Risultati della ricerca per: 2008

Anche se…Although


Anche se…

Anche se ti dicono che sei idealista,
cercano di farti desistere, perchè il tuo sentire sarebbe diverso
dalla maggior parte delle persone, che non credono più;
che si sono disperse nell’illusione che tutto sia da gettare via…

Tu non ti arrendere!

Anche se dentro di te le lacrime sono l’unica fonte
che possa irrigare la speranza,
perchè è cocente constatare
che si attraversa ogni giorno il deserto e l’indifferenza…

Non smettere di credere!

Ascoltati, immergiti nel silenzio e lascia andare ogni cosa…
Riprendi la forza del sorriso, della consapevolezza che, in fondo,
ogni amarezza, ogni paura, ogni sofferenza si lega ad una precisa scelta,
anche quella di aspettarti qualcosa,
di credere che altri siano capaci di seguirti,
di abbracciare il tuo stesso desiderio
di un mondo perfetto e giusto.

Nella danza degli opposti sarebbe difficile che questo accada,
sii consapevole!

Semplicemente cerca la gioia,
l’equidistanza e la volontà di fare tutto il possibile,
affinché, nel tuo piccolo, tu sappia dare senso al tuo essere
qui ed ora,

sembra poco ma il vento accarezza ogni seme
e ne fa l’essenza perchè sia frutto da offrire
– nell’interessere –
a tutti coloro che sono nella sofferenza.

21.03.2008 Poetyca

Although …

Even if you say you are idealistic,
try to make you give up, because your feeling is different
by most people, who no longer believe;
that were released in the illusion that everything is to throw away …

You did not give up!

Even if inside you tears are the only source
that can irrigate hope
because it is hot note
that cross the desert each day and indifference …

Do not stop believing!

Play, enjoy the silence and let everything go …
Shoot the power of smile, knowing that, ultimately,
all bitterness, all fear, all suffering binds to a specific choice,
also to expect something
to believe that others are able to follow you,
to embrace your own desire
a perfect world and just.

In the dance of opposites would be difficult for this to happen,
Be aware!

Simply search for joy,
the equidistance and willingness to do everything possible
ensure that your child, you know make sense of your being
here and now,

seems little but the wind caresses each seed
and makes the essence because the fruit has to offer
– In the interest –
to all those who are suffering.

21.03.2008 Poetyca

Pubblicità

Ritmo – Rhythm


🌸Ritmo🌸

Attimo
intriso
di malinconia
e mani vuote
In languido
passaggio
tra cose
caduche
Tutto passa
al ritmo
di un nuovo
respiro

16.08.2019 Poetyca
🌸🌿🌸#Poetycamente
🌸Rhythm

Moment
drenched
of melancholy
and empty hands
In languid
passage
between things
deciduous
Everything passes
at the pace
of a new one
breath

16.08.2019 Poetyca

Sulla via della pace – The Path to Peace


Sulla via della pace

Le battaglie nel mondo

Fate ogni cosa con una mente che sappia lasciare andare.
Non aspettatevi nessuna ricompensa o premio.
Se lasciate andare un poco, avrete un poco di pace.
Se lasciate andare completamente, conoscerete la pace e la libertà complete.
Le vostre battaglie con il mondo giungeranno al termine.
Achaan Chah

La pace è ogni passo

La pace è ogni passo.
Il fulgido sole rosso è il mio cuore.
Ogni fiore sorride con me.
Quanto verde rigloglio tutto intorno!
Com’è fresco il soffio del vento!
La pace è ogni passo.
E fa gioioso il sentiero senza fine.

La pace è ogni passo – Thich Nhat Hanh

Il sentiero della pace

del venerabile Ajahn Chah

© Ass. Santacittarama, 2002. Tutti i diritti sono riservati.

SOLTANTO PER DISTRIBUZIONE GRATUITA.

Traduzione di Silvana Ziviani.

Brani estratti da un discorso del Venerabile Ajahn Chah indirizzato ai monaci e ai novizi.

POSSIAMO DIRE CHE IL RETTO SENTIERO DELLA PACE, il sentiero che il Buddha ha scoperto e ci ha indicato, che conduce alla pace della mente, alla purezza e alla realizzazione delle qualità di un samana, è formato da sila (freno morale), samadhi(concentrazione) e pañña (saggezza). E’ una strada valida per tutti. Infatti i discepoli del Buddha che divennero illuminati, all’inizio erano delle persone ordinarie, come tutti noi. Anche il Buddha all’inizio era uno come noi. Praticarono e dall’opacità fecero emergere la luce, dalla rozzezza la bellezza e dalle cose vane e inutili grandi benefici per tutti.

Silasamadhi e pañña sono i nomi dati a tre diversi aspetti della pratica. Praticando sila, samadhi pañña, in effetti, praticate con voi stessi. La giusta sila esiste qui in questo momento, il giusto samadhiè qui. Perché? Perché il vostro corpo è qui! La pratica di silariguarda il corpo intero. Quindi, siccome il vostro corpo è qui, le mani, le gambe sono qui, è qui che praticate sila.

Un conto è tenere a mente tutta la lista dei comportamenti sbagliati da evitare, così come elencata nei libri, un altro conto è capire che le potenzialità che questi atteggiamenti hanno di crescere, risiede in voi. Praticare la disciplina morale vuol dire stare attenti ad evitare certe azioni, come uccidere, rubare ed avere una condotta sessuale scorretta. Il Buddha ci ha insegnato a prenderci cura di tutte le nostre azioni, anche delle più semplici.

Forse nel passato avete ucciso degli animali o degli insetti schiacciandoli o non siete stati troppo attenti nel parlare: il parlare sbagliato si ha quando si mente o si esagera la verità, mentre parlare in modo grossolano vuol dire essere aggressivi e offensivi verso gli altri, dicendo in continuazione ‘imbroglione’, ‘idiota’ e così via. Il parlare frivolo si ha quando i discorsi sono solo chiacchiere inutili, senza senso, sconclusionati, che vanno avanti senza voler dire niente. Ci siamo lasciati andare tutti qualche volta a questo genere di discorsi a ruota libera, quindi praticare silasignifica sorvegliare se stessi, sorvegliare le proprie azioni e le proprie parole.

Ma chi sorveglia? Chi si prende la responsabilità delle vostre azioni? Quando vi appropriate di qualcosa che non vi appartiene, chi è consapevole di quell’azione? E’ la mano? Questo è il punto su cui dovete sviluppare la consapevolezza. Chi sa che state per mentire, giurare o dire qualcosa di frivolo? Consapevole di ciò che dice è la bocca, o è colui che conosce il significato delle parole? Contemplate: ‘colui che conosce’, chiunque sia, deve prendersi la responsabilità della vostra sila. Portate questa consapevolezza a sorvegliare le vostre azioni e le parole. Per praticare sila, usate quella parte della mente che dirige le vostre azioni e che vi porta ad agire bene o male, a cacciare il furfante e a trasformarlo in uno sceriffo. Tenete ferma la mente capricciosa e portatela a servire e a prendersi la responsabilità di tutte le vostre azioni e parole. Osservate ciò e contemplatelo. Il Buddha ci ha esortato ad essere consapevoli delle nostre azioni. Chi è consapevole? Il corpo non ne sa niente; sa solo stare in piedi, camminare e cose del genere. Per poter fare qualsiasi cosa deve aspettare che qualcuno glielo ordini. La stessa cose vale per le mani, per la bocca.

