Mind, be strong!

Shantideva in Chapter 6 of “A Guide to the Bodhisattva Way of Life” (Bodhicaryavatara) wrote,

There is no evil like hatred, and no fortitude like patience. Therefore, one should earnestly cultivate patience in various ways.”

This work by Shantideva work is perhaps the definitive text on the path of the Bodhisattva, and many consider Chapter 6, Kshanti-paramita (“The Perfection of Patience”)  the most important chapter of the book.

Kshanti is one of the Six Paramitas (Perfections), the crucial steps on the path.  Kshanti is derived from khamati, a Pali word that according to the A.P. Buddhadatta Mahathera’s Concise Pali-English and English-Pali Dictionary means “to be patient, to endure, to forgive; to forgive a fault.”

Our basic nature tends to view difficult people in our lives as “the enemy.”  However, Shantideva tells us that anger and hatred are the true enemies, and he urges us to understand their destructive effects.  He states that the perfection or practice of patience is the most effective antidote to anger and hatred.  Anger has no real purpose.  Often the person we are angry with is also a victim, driven to their actions by the same poison of ignorance that inflicts us.  All the more reason, to practice patience.

Throughout the Bodhicaryavatara, Shantideva points out that patience, and indeed the path itself, requires great strength and endurance.  Later in Chapter 6 he says,

Happiness is obtained with great difficulty, whereas suffering occurs easily.  Only through suffering is there release . . . Therefore, mind, be strong!”

In Buddhism, when we talk about “happiness,” we are not talking about happiness sans suffering, but rather happiness in the midst of suffering.  This kind of happiness leads to wisdom or prajna.  The 9th chapter of the A Guide to the Bodhisattva Way of Life is “The Perfection of Wisdom,” which begins with these words:

Wisdom is the only true final antidote to all suffering (the whole path aims at this).”

The perfection of wisdom (prajna-paramita) is said to be the vessel capable of ferrying all beings across the sea of suffering to the shore of Nirvana.  The Heart Sutra tells us that “Kuan Yin Bodhisattva, while practicing deep Transcendent Wisdom  . . . crossed over all suffering.”  One cannot really leap from one shore to the other in a single bound.  The journey of the raft known as Transcendent Wisdom over the sea of suffering is a long, hard voyage.  Without weighing anchor and navigating the rough sea, without the experience of being tossed by great waves or being buffeted by strong winds, ravaged by storms – there is no meaningful happiness, let alone useful wisdom.

If, as Buddhism teaches, the mind determines everything, then achieving happiness, perfecting patience and wisdom, requires a single-minded determination to grind through the hard parts of life.

Therefore, as Shantideva says, mind, be strong!

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Quotes from A Guide to the Bodhisattva Way of Life by Santideva, Vesna A. Wallace and B. Alan Wallace, Snow Lion Publications, 1997.


Dusk Latitudes and Film Noir

It’s been quite a while since I have posted any of my own poetry.  Since it is National Poetry Month, I thought this was as good a time as any.  I don’t have much to say about my poems. They are what they are.

dusk latitudes

tempestuous waves
against the shore
the moon lying close
to the horizon

you must carry the afterglow
uphold the solitary wings
for vision has become
piles of coffee cups
awkward shadows
languid eyes

too many dismal whispers
that freeze action
in the business of life

and we are busy
like the waves that bellow
the eternal songs of the sea
and the moon that serenades
the milky way with sad laments

to empyrean’s ether end
hurtles light
past that place where midnight
comes from
the place where we part our lips
and act as though there are never tears

waves crash over rocks
and the moon slips from us

© 2011 dmriley

This second poem was inspired by the 1946 Ida Lupino film, “The Man I Love.”

film noir

I hate fog, it’s sort of lonely
ida lupino says
as my hand runs down
the smooth skin exposed by her backless dress
your fingers are cold, she sighs
let’s go in here

we go to the bar
I buy her a short beer
she draws on a long cigarette
& blows the smoke out with impertinence
she’s looking at me straight on
remember what you said darling
when we were looking at the stars
life, you said, is too short
to waste time with memories
well, I think you’re right

Ida_Lupinoshe goes over
& asks the piano player
if she can sing
some desolate song she knows
she has the kind of voice
you’d expect to find in a place like this
perched on top of the piano
skirt pulled high
swinging that crossed leg

as I place a bet
on another shot of rye

I was hoping
to find something in her
that I’d been missing all my life
but she didn’t have it
no one does

later on she says
she’s been cheating on me
with robert mitchum
& when I ask her why
she just shrugs her shoulders
pouts with her lower lip
& says that it’s because
he always holds his glass
with such an air of


