Dt Suzuki Zen And Japanese Culture Pdf
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It would be difficult to name any world religious or cultural figure of the twentieth century who did more to transform modern civilization than Zen Buddhist scholar Daisetsu Teitaro D. Suzuki — As a mentor to such international culture producers as Carl Jung, Alan Watts, Thomas Merton, Allen Ginsberg, Martin Heidegger, John Cage, and Gary Snyder—to name but a few—Suzuki worked effectively across cultural, social, and generational boundaries to help articulate a new historical consciousness whose full effects have yet to be realized.
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Zen In The Art Of Archery Pdf
Suzuki in English. Suzuki A The Times A Mahayana Text. Translated into English from the Sanskrit by D. Thomas Merton: D. Others bemoan my interest in Zen. It was called Zen Buddhism and Dada.
It is possible to make a connection between the two, but neither Dada nor Zen is a fixed tangible. They change; and in quite different ways in different places and times, they invigorate action.
What was Dada in the 's is now, with the exception of the work of Marcel Duchamp, just art. Suzuki, reading of the literature , I doubt I would have done what I have done.
I am told that Alan Watts has questioned the relationship between my work and Zen. I mention this in order to free Zen from any responsibility for my actions. I shall continue making them, however. I often point out that Dada nowadays has in it a space, an emptiness, that it formally lacked.
What, nowadays, America mid-twentieth century, is Zen? John Cage meets D. Suzuki in Japan, An Indian lady invited me to dinner and said Dr. Suzuki would be there. He was. Before dinner I mentioned Gertrude Stein. Suzuki had never heard of her.
I described aspects of her work, which he said sounded very interesting. Stimulated, I mentioned James Joyce, whose name was also new to him. At dinner he was unable to eat the curries that were offered, so a few uncooked vegetables and fruits were brought, which he enjoyed.
After dinner the talk turned to metaphysical problems, and there were many questions, for the hostess was a follower of a certain Indian yogi and her guests were more or less equally divided between allegiance to Indian thought and to Japanese thought.
About eleven o'clock we were out on the street walking along, and an American lady said to Dr. We spend the evening asking you questions and nothing is decided.
Suzuki is ott lesz. Ott is volt. Before studying Zen, men are men and mountains are mountains. While studying Zen, things become confused. After studying Zen, men are men and mountains are mountains. After telling this, Dr. One of Suzuki's books ends with the poetic text of a Japanese monk describing his attainment of enlightenment.
During recent years Daisetz Teitaro Suzuki has done a great deal of lecturing at Columbia University. First he was in the Department of Religion, then somewhere else. Finally he settled down on the seventh floor of Philosophy Hall.
The room had windows on two sides, a large table in the middle with ash trays. There were chairs around the table and next to the walls. These were always filled with people listening, and there were generally a few people standing near the door. The two or three people who took the class for credit sat in chairs around the table. The time was four to seven.
During this period most people now and then took a little nap. Suzuki never spoke loudly. When the weather was good the windows were open, and the airplanes leaving La Guardia flew directly overhead, drowning out from time to time whatever he had to say. He never repeated what had been said during the passage of the airplane.
Three lectures I remember in particular. While he was giving them I couldn't for the life of me figure out what he was saying. It was a week or so later, while I was walking in the woods looking for mushrooms, that it all dawned on me. There was an international conference of philosophers in Hawaii on the subject of Reality.
For three days Daisetz Teitaro Suzuki said nothing. Suzuki, would you say this table around which we are sitting is real? Lectures on Zen Buddhism by D. This fact has led me to choose this subject as a kind of preliminary to what will follow.
Basho , a great Japanese poet of the seventeenth century, once composed a seventeen-syllable poem known as haiku or hokku. It runs, when translated into English, something like this: When I look carefully I see the nazuna blooming by the hedge!
Yoku mireba Nazuna hana saku Kakine kana. It is likely that Basho was walking along a country road when he noticed something rather neglected by the hedge. He then approached closer, took a good look at it, and found it was no less than a wild plant, rather insignificant and generally unnoticed by passers-by.
This is a plain fact described in the 2 poem with no specifically poetic feeling expressed anywhere except perhaps in the last two syllables, which read in Japanese kana.
This particle, frequently attached to a noun or an adjective or an adverb, signifies a certain feeling of admiration or praise or sorrow or joy, and can sometimes quite appropriately be rendered into English by an exclamation mark. In the present haiku the whole verse ends with this mark. The feeling running through the seventeen, or rather fifteen, syllables with an exclamation mark at the end may not be communicable to those who are not acquainted with the Japanese language. I will try to explain it as best I can.
