Do the Non-Ado. Strive for the effortless. Savour the savourless. Exalt the low. Multiply the few. Requite injury with kindness.
Nip troubles in the bud. Sow the great in the small.
Difficult things of the world Can only be tackled when they are easy. Big things of the world Can only be achieved by attending to their small beginnings. Thus, the Sage never has to grapple with big things, Yet he alone is capable of achieving them!
He who promises lightly must be lacking in faith. He who thinks everything easy will end by finding everything difficult. Therefore, the Sage, who regards everything as difficult, Meets with no difficulties in the end.
My interpretation of this passage is that when faced with any situation, the goal should be to maintain balance and equilibrium. This is sage advice. When faced with a large, daunting task, it is best to take a small step. When you have a small, simple task, take a swift and sure step, taking care of it quickly and easily.
Too often, in our current society, individuals attempt to fight fire with fire, to apply Herculean effort when confronted with a difficult challenge. As Lau Tzu shows, this is not the way of the Tao, and if we are honest with ourselves, we are forced to admit that our default way of responding often fails to achieve the desired outcome.
Regardless of where each of us stands on the socio-political spectrum, we can all agree that things are not really working well right now. It seems that it would be in our collective best interest to explore other ways of dealing with situations. I for one like Lau Tzu’s approach.
I hope this inspires you as much as it does me. Thanks for stopping by and reading.
This book marks an expansion in my reading, being the first manga book that I have read. I had tried reading one some years back but had a difficult time following the flow. The left-to-right was one thing, but what confused me was the text within the panels. Anyway, I ended up not reading it and just never tried again. But my daughter came to visit and brought this book along for me to read. She said it was a favorite of hers and she thought I would enjoy it. So I had her give me some basics on reading manga, and took the plunge. Once I got comfortable with the format, it moved nicely.
For those of you who are not familiar with the genre, here is a little background.
Manga are comics or graphic novels originating from Japan. Most manga conform to a style developed in Japan in the late 19th century, though the art form has a long prehistory in earlier Japanese art. The term manga is used in Japan to refer to both comics and cartooning. Outside Japan, the word is typically used to refer to comics originally published in the country.
In Japan, people of all ages read manga. The medium includes works in a broad range of genres: action, adventure, business and commerce, comedy, detective, drama, historical, horror, mystery, romance, science fiction and fantasy, erotica (hentai), sports and games, and suspense, among others. Many manga are translated into other languages. Since the 1950s, manga has become an increasingly major part of the Japanese publishing industry.
This text falls into the horror sub-genre. It is the story of a coastal town in Japan contaminated with spirals. The spiral shapes that appear have bizarre effects upon physical reality within the town, as well as disturbing effects upon the collective and individual psyches of people within the town.
Early in the book, the spiral is identified as a mystical shape.
It fills me with a deep fascination…like nothing else in nature…no other shape…Mr. Goshima, I find the spiral to be very mystical.
As the effects of the spiral increase within the town, it is discovered that spiral whirlwinds can be generated by the slightest of movements, which is then linked to the Butterfly Effect which is part of Chaos Theory in modern physics.
That’s what’s happening in this town. “The flapping of a single butterfly’s wings can create a hurricane on the other side of the world. This is like the “Butterfly Effect”…
Finally, the spiral is revealed as a symbol of eternity and of cycles of creation, destruction, and rebirth, which both transcends and encapsulates time.
And with the spiral complete, a strange thing happened. Just as time sped up when we were on the outskirts, in the center of the spiral it stood still. So the curse was over the same moment it began, the endless frozen moment I spent in Shuichi’s arms. And it will be the same moment when it ends again…when the next Kurouzu-Cho is built amidst the ruins of the old one. When the eternal spiral awakes once more.
While this book seems formidable, weighing in at over 650 pages, it does not take a lot of commitment to read it, since the storyline is heavily driven through the use of graphic imagery. Which prompts me to say a few words about the artwork. In addition to writing this story, Mr. Ito also drew all the illustrations, which are stunning and intricate. To be gifted in either writing or the visual arts is a blessing, but to be gifted in both is highly unusual, and Junji Ito demonstrates that he is adept in both artistic fields.