I walk home alone
cloaked in the gray night
I understand what she means now
about the fog

© 1997 dmriley


Yeshe Tsogyal, Who Attained Enlightenment in the Supreme Body of a Woman

In Misogyny, Misandry, and Misanthropy,* Professor R. Howard Bloch writes,

The ritual denunciation of women constitutes something on the order of a cultural constant, reaching back to the Old Testament as well as to Ancient Greece and extending through the fifteenth century. Found in Roman tradition, it dominates ecclesiastical writing, letters, sermons, theological tracts, discussions and compilations of canon law; scientific works, as part and parcel of biological, gynaecological, and medical knowledge; and philosophy. The discourse of misogyny runs like a rich vein throughout the breadth of medieval literature.”

It ran through the course of ancient and medieval life as well, not only in the West, but also the East, and until recently the position of women in society has improved only slightly. In Buddhism, for centuries woman, especially nuns, have endured the sufferings of discrimination and oppression, and this, too, has only recently began to turn around.

Regarding Buddhist literature, I don’t think we can say that it is dominated by misogyny, but it was certainly a frequent theme. Women represented sexual desire and therefore they were considered the “root of ruin” and the “destruction of destructions” and men were advised to “ever avoid women if he desires happiness for himself.” (Saddharmasmrtyupasthana Sutra) There are passages in the early Buddhist sutras that lean toward affirming the equality of women, like this from the Samyutta Nikaya, “Whoever practices this vehicle, whether woman or man, it is the only vehicle that can reach the shore of nibbana.” Yet many such passages are ambiguous and few and far between.

The prevailing attitude in traditional Buddhism was that a masculine body was better suited for enlightenment. In the sutras and commentaries, women are encouraged to pray to be reborn as a man, and certain sincere women believers were predicted never to born a man again. Even in the story of the Dragon King’s Daughter from the Lotus Sutra, often cited as example of Buddhism championing gender equality, the girl must take a man’s form before she can attain enlightenment.

Yeshe Tsogyal
Yeshe Tsogyal

That story is mythological, as are those of other female Buddhas and Bodhisattvas, such as Kuan Yin and Tara. However, there were some remarkable Buddhist women who were historical figures, and one of these was Yeshe Tsogyal (757-815). This woman, who was the wife of Indian master Padmasambhava, the de facto founder of Buddhism in Tibet, has left a legacy all her own, and it is for that reason, rather than her connection to the famous guru, Yeshe Tsogyal is often called the “mother of Tibetan Buddhism.”

In John Steven’s book, Lust for Enlightenment: Buddhism and Sex, Padmasambhava is quoted as saying to Yeshe Tsogyal

The basis for realizing enlightenment is a human body. Male or female, there is no great difference. But if she develops the mind bent on enlightenment the woman’s body is better.”

Elsewhere, Padmasambhava, also known as Guru Rinpoche, offers these final words to Yeshe Tsogyal:

In the supreme body of a woman
You have gained accomplishment;
Your mind itself is Lord . . .”

One Yeshe Tsogyal story has her entering into a meditation retreat for 9 years and emerging as a fully enlightened Buddha. This is almost certainly a mythological tale, but at least in this one, unlike the story of the Dragon King’s Daughter, she does not have to transform into a man before attaining enlightenment. This is significant, regardless of the story’s reliability, because it offers an example of a woman who realized Buddhahood with her present body (Jp. sokushin jobutsu), the “supreme” body of a woman.

Although I don’t believe notions of “supreme perfect enlightenment” (Skt. anuttara-samyak-sambodhi) or Final Nirvana are realistic or verifiable concepts, I do accept that rather high plateaus of wisdom and mindfulness are reachable over the course of the spiritual journey.  Given this, we can assume that whatever Yeshe Tsogyal attained was authentic and acceptable as a historic truth. Gyalwa Changchub and Namkhai Nyingpo in their biography of Lady Tsogyal (see below) write, “The first Tibetan ever to attain complete enlightenment was in all probability the woman Yeshe Tsogyal . . .”

Yeshe Tsogyal’s name means “Victorious Ocean of Wisdom.” The details of her life vary, according to the source. In some accounts, her early life was harsh, and she suffered considerable abuse, including rape. In other accounts, those early years were happy and peaceful, and she was so popular that when she turned 13, a number of noblemen requested marriage with her, but her parents would not consent to any of their proposals. There are many legends, and most are quite epic in nature.