La pratica comporta che si instauri sati – cioè la consapevolezza – in ‘colui che conosce’. ‘Colui che conosce’ è quell’intenzione della mente che prima ci portava ad uccidere esseri viventi, a rubare le cose altrui e a indulgere a una sessualità scorretta, a mentire, a calunniare, a parlare in modo sciocco e frivolo, a comportarci nei modi più sfrenati. E’ ‘colui che conosce’ che ci ha spinto a parlare; esso esiste nella mente. Focalizzate la consapevolezza (sati) – questa costante riflessione consapevole – su ‘colui che conosce’. Lasciate che la conoscenza si prenda cura della vostra pratica.

Usate sati, la consapevolezza, per mantenere la mente riflessiva, concentrata nel momento presente, ottenendo così la calma mentale. Fate che la mente badi a se stessa, e che lo faccia bene.

Mantenere sila – o in altre parole, prendersi cura delle azioni e delle parole – non è poi una cosa così difficile, se la mente sa badare a se stessa. Siate sempre consapevoli, ogni momento e in ogni postura: sdraiati, in piedi, camminando e seduti. Prima di compiere qualsiasi azione, prima di parlare o di impegnarvi in una conversazione, stabilite la consapevolezza, sati; dovete essere raccolti, prima di fare qualsiasi cosa. Non importa quello che direte, l’importante è raccogliersi nella mente. Esercitatevi fino a diventare molto abili. Praticate, in modo da essere sempre al corrente di ciò che capita nella mente; praticate fino a quando la consapevolezza diventi così naturale da essere presente ancora prima di agire o di parlare. E’ questo il modo per stabilire la consapevolezza nel cuore. E’ con ‘colui che conosce’ che sorvegliate voi stessi, perché tutte le azioni vengono da lui. E’ qui che hanno origine le intenzioni che produrranno l’azione ed è per questo che la pratica non avrà successo se fate svolgere questo compito a qualcun altro.

Le vostre parole e le vostre azioni, sempre tenute a bada, diventeranno aggraziate e piacevoli sia all’occhio che all’orecchio, mentre voi stessi, sarete perfettamente a vostro agio all’interno di questa disciplina. Se praticate la consapevolezza e il controllo fino a renderli atteggiamenti naturali, la mente diventerà ferma e risoluta nella pratica di sila. Farà costantemente attenzione alla pratica, riuscendo così a concentrarsi completamente. In altre parole, la pratica basata sul controllo e la disciplina, in cui vi prendete costantemente cura delle azioni e delle parole, in cui siete completamente responsabili del comportamento esteriore che avete, si chiama sila, mentre samadhi è caratterizzato dalla saldezza della consapevolezza, a sua volta derivato dalla ferma concentrazione nella pratica di sila. Queste sono le caratteristiche di samadhi, come fattore esterno della pratica. Ma vi è un lato più profondo e interiore.

Una volta che la mente sia concentrata nella pratica e che sila e samadhi si siano stabilizzati, sarete in grado di investigare e riflettere su ciò che è salutare e ciò che non lo è, chiedendo a voi stessi “questo è giusto? O non è giusto?”, man mano che sperimentate i vari contenuti mentali. Quando la mente entra in contatto con cose visive, con suoni, odori, gusti, con sensazioni tattili o con idee, ‘colui che conosce’ apparirà e stabilirà la consapevolezza del piacere e dispiacere, della felicità e della sofferenza, e di tutti gli oggetti mentali che si vanno sperimentando. Riuscirete finalmente a ‘vedere’ chiaramente e osserverete un’infinità di cose diverse.

Se siete consapevoli, vedrete i vari oggetti che passano nella mente e la reazione che accompagna l’esperienza di essi. ‘Colui che conosce’ li prenderà automaticamente come oggetti di contemplazione. Quando la mente è vigile e la consapevolezza ferma e stabile, noterete facilmente le reazioni che si manifestano per mezzo del corpo, della parola o della mente, man mano che si sperimentano questi oggetti mentali. Tale aspetto della mente che identifica e seleziona il buono dal cattivo, il giusto dallo sbagliato, in mezzo agli oggetti mentali che rientrano nel campo della consapevolezza, è pañña, una pañña allo stadio iniziale, che maturerà con l’avanzare della pratica. Tutti questi vari aspetti della pratica sorgono dall’interno della mente. Il Buddha si riferì a queste caratteristiche chiamandole sila, samadhi e pañña.

Continuando la pratica, vedrete sorgere nella mente altri attaccamenti e illusioni. Questo significa che ora state attaccandovi a ciò che è buono e sano. Diventate timorosi di ogni caduta o errore della mente, temendo che il samadhi ne risenta. Nello stesso tempo cominciate ad essere diligenti nella pratica, ad amarla e a coltivarla, lavorandovi con grande energia.

Continuate a praticare così il più a lungo possibile, fino a quando forse raggiungerete il punto in cui non farete altro che giudicare e trovare errori in chiunque incontrate, ovunque andiate. Reagite continuamente con attrazione o avversione al mondo che vi circonda, diventando sempre più incerti sulla correttezza di ciò che fate. E’ come se foste ossessionati dalla pratica. Ma non preoccupatevene; a questo punto è meglio praticare troppo che troppo poco. Praticate molto e dedicatevi a sorvegliare il corpo, la parola e la mente. Di questo esercizio non ne farete mai abbastanza. Tenetevi ancorati agli oggetti mentali rappresentati dalla consapevolezza e dal controllo sul corpo, sulla parola e sulla mente, e dalla discriminazione tra giusto e sbagliato. In questo modo svilupperete sempre più la concentrazione e rimanendo costantemente e fermamente ancorati a questo modo di praticare, la mente diventerà essa stessa sila, samadhi e pañña, le caratteristiche della pratica come descritte negli insegnamenti tradizionali.

Man mano che continuate a sviluppare la pratica, queste differenti caratteristiche e qualità, si perfezioneranno nella mente. Tuttavia la pratica di sila, samadhi pañña, a questo livello non è sufficiente per produrre i fattori di jhana (assorbimento meditativo) – la pratica è ancora troppo grossolana. Eppure la mente è abbastanza raffinata (sempre relativamente alla grossolanità di base!). E tale appare a una normale persona non illuminata, che non abbia curato troppo la propria mente e che non abbia praticato la meditazione e la consapevolezza.

A questo livello si può sentire un certo senso di soddisfazione per riuscire a praticare al massimo delle proprie possibilità e lo vedrete da soli. E’ qualcosa che solo il praticante può sperimentare all’interno della propria mente. E se questo avviene, potete ritenervi già sulla giusta via. State camminando solo all’inizio del sentiero – ai livelli più elementari – ma, per certi versi, questi sono gli stadi più difficili. State praticando sila, samadhi e pañña e dovete continuare a praticarli sempre tutti e tre, poiché se ne manca anche solo uno, la pratica non si svilupperà in modo corretto. Più cresce sila, più solida e concentrata diviene la mente. Più la mente è stabile più consistente diventa pañña, e così via; ogni parte della pratica sostiene e si collega all’altra.