I am grateful that my daughter brought this book along on her visit and encouraged me to read it. I really enjoyed it and feel that it expanded my reading horizons. I suspect I will be reading more manga in the future. If you have suggestions for other manga to read, I would love to hear from you. Thanks for stopping by, and keep broadening your horizons.
The Tao is the hidden Reservoir of all things. A treasure to the honest, it is a safeguard to the erring.
A good word will find its own market. A good deed may be used as a gift to another. That a man is straying from the right path Is no reason that he should be cast away.
Hence, at the Enthronement of an Emperor, Or at the Installation of the Three Ministers, Let others offer their discs of jade, following it up with teams of horses; It is better for you to offer the Tao without moving your feet!
Why did the ancients prize the Tao? Is it not because by virtue of it he who seeks finds, And the guilty are forgiven? That is why it is such a treasure to the world.
This passage begs the questions: What is treasure? What is it that is valuable in our lives? What are the things that are truly meaningful? What are the gifts that are worth giving?
Lao Tzu asserts that the answers to these questions are found within, and not through material wealth. What is worth more, a shiny trinket or expressions of love, compassion, and caring? For me, this hardly even seems a question worth asking. Yet, in our market-driven and status-obsessed culture, many of us can easily lose sight of this simple truth, that relationships matter more than material gain. When we reach the end of our roads, the only things we will still be carrying are the treasures within our hearts and souls.
I hope you found this passage as inspiring as I have, and that it reminds you of the importance of reaching out and doing something nice for another person. These are challenging times, and the best gift we can give to another is a moment of empathy and support.
Thanks for stopping by, and may you never stop reading and learning.
They all have weary mouths,
bright souls without a seam.
And a yearning (as for sin)
often haunts their dream.
They wander, each and each alike,
in God’s garden silently,
as many, many intervals
in his might and melody.
Only when they spread their wings
they awaken a great wind through the land:
as though with his broad sculptor-hands
God was turning
the leaves of the dark book of the Beginning.
(translation by C. F. MacIntyre)
I read this poem a couple times and struggled with it. There is a tension here that is tangible but not easy to identify. I did a little research online about Rilke’s ideas concerning angels, and he would go into deeper exploration of the topic in his Duino Elegies.
Throughout the Duino Elegies, Rilke explores themes of “the limitations and insufficiency of the human condition and fractured human consciousness … mankind’s loneliness, the perfection of the angels, life and death, love and lovers, and the task of the poet”. Philosopher Martin Heidegger remarked that “the long way leading to the poetry is itself one that inquires poetically”, and that Rilke “comes to realize the destitution of the time more clearly. The time remains destitute not only because God is dead, but because mortals are hardly aware and capable even of their own mortality.” Rilke explores the nature of mankind’s contact with beauty, and its transience, noting that humanity is forever only getting a brief, momentary glimpse of an inconceivable beauty and that it is terrifying.
So Rilke appears to be grappling with the contrast between the fragmented human condition and our divine nature as manifested in angelic beings. What is particularly interesting in “The Angels” is that the angels appear sad and lost, just as humans are. Additionally, within each angel is the possibility of sin. It is like every angel recognizes that it has the potential to follow the same path as Lucifer.
Like humans, the angels in Rilke’s poem wander aimlessly, lost and searching for meaning in a reality void of meaning.
Finally, we have the image of an angel taking flight, which causes a “great wind through the land.” This image conjures the myth of Icarus, who tried to escape the world but flew too close to the sun. Do the angels also long to escape from their limited existence, to ascend to new heights? In doing so, are they destined to fall, like Lucifer? Are we as humans, trapped in our reality, fettered to this broken world, and if we attempt to transcend, do we have that brief moment of exaltation before we crash into oblivion?
This poem leaves me with more questions than answers, but that is good. It is important to ponder questions about our existence and our place in the universe, and this poem succeeds in eliciting the deep questions which all of us should be asking.
I hope you enjoyed the poem and my thoughts about it. Feel free to share your thoughts in the comments section below.
In this short essay, included in the book Turning Back the Clock, Eco discusses whether it is appropriate to display religious iconography, specifically the crucifix, in institutions of public education. I found this to be particularly interesting, given that there seems to be a growing tension between religion and state institutions in the US. Heated debates have erupted over the inclusion of texts in schools, or the display of the Ten Commandments at government buildings, and there does not seem to be any abatement in this tension.
