Originally posted by disastermouse
I think that some of this is just Buddhist semantics, and some folks who disagree on the meaning of "real" and "illusion". But this also goes to the question of what is the ultimate point of practice.
For Dogen (unlike for many in Eastern religions, including Buddhism), the light from the projector and the blank white screen of the theatre were not "Truth", in contrast to which the movie was an "illusion". Not in the least.
Instead, the film is the theatre realized, the very meaning and fruition of the show. The light and screen are made "real" by the story, and find their true function in the performance, for otherwise they are but blank and empty and colorless. One might even say that one cannot separate one from the other without killing the whole thing! So, you cannot realize the "illusion" of the film, because there is nothing without the film ... only a cold, dead, meaningless room with empty seats. Thus, we can even forget about the white screen, forget that the actors are actors much or most of our day ... which may even be the best way to appreciate the spectacle!
Now, that being said, in our practice we do need to realize that this "film" is, in whole or part, a creation of the mind ... so that: change the mind, change the film. Angry mind, angry film ... calm mind, calm film (I simplify here, because the epic story is more complicated than just that!). Resist the film (i.e., wish it were a different film, and that one were sitting in a different theatre), and it will be a rough experience to sit through it. Embrace and act out and fall into the film, and the viewer is "at one with the story" with all of body and mind.
Now, Bansho, a question for you from me:
I still feel that encouraging folks to practice with "mountains are mountains /mountains are not mountains / mountains are mountains again" and "relative and absolute" (as in our bookclub selection) still is very worthwhile. That's why I like to use the "jazz" analogy with Dogen, as I see him playing a beautiful variation on the original "classical" and structured theme. In other words, as opposed to some who teach that "one must learn to taste the absolute in the relative" (one must learn to see the movie as an "illusion"), Dogen was expressing that "one can only encounter that which is the absolutely alive right there" (savor the film, grab some popcorn and jump right in, for it is the reason and absolute expression of the whole show brought to life).
Or, in the music analogy, don't listen for the silence behind the music, or think the music a fiction ... but realize that the music is the silence is the whole point of the gig! Man, grab a horn and start blowing!
Practice is enlightenment. The playing of the music is enlightenment. The watching/acting of the film is enlightenment.
(granted that how you play or act makes all the difference. As Bansho said, act like a heroin junkie ... that is your film and show. Act like a peaceful Buddhist ... that is your film and show)
But before you get to the point where one can thoroughly appreciate the complicated existential Jazz of Dogen's variations on "samsara is nirvana", one should first start with the basic chords of "mountains are not mountains" and "there is an absolute, there is a relative". Like starting to learn the piano with black keys and white keys. Knowing that there is light and a white screen and actors doing a performance has some value too ... although perhaps not even the most important perspective in encountering the whole show.
What do you think?
(Bill too, any perspective on this as our in-house Jazz guy?)
Gassho, Jundo
PS - Here is another analogy I like to use, if some folks don't see the point. Imagine a garden, in which some Eastern teachings teach that the "flowers and weeds" are an illusion, and the purpose is to "see the source" (see the naked soil) from which they arise. Or, slightly different , those that teach "always see the soil when viewing the flowers and weeds", because the soil must be seen.
Well, to do so kills the garden! Seeing the "flowers and weeds" as an illusion like that, or always having to "see the soil when you see the flowers and weeds" kills the garden.
Because the "flowers and weeds" are the whole reason and life of the garden, the garden (including the soil) brought to fruition. The soil is just dirt without that. You can even forget about the soil much or most of the time (although it is good to bring it back to mind from time to time ... when mulching and such! )
So, appreciate and be "at one with" the garden, each flower and weed ... perfectly a jewel in its way. Such is Liberation!
And that being said, nothing to stop us from also nurturing flowers and picking weeds! (Water the weeds, neglect the flowers = the "garden of the heroin junkie". Water the flower and pull the weeds = the "garden of the Buddhist practitioner").
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