Man mano che approfondite e raffinate la pratica, sila, samadhi paññamatureranno insieme sgorgando dalla stessa fonte, come infatti si sono raffinate sbozzandosi dallo stesso materiale grezzo. In altre parole, il Sentiero ha inizi grossolani, ma raffinando ed esercitando la mente con la meditazione e la riflessione, tutto diventa via via più raffinato.

Quando la mente è più raffinata, la pratica della consapevolezza si focalizza meglio, poiché è concentrata su un’area più ristretta. Anzi, la pratica diventa molto più facile, quando la mente si concentra sempre di più su se stessa. Ormai non fate più grossi sbagli, ormai, quando la mente è presa in qualche problema, quando sorgono dubbi se è giusto o no agire o dire certe cose, semplicemente fermate la proliferazione mentale e, intensificando gli sforzi nella pratica, continuate a volgere l’attenzione sempre più in profondità in voi stessi. Così la pratica del samadhi diverrà vieppiù ferma e concentrata, mentre la pratica di pañña si rafforza, permettendo di vedere le cose più chiaramente e più naturalmente.

Il risultato è che potrete vedere la mente e i suoi oggetti nitidamente, senza dover fare distinzione fra mente, corpo e parola. Continuando a volgere l’attenzione all’interno di sé e continuando a riflettere sul Dhamma, la facoltà della saggezza gradualmente maturerà fino al punto che potrete contemplare la mente e gli oggetti mentali soltanto, ciò significa che state cominciando a sperimentare il corpo come immateriale. Quando l’intuizione è così sviluppata, non andrete più a tentoni, incerti su come interpretare il corpo e il suo modo di essere. La mente sperimenterà le caratteristiche fisiche del corpo come oggetti senza forma con cui essa entra in contatto. Infine, contemplerete solo la mente e gli oggetti mentali, cioè quegli oggetti che arrivano a livello di coscienza.

Esaminando ora la vera natura della mente, osserverete che, nel suo stato naturale, non ha preoccupazioni o ambizioni che la sommergano. E’ come una bandiera che sia stata legata all’estremità di un’asta; se niente la muove rimarrà così, tranquilla. E se si muove significa che c’è del vento, una forza esterna che la fa agitare. Allo stato naturale, la mente fa lo stesso – in essa non vi è né amore né odio, né disapprovazione. Essa è indipendente, in uno stato di purezza che è completamente chiaro, raggiante, non offuscato. Nel suo stato puro la mente è pacifica, senza felicità o sofferenza, – in effetti non sperimenta nessun vedana(sensazione). E’ questo il vero stato della mente.

Lo scopo della pratica, quindi, è guardarsi internamente, cercando e investigando fino a quando troverete la mente originale. La mente originale è detta anche la mente pura. La mente pura è la mente senza attaccamenti. E’ in uno stato di perenne conoscenza e attenzione, completamente consapevole di ciò che sta sperimentando. Quando la mente è così non vi sono oggetti mentali piacevoli o spiacevoli che la possano turbare, non li insegue. La mente non ‘diventa’ nulla. In altre parole, nulla può scuoterla. La mente conosce se stessa come purezza. Si è evoluta verso una vera, completa indipendenza; ha raggiunto il suo stato originale.

E come ha potuto raggiungere questo stato originale? Attraverso la facoltà della consapevolezza, riflettendo con saggezza e vedendo che tutte le cose sono solo condizioni che sorgono dal mutuo interagire degli elementi, senza che vi sia nessuno che li controlli. E così capita anche quando sperimentiamo la gioia e la sofferenza. Questi stati mentali sono solo “felicità” e “sofferenza”. Non vi è qualcuno che ‘ha’ la felicità, la mente non ‘possiede’ la sofferenza; gli stati mentali non ‘appartengono’ alla mente. Osservatelo voi stessi. In effetti, queste sono cose che non riguardano la mente, sono separate, distinte da essa. La felicità è solo uno stato di felicità; la sofferenza è solo uno stato di sofferenza. Voi siete solo coloro che sanno questo.

In passato, a causa delle radici dell’avidità, dell’odio e dell’illusione presenti nella mente, essa avrebbe reagito immediatamente quando entravate in contatto con qualcosa di piacevole o spiacevole, e attraverso questa reazione vi sareste ‘impadroniti’ di quell’oggetto mentale, sperimentandolo come sofferenza o gioia. E così potrà avvenire ancora fino a quando la mente non conoscerà se stessa, fino a quando non sarà chiara e illuminata. Quando la mente non è libera, si lascia influenzare da qualsiasi oggetto mentale le capiti di sperimentare. In altre parole, non ha un rifugio, è incapace di dipendere veramente da se stessa. In questa situazione, quando ricevete una piacevole impressione mentale diventate allegri o diventate tristi quando l’oggetto mentale è spiacevole. Così la mente dimentica se stessa.

La mente originale, invece, è al di là del bene e del male, poiché questa è la natura originale della mente. E’ un’illusione essere felici per aver sperimentato un oggetto mentale piacevole. E’ un’illusione essere tristi per aver sperimentato un oggetto mentale spiacevole. Gli oggetti mentali sorgono con il mondo, sono il mondo. Danno l’avvio alla felicità e alla sofferenza, al bene e al male, e a tutto ciò che è soggetto all’impermanenza e all’incertezza. Quando vi separate dalla mente originale, tutto diventa incerto: solo una catena interminabile di nascita e morte, dubbi e apprensioni, sofferenza e fatica, senza la possibilità di fermare, di far cessare tutto ciò. E’ questa la ruota eterna delle rinascite.

Samadhi significa la mente fermamente concentrata, e più praticate più la mente diventa stabile. Più la mente è concentrata, più essa diventa risoluta nella pratica. Più contemplate, più diventate fiduciosi e la mente diventerà così stabile che non potrà più essere smossa da nulla. Sapete perfettamente che nessun oggetto mentale la può scuotere. Gli oggetti mentali sono oggetti mentali; la mente è la mente. La mente sperimenta stati mentali buoni o cattivi, felicità e sofferenza, perché viene illusa dagli oggetti mentali. La mente che non si fa ingannare non può essere turbata da nulla, poiché nello stato di consapevolezza, vede tutte le cose come elementi naturali che sorgono e scompaiono: solo questo! Si può avere questo tipo di esperienza anche quando non si è riusciti a lasciar andare completamente.

Semplificando, lo stato che è sorto, è la mente stessa. Se contemplate seguendo la verità delle cose così come sono, vi accorgerete che esiste un solo sentiero e che è vostro dovere seguirlo. Significa che sapete, fin dall’inizio, che gli stati mentali di felicità e dolore non sono il sentiero da seguire. E’ qualcosa che dovete capire da soli: è la verità delle cose così come sono! Siete in grado di capire tutto ciò – siete consapevoli con la giusta visione delle cose – ma allo stesso tempo non siete in grado di lasciar andare completamente i vostri attaccamenti.