Eco uses examples from his home country of Italy to make his point.
In Italian universities there are no crucifixes in the lecture halls, but many students are members of Catholic groups like Communione e Liberazione. However, at least two generations of Italians spent their youth in classrooms where the crucifix was hung between portraits of the king and Mussolini, and out of every thirty students in every class some became atheists, others fought with the resistance, and others again—the majority, I believe—voted for the Republic. All anecdotal evidence, if you will, but of historical importance, and this tells us that the presence of religious symbols in schools does not affect the spiritual development of the students.
(Turning Back the Clock: pp. 274 – 275)
Eco makes a great point here. The exposure of young people to religious iconography and doctrine in no way ensures that those individuals will internalize the ideas, and conversely, the lack of these symbols does not mean that individuals will not develop along spiritual pathways. But what Eco adds later in the essay, which to me is the key point, is that tolerance of others is what must be taken into consideration in this issue, and that in a diverse society, if religious topics are to be taught in school, they should be inclusive of all religions.
School curricula of the future must be based not on the concealment of diversity but on teaching the techniques that lead youngsters to understand and accept it. For some time now people have been saying it would be nice, along with religious instruction (and not as an alternative for those who aren’t Catholics), if schools devoted at least one hour a week to the history of all religions, so that Catholic kids might understand what the Koran says or what Buddhists think, and so that Jews, Muslims, and Buddhists (and even Catholics) might understand how the Bible came into being and what it says.
(ibid: p. 276)
I agree with Eco. Personally, I enjoy reading religious texts from diverse traditions and faiths. The idea that one tradition has a monopoly on the truth has led to centuries of warfare and hatred. I feel that every spiritual or religious text has valid insights to share.
Anyway, I think I’ve said enough on this topic. Thanks for stopping by and reading my rambles. Have a great day and keep on reading interesting stuff.
This is a great short story to read for Halloween. In fact, some of the events in the story take place on Halloween.
That Hallowe’en the hill noises sounded louder than ever, and fire burned on Sentinel Hill as usual; but people paid more attention to the rhythmical screaming of vast flocks of unnaturally belated whippoorwills which seemed to be assembled near the unlighted Whateley farmhouse. After midnight their shrill notes burst into a kind of pandaemoniac cachinnation which filled the countryside, and not until dawn did they finally quiet down.
Essentially, this is a tale about the crossbreeding of a human with a creature from another dimension of existence, the result of which was the birth of something that could no longer be classified as human.
“Inbreeding?” Armitage muttered half-aloud to himself. “Great God, what simpletons! Shew them Arthur Machen’s Great God Pan and they’ll think it a common Dunwich scandal! But what thing—what cursed shapeless influence on or off this three-dimensional earth—was Wilbur Whateley’s father? Born on Candlemas—nine months after May-Eve of 1912, when the talk of queer earth noises reached clear to Arkham—What walked on the mountains that May-Night? What Roodmas fastened itself on the world in half-human flesh and blood?”
When attempting to describe beings or forms of consciousness that exist beyond our realm of reality, one must rely on symbols because the ineffable nature of these manifestations cannot be captured using the limited means of communication with which humans rely. Communication with divine beings are therefore non-verbal by nature. What Lovecraft does in this tale is express the ineffable sounds produced by a being from another dimension, which cannot be comprehended or duplicated by beings in our plane of existence.
Without warning came those deep, cracked, raucous vocal sounds which will never leave the memory of the stricken group who heard them. Not from any human throat were they born, for the organs of man can yield no such acoustic perversions. Rather would one have said they came from the pit itself, had not their source been so unmistakably the altar-stone on the peak. It is almost erroneous to call them sounds at all, since so much of their ghastly, infra-bass timbre spoke to dim seats of consciousness and terror far subtler than the ear; yet one must do so, since their form was indisputably though vaguely that of half-articulated words. They were loud—loud as the rumblings of the thunder above which they echoed—yet did they come from no visible being. And because imagination might suggest a conjectural source in the world of non-visible beings, the huddled crowd at the mountain’s base huddled still closer, and winced as if in expectation of a blow.
