A Dharma Garden

An old friend of mine named Bluie Piel, then in her seventies, once led me out the front door of her house to admire her half-shaded lawn, where grass was fighting it out with slabs of New England granite that broke the surface like the backs of half-submerged whales. It was spring, and drifts of self-sown blue scilla were all over the grass, blending exquisitely with the clumps of red-and-yellow wild columbine that had also self-sown there, taking hold even in tiny soil pockets in the rocks. It looked like a miniature alpine meadow, Connecticut-style. “Now, dearie,” Bluie said, “God didn’t do that. I did that.”

-- Barbara Damrosch, The Garden Primer, from chapter on “Wildflowers”

In each of us, there is that capacity to recognize what is good, what is beautiful, what is true. ... Our person is like a garden, filled with many flowering plants. But in the garden there are things other than flowers and plants. If we neglect the garden, it will be overrun with weeds, and our flowers will wither and die.

-- TNH, Shambhala Sun, September 2007

[Click on any image for a gorgeous magnified view.]

Thầy refers to gardens a lot. Seeds, watering, roses, lettuce, weeds, compost. I find it to be a helpful and encouraging metaphor, inherently alive. Even in trying to characterize the trope, I end up using it: organic, earthy, down-to-earth, vital. I like to garden, so hearing the dharma taught through gardening concepts feels good to me.

However, I admit to some ambivalence about the idea of gardening. A garden is not the same thing as nature. A garden is nature under management. If you leave a garden to follow its natural tendencies, pretty soon you won’t have a garden. You’ll have a natural mess.

In that case, what role should equanimity play? Doesn’t tending a garden tend to water seeds of discrimination?

I know it does in me. My discrimination about plants gets keener and keener. Not just discrimination between weeds and cultivars. I am developing strong preferences about all kinds of plants.

I like columbine, but not phlox. I like native geranium, but not lily of the valley. I like clematis, but not honeysuckle. (Or, maybe in your garden, but not in mine, not in the profusion it tends toward.)

I like campanula (bellflower) but not grape hyacinth. I like hollyhocks, but not double hollyhocks. (I don’t like “double” anything. Old-fashioned single will do.) I like lamium (dead nettle) but not hosta. I really don’t like hosta, to the point that whenever I see it, there is the mental commentary: “I don’t like hosta. Don’t care for it at all.”

The list goes on and on. A lot of these preferences are clear instances of useless discrimination.

However, some of the discrimination can be described as the watering of positive seeds. Good gardening is, literally, the cultivation of causes and conditions that will allow what is good, beautiful, and true to manifest. That means supplementing the soil with compost, generated from our own garden and kitchen scraps. Loosening the soil so that water and air can penetrate. Replacing the clay, bit by bit, with humus, sand, and fresh soil. Mounting lattice so that plants that need shade get a bit of shade. Watering when the sky is dry.

Cultivating the right causes and conditions means choosing plants that will thrive in the conditions of my garden that can’t be changed. Accepting that hollyhock and muskmallow will not be happy in my garden’s humidity. Working with the condition of “full sun” as it manifests in my garden in August, which is better described as “equatorial desert.” Allowing my fellow denizens, the squirrels and occasional possum and raccoon, to steal the strawberries just as they ripen. Equanimity about the strawberries allows me to see the beauty in their immature, lumpy, bristly form.

Does an unripe strawberry have buddha-nature?

Mu.

The thing about gardening is that it reminds me of what Suzuki Roshi reportedly said about his students: “All of you are perfect just as you are and you could use a little improvement.” Everything is unfolding just as it should (or must, due to past actions) and don’t neglect the weeding. You are luminous and you must practice with diligence.

Let’s close with a gatha from Thầy.

Watering the Garden

The sunshine and the water
have brought about this luxurious vegetation.
The rain of compassion and understanding
can transform the dry desert into a vast fertile plain.

Why practice?

