Showing posts with label quotes. Show all posts
Showing posts with label quotes. Show all posts

Thursday, November 24, 2022

Gayatris

 Rudra Gayatri I

Om tatpurushaya vidmahe

Mahadevaya Dheemahi

Tanno Rudrah Prachodyat


Surya Gayatri

Om Adityaya Vidmahe

Sarasrakiranya Dheemahi

Tanno Bhanuh Prachodyat


Sarasvati Gayatri

Om Vagdevyai Cha Vidmahe

Kamapradayi Dheemahi

Tanno Devi Prachodyat


Sakti Gayatri

Om Sarvasammohinyai Vidmahe

Visvajananyai Dheemahi

Tanno Saktih Prachodyat


Kalika Gayatri

Om Kalikayai Vidmahe

Smasanavasinyai Dheemahi

Tanno Aghora Prachodyat


Other Mantras

Om Sri Kalikayai Namaha

Om Sri Tripura-Sundaryai Namaha



Yoga Darshana Quotes - pp 52-3

 As Asana is help in Pranayama, so is Pranayama a help in Pratyahara.



As the rider on a horse would control its movements by operating the reins which he hold in his hands. the yogi controls the senses by the practice of Pratyahara.



Only when we wake from a dream we learn what happened to us in the dream, and now when we are in the dream.



Pratyahara may be said to constitute the frontiers of Yoga. When one practices Pratyahara one is almost on the border line of the infinite, and here one has super physical sensations.




The Moon Deity's Prayer for Protection

The Moon Deity's Prayer for Protection  from the Canda Partita  



Thus have I heard:


On one occasion the Blessed One was living near Savatthi, at Jetavana at Anathpindika's monastery. At that time Candima, the moon deity, was seized by Rahu, lord of Asura. Thereupon calling to mind the Blessed One, Candima, the moon deity, recited this stanza:


i. "O Buddha, the Hero, thou art wholly free from all evil. My adoration to thee. I have fallen into distress. Be thou my refuge."


Thereupon the Blessed One addressed a stanza to Rahu, Lord of Asuras, on behalf of Candima, thus:


ii. "O Rahu, Candima has gone for refuge to the Tathagata, the Consummate One. Release Candima. The Buddhas radiate compassion on the world (of beings)."


Thereupon Rahu, Lord of Asuras, released Candima, the deity, and immediately came to the presence of Vepacitta, Lord of Asuras, and stood beside him trembling with fear and with hair standing on end. Then Vepacitta addressed Rahu in this stanza.


iii. "Rahu. Why did you suddenly release Candima? Why have you come trembling, and why are you standing here terrified?"


iv. "I have been spoken to by the Buddha in a stanza (requesting me to release Candima). If I had not released Candima my head would have split into seven pieces. While yet I live, I should have had no happiness. (Therefore I released Candima)."


Note

1.

S. i. 50.

Saturday, July 18, 2020

SACRED EXHAUSTION

Your tiredness has dignity to it! Do not rush to pathologise it, or push it away, for it may contain great intelligence, even medicine.


You have been on a long journey from the stars, friend. Bow before your tiredness now; do not fight it any longer.


There is no shame in admitting that you cannot go on. Even the courageous need to rest.


For a great journey lies ahead. And you will need all of your resources.


Come, sit by the fire of Presence. Let the body unwind; drop into the silence here. Forget about tomorrow, let go of the journey to come, and sink into this evening's warmth.


Every great adventure is fuelled by rest at its heart.


Your tiredness is noble, friend, and contains healing power... if you would only listen...


~ Jeff Foster

Wednesday, October 3, 2018

Upanishads

"I go to the Upanishads to ask questions." - Niels Bohr

"(The Upanishads are) some of the most sacred words that ever issued from the human mind." - Rabinath Tagore

Sunday, August 14, 2016

Siddhartha: A Yoga Therapy Perspective, Quotes on Listening

Listening is the essence of yoga therapy. Siddhartha contains many beautiful excerpts on the art of listening. Note and mark sections related to listening as you read the book. 


from the Chapter: With the Samanas




a) Everywhere where the rumour of Buddha was heard, everywhere in the lands of India, the young men listened up, felt a longing, felt hope, and among the Brahmans' sons of the towns and villages every pilgrim and stranger was welcome. . .

b)  I have grown distrustful and tired against teachings and learning, and that my faith in words, which are brought to us by teachers, is small. But let's do it, my dear, I am willing to listen to these teachings — though in my heart I believe that we've already tasted the best fruit of these teachings." brought news of him, the exalted one, the Sakyamuni.

c) "Oh Siddhartha," Govinda spoke one day to his friend. "Today, I was in the village, and a Brahman invited me into his house, and in his house, there was the son of a Brahman from Magadha, who has seen the Buddha with his own eyes and has heard him teach. Verily, this made my chest ache when I breathed, and thought to myself: If only I would too, if only we both would too, Siddhartha and me, live to see the hour when we will hear the teachings from the mouth of this perfected man! Speak, friend, wouldn't we want to go there too and listen to the teachings from the Buddha's mouth?"


from the Chapter: Gotama


d) Delightedly, Govinda listened and wanted to ask and hear much more. But Siddhartha urged him to walk on.

from the Chapter: Awakening



e) Slowly walking along, Siddhartha pondered.  He realized that he was no youth any more, but had turned into a man.  He realized that one thing had left him, as a snake is left by its old skin, that one thing no longer existed in him, which had accompanied him throughout his youth and used to be a part of him: the wish to have teachers and to listen to teachings.  He had also left the last teacher who had appeared on his path, even him, the highest and wisest teacher, the most holy one,
Buddha, he had left him, had to part with him, was not able to accept his teachings.