I don’t want to spoil the ending for anyone, so I will end the post here. I’ll conclude by saying this is a very creepy story which also has some interesting social criticism woven in, as well as occult references to texts and mythologies. But most importantly, it is extremely well-written and can be enjoyed by anyone who likes to curl up with an eerie tale at this time of the year.
The vampire is a powerful archetype and one that is manifest in our modern society—that being that lives in darkness, feeds of the life-force of others, and is motivated by selfishness and the baser animalistic instincts. This archetype is fully explored in Bram Stoker’s classic horror story, Dracula.
There are such beings as vampires; some of us have evidence that they exist. Even had we not the proof of our own unhappy experience, the teachings and records of the past give proof enough for sane peoples.
I suspect we have all had experiences with individuals who embody the vampire archetype. They are the ones who drain us when we are around them, with whom we must always keep up our guards, and who seem to thrive on the fear and pain of others.
The nosferatu do not die like the bee when he sting once. He is only stronger; and being stronger, have yet more power to work evil.
Vampiric individuals do not feel remorse when they inflict pain or suffering on another. On the contrary, they feel empowered. It is a lack of empathy that allows these people to sting again and again, each time feeling more emboldened by feeding on the sense of power experienced over the domination of another person.
One of the best ways to understand the vampire archetype is to contrast it with its opposite.
Well, you know what we have to contend against; but we, too, are not without strength. We have on our side power of combination—a power denied to the vampire kind; we have our sources of science; we are free to act and think; and the hours of the day and the night are ours equally. In fact, so far as our powers extend, they are unfettered, and we are free to use them. We have self-devotion in a cause, and an end to achieve which is not a selfish one. These things are much.
This paragraph describes the characteristics of individuals who are not vampiric in nature. They are thoughtful and motivated by science and logic. They are free from their baser desires and can therefore act in the best interest of themselves and of those around them. They are balanced (symbolized by the equal parts of night and day), and they are selfless and devoted to causes which further humanity, as opposed to striving solely after personal gain.
While the drinking of blood and transformation into an animal are well-understood symbols of the vampire archetype, another aspect worth noting is the ability to turn into mist.
He can come in mist which he create—the noble ship’s captain proved him of this; but, from what we know, the distance he can make this mist is limited, and it can only be round himself. He come on moonlight rays as elemental dust—
Here, mist becomes a symbol of obfuscation. When we find ourselves in close proximity to the vampire archetype, our humanity begins to become obscured, our thoughts unclear. Our minds are in essence affected by the presence of a toxic individual. Thankfully, our minds are also affected when we are close to a positive and nurturing person. But we should always be aware of the subtle changes in our personalities that result from our associations with others.
There are many expressions of the vampire archetype in our modern culture: the news, social media, advertising, politics, all sucking our life-blood and draining us of our humanity, driving us to embrace our lower instincts and discard our empathy for others. The good news is, once you learn to recognize the vampire, you don’t need garlic to protect yourself; logic, compassion, and when necessary, distance, are all sufficient to ward off the vampire’s effects.
The living come with grassy tread
To read the gravestones on the hill;
The graveyard draws the living still,
But never any more the dead.
The verses in it say and say:
‘The ones who living come today
To read the stones and go away
Tomorrow dead will come to stay.’
So sure of death the marbles rhyme,
Yet can’t help marking all the time
How no one dead will seem to come.
What is it men are shrinking from?
It would be easy to be clever
And tell the stones: Men hate to die
And have stopped dying now forever.
I think they would believe the lie.
I find this poem fascinating on several levels. First, the imagery speaks to me. I have always found graveyards strangely provocative yet comforting. There is a sense of quiet and stillness that somehow soothes my spirit. It also reminds me that Death is the great equalizer, that we all must succumb to the Reaper regardless of status, wealth, power, etc. And it also reminds me that it is important to live each moment of life to the fullest.
The rest of what I find fascinating about this poem are the levels of meaning and the social criticism which Frost weaves in.
We see from the first stanza that the graveyard Frost is describing is no longer used. It is by itself in a rural area and does not appear to be associated with any church or town, and has become but a curiosity for tourists, day hikers looking for a destination. One gets the impression that no one has been buried there for many years.