The poet himself might not agree with my interpretation, but this does not matter very much if only we know that there is somebody at least who understands it in the way I do. First of all, Basho was a nature poet, as most of the Oriental poets are.
They love nature so much that they feel one with nature, they feel every pulse beating through the veins of nature. Most Westerners are apt to alienate themselves from nature. They think man and nature have nothing in common except in some desirable aspects, and that nature exists only to be utilized by man.
But to Eastern people nature is very close. This feeling for nature was stirred when Basho discovered an inconspicuous, almost negligible plant blooming by the old dilapidated hedge along the remote country road, so innocently, so unpretentiously, not at all desiring to be noticed by anybody.
Yet when one looks at it, how tender, how full of divine glory or splendor more glorious than Solomon's it is! Its very humbleness, its unostentatious beauty, evokes one's sincere admiration. The poet can read in every petal the deepest mystery of life or being. Basho might not have been conscious of it himself, but I am sure that in his heart at the time there were vibrations of feeling somewhat akin to what Christians may call divine love, which reaches the deepest depths of cosmic life.
The ranges of the Himalayas may stir in us the feeling of sublime awe; the waves of the Pacific may suggest something of infinity. But when one's mind is poetically or mystically or religiously opened, one feels as Basho did that even in every blade of wild grass there is something really transcending all venal, base human feelings, which lifts one to a realm equal in 3 its splendor to that of the Pure Land.
Magnitude in such cases has nothing to do with it. In this respect, the Japanese poet has a specific gift that detects something great in small things, transcending all quantitative measurements. This is the East.
Let me see now what the 'Nest has to offer in a similar situation. I select Tennyson. He may not be a typical Western poet to be singled out for comparison with the Far Eastern poet. But his short poem here quoted has something very closely related to Basho's. The verse is as follows: Flower in the crannied wall, I pluck you out of the crannies;- Hold you here, root and all, in my hand, Little flower-but if I could understand What you are, root and all, and all in all, I should know what God and man is.
There are two points I like to notice in these lines: 1 Tennyson's plucking the flower and holding it in his hand, "root and all," and looking at it, perhaps intently. It is very likely he had a feeling somewhat akin to that of Basho who discovered a nazuna flower by the roadside hedge.
But the difference between the two poets is: Basho does not pluck the flower. He just looks at it. He is absorbed in thought. He feels something in his mind, but he does not express it.
He lets an exclamation mark say everything he wishes to say. For he has no words to utter; his feeling is too full, too deep, and he has no desire to conceptualize it. As to Tennyson, he is active and analytical. He first plucks the flower from the place where it grows. He separates it from the ground where it belongs. Quite differently from the Oriental poet, he does not leave the flower alone.
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WHEN Daisetz Teitarō Suzuki—best known today as D. T. Suzuki—began revising, in , the essays that comprise Zen and Japanese Culture (originally.
Selected Works of D.T. Suzuki, Volume III
Daisetsu Teitaro Suzuki was a key figure in the introduction of Buddhism to the non-Asian world. Many outside Japan encountered Buddhism for the first time through his writings and teaching, and for nearly a century his work and legacy have contributed to the ongoing religious and cultural interchange between Japan and the rest of the world, particularly the United States and Europe. Some of these writings have been translated into English for the first time in this volume. As a long-term resident of the United States, a world traveler, and a voracious consumer of information about all forms of religion, Suzuki was one of the foremost Japanese mediators of Eastern and Western religious cultures for nearly seven decades.
Suzuki was also a prolific translator of Chinese, Japanese, and Sanskrit literature. He was nominated for the Nobel Peace Prize in When he became old enough to reflect on his fate in being born into this situation, he began to look for answers in various forms of religion. His naturally sharp and philosophical intellect found difficulty in accepting some of the cosmologies to which he was exposed.
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Suzuki was also a prolific translator of Chinese, Japanese, and Sanskrit literature. He was nominated for the Nobel Peace Prize in When he became old enough to reflect on his fate in being born into this situation, he began to look for answers in various forms of religion.
Daisetsu Teitaro Suzuki was a key figure in the introduction of Buddhism to the non-Asian world. Many outside of Japan encountered Buddhism for the first time through his writings and teaching, and for nearly a century his work and legacy have contributed to the ongoing religious and cultural interchange between Japan and the rest of the world, particularly the United States and Europe. Selected Works of D. In an effort to ensure the continued relevance of Zen, Suzuki drew on his years of study and practice, placing the tradition into conversation with key trends in nineteenth- and twentieth-century thought.
Suzuki in English. Suzuki A The Times A Mahayana Text. Translated into English from the Sanskrit by D. Thomas Merton: D.