Why practice mindfulness? Why step, stride, stumble along this path marked out by Siddhārtha Gautama 2,500 years ago?

Different traditions seem to have different answers. Different individuals have different answers. Presumably, they are really all the same answer.

Why practice?

• To wake up. (I thought Suzuki Roshi might say this.)
  
• To develop Compassion. (I thought the Dalai Lama might say this.)
• To grasp ultimate reality. (Robert Thurman?)
• To live with ease. (Sharon Salzberg?)
• To become enlightened. (Whatever that means.)
• To become lighter.
• To be reborn in a happier form.
• To cease to be reborn.
• To suffer less from the slings and arrows of one's own arsenal.
• To suffer less from slings and arrows period.
• To be directed.
• To be free.
• To escape.
• To return.
• To crave less.
• To crave but react less.
  
• To relax.
• To sleep better.
• To sleep when one is asleep, to be awake when one is awake.
• To become a buddha.
• To be a buddha.
• To become a bodhisatva.
• To be a bodhisatva.

And why do I practice? All of the above.

But that answer is too easy. Sometimes I don't really know why I practice. But I think that Thay is on to something when he says, "Because I like it." Because it brings well-being. And that is the sum of the Buddha's way: if something increases well-being in you, keep doing it. If it increases ill-being in you, stop doing it (or at least do it less).

From a dharma talk given on June 11, 2009:

Why [do] you practice sitting meditation? The best answer is: Because I like it. Why do you practice walking meditation? Because I like it. . . . The practices of mindful walking, mindful breathing, smiling, bring well-being, happiness.

I like this. (Tee hee.) I guess in this instance, it is okay to have a preference. But this would be a deeply considered preference, not a conditioned preference. I guess.

Fodder for a future post ...

Brush Sweeps Mind

In Chinese Brush Painting class, we always start with calligraphy, as is traditional. One practices the strokes in calligraphy, then applies them in painting.

Our teacher, Mr. Kwok Kay Choey, explains the composition and origin of the characters. Some are a teaching in themselves.

Awakening

The radical on the left means "heart/mind"; the character on the right means "my." Together, it means "awakening." If you know your own heart and mind, you have awakened.


Enlightenment














The top portion depicts reeds or branches and means "broom" or "sweep." In the middle, we see dust in a dustpan. At the bottom, "heart/mind." Your heart and mind swept clean of dust: that describes the state of enlightenment.

This reminds me always of a saying by Jakusho Kwong Roshi, a successor of Shunryu Suzuki Roshi: "breath sweeps mind." I have a CD set of talks by Jakusho Kwong which I am slowly making my way through. "Breath sweeps mind" is an often helpful gatha for me as I try to settle into meditation.


No Fear














I think of this concept now as "no more fear," because of Mr. Choey's explanation of the character. The top portion, "No," depicts a person carrying wood. All of the timber has been carried away from the hillside, there is "no more," it has been taken away. The bottom portion means "Fear": on the left, the heart/mind radical; on the left, the character for an owl with its two big eyes. I have to admit I'm not clear on this last part, so I will ask Mr. Choey for clarification and update this post later.

The Noble Way of No Path

During the one-day retreat with Sharon Salzberg and Cheri Maples, they both explored the danger of feeling that peace or happiness are down the road for us, once we have practiced more. We believe that what we need is outside of ourselves, to be given to us by someone else or to be earned as a prize after lots of hard spiritual work. We think, "I'm not there yet," or, "I don't deserve it yet."

This is not a helpful way of thinking about progress, about making progress with our practice. Whatever we think we don't have is actually already within us. Cheri recalled Suzuki Roshi's famous quip, "All of you are perfect just as you are and you could use a little improvement." Personally, I know I live out of the "improvement" part of that truth, but not the "perfect" part. I don't believe it, deep down; I'm not there yet. And yet on an even deeper level, I'm already there. Buddha-nature is no respecter of persons.*  If you exist, then you've got it.