It’s said she lived a life that was independent of Padamsambhava. Although she compiled many of his teachings, she also authored works of her own, including an autobiography.

In Tibet, Yeshe Tsogyal is considered a female Buddha. Some Tibetan traditions regard her as a reincarnation of the Buddha’s own mother, Maya Devi, while the Nyingma tradition considers her an emanation of Samantabhadri, the primordial female Buddha.

Yeshe Tsogyal is one of a number of actual women and mythical female figures whose presence furthered the development of Tibetan Buddhism, and Tantric/Vajrayana Buddhism in general. While in what we call “traditional” Buddhism, women were viewed as impure beings, generators of desire, and their bodies unfit to serve as vessels of enlightened mind, the Vajrayana/Tantric branch of Buddhism, which is also traditional, had a different view.

Dr. Miranda E. Shaw, Associate Professor of Religious Studies at the University of Richmond, argues that in Tantric Buddhism, enlightenment was not just for men, nor were women always marginalized and kept in a subservient position. In Passionate Enlightenment Women in Tantric Buddhism, she says that

Tantric biographies portray bold, outspoken, independent women. Tantric texts describe how women should be respected, served, and ritually worshipped. Tantric literature introduces practices performed solely by women and others performed by women and men together. Tantric theory advances an ideal of cooperative, mutually liberative relationships between women and men.”

Shaw says the founders of Tantric Buddhism included independent women who made a significant and valuable contribution to shaping a unique outlook on gender roles, attitudes, and interaction. Unfortunately, Tantric Buddhism is too often associated with physical sex, a largely mistaken notion, which causes many people to form a rather negative view of tantra. For others, Vajrayana may seem to contain too much mysticism for their liking. But regardless of whether Tantric Buddhism/Vajrayana is our cup of tea or not, Buddhists from every tradition would do well to try and capture this vision of gender relations, for in a world where women are still not fully equal, there is much more work to do, and in my opinion, Buddhists should lead the way in dismantling the parameters of inequality, not just for women, but for all people.

There is a growing corpus of research and literature on women in Buddhism, tantric and non-tantric. For those interested in learning more about Yeshe Tsogyal, here are two books worth taking a look at:

Sky Dancer: The Secret Life And Songs Of Lady Yeshe Tsogyel by Keith Dowman

Lady of the Lotus-Born: The Life and Enlightenment of Yeshe Tsogyal by Gyalwa Changchub and Namkhai Nyingpo

Other books of interest, including those cited in this post:

Lust for Enlightenment: Buddhism and Sex by John Stevens

Passionate Enlightenment Women in Tantric Buddhism by Miranda Shaw

Dakini’s Warm Breath: The Feminine Principle in Tibetan Buddhism by Judith Simmer-Brown

Secret of the Vajra World: The Tantric Buddhism of Tibet by Reginald A. Ray

An Introduction to Tantric Buddhism by Shashi Bhushan Dasgupta 

– – – – – – – – – –

* Bloch, R. Howard, and Frances Ferguson, editors Misogyny, Misandry, and Misanthropy. Berkeley:  University of California Press, c1989 1989.


The Price

Today, I present another post for National Poetry Month. This celebration is intended to focus on American poetry or how poetry has contributed to American culture, but we live in a global community and poetry is a universal language, so I choose to ignore that guideline from time to time.

tagore-2014-1One of the world’s great poets, and philosophers, Rabindranath Tagore, inspired the title of this blog, The Endless Further. I have written about Tagore in some detail previously (see below), so I won’t add much to that today. As I’ve noted, he had a great respect for Buddhism and once called Buddha “the greatest man ever born on this earth.”

Here is one of the few poem in which he mentions Buddha. It comes from Fruit-Gathering, a collection published by Macmillan in 1916, and was translated from Bengali to English by Tagore himself.

The Price

Only one lotus braved the blast of winter and bloomed in the garden of Sudas the gardener. He took it to sell to the King.

A traveler said to him on the way, “I will buy this untimely flower, and take it to my master Buddha. Ask your price.”

The gardener asked one golden masha*, and the traveler readily agreed.  Just then the King came there.

“I must take that lotus to Lord Buddha,” he said to the gardener.  “What is your price?”

The gardener claimed two golden mashas.  The King was ready to buy it.  The traveler doubled the price and the King’s offer ran still higher.