Qual è allora il modo giusto di praticare? State nella via di mezzo, che vuol dire prendere nota dei vari stati di gioia e dolore, ma contemporaneamente teneteli a debita distanza sia da un’esagerazione che dall’altra. Questa è la via corretta di praticare: mantenere la consapevolezza anche se non siete in grado di lasciar andare. E’ la via più giusta, poiché, anche se la mente è aggrappata ai vari stati di gioia o sofferenza, vi è sempre la consapevolezza di questo attaccamento. Ciò significa che quando la mente si attacca a stati di felicità, voi non le date importanza e non ne gioite e altrettanto non criticate gli stati di sofferenza. In questo modo potete veramente osservare la mente così com’è. Quando praticate fino al punto di portare la mente oltre la gioia e l’infelicità, automaticamente sorgerà l’equanimità, e voi non dovrete fare altro che contemplarla come un oggetto mentale e seguirla, pian pianino. Il cuore sa dove andare per essere oltre le negatività, e anche se non è ancora pronto a trascenderle, le mette da parte e continua a praticare.

Quando sorge la felicità e la mente vi si attacca, prendete proprio questa felicità come oggetto di contemplazione; lo stesso, se la mente si attacca all’infelicità, prendete questa infelicità come oggetto di contemplazione. Finalmente la mente raggiungerà uno stadio in cui sarà pienamente consapevole sia della felicità che dell’infelicità. E questo accadrà quando sarà in grado di mettere da parte sia la felicità che la sofferenza, sia il piacere che la tristezza, quando sarà in grado di mettere da parte il mondo per diventare allora il ‘conoscitore dei mondi’. Una volta che la mente ‘colei che conosce’ – può lasciar andare, è qui che si stabilizzerà ed allora la pratica diventa veramente interessante.

Ogni volta che vi è attaccamento nella mente, continuate a battere su quel punto, senza lasciar andare. Se c’è attaccamento alla felicità, continuate a meditarvi sopra, senza permettere che la mente si allontani da quello stato d’animo. Se la mente si attacca alla sofferenza, afferratevi a ciò, tenendovi ben stretti e contemplando subito quella disposizione d’animo. Anche se la mente è intrappolata in uno stato mentale negativo, riconoscetelo come uno stato d’animo negativo e la mente non ne sarà più distratta. E’ come quando si capita in un cespuglio di rovi; ovviamente non lo fate appositamente, anzi cercate di evitarlo, ma può capitare che vi troviate a camminare tra le spine. E come vi sentite allora? Naturalmente provate avversione. Anche se lo sapete, non potete fare a meno di essere ‘in mezzo alle spine’. La mente continua ancora a inseguire i vari stati di felicità e sofferenza, ma non indulge in essi. Il vostro è un continuo sforzo per eliminare ogni attaccamento dalla mente, per eliminare e per ripulire la mente da tutto ciò che è esteriore, mondano.

Alcuni vogliono pacificare la mente, ma essi stessi non sanno che cos’è la pace. Non sanno che cos’è una mente tranquilla! Vi sono due tipi di tranquillità mentale: uno è la pace che viene per mezzo del samadhi,l’altro è la pace che viene da pañña. La mente che è calma per mezzo disamadhi è una mente ancora in preda all’illusione. La pace che si raggiunge per mezzo del solo samadhi, dipende dal fatto che la mente è separata dagli oggetti mentali. Quando non sperimenta alcun oggetto mentale, allora è calma, e perciò uno si attacca alla felicità collegata a questa pace. Tuttavia, quando c’è il contatto con i sensi, la mente vi si precipita dentro subito, poiché ha paura degli oggetti mentali. Ha paura della felicità e della sofferenza; ha paura della lode e della critica, ha paura delle forme, dei suoni, degli odori e dei gusti. Chi ha la pace per mezzo di samadhi ha paura di tutto e non vuole essere coinvolto in niente e con nessuno. La gente che pratica samadhi in questo modo, vorrebbe isolarsi in una grotta, dove può sperimentare in pieno la beatitudine delsamadhi, senza mai doverne uscire fuori. Appena trovano un posto isolato, vi si intrufolano e vi si nascondono.

Questo tipo di samadhi porta con sé molta sofferenza: per loro è difficile uscirne fuori e avvicinarsi agli altri. Non vogliono vedere forme o udire suoni. Non vogliono sperimentare completamente nulla! Devono vivere in appositi luoghi particolarmente tranquilli, dove nessuno possa disturbarli con la presenza o con le parole.

Questo tipo di pace non è utile allo scopo. Quando avete raggiunto un normale livello di calma, allontanatevene. Il Buddha non ci ha insegnato a praticare samadhi nell’illusione. Se vi accorgete di praticare in questa maniera, smettete subito. Se la mente ha raggiunto la calma, usate questa calma come base di contemplazione. Contemplate la pace della concentrazione e usatela per collegare la mente con i vari oggetti mentali che sperimenta, riflettendoci poi sopra. Contemplate le tre caratteristiche di aniccam (impermanenza), dukkham (sofferenza) e anatta (non-sé). Riflettete e quando avrete contemplato abbastanza, potete ristabilire senza pericolo la calma del samadhi, sedendo in meditazione e poi, una volta riottenuta la calma, riprendete la contemplazione. Man mano che acquistate conoscenza, usatela per combattere le negatività e allenare la mente.

La pace che viene per mezzo di pañña è un’altra cosa, perché quando la mente lascia lo stato di calma, la presenza di pañña la salva dal timore per le forme, i suoni, gli odori, i gusti, le sensazioni tattili e le idee. Vuol dire che ogni volta che c’è un contatto sensoriale, la mente è subito consapevole dell’oggetto mentale e lo lascia perdere – la consapevolezza è abbastanza acuta per poterlo fare immediatamente. Questa è la pace che arriva per mezzo di pañña.

Quando praticate in questo modo, la mente diventa molto più raffinata di quando sviluppavate solo samadhi. La mente diventa potentissima e non cerca più di scappare. E’ questa energia che allontana ogni timore. Prima avevate paura di ogni esperienza, ma ora conoscete gli oggetti mentali per quello che sono e non ne siete quindi più spaventati. Conoscete la vostra stessa forza mentale e non ne siete più intimoriti. Quando vedete una forma, la contemplate; quando udite un suono, lo contemplate. Diventate abili nella contemplazione degli oggetti mentali e comunque essi siano, li potete lasciar andare. Vedete chiaramente la felicità e la lasciate andare. Qualsiasi cosa vediate, la lasciate subito andare. In tal modo tutti gli oggetti mentali perdono la loro forza e non possono più trascinarvi con loro. Quando sorgono queste caratteristiche nella mente del praticante, si può cambiare il nome della pratica, chiamandola vipassana, che significa chiara conoscenza in accordo con la verità. E’ tutto qui: conoscenza in accordo con la verità sulle cose così come sono. Questa è pace al più alto livello, la pace di vipassana.

Il vero scopo della pratica, quindi, non è sviluppare samadhi, sedendosi in meditazione e aggrappandosi a quello stato di beatitudine che procura. Dovete anzi evitare questo stato. Il Buddha ha detto che dovete combattere apertamente la vostra battaglia, non nascondervi in una trincea cercando di evitare le pallottole del nemico. Quando è il momento di lottare, dovete saltar fuori con le armi in pugno, dovete per forza uscire dal nascondiglio. Non potete più stare lì a poltrire quando è tempo di battaglia. Questa è la pratica. Non dovete permettere che la mente si nasconda, acquattandosi nell’ombra.