Chapter: With the Child People



f) He soon saw that Siddhartha knew little about rice and wool,shipping and trade, but that he acted in a fortunate manner, and that Siddhartha surpassed him, the merchant, in calmness and equanimity, and in the art of listening and deeply understanding previously unknown people.  "This Brahman," he said to a friend, "is no proper merchant and will never be one, there is never any passion in his soul when he conducts our business.  But he has that mysterious quality of those people to whom success comes all by itself, whether this may be a good star of his birth, magic, or something he has learned among Samanas.He always seems to be merely playing with out business-affairs, they
never fully become a part of him, they never rule over him, he is never afraid of failure, he is never upset by a loss."

g) When Kamaswami came to him, to complain about his worries or to reproach him concerning his
business, he listened curiously and happily, was puzzled by him, tried to understand him, consented that he was a little bit right, only as much as he considered indispensable, and turned away from him, towards the next person who would ask for him.  And there were many who came to him, many to do business with him, many to cheat him, many to draw some secret out of him, many to appeal to his sympathy, many to get his advice.  He gave advice, he pitied, he made gifts, he let them cheat him
a bit, and this entire game and the passion with which all people played this game occupied his thoughts just as much as the gods and Brahmans used to occupy them.


h) Most people, Kamala, are like a falling leaf, which is blown and is turning around through the
air, and wavers, and tumbles to the ground.  But others, a few, are like stars, they go on a fixed course, no wind reaches them, in themselves they have their law and their course.  Among all the learned men and Samanas, of which I knew many, there was one of this kind, a perfected one, I'll never be able to forget him.  It is that Gotama, the exalted one, who is spreading that teachings.  Thousands of followers are listening to his teachings every day, follow his instructions every hour, but they are all falling leaves, not in themselves they have teachings and a law."


Chapter: Sansara

i) That high, bright state of being awake, which he had experienced that one time at the height of his youth, in those days after Gotama's sermon, after the separation from Govinda, that tense expectation, that proud state of standing alone without teachings and without teachers, that supple willingness to listen to the divine voice in his own heart, had slowly become a memory, had been fleeting; distant and quiet, the holy source murmured, which used to be near, which used to murmur within
himself.

from the Chapter: By the River


j) Thus he praised himself, found joy in himself, listened curiously to his stomach, which was rumbling with hunger.  He had now, so he felt, in these recent times and days, completely tasted and spit out, devoured up to the point of desperation and death, a piece of suffering, a piece of
misery.  Like this, it was good.  For much longer, he could have stayed with Kamaswami, made money, wasted money, filled his stomach, and let his soul die of thirst; for much longer he could have lived in this soft, well upholstered hell, if this had not happened: the moment of complete hopelessness and despair, that most extreme moment, when he hang over the rushing waters and was ready to destroy himself.  That he had felt this despair, this deep disgust, and that he had not succumbed to it, that the bird, the joyful source and voice in him was still alive after all, this was why he felt joy, this was why he laughed, this was why his face was smiling brightly under his hair which had turned gray.


k) For a long time, he pondered his transformation, listened to the bird, as it sang for joy.  Had not this bird died in him, had he not felt its death?  No, something else from within him had died, something which already for a long time had yearned to die.  Was it not this what he
used to intend to kill in his ardent years as a penitent?  Was this not his self, his small, frightened, and proud self, he had wrestled with for so many years, which had defeated him again and again, which was back again after every killing, prohibited joy, felt fear?  Was it not this, which today had finally come to its death, here in the forest, by this lovely river?  Was it not due to this death, that he was now like a child, so full of trust, so without fear, so full of joy?

l) He thought these thoughts, listened with a smile to his stomach,listened gratefully to a buzzing bee.  Cheerfully, he looked into the rushing river, never before he had like a water so well as this one,
never before he had perceived the voice and the parable of the moving water thus strongly and beautifully.  It seemed to him, as if the river had something special to tell him, something he did not know yet, which was still awaiting him.  In this river, Siddhartha had intended to drown himself, in it the old, tired, desperate Siddhartha had drowned today.  But the new Siddhartha felt a deep love for this rushing water, and decided for himself, not to leave it very soon.


from the Chapter: The Ferryman


m) Tenderly, he looked into the rushing water, into the transparent green, into the crystal lines of its drawing, so rich in secrets.  Bright pearls he saw rising from the deep, quiet bubbles of air floating on
the reflecting surface, the blue of the sky being depicted in it.  With a thousand eyes, the river looked at him, with green ones, with white ones, with crystal ones, with sky-blue ones.  How did he love this
water, how did it delight him, how grateful was he to it!  In his heart he heard the voice talking, which was newly awaking, and it told him: Love this water!  Stay near it!  Learn from it!  Oh yes, he wanted to learn from it, he wanted to listen to it.  He who would understand this water and its secrets, so it seemed to him, would also understand many other things, many secrets, all secrets.

n) Siddhartha rose, the workings of hunger in his body became unbearable. In a daze he walked on, up the path by the bank, upriver, listened to the current, listened to the rumbling hunger in his body.

