DAILY PHOTO: Views of the Nam Song

BOOKS: 三字经 by 王应麟 [“Three Character Classic” by Wang Yinglin]

三字经三字经 by 章炳麟
My rating: 5 of 5 stars

Available online — Project Gutenberg

This is a Confucian primer written in lines of three characters. It’s a children’s book in the sense that it’s aimed at children, but not necessarily with respect to being presented in a manner most conducive to childhood learning. (While it’s concise, the material isn’t presented in an interesting or memorable form. i.e. It’s intended for brute force rote memorization.)

The book consists of five sections, ranging between twenty-four and one hundred and six lines (72 to 318 characters per chapter.) The first introduces Confucian virtues. The second offers a broad overview of classics of Chinese philosophy. The third section lists the dynasties of China. The penultimate section describes ideal behavior from a Confucian perspective. The last, and briefest, section is largely a pep talk on studying hard.

As someone learning Mandarin Chinese, it’s interesting to see how sentences are formed in this sparse format, and this text offers insight into Chinese history and philosophy, in addition to providing a good early reader.

If you are interested in learning elementary Confucianism or you’re learning Chinese and looking for short and simple texts for reading, I’d recommend one look into the Three Character Classic.

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“Song of the Open Road” (13 of 15) by Walt Whitman [w/ Audio]

Allons! to that which is endless as it was
beginningless,
To undergo much, tramps for days, rests of
nights,
To merge all in the travel they tend to, and
the days and nights they tend to,
Again to merge them in the start of superior
journeys,
To see nothing anywhere but what you may
reach it and pass it,
To conceive no time, however distant, but
what you may reach it and pass it,
To look up or down no road but it stretches
and waits for you, however long but it
stretches and waits for you,
To see no being, not God's or any, but you
also go thither,
To see no possession but you may possess it,
enjoying all without labor or purchase,
abstracting the feast yet no abstracting
one particle of it,
To take the best of the farmer's farm and the
rich man's elegant villa, and the chaste
blessings of the well-married couple, and
the fruits of orchards and flowers of
gardens,
To take to your use out of the compact
cities as you pass through,
To carry buildings and streets with you
afterward wherever you go,
To gather the minds of men out of their
brains as you encounter them, to gather
the love out of their hearts,
To take your lovers on the road with you,
for all that you leave them behind you,
To know the universe itself as a road, as
many roads, as roads for traveling souls.

All parts away for the progress of souls,
All religion, all solid things, arts,
governments -- all that was or is apparent
upon this globe or any globe, falls into
niches and corners before the procession
of souls along the grand roads of the
universe.

Of the progress of the souls of men and
women along the grand roads of the
universe, all other progress is the needed
emblem and sustenance.

Forever alive, forever forward,
Stately, solemn, sad, withdrawn, baffled,
mad, turbulent, feeble, dissatisfied,
Desperate, proud, fond, sick, accepted by
men, rejected by men,
They go! they go! I know that they go, but I
know not where they go,
But I know that they go toward the best --
toward something great.

Whoever you are, come forth! or man or
woman come forth!
You must not stay sleeping and dallying
there in the house, though you built it, or
though it has been built for you.

Out of the dark confinement! out from
behind the screen!
It is useless to protest, I know all and expose
it.

Behold through you as bad as the rest,
Through the laughter, dancing, dining,
supping, of people,
Inside of dresses and ornaments, inside of
those wash'd and trimm'd faces,
Behold a secret silent loathing and despair.

No husband, no wife, no friend, trusted to
hear the confession,
Another self, a duplicate of every one,
skulking and hiding it goes,
Formless and wordless through the streets of
the cities, polite and bland in the parlors,
In the cars of railroads, in steamboats, in the
public assembly,
Home to the houses of men and women, at
the table, in the bedroom, everywhere,
Smartly attired, countenance smiling, form
upright, death under the breast-bones,
hell under the skull-bones,
Under the broadcloth and gloves, under the
ribbons and artificial flowers,
Keeping fair with the customs, speaking not
a syllable of itself,
Speaking of any thing else but never of
itself.

Gold [Free Verse]

I wonder how the Buddha 
would feel about always being
depicted in Gold?

If the desire that he warned
about had color, surely
it would be Gold.