Ho spiegato la pratica a grandi linee, affinché non abbiate ad impantanarvi nel dubbio, affinché non vi siano esitazioni sul modo di praticare. Quando c’è la felicità, osservate quella felicità; quando c’è la sofferenza, osservate quella sofferenza. E così stabilizzati nella consapevolezza, provate a lasciarle andare entrambe, a metterle da parte. Ora che le avete osservate e quindi le conoscete, continuate a lasciarle andare. Non è importante che meditiate seduti o camminando, se continuate a pensare non fa niente. La cosa importante è essere sempre e continuamente consapevoli della propria mente. Se vi trovate invischiati in troppe proliferazioni mentali, raccoglietele tutte insieme, e contemplatele come se fossero un tutt’uno. Ne taglierete l’energia alla radice dicendo: “Tutti questi pensieri, queste idee e immaginazioni sono semplicemente delle proliferazioni mentali e basta. Tutto ciò è aniccam, dukkham anatta. In nessuno di loro risiede la certezza”. E poi lasciatele subito perdere.

© Ass. Santacittarama (& Wat Nong Pah Pong), 2006. Tutti i diritti sono riservati. SOLTANTO PER DISTRIBUZIONE
GRATUITA. 
On the Road to PeaceThe battles in the worldDo everything with a mind that knows how to let go.
Do not expect any reward or prize.
If you let go a little, you’ll have a little peace.
If you let go completely, you will know complete freedom andpeace.
Your battles with the world come to an end.

Achaan Chah

Peace is every step

Peace is every step.
The shining red sun is my heart.
Each flower smiles with me.
Rigloglio how green all around!
How cool the wind blowing!
Peace is every step.
It is the joyful endless path.

Peace is every step – Thich Nhat Hanh

The Path to Peace

Today I will give a teaching particularly for you as monks and novices, so please determine your hearts and minds to listen. There is nothing else for us to talk about other than the practice of the DhammaVinaya (Truth and Discipline).

Every one of you should clearly understand that now you have been ordained as Buddhist monks and novices and should be conducting yourselves appropriately. We have all experienced the lay life, which is characterised by confusion and a lack of formal Dhamma practice; now, having taken up the form of a Buddhistsamana1, some fundamental changes have to take place in our minds so that we differ from lay people in the way we think. We must try to make all of our speech and actions – eating and drinking, moving around, coming and going – befitting for one who has been ordained as a spiritual seeker, who the Buddha referred to as a samana. What he meant was someone who is calm and restrained. Formerly, as lay people, we didn’t understand what it meant to be a samana, that sense of peacefulness and restraint. We gave full license to our bodies and minds to have fun and games under the influence of craving and defilement. When we experienced pleasant ārammana2, these would put us into a good mood, unpleasant mind-objects would put us into a bad one – this is the way it is when we are caught in the power of mind-objects. The Buddha said that those who are still under the sway of mind-objects aren’t looking after themselves. They are without a refuge, a true abiding place, and so they let their minds follow moods of sensual indulgence and pleasure-seeking and get caught into suffering, sorrow, lamentation, pain, grief and despair. They don’t know how or when to stop and reflect upon their experience.

In Buddhism, once we have received ordination and taken up the life of the samana, we have to adjust our physical appearance in accordance with the external form of the samana: we shave our heads, trim our nails and don the brown bhikkhus’3 robes – the banner of the Noble Ones, the Buddha and the Arahants4. We are indebted to the Buddha for the wholesome foundations he established and handed down to us, which allow us to live as monks and find adequate support. Our lodgings were built and offered as a result of the wholesome actions of those with faith in the Buddha and His teachings. We do not have to prepare our food because we are benefiting from the roots laid down by the Buddha. Similarly, we have inherited the medicines, robes and all the other requisites that we use from the Buddha. Once ordained as Buddhist monastics, on the conventional level we are called monks and given the title ‘Venerable’5; but simply having taken on the external appearance of monks does not make us truly venerable. Being monks on the conventional level means we are monks as far as our physical appearance goes. Simply by shaving our heads and putting on brown robes we are called ‘Venerable’, but that which is truly worthy of veneration has not yet arisen within us – we are still only ‘Venerable’ in name. It’s the same as when they mould cement or cast brass into a Buddha image: they call it a Buddha, but it isn’t really that. It’s just metal, wood, wax or stone. That’s the way conventional reality is.

It’s the same for us. Once we have been ordained, we are given the title Venerable Bhikkhu, but that alone doesn’t make us venerable. On the level of ultimate reality – in other words, in the mind – the term still doesn’t apply. Our minds and hearts have still not been fully perfected through the practice with such qualities as mettā (kindness), karunā (compassion), muditā (sympathetic joy) and upekkhā (equanimity). We haven’t reached full purity within. Greed, hatred and delusion are still barring the way, not allowing that which is worthy of veneration to arise.

Our practice is to begin destroying greed, hatred and delusion – defilements which for the most part can be found within each and every one of us. These are what hold us in the round of becoming and birth and prevent us from achieving peace of mind. Greed, hatred and delusion prevent the samana – peacefulness – from arising within us. As long as this peace does not arise, we are still not samana; in other words, our hearts have not experienced the peace that is free from the influence of greed, hatred and delusion. This is why we practise – with the intention of expunging greed, hatred and delusion from our hearts. It is only when these defilements have been removed that we can reach purity, that which is truly venerable.

Internalising that which is venerable within your heart doesn’t involve working only with the mind, but your body and speech as well. They have to work together. Before you can practise with your body and speech, you must be practising with your mind. However, if you simply practise with the mind, neglecting body and speech, that won’t work either. They are inseparable. Practising with the mind until it’s smooth, refined and beautiful is similar to producing a finished wooden pillar or plank: before you can obtain a pillar that is smooth, varnished and attractive, you must first go and cut a tree down. Then you must cut off the rough parts – the roots and branches – before you split it, saw it and work it. Practising with the mind is the same as working with the tree, you have to work with the coarse things first. You have to destroy the rough parts: destroy the roots, destroy the bark and everything which is unattractive, in order to obtain that which is attractive and pleasing to the eye. You have to work through the rough to reach the smooth. Dhamma practice is just the same. You aim to pacify and purify the mind, but it’s difficult to do. You have to begin practising with externals – body and speech – working your way inwards until you reach that which is smooth, shining and beautiful. You can compare it with a finished piece of furniture, such as these tables and chairs. They may be attractive now, but once they were just rough bits of wood with branches and leaves, which had to be planed and worked with. This is the way you obtain furniture that is beautiful or a mind that is perfect and pure.

Therefore the right path to peace, the path the Buddha laid down, which leads to peace of mind and the pacification of the defilements, is sīla (moral restraint), samādhi (concentration) andpaññā (wisdom). This is the path of practice. It is the path that leads you to purity and leads you to realise and embody the qualities of the samana. It is the way to the complete abandonment of greed, hatred and delusion. The practice does not differ from this whether you view it internally or externally.