o) Vasudeva listened with great attention.  Listening carefully, he let everything enter his mind, birthplace and childhood, all that learning, all that searching, all joy, all distress.  This was among the
ferryman's virtues one of the greatest:  like only a few, he knew how to listen.  Without him having spoken a word, the speaker sensed how Vasudeva let his words enter his mind, quiet, open, waiting, how he did not lose a single one, awaited not a single one with impatience,
did not add his praise or rebuke, was just listening.  Siddhartha felt, what a happy fortune it is, to confess to such a listener, to bury in his heart his own life, his own search, his own suffering.

p) Vasudeva rose.  "It is late," he said, "let's go to sleep.  I can't tell you that other thing, oh friend.  You'll learn it, or perhaps you know it already.  See, I'm no learned man, I have no special skill in
speaking, I also have no special skill in thinking.  All I'm able to do is to listen and to be godly, I have learned nothing else.  If I was able to say and teach it, I might be a wise man, but like this I am only
a ferryman, and it is my task to ferry people across the river.  I have transported many, thousands; and to all of them, my river has been nothing but an obstacle on their travels.  They travelled to seek money and business, and for weddings, and on pilgrimages, and the river was obstructing their path, and the ferryman's job was to get them quickly across that obstacle.  But for some among thousands, a few, four or five, the river has stopped being an obstacle, they have heard its voice, they have listened to it, and the river has become sacred to them, as it has become sacred to me.  Let's rest now, Siddhartha.

q) But more than Vasudeva could teach him, he was taught by the river.  Incessantly, he learned from it.  Most of all, he learned from it to listen, to pay close attention with a quiet heart, with a waiting, opened soul, without passion, without a wish, without judgement, without an opinion.

r)And time after time, his smile became more similar to the ferryman's, became almost just as bright, almost just as throughly glowing with bliss, just as shining out of thousand small wrinkles, just as alike to a child's, just as alike to an old man's.  Many travellers, seeing the two ferrymen, thought they were brothers.  Often, they sat in the evening together by the bank on the log, said nothing and both listened to the water, which was no water to them, but the voice of life, the voice of what exists, of what is eternally taking shape.  And it happened from time to time that both, when listening to the river, thought of the same things, of a conversation from the day before yesterday, of one of their travellers, the face and fate of whom had occupied their thoughts, of death, of their childhood, and that they both in the same moment, when the river had been saying something good to them, looked at each other, both thinking precisely the same thing, both delighted about the same answer to the same question.

s) When he rose, Vasudeva had prepared rice for him.  But Siddhartha did not eat.  In the stable, where their goat stood, the two old men prepared beds of straw for themselves, and Vasudeva lay himself down to sleep.  But Siddhartha went outside and sat this night before the hut, listening to the river, surrounded by the past, touched and encircled by all times of his life at the same time.  But occasionally, he rose, stepped to the door of the hut and listened, whether the boy was sleeping.

from the Chapter: The Son



t)  Timid and weeping, the boy had attended his mother's funeral; gloomy and shy, he had listened to Siddhartha, who greeted him as his son and welcomed him at his place in Vasudeva's hut.  Pale, he sat for many days by the hill of the dead, did not want to eat, gave no open look, did not open his heart, met his fate with resistance and denial.

u)That  young bird is accustomed to a different life, to a different nest.  He has not, like you, ran away from riches and the city, being disgusted and fed up with it; against his will, he had to leave all this behind. I asked the river, oh friend, many times I have asked it.  But the river laughs, it laughs at me, it laughs at you and me, and is shaking with laughter at out foolishness.  Water wants to join water, youth wants to join youth, your son is not in the place where he can prosper.  You too should ask the river; you too should listen to it!"


v) "Get the brushwood for yourself!" he shouted foaming at the mouth, "I'm not your servant.  I do know, that you won't hit me, you don't dare; I do know, that you constantly want to punish me and put me down with your religious devotion and your indulgence.  You want me to become like
you, just as devout, just as soft, just as wise!  But I, listen up, just to make you suffer, I rather want to become a highway-robber and murderer, and go to hell, than to become like you!  I hate you, you're
not my father, and if you've ten times been my mother's fornicator!"


w) For a long time, he stood there, pondering, seeing images, listening to the story of his life.  For a long time, he stood there, looked at the monks, saw young Siddhartha in their place, saw young Kamala walking among the high trees.  Clearly, he saw himself being served food and
drink by Kamala, receiving his first kiss from her, looking proudly and disdainfully back on his Brahmanism, beginning proudly and full of desire his worldly life.  He saw Kamaswami, saw the servants, the orgies, the gamblers with the dice, the musicians, saw Kamala's song-bird in the cage, lived through all this once again, breathed Sansara, was once again old and tired, felt once again disgust, felt once again the wish to annihilate himself, was once again healed by the holy Om.


x)That this wound did not blossom yet, did not shine yet, at this hour, made him sad.  Instead of the desired goal, which had drawn him here following the runaway son, there was now emptiness.  Sadly, he sat down, felt something dying in his heart, experienced emptiness, saw no joy any
more, no goal.  He sat lost in thought and waited.  This he had learned by the river, this one thing: waiting, having patience, listening attentively.  And he sat and listened, in the dust of the road, listened  to his heart, beating tiredly and sadly, waited for a voice.  Many an
hour he crouched, listening, saw no images any more, fell into emptiness, let himself fall, without seeing a path.  And when he felt the wound burning, he silently spoke the Om, filled himself with Om. The monks in the garden saw him, and since he crouched for many hours, and dust was gathering on his gray hair, one of them came to him and placed two bananas in front of him.  The old man did not see him.


