Tonight I want to talk about another aspect of the koan about who’s hearing, who am I, what am I. There’s a spectrum I’ve been talking about so far for all of one previous talk. And I wanted to get at it slightly at an angle by going in through dreams, and the idea of is there a difference between what we’re doing and dreams anyway, which is certainly relevant to who we think we are.
Addendum for AUDIO: Stinginess & the Storehouse of Treasures. Tess begins the talk with the below quote from Marie-Louise von Franz, underscoring the way holding the bodhisattva vows as koans is not about adhering to the rules but discovering the appropriate response one moment to the next.”
PZI Zen Online – We are in a time ‘before moonlight’ with covid and massive unemployment that has resulted- with great unknowns ahead. Dreams in zen are not so different from waking life. We make up stories about what will happen. But we are passing through a gate of meeting and not recognizing. How do you make your way? Step by step. As recorded May 25.
The Heart Sutra in the context of its relationship to koans and what koans are. I want to pursue that line a little bit. And the first thing to say about – probably the first attitude people have to koans is that they are a sort of tool, a gadget of some kind, and you use them and you concentrate on them, and you use them – a can opener for the mind
The Heart Sutra, like any koan, contains the universe, and so you have to go in somewhere. I want to go in through the “Mantra of Great Magic.” Even the word “mantra” is, in a certain way, a reference to magic, a sort of portable access to reality that you can carry around with you. And the word “magic” is also used for the word “mantra,” so where we use “mantra” to produce magic, there’s a transformative quality about the mantra so that, when you repeat it, when you keep company with it, you end up in its world.
PZI Zen Online – Wondrous images of our uncertain ‘gestational time’ in corona virus lockdown. The children of night – doom, destiny, dreams, lamentation among them. Eros born of Nix’ (Goddess of the Night) silver egg laid in the lap of darkness. Rawness of love in out dark time. As recorded April 14th includes Tess intro, silent meditation, participant insights.
Yunmen said – “Even after the full moon, every day is a good day!” The light of sesshin infuses us. In a “good day” the light is in you, just how it is. This is not an achievement, you are in the gift of the universe. The tenderness of the good day and our whole lives opening to now. You can’t bully the Tao! it’s bigger than you. Not getting in the way of life, dreams, Linji’s death and more.
Yunmen said – Even after the full moon, every day is a good day! The light of sesshin – how it infuses us. In a ‘good day’ the light is in you. Just how it is, not an achievement, you are in the gift of the universe. The tenderness of the good day and our whole lives opening to now. You can’t bully the Tao! it’s bigger than you. Not getting in the way of life, dreams, Linji’s death and more.
Two swords are crossed (like in the movies, which actually I don’t think happens in real life, but it’s very popular in the movies. It was popular in the movies like 1200 years ago.) Two swords are crossed. There’s no way to retreat. You’re a lotus in the fire. You can’t help it. You’re determined to go higher. Farther, higher, up , further, more. So two swords are crossed. There’s no way to retreat. You’re a lotus in the fire. You can’t help it. You’re determined to go higher.
This is from an old Chinese poet, and koans and poems were always, poems, koans, koans, poems, they’re always somewhat intertwined in their history. And so often poems were used as koans and vice versa. This is a series of five poems by an old Chinese teacher called Dongshan, who kind of did a map of the Way in five stages, because everybody knows there are five stages for the Way [laughter].
Everybody probably has a road that would come to mind. I remember getting a bus in Tasmania and driving through the west coast mountains to a mining town where I was going to work, get a job, and how the snow was coming down and the bus would just go around this really narrow road like that, and there are certain parts of the world that have truly alarming narrow mountain roads with truly alarming drivers and very ancient buses.
And so you go out to the cemetery and you find your family vault. It looks a little bit overgrown; you haven’t been there for a long time. But you’ve got a key and you put it in and you pull the big stone door and it opens, just like that. It’s great. So you walk in just to kind of pay your respects; you haven’t been here for ages. And a sudden gust of wind….
Art Sensei Allison Atwill presents on the creation of her painting “Baizhang’s Fox”. This is an ancient koan which asks the listener, “Does an enlightened person fall under the law of cause and effect?” Allison describes how a koan chooses her and appears in her dreams and waking life. Each aspect of the koan comes to life on the canvas. June 22, 2011.
“Koans light up a life that may have been dormant in you; they hold out the possibility of transformation even if you are trying to address unclear or apparently insoluble problems.” Originally published in Shambhala Sun Magazine, November 2004.
Eventually you come to a place where you can’t go on and you can’t go back. You have arrived at the base of cliffs; you can’t scale them, you can’t get around them, and there’s no handy tunnel through them. The Japanese teacher Hakuin called this the Silver Cliffs and Iron Mountains. It’s a daunting place—that’s the point of it. And when you arrive here your life and your journey can become your own.
Those who have used koans have described them as a poetic technology for bringing about awakening, a painful but effective gate into the consciousness of the Buddha, an easy method of integrating awakening into everyday life, the most frustrating thing they have ever done, an appalling waste of time, a tyranny perpetrated by Zen masters… Well, you get the idea — about koans, opinions differ.