t recommend it, because it seems to retain the categories of our ordinary, dualistic life. In Zazen, we are always seeing or feeling a momentary ‘something’/no-thing, which has its own life and capacity for transformation, so we leave it be. And if we do so, each thing is everything and so, quiescent.