from the Chapter: OM


y) Alas, the wound was not blossoming yet, his heart was still fighting his fate, cheerfulness and victory were not yet shining from his suffering. Nevertheless, he felt hope, and once he had returned to the hut, he felt an undefeatable desire to open up to Vasudeva, to show him everything, the master of listening, to say everything.

z)While he spoke, spoke for a long time, while Vasudeva was listening with a quiet face, Vasudeva's listening gave Siddhartha a stronger sensation than ever before, he sensed how his pain, his fears flowed over to him, how his secret hope flowed over, came back at him from his counterpart.  To show his wound to this listener was the same as bathing it in the river, until it had cooled and become one with the river.  While he was still speaking, still admitting and confessing, Siddhartha felt more and more that this was no longer Vasudeva, no longer a human being, who was listening to him, that this motionless listener was absorbing his confession into himself like a tree the rain,
that this motionless man was the river itself, that he was God himself, that he was the eternal itself


aa) When he had finished talking, Vasudeva turned his friendly eyes, which had grown slightly weak, at him, said nothing, let his silent love and cheerfulness, understanding and knowledge, shine at him.  He took Siddhartha's hand, led him to the seat by the bank, sat down with him, smiled at the river.

"You've heard it laugh," he said.  "But you haven't heard everything. Let's listen, you'll hear more."

They listened.  Softly sounded the river, singing in many voices. Siddhartha looked into the water, and images appeared to him in the moving water: his father appeared, lonely, mourning for his son; he himself appeared, lonely, he also being tied with the bondage of yearning to his distant son; his son appeared, lonely as well, the boy, greedily rushing along the burning course of his young wishes, each one heading for his goal, each one obsessed by the goal, each one suffering.  The river sang with a voice of suffering, longingly it sang, longingly, it flowed towards its goal, lamentingly its voice sang.

"Do you hear?" Vasudeva's mute gaze asked.  Siddhartha nodded.

"Listen better!" Vasudeva whispered.

Siddhartha made an effort to listen better.  The image of his father, his own image, the image of his son merged, Kamala's image also appeared and was dispersed, and the image of Govinda, and other images, and they merged with each other, turned all into the river, headed all, being the river, for the goal, longing, desiring, suffering, and the river's voice sounded full of yearning, full of burning woe, full of unsatisfiable desire.  For the goal, the river was heading, Siddhartha saw it hurrying, the river, which consisted of him and his loved ones and of all people, he had ever seen, all of these waves and waters were hurrying, suffering, towards goals, many goals, the waterfall, the lake, the rapids, the sea, and all goals were reached, and every goal was followed by a new one, and the water turned into vapour and rose to the sky, turned into rain and poured down from the sky, turned into a source, a stream, a river, headed forward once again, flowed on once again.  But the longing voice had changed.  It still resounded, full of suffering, searching, but other voices joined it, voices of joy and of suffering, good and bad voices, laughing and sad ones, a hundred voices, a thousand voices.

Siddhartha listened.  He was now nothing but a listener, completely concentrated on listening, completely empty, he felt, that he had now finished learning to listen.  Often before, he had heard all this, these many voices in the river, today it sounded new.  Already, he could no longer tell the many voices apart, not the happy ones from the weeping ones, not the ones of children from those of men, they all belonged together, the lamentation of yearning and the laughter of the knowledgeable one, the scream of rage and the moaning of the dying ones, everything was one, everything was intertwined and connected, entangled a thousand times.  And everything together, all voices, all goals, all yearning, all suffering, all pleasure, all that was good and evil, all of this together was the world.  All of it together was the flow of events, was the music of life.  And when Siddhartha was listening
attentively to this river, this song of a thousand voices, when he neither listened to the suffering nor the laughter, when he did not tie his soul to any particular voice and submerged his self into it, but
when he heard them all, perceived the whole, the oneness, then the great song of the thousand voices consisted of a single word, which was Om: the perfection.

"Do you hear," Vasudeva's gaze asked again.

Brightly, Vasudeva's smile was shining, floating radiantly over all the wrinkles of his old face, as the Om was floating in the air over all the voices of the river.  Brightly his smile was shining, when he looked at his friend, and brightly the same smile was now starting to shine on Siddhartha's face as well.  His wound blossomed, his suffering was shining, his self had flown into the oneness.


from the Chapter: Govinda


bb) "Listen well, my dear, listen well!  The sinner, which I am and which you are, is a sinner, but in times to come he will be Brahma again, he will reach the Nirvana, will be Buddha--and now see: these 'times to come' are a deception, are only a parable!