This way of training and maturing the mind – which involves the chanting, the meditation, the Dhamma talks and all the other parts of the practice – forces you to go against the grain of the defilements. You have to go against the tendencies of the mind, because normally we like to take things easy, to be lazy and avoid anything which causes us friction or involves suffering and difficulty. The mind simply doesn’t want to make the effort or get involved. This is why you have to be ready to endure hardship and bring forth effort in the practice. You have to use the dhammaof endurance and really struggle. Previously your bodies were simply vehicles for having fun, and having built up all sorts of unskilful habits it’s difficult for you to start practising with them. Before, you didn’t restrain your speech, so now it’s hard to start restraining it. But as with that wood, it doesn’t matter how troublesome or hard it seems: before you can make it into tables and chairs, you have to encounter some difficulty. That’s not the important thing; it’s just something you have to experience along the way. You have to work through the rough wood to produce the finished pieces of furniture.

The Buddha taught that this is the way the practice is for all of us. All of his disciples who had finished their work and become fully enlightened, had, (when they first came to take ordination and practise with him) previously been puthujjana (ordinary worldlings). They had all been ordinary unenlightened beings like ourselves, with arms and legs, eyes and ears, greed and anger – just the same as us. They didn’t have any special characteristics that made them particularly different from us. This was how both the Buddha and his disciples had been in the beginning. They practised and brought forth enlightenment from the unenlightened, beauty from the ugliness and great benefit from that which was virtually useless. This work has continued through successive generations right up to the present day. It is the children of ordinary people – farmers, traders and businessmen – who, having previously been entangled in the sensual pleasures of the world, go forth to take ordination. Those monks at the time of the Buddha were able to practise and train themselves, and you must understand that you have the same potential. You are made up of the five khandhas6 (aggregates), just the same. You also have a body, pleasant and unpleasant feelings, memory and perception, thought formations and consciousness – as well as a wandering and proliferating mind. You can be aware of good and evil. Everything’s just the same. In the end, that combination of physical and mental phenomena present in each of you, as separate individuals, differs little from that found in those monastics who practised and became enlightened under the Buddha. They had all started out as ordinary, unenlightened beings. Some had even been gangsters and delinquents, while others were from good backgrounds. They were no different from us. The Buddha inspired them to go forth and practise for the attainment of magga (the Noble Path) and phala (Fruition)7, and these days, in similar fashion, people like yourselves are inspired to take up the practice of sīlasamādhi and paññā.

Sīlasamādhi and paññā are the names given to the different aspects of the practice. When you practise sīlasamādhi and paññā, it means you practise with yourselves. Right practice takes place here within you. Right sīla exists here, right samādhi exists here. Why? Because your body is right here. The practice of sīla involves every part of the body. The Buddha taught us to be careful of all our physical actions. Your body exists here! You have hands, you have legs right here. This is where you practise sīla. Whether your actions will be in accordance with sīla and Dhamma depends on how you train your body. Practising with your speech means being aware of the things you say. It includes avoiding wrong kinds of speech, namely divisive speech, coarse speech and unnecessary or frivolous speech. Wrong bodily actions include killing living beings, stealing and sexual misconduct.

It’s easy to reel off the list of wrong kinds of behaviour as found in the books, but the important thing to understand is that the potential for them all lies within us. Your body and speech are with you right here and now. You practise moral restraint, which means taking care to avoid the unskilful actions of killing, stealing and sexual misconduct. The Buddha taught us to take care with our actions from the very coarsest level. In the lay life you might not have had very refined moral conduct and frequently transgressed the precepts. For instance, in the past you may have killed animals or insects by smashing them with an axe or a fist, or perhaps you didn’t take much care with your speech: false speech means lying or exaggerating the truth; coarse speech means you are constantly being abusive or rude to others – ‘you scum,’ ‘you idiot,’ and so on; frivolous speech means aimless chatter, foolishly rambling on without purpose or substance. We’ve indulged in it all. No restraint! In short, keeping sīla means watching over yourself, watching over your actions and speech.

So who will do the watching over? Who will take responsibility for your actions? When you kill some animal, who is the one who knows? Is your hand the one who knows, or is it someone else? When you steal someone else’s property, who is aware of the act? Is your hand the one who knows? This is where you have to develop awareness. Before you commit some act of sexual misconduct, where is your awareness? Is your body the one who knows? Who is the one who knows before you lie, swear or say something frivolous? Is your mouth aware of what it says, or is the one who knows in the words themselves? Contemplate this: whoever it is who knows is the one who has to take responsibility for your sīla. Bring that awareness to watch over your actions and speech. That knowing, that awareness is what you use to watch over your practice. To keep sīla, you use that part of the mind which directs your actions and which leads you to do good and bad. You catch the villain and transform him into a sheriff or a mayor. Take hold of the wayward mind and bring it to serve and take responsibility for all your actions and speech. Look at this and contemplate it. The Buddha taught us to take care with our actions. Who is it who does the taking care? The body doesn’t know anything; it just stands, walks around and so on. The hands are the same; they don’t know anything. Before they touch or take hold of anything, there has to be someone who gives them orders. As they pick things up and put them down there has to be someone telling them what to do. The hands themselves aren’t aware of anything; there has to be someone giving them orders. The mouth is the same – whatever it says, whether it tells the truth or lies, is rude or divisive, there must be someone telling it what to say.

The practice involves establishing sati, mindfulness, within this ‘one who knows.’ The ‘one who knows’ is that intention of mind, which previously motivated us to kill living beings, steal other people’s property, indulge in illicit sex, lie, slander, say foolish and frivolous things and engage in all the kinds of unrestrained behaviour. The ‘one who knows’ led us to speak. It exists within the mind. Focus your mindfulness or sati – that constant recollectedness – on this ‘one who knows.’ Let the knowing look after your practice.

In practice, the most basic guidelines for moral conduct stipulated by the Buddha were: to kill is evil, a transgression of sīla; stealing is a transgression; sexual misconduct is a transgression; lying is a transgression; vulgar and frivolous speech are all transgressions of sīla. You commit all this to memory. It’s the code of moral discipline, as laid down by the Buddha, which encourages you to be careful of that one inside of you who was responsible for previous transgressions of the moral precepts. That one, who was responsible for giving the orders to kill or hurt others, to steal, to have illicit sex, to say untrue or unskilful things and to be unrestrained in all sorts of ways – singing and dancing, partying and fooling around. The one who was giving the orders to indulge in all these sorts of behaviour is the one you bring to look after the mind. Use sati or awareness to keep the mind recollecting in the present moment and maintain mental composure in this way. Make the mind look after itself. Do it well.

If the mind is really able to look after itself, it is not so difficult to guard speech and actions, since they are all supervised by the mind. Keeping sīla – in other words taking care of your actions and speech – is not such a difficult thing. You sustain awareness at every moment and in every posture, whether standing, walking, sitting or lying down. Before you perform any action, speak or engage in conversation, establish awareness first – don’t act or speak first, establish mindfulness first and then act or speak. You must have sati, be recollecting, before you do anything. It doesn’t matter what you are going to say, you must first be recollecting in the mind. Practise like this until you are fluent. Practise so that you can keep abreast of what’s going on in the mind; to the point where mindfulness becomes effortless and you are mindful before you act, mindful before you speak. This is the way you establish mindfulness in the heart. It is with the ‘one who knows’ that you look after yourself, because all your actions spring from here.

This is where the intentions for all your actions originate and this is why the practice won’t work if you try to bring in someone else to do the job. The mind has to look after itself; if it can’t take care of itself, nothing else can. This is why the Buddha taught that keeping sīla is not that difficult, because it simply means looking after your own mind. If mindfulness is fully established, whenever you say or do something harmful to yourself or others, you will know straight away. You know that which is right and that which is wrong. This is the way you keep sīla. You practise with your body and speech from the most basic level.