Nobody has ever murdered
over teal or mauve or cornflower
(heated words with
contractors notwithstanding)
but Gold's body-count is staggering.

Helen's puny thousand ships have
been multiplied over by orders
of magnitude for the cause of Gold.

I think the Buddha, looking at his
reflection in one of those well-
polished Gold statues would say,
"Did I teach you nothing?"

Gnarled [Free Verse]

Mostly, the dead decay:
they crumble
or rot to goo.

But some trees
turn steely
hard & smooth --
fibers showing like
rigid sinews.

Bare of bark and leaves
and flowers,
but unyielding of
girth and substance.

But even those trees
give way --
perhaps in geologic time
rather than biologic time,

But still the tree will become
someone & something else.

DAILY PHOTO: Institut français Luang Prabang

BOOKS: “The Secret of the Golden Flower” ed. / trans. by Thomas Cleary

The Secret of the Golden Flower: The Classical Chinese Book of LifeThe Secret of the Golden Flower: The Classical Chinese Book of Life by Lü Dongbin
My rating: 4 of 5 stars

Online – Archive.org

This is a manual on Taoist inner alchemy practices, particularly a meditative practice called “turning the light around.” The book has been attributed to Lü Dongbin, said to be an immortal who lived during the Tang Dynasty, though there are differing views about the manual’s actual origins. While it is nominally a Taoist manual, it also discusses the Buddhist approach extensively (and Confucian ideas to a lesser extent) such that it could be considered a Buddhist teaching as much as a Taoist one.

The Cleary translation seems to exist not merely to provide an English translation of this Chinese manual, but to combat the misunderstandings perpetrated by the earlier English translation, that of Richard Wilhelm, a translation famously associated with the psychoanalyst Carl Jung. Neither Wilhelm nor Jung had any depth of understanding of Taoist and Buddhist methods and philosophy, and Wilhelm’s grasp of the Chinese language, itself, seems to have been fairly rudimentary. (At least the Chinese of the 1600’s, which is when the edition that Wilhelm is believed to have worked from is dated.) Thus, there is a lot of peddling of the notion that the ideas of this manual were in line with twentieth century psychotherapy in ways that were really not true — either because Wilhelm was mistaken or wanted them to be true or some combination, thereof.

The translation, itself, is quite short and makes up less than half of the text length of this book. More than half consists of extensive notes as well as an Afterward. While I have complained many times about publishers padding out pamphlet length publications to make them salable at book prices, in this case I believe the “ancillary” matter is helpful to achieving a better understanding of the text. The translation itself is not only sparse but features a bit of Taoist and Buddhist arcana that is likely to be unfamiliar — even to those with some understanding of the traditions. The notes and afterward help one to comprehend this book’s ideas much better.

If you’re interested in Taoist inner alchemy or Buddhist meditative practices, this book is worth checking out. That said, it can be a bit of a tedious read, flipping between the translation and the notes to make sense of ideas that don’t readily translate.

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“Song of the Open Road” (12 of 15) by Walt Whitman [w/ Audio]

Allons! after the great Companions, and to 
belong to them!
They too are on the road -- they are the
swift and majestic men -- they are the
greatest women,
Enjoyers of calms of seas and storms of seas,
Sailors of many a ship, walkers of many a
mile of land,
Habituès of many distant countries,
habituès of far-distant dwellings,
Trusters of men and women, observers of
cities, solitary toilers,
Pausers and contemplators of tufts,
blossoms, shells of the shore,
Dancers at wedding-dances, kissers of
brides, tender helpers of children, bearers
of children,
Soldiers of revolts, standers by gaping
graves, lowerers-down of coffins,
Journeyers over consecutive seasons, over
the years, the curious years each emerging
from that which preceded it,
Journeyers as with companions, namely
their own diverse phases,
Forth-steppers from the latent unrealized
baby-days,
Journeyers gayly with their own youth,
journeyers with their bearded and well-
grain'd manhood,
Journeyers with their womanhood, ample,
unsurpass'd, content,
Journeyers with their own sublime old age
of manhood or womanhood,
Old age, calm, expanded, broad with the
haughty breadth of the universe,
Old age, flowing free with the delicious
near-by freedom of death.

Shapeshifter [Haiku]

light & shadow play
across the mountains —
redrawing ridges.

DAILY PHOTO: Buddha Park, Vientiane