Sunday, March 27, 2016

Yoga is Not a Circus

Yoga is not a circus, Yoga is not a competition in acrobatic exercises, Yoga is not a religion that tells us what to do –

Yoga is here to wake us up; Yoga is about me, you, us and the connection to ourselves; Yoga is hear to heal body and soul

- Mirjam Wagner http://www.yogatherapymallorca.com/yoga-is-not-a-circus/

Monday, February 22, 2016

Goals

"Doing yoga without a clearly stated goal is beneficial, yet it is like going for a drive without knowing where you want to go.  The optimist will find beauty and adventure, regardless of where they go, while the pessimist may experience that their time is being wasted in foolishly rambling around an unknown terrain.  Being optimistic and being directed is ideal." Mukunda Stiles

Monday, February 23, 2015

Hokusai Katsushika quotes

“From the age of 6 I had a mania for drawing the shapes of things. When I was 50 I had published a universe of designs. But all I have done before the the age of 70 is not worth bothering with. At 75 I'll have learned something of the pattern of nature, of animals, of plants, of trees, birds, fish and insects. When I am 80 you will see real progress. At 90 I shall have cut my way deeply into the mystery of life itself. At 100, I shall be a marvelous artist. At 110, everything I create; a dot, a line, will jump to life as never before. To all of you who are going to live as long as I do, I promise to keep my word. I am writing this in my old age. I used to call myself Hokusai, but today I sign my self 'The Old Man Mad About Drawing.”

“I have drawn things since I was six. All that I made before the age of sixty-five is not worth counting. At seventy-three I began to understand the true construction of animals, plants, trees, birds, fishes, and insects. At ninety I will enter into the secret of things. At a hundred and ten, everything--every dot, every dash--will live”

“If heaven had granted me five more years, I could have become a real painter.”
― Hokusai Katsushika

 “I have been in love with painting ever since I became conscious of it at the age of six. I drew some pictures I thought fairly good when I was fifty, but really nothing I did before the age of seventy was of any value at all. At seventy-three I have at last caught every aspect of nature–birds, fish, animals, insects, trees, grasses, all. When I am eighty I shall have developed still further and I will really master the secrets of art at ninety. When I reach a hundred my work will be truly sublime and my final goal will be attained around the age of one hundred and ten, when every line and dot I draw will be imbued with life. - from Hokusai’s ‘The Art Crazy Old Man”

Saturday, May 3, 2014

Alan Watts - Tao-The Watercourse Way

                I was first introduced to Taoism in college in my third year architecture design class.  Every student was given a part of a poem by Lao-tzu and was asked to use this poem in the design their building. I don’t remember the building I designed by I do remember my phrase, “to yield is to conquer, to grasp is to lose.” Intrigued, I bought a copy of the I Ching and my roommate and I used to flip through it and read random pages to each other and giggle. Our giggling didn’t come out of antipathy but, I think out of a strange sense that we were reading something very profound that we did not understand but wanted to and was way out of our life experiences.  We didn’t have the words, the language, the sensitivity, the maturity, but we did have the interest, so we giggled.

                The first Chapter in Tao-The Watercourse Way is about the Chinese language.  Watts sets up a framework for the reader in which s/he understands that a people’s philosophy comes out of a world view and world view is expressed through the uniqueness of language. He explores the distinctiveness of Chinese that uses characters and ideograms instead of an alphabet. These characters and ideograms developed from pictures of conventional signs that over centuries have been abstracted from their original identifiable forms.  Watts argues against the movement to alphabetize Chinese, and enumerates its advantages.

He writes that “Chinese has the peculiar advantage of being able to say many things at once and mean all of them . . .” (p.10). I think this is why it is a perfect language for Taoism and why Taoism developed in China. He elaborates, “Just as Chinese writing is at least one step closer to nature than ours, so the ancient philosophy of the Tao is skillful and intelligent following of the course, current and grain of natural phenomena-seeing human life as an integral feature of the world process, and not something alien and opposed to it. (p. 16)” He further elaborates that “At any moment, nature is simultaneity of patterns. An ideographic language is a series of patterns and, to that extent, still linear – but not so laboriously linear as an alphabetic language. (p.7)”

                Alan Watts discusses the need to teach Chinese in secondary schools in America “not only because we inevitably learn how to communicate with the Chinese themselves, but because of all the high cultures, theirs is most different from ours in ways of thinking.”  He also talks of an experiment at the University of Pennsylvania in which children in second grade who were behind in reading were easily able to learn to read Chinese. Reading Chinese is what communication technologists call “pattern recognition.” He goes on to say that, “Chinese is simpler than it looks, and may be both written and read more rapidly than English. (p.8)”

               

Yin and Yang

Alan Watts devotes a chapter to yin and yang. Yin and yang are the opposite poles of cosmic energy. Their ideograms depict the sunny and shady sides of a hill. The art of life is to keep yin and yang in balance.

Yin and Yang are associated with masculine and feminine, firm and yielding, strong and weak, light and dark, rising and falling, heaven and earth and spicy and bland. Chi in its ideographic form is a ridgepole in which two sides of a roof – yin and yang – lean.

 

Theory of the 5 Elements (Wu Hsing)

Within the Chapter on yin and yang, Alan Watts talks about the five elements in Chinese philosophy: earth, fire, water, metal and wood. Hsiang Sheng or Mutual Arising is the theory that the energy symbolized by wood as fuel gives rise to the energy symbolized as fire which creates ash and gives rise to the energy symbolized as earth which in its mines contains energy symbolized as metal which in mirror form attracts dew and gives rise to the energy symbolized by water which nourishes the energy symbolized by wood.

In contrast, Sheng or Mutual Conquest is describes a different cycle. Wood in the form of a plough overcomes earth which in its damming constrains water which by quenching overcomes fire which by melting liquefies metal which can cut wood.

The Taoist balances the five elements within.

