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Archive for January, 2010

51. Dropping into awareness

As I pick up my teacup on this cold winter morning, I’m remembering the story of the Zen student who asked Shunryu Suzuki, author of Zen Mind, Beginner’s Mind, why the Japanese make their teacups so thin. Being so delicate, the cups are easily broken.

“It’s not that they’re too delicate,” Suzuki Roshi replied, “but that you don’t know how to handle them. You must adjust yourself to the environment, and not vice versa.”

Suzuki’s Roshi’s point is well taken. We must adjust to our surroundings.  However, if you are living in Western New York in the month of January, you may be feeling a little resistance to Suzuki’s wisdom. It is not so difficult to adjust to one’s environment when, as now, a lean female cardinal is coming and going from our feeder, her orange beak and tan feathers catching the early-morning light. But it is not so easy when your driveway is filled with snow, the sidewalks are icy, and you’re already sick of scarves and parkas. Here in Alfred, New York, we know how to handle such conditions, but that doesn’t mean we like them.

Yet the significance of the student’s question and Suzuki’s response transcends the question of adjustment. What the story vividly illustrates is the way in which preconceptions—in this instance, that teacups should be sturdy and equipped with handles—influence and often govern our perceptions. And it also exemplifies the resistance that many of us bring to the unknown, whether the new or foreign object be a Japanese teacup or an all-electric car.

For a more immediate example, please pause and consider any preconceptions that you might have brought to the reading of this column. Perhaps you expected something other than what you’ve encountered—a discussion of meditative methods, for instance, or an explanation of satori. Or, conversely, perhaps what you have so far read accords with your expectations, and you are more or less satisfied. In the first instance, you might choose to read something else; in the second, you might choose to read on.

There is, however, another option, which is to examine your expectations and your present response in the light of awareness. Looking closely into both, you can discern your assumptions, your fixed ideas, and the judgments they’ve engendered. And you can become aware of those mental processes, even as they are arising, continuing, and passing away.

In The Four Foundations of Mindfulness, a core text for Zen students, awareness of this kind is called “mindfulness of the mind in the mind.” That somewhat cumbersome phrase refers to awareness of mental phenomena in the very moment when they are occurring. Such awareness is not the same as discursive thinking. Rather, it is a kind of effortless seeing, its object in this case being the thoughts that cross our minds. In contrast to fear, worry, and resistance, open awareness liberates the mind, both by illuminating our mental processes and by revealing the empty, or ephemeral, nature of mental events.

Such awareness cannot be awakened by an act of will. There is no switch to turn it on. However, it can be cultivated through the practices of sitting and walking meditation. And when it occurs, it can be felt in the mind as a spacious receptivity and in the body as a subtle shift of orientation—a shift from the confines of the head to the expansiveness of  the hara, the body’s center of gravity, situated in the lower abdomen. Viewed from the standpoint of the hara, even the most destructive thought loses much of its power.

Shinge Roko Sherry Chayat Roshi, Abbot of the Zen Center of Syracuse, has likened this felt shift from thinking to awareness to an expectant mother’s experience of her baby “dropping” into the pelvis shortly before birth. In this instance, however, the baby is the mind itself, as it settles into awareness, fully cognizant of whatever is occurring. In that silent, open space, habitual thoughts and self-protective judgments can be recognized for what they are and nothing more. And even a traditional Japanese teacup, however breakable or difficult to handle, can be appreciated as something useful, beautiful, and new.

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Richard Howell guitar 2007

If you enjoy listening to the classical guitar, you may be familiar with the Prelude from J.S. Bach’s Prelude, Fugue and Allegro (BMV 998), one of the most beautiful pieces in the standard repertoire. Composed for lute or harpsichord in the so-called “broken style” (style brise) of the French Baroque, the Prelude consists largely of arpeggiated chords. Played evenly and deliberately, the successive notes create an impression of wholeness, as though the chords’ original order had been restored.

Twenty-five years ago, I performed the Prelude in a master class at an international guitar festival in Toronto. The class was conducted by David Russell, then a rising star and now a concert artist of the highest distinction. Seated before me were some fifty guitarists and guitar teachers from around the world. To perform in such a setting was both exhilarating and daunting, not least because my audience had intimate knowledge of the piece I was playing. Interpretive felicities would not go unnoticed, but neither would mistakes.

Despite the stressful circumstances, I turned in a creditable performance. When I had finished, and the polite applause had died down, David Russell offered his critique.

To begin with, my tone had been inconsistent. I needed to work on that. Moreover, I had played the piece rather metrically, almost metronomically. I could allow myself and the music greater freedom. And most important, I had come down too hard at the ends of phrases. To avoid that unfortunate tendency, I might regard the last notes of phrases not as points of emphasis but as points of destination. “Think of them as arrivals,” David suggested.

Given the character of the Prelude, David Russell’s suggestion, however astute, was difficult to put into practice. Composed in 12/8 meter, the Prelude is marked by unceasing forward movement. With the exception of one long pause near the end, the score contains no moments of repose, no half notes, whole notes, or fermatas. If there are to be points of rest—points of arrival—the performer must consciously put them in. Or rather, the performer must be sensitive to natural, if reclusive, moments of repose.

In twenty-five years of playing the Prelude, I have never forgotten the principle articulated by David Russell. And over the years, I have seen how that principle may be applied in situations well beyond the bounds of musical interpretation, namely the practice of meditation and the conduct of everyday life.

With respect to meditation, Zen master Thich Nhat Hanh recommends that as we sit in stillness, we silently recite the verses, “I have arrived / I am home / In the here / And in the now,” letting these phrases accompany our inhalations and exhalations. More simply, we can inwardly recite the words “Arrive / home” and “Here / now” while breathing in and out. In that way, we counter the pressure, so prevalent in our culture, to be always on the move, always en route to somewhere else.

This practice is both pleasant and nourishing, and over time it can become an integral part of the daily round. Even the most hectic day contains moments of potential repose, in which we can cultivate a sense of arrival. And as with musical performance, we can honor those points of rest without losing our general momentum. By doing so, we may discover a hidden but inherent order, a rhythm akin to natural breathing. And we may also discover that even under the most anxious circumstances, it is possible to stop and collect ourselves before making our next move. Indeed, it is essential to do so, lest the life we’ve been given become little more than a shapeless, graceless succession of sixteenth-notes, played without meaning at breakneck speed.

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Per-Olov Kindgren’s rendition of the Prelude may be heard at http://www.youtube.com/watch?v=JDhv2f2mweE, Jan Depreter’s  at http://www.youtube.com/watch?v=LMXpCyS0We4 , and Julian Bream’s at http://www.youtube.com/watch?v=Fdi54PBPYC8.  David Russell plays the Prelude, Fugue, and Allegro on David Russell Plays Bach (Telarc 2003).

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