By guarding your speech and actions they become graceful and pleasing to the eye and ear, while you yourself remain comfortable and at ease within the restraint. All your behaviour, manners, movements and speech become beautiful, because you are taking care to reflect upon, adjust and correct your behaviour. You can compare this with your dwelling place or the meditation hall. If you are regularly cleaning and looking after your dwelling place, then both the interior and the area around it will be pleasant to look at, rather than a messy eyesore. This is because there is someone looking after it. Your actions and speech are similar. If you are taking care with them, they become beautiful, and that which is evil or dirty will be prevented from arising.

Ādikalyānamajjhekalyānapariyosānakalyāna: beautiful in the beginning, beautiful in the middle and beautiful in the end; or harmonious in the beginning, harmonious in the middle and harmonious in the end. What does that mean? Precisely that the practice of sīlasamādhi and paññā is beautiful. The practice is beautiful in the beginning. If the beginning is beautiful, it follows that the middle will be beautiful. If you practise mindfulness and restraint until it becomes comfortable and natural to you – so that there is a constant vigilance – the mind will become firm and resolute in the practise of sīla and restraint. It will be consistently paying attention to the practice and thus become concentrated. That characteristic of being firm and unshakeable in the monastic form and discipline and unwavering in the practice of mindfulness and restraint can be referred to as ‘samādhi.’

That aspect of the practice characterised by a continuous restraint, where you are consistently taking care with your actions and speech and taking responsibility for all your external behaviour, is referred to as sīla. The characteristic of being unwavering in the practice of mindfulness and restraint is calledsamādhi. The mind is firmly concentrated in this practice of sīlaand restraint. Being firmly concentrated in the practice of sīlameans that there is an evenness and consistency to the practice of mindfulness and restraint. These are the characteristics of samādhias an external factor in the practice, used in keeping sīla. However, it also has an inner, deeper side to it. It is essential that you develop and maintain sīla and samādhi from the beginning – you have to do this before anything else.

Once the mind has an intentness in the practice and sīla andsamādhi are firmly established, you will be able to investigate and reflect on that which is wholesome and unwholesome – asking yourself… ‘Is this right?’… ‘Is that wrong?’ – as you experience different mind-objects. When the mind makes contact with different sights, sounds, smells, tastes, tactile sensations or ideas, the ‘one who knows’ will arise and establish awareness of liking and disliking, happiness and suffering and the different kinds of mind-objects that you experience. You will come to see clearly, and see many different things.

If you are mindful, you will see the different objects which pass into the mind and the reaction which takes place upon experiencing them. The ‘one who will automatically take them up as objects for contemplation. Once the mind is vigilant and mindfulness is firmly established, you will note all the reactions displayed through either body, speech or mind, as mind-objects are experienced. That aspect of the mind which identifies and selects the good from the bad, the right from the wrong, from amongst all the mind-objects within your field of awareness, ispaññā. This is paññā in its initial stages and it matures as a result of the practice. All these different aspects of the practice arise from within the mind. The Buddha referred to these characteristics assīlasamādhi and paññā. This is the way they are, as practised in the beginning.

As you continue the practice, fresh attachments and new kinds of delusion begin to arise in the mind. This means you start clinging to that which is good or wholesome. You become fearful of any blemishes or faults in the mind – anxious that your samādhiwill be harmed by them. At the same time you begin to be diligent and hard working, and to love and nurture the practice. Whenever the mind makes contact with mind-objects, you become fearful and tense. You become aware of other people’s faults as well, even the slightest things they do wrong. It’s because you are concerned for your practice. This is practising sīlasamādhi and paññā on one level – on the outside – based on the fact that you have established your views in accordance with the form and foundations of practice laid down by the Buddha. Indeed, these are the roots of the practice and it is essential to have them established in the mind.

You continue to practise like this as much as possible, until you might even reach the point where you are constantly judging and picking fault with everyone you meet, wherever you go. You are constantly reacting with attraction and aversion to the world around you, becoming full of all kinds of uncertainty and continually attaching to views of the right and wrong way to practise. It’s as if you have become obsessed with the practice. But you don’t have to worry about this yet – at that point it’s better to practise too much than too little. Practise a lot and dedicate yourself to looking after body, speech and mind. You can never really do too much of this. This is said to be practising sīla on one level; in fact, sīlasamādhi and paññā are all in there together.

If you were to describe the practice of sīla at this stage, in terms of pāramī8 (spiritual perfections), it would be dāna pāramī (the spiritual perfection of giving), or sīla pāramī (the spiritual perfection of moral restraint). This is the practice on one level. Having developed this much, you can go deeper in the practice to the more profound level of dāna upapāramī9 and sīla upapāramī. These arise out of the same spiritual qualities, but the mind is practising on a more refined level. You simply concentrate and focus your efforts to obtain the refined from the coarse.

Once you have gained this foundation in your practice, there will be a strong sense of shame and fear of wrong-doing established in the heart. Whatever the time or place – in public or in private – this fear of wrong doing will always be in the mind. You become really afraid of any wrong doing. This is a quality of mind that you maintain throughout every aspect of the practice. The practice of mindfulness and restraint with body, speech and mind and the consistent distinguishing between right and wrong is what you hold as the object of mind. You become concentrated in this way and by firmly and unshakeably attaching to this way of practice, it means the mind actually becomes sīlasamādhi and paññā – the characteristics of the practice as described in the conventional teachings.

As you continue to develop and maintain the practice, these different characteristics and qualities are perfected together in the mind. However, practising sīlasamādhi and paññā at this level is still not enough to produce the factors of jhāna10 (meditative absorption) – the practice is still too coarse. Still, the mind is already quite refined – on the refined side of coarse! For an ordinary unenlightened person who has not been looking after the mind or practised much meditation and mindfulness, just this much is already something quite refined. It’s like a poor person – owning two or three pounds can mean a lot, though for a millionaire it’s almost nothing. This is the way it is. A few quid is a lot when you’re down and out and hard up for cash, and in the same way, even though in the early stages of the practice you might still only be able to let go of the coarser defilements, this can still seem quite profound to one who is unenlightened and has never practised or let go of defilements before. At this level, you can feel a sense of satisfaction with being able to practise to the full extent of your ability. This is something you will see for yourself; it’s something that has to be experienced within the mind of the practitioner.

If this is so, it means that you are already on the path, i.e. practising sīlasamādhi and paññā. These must be practised together, for if any are lacking, the practice will not develop correctly. The more your sīla improves, the firmer the mind becomes. The firmer the mind is, the bolder paññā becomes and so on… each part of the practice supporting and enhancing all the others. In the end, because the three aspects of the practice are so closely related to each other, these terms virtually become synonymous. This is characteristic of sammā patipadā (right practice), when you are practising continuously, without relaxing your effort.