The Tao

Alan Watts has a chapter on the Tao. He defines the Tao as the watercourse way because Lao-tzu and Chuang-tzu use the flow of water as its primary descriptive metaphor. But, Watts also stresses that “The Tao cannot be defined in words and is not an idea or concept . . . There is no way to put a stream in a bucket or water into a bag. (p.42)” In Taoism, everything exists in relationship to all others.  The sun would not be light without eyes to look on it. If everything is allowed to go its own way the universe will be harmonious. “ Our only way of apprehending it is by watching the processes and the patterns of nature and by the meditative discipline of allowing our minds to become quiet, so as to have vivid awareness of “what is” without verbal comment. (p.55)”

Wu-wei

                Watts has a chapter on the Wu-wei. Wu-wei is defined as non-action or non-forcing but it is not inertia, or laziness or passivity. It is likened to the willow branch that bends with the weight on snow but does not brake but springs back when the snow falls off. Wu-wei is the lifestyle of one who follows the Tao. “Contemplative Taoists will happily sit with yogis and Zennists for as long as it is reasonable and comfortable, but when nature tells us that we are ‘pushing the river’ we will get up and do something else, or even go to sleep. (p. 90)

                Wu-wei is also a dream-like state as described in this passage that I love on p.93

Once upon a time I, Chuang-chou, dreamed that I was a butterfly,

a butterfly flying about, enjoying itself.

I did not know that it was Chuang-chou. 

Suddenly I awoke, and veritably was Chuang-chou again.  

But I do not know whether it was I dreaming that I was a butterfly,

or whether I am a butterfly dreaming that I am Chuang-chou.

 

“Wu-wei is to roll with experiences and feelings as they come and go, like a ball in a mountain stream, though actually there is no ball apart from the convolutions and wiggles of the stream itself.  This is called ‘flowing with the moment.’  (P.96)” The now-streaming is the Tao.

Te

The final chapter of The Watercourse Way is about Te.  Te is the expression of the Tao in actual living.  It is defined as virtue or virtuality, the grace of living, which one achieves naturally from intuitive realization of being one with the Tao.  There are no rules or textbook for te one has to feel for te. As an ideogram, te is the unity of eye and heart.

In Sum

Tao-The Watercourse was a beautiful book to read.  It read like a love letter to Alan Watts because it was put together by his dear friend Al Chung-liang Huang after Watts’ death.  He describes Watts in the forward and afterward as incredible but imperfect man, highly charismatic and enthusiastic about Zen and Taoism and life in general. He seems to have been a man that I would have a love to have met and listened to and drunk up the energy of his presence.

Saturday, April 19, 2014

Sweat Your Prayers - Gabrielle Roth

Sweat Your Prayers: Movement as Spiritual Practice – The 5 Rhythms of the Soul

By Gabrielle Roth

                I was attracted to the book, Sweat Your Prayers, because my primary yoga practice for years has been hot yoga.  I know intuitively through this practice that there is something healing about sweating.

                I first started practicing Bikram yoga in 2004.  I was working in San Diego and the only yoga class near me that started after 8pm was at the Bikram Yoga Studio in Old Town.  I wasn’t interested in Bikram yoga.  I didn’t like the idea of being in a hot room with lots of sweaty people.  To me it seemed nasty and foul.  But, I felt I needed a yoga class, and I didn’t get off of work until late so I decided to try it.

                I remember my first class very well.  It was an absolute struggle and grasping for breath.  When it was over I could hardly walk or think.  On the way home, I pulled over to a convenience store. I had only driven a block or two and there I drank 2 naked juices for energy sitting in the parking lot in my car.  But, the next day I felt great, so I decided to do it again.  Soon I was hooked.  In the beginning, my body didn’t know how to sweat.  I never had been a person who sweat very much.  But after a few sessions my body released and I was sweating away and I have never stopped, in or out of the hot room.

                My interest in sweating brought me to the book, Sweat Your Prayers. The book was fantastic. I found myself in awe of all the great quotes.  For this reading assignment, I decided to write down the quotes that touched me and comment on them.        

Quotes that spoke to me in Sweat Your Prayers

p. vi

 “I only had a thimbleful of talent for ballet, but that didn’t stop me from dreaming”

In my yoga practice I also have very little talent.  I am not flexible. I don’t know why. But I can’t stop thinking about yoga and I have had a serious practice for 10 years now.

p.xxi

“Sometimes two hours of moving were as powerful as two years on the couch.  I discovered that the body can’t lie; put it into motion and the truth kicks in.”

Sometimes when I sit on the couch all weekend and think I am resting I feel terrible.  Then, I got off my but and do some yoga and I feel rested.

p. xxi

“I was astonished to observe that, for all their Ph.D.’s and cool clothes; none of my students knew how to breathe.”

I also feel like I don’t know how to breathe.  I have been doing an Ashtanga practice for the last month in the morning.  I have about 15 poses that I have been taught and are part of my practice.  I do the series 3 times and it takes me about 45 minutes.  It isn’t until the third time through that I find myself breathing easily and deeply. My body has finally relaxed enough to breathe.

p.xii

“The more I taught, the more I realized that this was not going to be simple.  Most of us were deeply afraid of the body; some people controlled every gesture they made, others abandoned themselves to food or drink or just cut themselves off and spaced out.”

I didn’t know anything about my body until I started practicing yoga.

p.xiii

“My knee had healed itself.  No big operations, just rest.  It must have buckled under from the stress of the heavy expectations I had placed on it.”

I have so many expectations of my body.  Sometimes I think the pain in my shoulder and neck is really unresolved issues with my mother. My knees have been a source of pain since my late 20s. 

