Cosmology
NOT DESCRIPTION - PERSONAL INJUNCTION. . . .
"Step into the living wind's furyu of zoka as makoto in kokoro; ripple on an ancient pond."
"The Americans call it 'swell'. You know, that blossoming of feeling in the heart-centre when one groks a discrete skein of beauty and understanding. "Kokoro (flowering heart of things, feeling, swell / kokoro no hana: heart of the blossoming flower)". This is a conditional state of makoto (sincerity+) in aesthetic action. It is thus we engage with the living wind's zoka (creative force of nature). The stability we perceive as backdrop to this (furyu) motion (the immutable of mutability) we call: 'beautifulisness'. The boundless arena for all that, we call: Universal MA (the first of the circumscribed 10,000 things of Tao - the second instance being, God.)"
Existence
nothingness
in motion. . . .
NOTE: In the mystic formula above, 'in motion. . . .' = The Living Wind
LIVING WIND / WAY OF ELEGANCE
Way of Elegance From two Japanese words michi (way or path) and fuga (the elegance of poetry) [fuga no makoto (truth/sincerity of poetic art)]. The elegance referred to in this phrase involves a combination of courtly grace and rural charm. Think of the well educated farmer. The Way of Elegance involves following furyu, and practicing artistic expression as a form of spiritual discipline.
A certain poise of relationship with The Living Wind produces The Way of Elegance, the latter likened to furyu (a light, fragrant breeze). This was the poetic experience which Basho promoted during the later years of his life.[see: Winter Days] Matsuo considered this poetic experience to be a prori.
"Go to the pine if you want to learn about the pine, or the bamboo if you want to learn about the bamboo. And in doing so, you must leave your subjective preoccupation with yourself. Your poetry issues of its own accord when you and the object have become one – when you have plunged deep enough into the object to see something like a hidden glimmering there. However well-phrased your poetry may be, if the object and yourself are separate – then your poetry is not true poetry but a semblance of the real thing."
It is said that the great man went through a period whereby he was thinking his literary work had wasted time better spent in contemplation along the lines mentioned. Fortunately this was not the case. In his pine instructions Basho is talking meditation, whose target is to become one with the object of attention (contemplation). Applied to The Way of Elegance (a mode of The Living Wind, 'nothingness in motion') we have our methodology for poetic spirit's karumi (lightness). All this subsumes under makoto (sincerity+) in kakoro (a clear, bright, blossoming heart) - the latter being our calibrated inner-ma, between stimulus and response. The mobile shrine. All in the inigma of being's yugan (depth and mystery). Thus we are become mono no aware (sensitive to nature's transitory living beauty, her wabisabi of springs eternal).
jp 24-10-11