To me, this speaks of how modern society approaches death as compared with our ancestors. We now inter the dead in manicured memorial gardens, or in hallowed grounds, as opposed to a location close to a homestead. Or even worse, we send or deceased relatives off to some facility where they are industrially incinerated, and the remains are returned in an aesthetically pleasing urn for display on the mantle.
We have denied that death is part of the natural process. In the past, when we accepted death as the natural culmination to life, we would return the dead to the earth close to the home to which there was connection. And this loss, this shift away from our acceptance of death is what Frost sees reflected in the weathered stones of an abandoned graveyard that no longer sees the return of the dead to the earth.
Thanks for stopping by and sharing in my musings. May you have a blessed day.
From childhood’s hour I have not been
As others were—I have not seen
As others saw—I could not bring
My passions from a common spring,
From the same source I have not taken
My sorrow—I could not awaken
My heart to joy at the same tone;
And all I lov’d. I lov’d alone. Then—in my childhood—in the dawn
Of a most stormy life—was drawn
From ev’ry depth of good and ill
The mystery which binds me still;
From the torrent, or the fountain,
From the red cliff of the mountain,
From the sun that ’round me roll’d
In its autumn tint of gold—
From the lightning in the sky
As it pass’d me flying by—
From the thunder, and the storm,
And the cloud that took the form
(When the rest of Heaven was blue)
Of a demon in my view.
This poem was written by Poe in his youth and expresses feelings of isolation and of not belonging, which are common among young people. I can speak from my own experience that growing up I never really felt like I fit in anywhere, even though I tried to fit in everywhere. And like Poe, I found my greatest happiness in times of solitude, when I could finally take off my mask and be myself. And this is the sentiment that Poe conveys when he says “And all I lov’d. I lov’d alone.”
While this poem conveys an almost universal feeling, Poe makes it his own at the end:
From the thunder, and the storm,
And the cloud that took the form
(When the rest of Heaven was blue)
Of a demon in my view.
Here we are provided with a glimpse into the creative mind of Edgar Allan Poe. Poe’s feelings of isolation are the source of his literary expression. He does not see the world as “normal” people do. When he looks into the sky, instead of seeing the blue, he sees the clouds, which reflect the demons lurking within his psyche. And just as a child when he projects those inner demons onto the clouds, as a mature writer, he projects those demons onto his pages.
Like so many tortured youth, Poe looked to artistic expression as a way to deal with his loneliness and face his inner demons. Pain, sadness, and loneliness are prime inspiration for painters, writers, and musicians burdened with the need to have the cathartic release which art provides.
I hope this poem inspired you. Have a great day and thanks for stopping by.
As I have now finished reading all of Crowley’s autobiography, it’s probably time to address the question: Was Aleister Crowley the evil black magician that he was portrayed to be? The short answer is, I don’t know. To quote Hamlet: “there is nothing either good or bad, but thinking makes it so.” And I think this was Crowley’s take on magick, that there is no good or bad magick, there is just magick. He uses the metaphor of music as an example.
Imagine listening to Beethoven with the prepossession that C is a good note and F is a bad one; yet this is exactly the standpoint from which all uninitiates contemplate the universe. Obviously, they miss the music.
In a manner that is very familiar in our current political climate, Crowley blames the news media of his time as spreading “fake news” about him and his practices, asserting that what was written about him amounted to nothing less than slander.
I replied ‘Allegations utterly absurd.’ My only annoyance was having to pay for the telegram. Presently copies of the Sunday papers for November 28th arrived. I read them with tireless amusement. I had read in my time a great deal of utter balderdash, but nothing quite so comprehensively ridiculous. It gave me the greatest joy to notice that practically every single detail was false. There was, for instance, a description of the abbey, without a single failure to misstate the facts. If a thing was white, they called it red, if square, circular, if stone, brick; and so for everything.
To sum up, this is a long book, probably longer than it needed to be, but interesting in providing context for the development of the occult ideologies that have had a profound impact on the ideas and practices of those circles ever since. I also, personally, ended this book with the impression that some of Crowley’s stories were embellished, either to establish a cult of himself, or to convey symbolically some mystical information to the careful reader who could notice the subtleties of metaphor woven into the text.
I will close this series on The Confessions of Aleister Crowley with a quote that is most appropriate.