I don’t think I’ve ever read anything quite like this book which could be described as a dialogical encounter between Dogen and several western thinkers, including Spinosa Leibnitz and Heidegger. She doesn’t try and uncover influence of the first on the latter, nor does she compare their work in general. Her work is dialogical in the sense that she brings in these European philosophers in order to better illuminate Dogan in a way that the readers the book might understand —presumably many of which don’t have access to the Japanese.
I don’t know if she even has access to the Japanese. I think she relies on translations.
As my son says, I am not gonna lie. This book is challenging. As soon as I finished it, I immediately turned back to the front to start again. Reading cover to cover, back to back twice, I am not putting it away yet as I need one more round. I also do not think I could have understood the book if I hadn’t studied philosophy as an undergraduate with a focus on Heidegger.
Stambaugh is a heavy-hitter. And this book is gold.
She is not the first thinker to do a deep dive on Dogen with an eye toward Heidegger (See Steven Heine’s work). But her laser focus on “time” vis-a-vis Buddha nature is penetrating. She begins by noting there is a similar tension in Heidegger and Spinoza. Transcendence versus Immanence (Absolute versus world). She maps this roughly onto the time” versus Buddha nature tension and off we go.
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Uji (有時), usually translated into English as Being-Time
The key to unlocking the tension of Buddha Nature is in understanding time. Not in terms of Newtonian time (ie, a container that time occurs “in”) but more in tune with Heideggerean “flow” “worlding” and being. Each “dharmas” (event) is time itself.
It is not terribly surprising that before Newton, there were many differing understandings of the nature of time and that our understanding of being was informed by that in different ways across the centuries.
If you have a sense of time that is more akin to how physicists today understand it, to suggest that the fundamental nature of reality is Impermanence because time is a constant appearing and extinction in each moment, Dogen’s thinking can be more easily understood from there. More on Dogen someday soon.
Essay this monday on Dogen and translation issues at 3QD.
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「人の悟りをうる、水につきのやどるがごとし。月ぬれず、水やぶれず。ひろくおほきなる光にてあれど、尺寸の水にやどる。全月も弥天も、草の露にもやどり、一滴の水にもやどる。」
Enlightenment is like the moon reflected in the water. The moon does not become wet, nor does the water become disturbed. The light is so vast and yet it is reflected even in a drop of water. The entirety of the moon and all of heaven (the sky?) can be glimpsed in a dewdrop on a glade of grass.
For me, what is interesting is the metaphor of reflection. This is neither transcendence nor immanence. As reflected Light, the image evokes the “world in a grain of sand idea,” which is short-hand for that of an inter-dependent, co-arising reality. A radical denial of duration. (As Spinoza said, eternity cannot be explained by duration).
The short poem unlocks a multitude of ideas and images, philosophies, and understandings of being. It is what is so endlessly interesting about literary translation.
Dare I say "Timely post"? -- It would be interesting to explore how "timely" fits into this picture of the impermanence of which Dogen taught. Shingon Buddhism with its very different bearings than Zen would perhaps posit "timely" differently with its esoteric practices making enlightenment immediately possible. Even the notion of enlightenment itself becomes challenging when thinking about characterizing/describing/illuminating its time-being-ess. And, in my own practice, the founder had delved even further into Buddhist scholarship in Shingon when training at Daigo-ji to add even more clarification to the issue of permanence/impermanence. (Given that he was originally an aerospace design engineer, you have to imagine that this give him a unique feel for the matter of time.) Anyway, I applaud you, Leanne, for ploughing through this book twice and I know you've given it a lot of thought! I look forward to your essay. (And when I was nine, I dreamed of understanding time someday. Time, is, of course, the special province of poetry.)
Back to yesterday's discussion! I'm so interested in the ideas of time-being and the differing Buddhist approaches of practice/enlightenment/insight in ordering the mind-body (etc etc etc)reflection of time-being. And, without having to be Buddhist practitioners themselves, noh performers likewise have a tradition of disciplined practice that is founded on being the reflection to which the audience is attuned while both performers and audience experience the play together. This reflection can cast time-being so much as to allow actual transformation of the theater goer. And then there is the actual student beginner of noh chant. -- That led up to recital! -- I can't tell you how long I spent listening to different pronunciations of the Japanese r sound! Repeating repeating repeating. At one class my actual sound quality sounded worse over-all than when I started. The recital: Really nervous, especially when I saw I was the first student. And then when I heard Kinue chant from Hagaromo -- I was so deeply touched, and couldn't imagine how I would follow her performance. Nowhere to run. When my turn came, and my voice cracked between the 2nd and 3rd syllable, all I could think of was not to panic into tears, just remember what Richard Armstrong always said "Just focus on your breath. " (I haven't listened to the recital recording, so I can't say how the vibrato I produced compared to an actual utai vibrato, but I daresay that the ease of performance for me from that moment of panic convinces me that a simple application of technique (focus only on breath while producing the sounds) allowed the much more complex transmission of esoteric knowledge (in Kinue's chanting) to engage the fullest time-being relationship we shared in that process of first performer and second performer with attendant listeners. All of which speaks to the abundant capacity of the reflected and reflecting mind-body relationships to appreciate time-being for its manifest expressions from the most hidden to the nuanced and / or extreme.
Read your review of Goldberg. Shocked that she's been a student of Zen for 30 years. I was reminded of a quote from somebody who advised Buddhist practice "Writers should practice Zen and painters practice Vajrayana." I'd suggest just the opposite.
You mention Alex Kerr. I very much enjoyed one of his books you recommended.
Am not familiar with Shumei.