The gardener thought in his greed he could get much more from the man for whom they were eagerly bidding.

He hastened with his flower to the grove where Buddha sat silent. Love shone in his eyes, on his lips was wisdom beyond words.

Sudas gazed at him, and stood still.  Suddenly he fell on his knees, placing the lotus at Buddha’s feet.

Buddha smiled and asked, “What is your prayer, my son?”

“Nothing, my lord,” Sudas answered, “only a speck of the dust off your feet.”

* A measurement of rice or wheat berry

– – – – – – – – – –

Previous posts on Rabindranath Tagore:

Rabindranath Tagore

Sadhana and the Big Fish

Love’s Gift is Shy

One Day in Spring

A Myriad Minded Man


Caged Bird

As I mentioned last week, April is National Poetry Month, a yearly celebration of poetry “inaugurated by the Academy of American Poets in 1996 . . .  when schools, publishers, libraries, booksellers, and poets throughout the United States band together to celebrate poetry and its vital place in American culture.”*

So I intend to dedicate a few posts in the coming weeks to this wonderful literary art that has been one of my lifelong passions.  I’ll start with Maya Angelou simply because today is her 86th birthday.

maya_angelouI had heard of Maya Angelou for some years, mostly in connection to her 1969 autobiography, I Know Why the Caged Bird Sings, but my real introduction to this remarkable woman was in the late 70s when she hosted the instructional telecourse “Humanities Through the Arts,” a series of half-hour programs that I still see on PBS from time to time.  What immediately struck me about her was that voice – her words so richly enunciated and the deep timbre.  As someone who has been schooled in what I call “vocal artistry,” I enjoy hearing a truly great speaking voice.

Listening to Maya Angelou speak, it’s hard to imagine that she was once mute.  Sexually abused by her mother’s boyfriend, she somehow found the courage to report the abuse.  The boyfriend ended up going to jail – for one day.  Shortly after his release, he was murdered.  Ms. Angelou wrote in her autobiography, “I thought, my voice killed him; I killed that man, because I told his name.  And then I thought I would never speak again, because my voice would kill anyone . . .” She was around seven years old at the time and she did not speak again for five years. Eventually she recovered her ability to voice, and during the same period developed a love of the arts.

There’s no way I can cover all the facets of Maya Angelou’s varied life.  You can read many of the details at Wikipedia or on her own website.  She has been a civil rights activist, film producer, television producer, playwright, film director, author, actor, and professor.

In the 1950’s she was a calypso dancer, performing at clubs in San Francisco such as the famous Purple Onion.  I mention this because recently I watched a 1957 movie called Calypso Heat Wave, a cheapie made to cash in on the short-lived calypso craze.  It features a very young Joel Grey (Cabaret) and in an uncredited role, Alan Arkin.  Maya Angelou performs two numbers that she wrote herself, and let me tell you, she’s pretty hot, not to mention about the only thing even remotely authentic in the movie.

As far as Maya Angelou the poet is concerned, the Poetry Foundation notes, “her poetry has often been lauded more for its content . . . than for its poetic virtue.”  And yet, her poetry has earned her a nomination for a Pulitzer Prize (1972) and she is only the second poet in U.S. history to compose and read a poem for a presidential inauguration (Clinton, 1993).

“Caged Bird” was first published in Ms. Angelou’s 1983 volume of poetry, Shaker, Why Don’t You Sing?  The poem is about her personal experience with discrimination growing up in the south during the 1930s and 1940s, and the struggle of the 1960s civil rights movement.  Race, however, is not the only thing that binds people to suffering, so the “caged bird” is a metaphor for the universal desire of all beings for personal liberty.

Caged Bird

A free bird leaps
on the back of the wind
and floats downstream
till the current ends
and dips his wing
in the orange sun rays
and dares to claim the sky.

But a bird that stalks
down his narrow cage
can seldom see through
his bars of rage
his wings are clipped and
his feet are tied
so he opens his throat to sing.

The caged bird sings
with a fearful trill
of things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom.

The free bird thinks of another breeze
and the trade winds soft through the sighing trees
and the fat worms waiting on a dawn bright lawn
and he names the sky his own
But a caged bird stands on the grave of dreams
his shadow shouts on a nightmare scream
his wings are clipped and his feet are tied
so he opens his throat to sing.

The caged bird sings
with a fearful trill
of things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom.

Maya Angelou, “Caged Bird” from Shaker, Why Don’t You Sing? Copyright © 1983 by Maya Angelou.