Sharon Salzberg said that she's heard Sylvia Boorstein speak of the Noble Eightfold Path as the Noble Eightfold Moment. Because the idea of a path can be misleading. Paths lead somewhere; we follow a path in order to get from one place to another. And we do want to get somewhere -- we want to become freer of suffering -- but the way to get there is to be here, where we are. The path is ennobling every moment we are on it. Sort of like M. C. Escher's impossible staircases. Wherever you think this path is going, you're already there.

It occurs to me it may be helpful to think instead of a Noble Eightfold Way. A way is a path, and it is also a method. "There is no way to peace. Peace is the way," as Mahatma Gandhi said.

* Acts 10:34, spoken by the apostle Peter (about God, not Buddha-nature). I didn't know that was the source, did you?

Poetry Friday: Museum Vase

It all started with Suzuki Roshi.

At the Thursday morning zazen sit at the corner yoga studio yesterday, the facilitator, Linda, read a chapter from Zen Mind, Beginner's Mind, by Shunryu Suzuki. The passage started thusly:

We say our practice should be without gaining ideas, without any expectations, even of enlightenment. This does not mean, however, just to sit without any purpose. This practice free from gaining ideas is based on the Prajna Paramita Sutra. However, if you are not careful the sutra itself will give you a gaining idea. It says, "Form is emptiness and emptiness is form." But if you attach to that statement, you are liable to be involved in dualistic ideas: here is you, form, and here is emptiness, which you are trying to realize through your form. So "form is emptiness, and emptiness is form" is still dualistic. But fortunately, our teaching goes on to say, "Form is form and emptiness is emptiness." Here there is no dualism.

    When you find it difficult to stop your mind while you are sitting and when you are still trying to stop your mind, this is the stage of "form is emptiness and emptiness is form." But while you are practicing in this dualistic way, more and more you will have oneness with your goal. And when your practice becomes effortless, you can stop your mind. This is the stage of "form is form and emptiness is emptiness."

Wow. "Form is emptiness, emptiness is form" dualistic? Interesting. So interesting that I didn't even bother to try to stop my mind during the ensuing twenty minutes. Right away I knew I had my topic for this blog, and my typewriter mind got busy. The only thing that slowed it was my intense drowsiness. Eventually my focus was on keeping my eyes open and my body upright, and my mind faded in and out, meandering.

What persisted was an image of an urn or vase. A vessel, which had form, but also emptiness. Its emptiness is what gave it its form. As from the Tao Te Ching: "Pots are fashioned from clay/ but it's the hollow/ that makes a pot work ."*

Over the next twelve hours or so, phrases kept presenting themselves to me. "Wheat, oil, wine." "On old burdens." "Museum urn or vase or ..." "Still it dreams ... broods?" I knew it must be a poem that I had once memorized. Probably in high school: there was a certain sense-memory that came with the phrases, a chemical whiff of nervous excitement (boys) and a dim buzz (overhead fluorescent lights) that brought me back to that distant era. I kept thinking that the poem might be by Robert Graves, but Google proved that it wasn't.

Finally, finally, by searching on-line in a very particular way, I found the poem. It was "Museum Vase" by Robert Francis.

Museum Vase

It contains nothing.
We ask it
To contain nothing.

Having transcended use
It is endlessly
Content to be.

Still it broods
On old burdens --
Wheat, oil, wine.

Doing, being; form, emptiness. Interesting. (I wonder what I had to say about this poem when I was fifteen?)

Rising up from a depth of thirty-one years, a poem. A lotus in disguise? Maybe. Goodness knows that there is a lot of old muck down there.


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* From the translation by Red Pine. This word-by-word (or seal-by-word) diagram accompanied the passage where I found it on the website The Feminine Tao.

(1) mold (2) clay (3) thus (4) to create (5) a vessel

(6) as regards (7) its (8) not having

(9) has (10) a vessel (11) the same's (12) use