Quotes on the Soul

p.4

“Soul retrieval is hard work.  Simply signing up for a workshop or following a guru or buying a crystal won’t do it.  It doesn’t matter how many Buddha heads you have in your apartment if you can’t find the one within you.  Looking for your soul in somebody else’s body or theory or fame is lazy way to seek enlightenment.  It takes discipline to be a free spirit.  It saddens me that we are so quick to give our power away.

I am always signing up for workshops.  I am always searching outside of myself.  I would never have though that it takes discipline to be a free spirit.  I thought that was just inner nature.  But, maybe the world doesn’t want you to be free so you have to stick to your guns and that takes discipline.

 “Our Soul is homeless and we can’t just cross to the other side of the street and ignore it.  It is the essence of who we are and to be separated from it is our deepest wound.  Until we heal this primal wound and reclaim our soul, all our everyday hurts will seem big and our bug hurts will feel insurmountable.  The soul is the part of us that can relieve our pain by transforming our suffering into wisdom.”

I don’t understand on the mind level what Gabrielle Roth means by the soul is homeless. On the heart level it rings true.

p.5

“Attachment is inertia.  As with all inertia, movement of the body is the antidote.”

I too easily attach to everything.

“Your soul is a seeker, lover, and artist, shape shifting through archetypal fields of energy, between your darkness and light, your body and spirit, your heaven and hell, until you land in the sweet moment of surrender when you as dancer, disappear in the dance.”

I have been taking a tantric dance class.  Sometimes, I lose myself there dancing.


When you make the two one,

And when you make the inner as the outer

And the outer as the inner,

And the above as the below,

And when you make the male

And the female into a single one.

So that the male will not be male

And the female not female

Then shall you enter the kingdom.

Jesus – The Gospel of Thomas

The Gospel of Thomas is very important to me.  The graphic novel I have been working on for years is based on a story from the Gospel of Thomas. It’s feels like Christianity explained by Rumi.

p. 8 - 9

“I want to take you to a place of pure magic, where everything goes and nothing stops, like a twenty-four hour roadside café with the best jukebox you can imagine.  Only in this place, you don’t listen to jazz, you become it. All your parts jam.  It’s the place athletes call the “zone”, Buddhists call “satori” and ravers call “trance.”  I call it The Silver Desert.  It’s a place of pure light that holds the dark within it.  It’s a place of pure rhythm that holds the still point.  It’s a place within you.”

I want to teach a yoga class like this one day.  In Dakini Yuan Miao’s workshop and my tantric dance class I have experienced trance for the first time in my life.

Quotes on The Practice

“A spiritual practice requires consciousness, both awareness of the whole and attention to the details. As with everything else, the teaching you receive from it will be the result of the consciousness you bring to it. A spiritual practice requires discipline, the willingness and commitment to show up not just physically, but mentally and emotionally, as well.

I love the discipline of yoga. I like to be committed.

“An ounce of practice is worth a ton of theory, a wise Taoist once said.”

I always find this in my art classes.  If I don’t practice the class is not worth the trouble.

P.15

“We’re constantly changing and any practice meant to serve our authenticity should reflect our fluid nature.”

In my forties, I really see myself changing.

p. 25

“We’ve become so destination oriented that we’ve lost our sense of direction, our ability to follow our own instincts, signals, and inner messages.  Somehow, it’s become more important to get wherever we’re going than it is to enjoy the scenery along the way.”

This is totally me.  I keep thinking about the destination when I should be focusing on the journey.

In the tantric dance of feminine power class, we do this movement exercise where we follow our pleasure, we move in ways that feel good and just follow the pleasure.  Nita, the teacher, tells us don’t worry about being symmetrical, just follow the pleasure.  I love that exercise.  I always feel great afterwards.

p. 26

“Sometimes in life it’s necessary to move straight ahead; other times it’s better to back off or sidestep or move around in the same circle until you sense a way out.”

p.33

“In a tribe of dolphins, whoever is in front leads; when that dolphin is tired, he or she drops behind and whoever happens to be in front next leads.  No attachment. No elections. No politics.  We aren’t like dolphins but we could be, at least in the context of our own psyches.  In this discipline, we practice being leader and follower, letting one part of our body lead while the rest follows. That way we can ‘know the masculine and keep to the feminine’, as the Tao Te Ching advises.”

Dolphins are one of my totem animals.  Nya means dolphin in Hawaiian.  I love the idea of the way the tribe of dolphins move.

The Archetypes

Gabrielle Roth sets up a list of archetypes: the mother, the father, the son, the Madonna, the mistress, the Holy Spirit.  She also describes five states: flowing, staccato, chaos, lyrical and stillness.  We move in and out of this archetypes and states continuously.

p. 39

“As Einstein queried, ‘Why is it that I get my best ideas in the morning while I’m shaving?’ Shaving is like meditation with a sharp object.  When the mind is empty and receptive, big ideas flow through every cell of our body.  When we’re thinking too hard, we tense up and nothing can flow through us; our energy gets stuck in our heads.  Sometimes you have to take a leap of faith and trust that if you turn off your head, your feet will take you where you need to go.”

I always find this to be the case.  I do my best sets sometimes when I don’t plan and I just go in the prop house, trust my intuition, and make it work.

P.41

“We all have the potential to be full-bodied Bordeaux, but sadly most of us are satisfied being Welch’s grape juice.”

I have allowed myself over the last 10 years to be grape juice.

Quotes on the Heart

p. 64

“Arms are the messengers of the heart.  They reach out, they pull back, they embrace.  When the heart energy isn’t free to flow in spontaneous gestures, these thwarted impulses build up in our arms and our hands and inhibit our dance.”

In Tantric dance class, Nita said that our arms are connected to our heart.  But, she also told some people to not use their arms because when the use them too much.  The womb energy is overpowered by the heart energy and she wants us to feel connected to our wombs.

p. 66

“Sometimes your heart gets broken, other times you’re a heart-breaker. To know the full expanse of the heart, we need to experience both sides. Being hurt is part of being human; there’s no way to avoid it without shutting down completely.  Instead, use it as an excuse to dance.”

This is one of the most beautiful quotes I have ever seen about heart break.

p.98

“To be truly wild and free you have to follow your heart, not your head.  There’s no image of freedom out there. You have to dig deep down inside of yourself to find what hearts for you.”

Quotes on Flirting

p.69

“Flirting is the key that will unlock the mistress space in our hearts.”

“I finally realize that flirting is not telling somebody something about yourself, but reflecting something about them.”

I always and told I am a big flirt.  I never think I am really flirting, I always thinking I am having fun talking.

Quotes on Staccato

p.83

“Staccato is dancing with your bones, creating all kinds of angles and edges like geometry in motion.  Lines erupt out of curves articulating our separateness, creating walls or breaking them down. ..”

In Ashtanga, Surya Namaskar A and B feel extremely staccato to me.

p.84

“While flowing is about taking in, staccato is about letting go of all kinds of things, from fatigue to fury, misery to memories, hatreds to heartbreaks. . . Staccato is about doing, not just being; taking action, not just thinking about it.”

p. 95

“It’s not the same to talk of bulls as to be in the bullring” – Spanish proverb

I believe to we have to experience things in like we can’t just read or talk about them.

Quotes on Father

p. 88

“Father is the masculine consciousness of your body and soul, the active, practical, protective part; the part of you that sets goals, plans for the future, pays bills and remembers phone numbers; the part of you that functions on the material plane of reality, in the real world as we know it.”

I have a strong father archetype in me, especially in my career as a Set Decorator.  I am constantly planning and doing the right thing.

Quotes on the Son

p. 101

“This wild, masculine, prince-of-tides part of us seeks ecstasy.  It desires nothing less than complete possession by a surreal self that can’t be boxed or packaged or sold.  Son is the part of us that goes on a hero’s journey to grab a grail or slay a dragon; it is the man in the mirror committed to shattering all fixed images.”

My wild son has been released this last year or son.  Although he is fun he is also inconsiderate and reckless.

Quotes on the Holy Spirit

p. 103

“The Holy Spirit sees through everything; it is the witness part of us that has no investment in outcome, even our own.”

p.102

“In each of us there is a holy spirit, the part of us that actively seeks an answer, a meaning, a purpose to life.  It’s a part of us that would trek in the Himalayas, become a Buddhist take a philosophy or religion course, or study tai chi.”

I have a strong Holy Spirit.  I am searching for my path.

Quotes on Chaos

p.119

“Intuition is chaotic.  If you’re afraid of chaos, it’s hard to access your intuition.”

When I get in a truly creative state, especially with my art, I get chaotic.  Everything ends up everywhere.

p. 126

“It began to bother me that so many people I knew were embarking on these intense spiritual quests, taking off for India, or regressing into past lives.  It’s crystal clear to me that everything that they’re looking die and wishing for is taking place right now, right where we’re standing.”

This is me, looking for it in exotic places.

p. 149

“Do not seek to follow in the footsteps of the masters. Seek what they sought.” – Matsuo Basko

Quotes on Lyrical

p. 156

“Two or three things I know for sure, and one is that I would rather go naked than wear the coat the world has made for me.” – Dorothy Allison

I love this quote. I want to be this.

p. 162

“In lyrical, we realize that we have the freedom to keep shifting energies so as never to get stuck in any one possibility and to know that all possibilities are available to us all the times.”

Quotes on Trance

p. 166

“Trance is a tricky place, a place not many understand.  It’s a mindful state that only happens when you get out of your way and fall into your true self so deeply that something inside you clicks and you are simultaneously being and witnessing yourself. It’s a myth that trance is a spell that somebody puts you under. Trance is hypnotic but not hypnosis.”

I have gone into three trances in the last two months.  I have never been in trance before in my life.  I am shifting into unknown territory.


Quotes on Spirit Animal

p. 168

“Knowing you spirit animals is very important to our self-discovery.  They link us to the animal kingdom and allow us to receive its wisdom.”

My spirit animals are the camel, the butterfly, and the dolphin. They speak to my constantly.


Quotes on Ego

p. 185

“Ego is all the voices in our heads chattering like a bunch of soap opera characters; all those divas, demons, and doyennes dripping with diamonds telling you that you aren’t rich enough, smart enough, beautiful enough, talented enough, sexy enough-or that you’re more of the above the anyone else, only the world hasn’t discovered it yet.  These voices drown out the song of the soul, the part of us that has no identity to protect or viewpoint to project.”

I can’t stop these chatty Kathy’s in my head.

p. 212

“If it’s the last dance – dance backwards.” – Bo

This means to me: change the rules, break the rules, and enjoy the dance.