If you are practising in this way, it means that you have entered upon the correct path of practice. You are travelling along the very first stages of the path – the coarsest level – which is something quite difficult to sustain. As you deepen and refine the practice,sīlasamādhi and paññā will mature together from the same place – they are refined down from the same raw material. It’s the same as our coconut palms. The coconut palm absorbs the water from the earth and pulls it up through the trunk. By the time the water reaches the coconut itself, it has become clean and sweet, even though it is derived from that plain water in the ground. The coconut palm is nourished by what are essentially the coarse earth and water elements, which it absorbs and purifies, and these are transformed into something far sweeter and purer than before. In the same way, the practice of sīlasamādhi and paññā – in other words Magga – has coarse beginnings, but, as a result of training and refining the mind through meditation and reflection, it becomes increasingly subtle.

As the mind becomes more refined, the practice of mindfulness becomes more focused, being concentrated on a more and more narrow area. The practice actually becomes easier as the mind turns more and more inwards to focus on itself. You no longer make big mistakes or go wildly wrong. Now, whenever the mind is affected by a particular matter, doubts will arise – such as whether acting or speaking in a certain way is right or wrong – you simply keep halting the mental proliferation and, through intensifying effort in the practice, continue turning your attention deeper and deeper inside. The practice of samādhi will become progressively firmer and more concentrated. The practice of paññā is enhanced so that you can see things more clearly and with increasing ease.

The end result is that you are clearly able to see the mind and its objects, without having to make any distinction between the mind, body or speech. You no longer have to separate anything at all – whether you are talking about the mind and the body or the mind and its objects. You see that it is the mind which gives orders to the body. The body has to depend on the mind before it can function. However, the mind itself is constantly subject to different objects contacting and conditioning it before it can have any effect on the body. As you continue to turn attention inwards and reflect on the Dhamma, the wisdom faculty gradually matures, and eventually you are left contemplating the mind and mind-objects – which means that you start to experience the body,rūpadhamma (material), as arūpadhamma (immaterial). Through your insight, you are no longer groping at or uncertain in your understanding of the body and the way it is. The mind experiences the body’s physical characteristics as arūpadhamma – formless objects – which come into contact with the mind. Ultimately, you are contemplating just the mind and mind-objects – those objects which come into your consciousness.

Now, examining the true nature of the mind, you can observe that in its natural state, it has no preoccupations or issues prevailing upon it. It’s like a piece of cloth or a flag that has been tied to the end of a pole. As long as it’s on its own and undisturbed, nothing will happen to it. A leaf on a tree is another example – ordinarily it remains quiet and unperturbed. If it moves or flutters this must be due to the wind, an external force. Normally, nothing much happens to leaves; they remain still. They don’t go looking to get involved with anything or anybody. When they start to move, it must be due to the influence of something external, such as the wind, which makes them swing back and forth. In its natural state, the mind is the same – in it, there exists no loving or hating, nor does it seek to blame other people. It is independent, existing in a state of purity that is truly clear, radiant and untarnished. In its pure state, the mind is peaceful, without happiness or suffering – indeed, not experiencing any vedanā (feeling) at all. This is the true state of the mind.

The purpose of the practice, then, is to seek inwardly, searching and investigating until you reach the original mind. The original mind is also known as the pure mind. The pure mind is the mind without attachment. It doesn’t get affected by mind-objects. In other words, it doesn’t chase after the different kinds of pleasant and unpleasant mind-objects. Rather, the mind is in a state of continuous knowing and wakefulness – thoroughly mindful of all it is experiencing. When the mind is like this, no pleasant or unpleasant mind-objects it experiences will be able to disturb it. The mind doesn’t ‘become’ anything. In other words, nothing can shake it. Why? Because there is awareness. The mind knows itself as pure. It has evolved its own, true independence; it has reached its original state. How is it able to bring this original state into existence? Through the faculty of mindfulness wisely reflecting and seeing that all things are merely conditions arising out of the influence of elements, without any individual being controlling them.

This is how it is with the happiness and suffering we experience. When these mental states arise, they are just ‘happiness’ and ‘suffering’. There is no owner of the happiness. The mind is not the owner of the suffering – mental states do not belong to the mind. Look at it for yourself. In reality these are not affairs of the mind, they are separate and distinct. Happiness is just the state of happiness; suffering is just the state of suffering. You are merely the knower of these. In the past, because the roots of greed, hatred and delusion already existed in the mind, whenever you caught sight of the slightest pleasant or unpleasant mind-object, the mind would react immediately – you would take hold of it and have to experience either happiness or suffering. You would be continuously indulging in states of happiness and suffering. That’s the way it is as long as the mind doesn’t know itself – as long as it’s not bright and illuminated. The mind is not free. It is influenced by whatever mind-objects it experiences. In other words, it is without a refuge, unable to truly depend on itself. You receive a pleasant mental impression and get into a good mood. The mind forgets itself.

In contrast, the original mind is beyond good and bad. This is the original nature of the mind. If you feel happy over experiencing a pleasant mind-object, that is delusion. If you feel unhappy over experiencing an unpleasant mind-object, that is delusion. Unpleasant mind-objects make you suffer and pleasant ones make you happy – this is the world. Mind-objects come with the world. They are the world. They give rise to happiness and suffering, good and evil, and everything that is subject to impermanence and uncertainty. When you separate from the original mind, everything becomes uncertain – there is just unending birth and death, uncertainty and apprehensiveness, suffering and hardship, without any way of halting it or bringing it to cessation. This is vatta (the endless round of rebirth).

Through wise reflection, you can see that you are subject to old habits and conditioning. The mind itself is actually free, but you have to suffer because of your attachments. Take, for example, praise and criticism. Suppose other people say you are stupid: why does that cause you to suffer? It’s because you feel that you are being criticised. You ‘pick up’ this bit of information and fill the mind with it. The act of ‘picking up,’ accumulating and receiving that knowledge without full mindfulness, gives rise to an experience that is like stabbing yourself. This is upādāna(attachment). Once you have been stabbed, there is bhava(becoming). Bhava is the cause for jāti (birth). If you train yourself not to take any notice of or attach importance to some of the things other people say, merely treating them as sounds contacting your ears, there won’t be any strong reaction and you won’t have to suffer, as nothing is created in the mind. It would be like listening to a Cambodian scolding you – you would hear the sound of his speech, but it would be just sound because you wouldn’t understand the meaning of the words. You wouldn’t be aware that you were being told off. The mind wouldn’t receive that information, it would merely hear the sound and remain at ease. If anybody criticised you in a language that you didn’t understand, you would just hear the sound of their voice and remain unperturbed. You wouldn’t absorb the meaning of the words and be hurt over them. Once you have practised with the mind to this point, it becomes easier to know the arising and passing away of consciousness from moment to moment. As you reflect like this, penetrating deeper and deeper inwards, the mind becomes progressively more refined, going beyond the coarser defilements.

Samādhi means the mind that is firmly concentrated, and the more you practise the firmer the mind becomes. The more firmly the mind is concentrated, the more resolute in the practice it becomes. The more you contemplate, the more confident you become. The mind becomes truly stable – to the point where it can’t be swayed by anything at all. You are absolutely confident that no single mind-object has the power to shake it. Mind-objects are mind-objects; the mind is the mind. The mind experiences good and bad mental states, happiness and suffering, because it is deluded by mind-objects. If it isn’t deluded by mind-objects, there’s no suffering. The undeluded mind can’t be shaken. This phenomenon is a state of awareness, where all things and phenomena are viewed entirely as dhātu11 (natural elements) arising and passing away – just that much. It might be possible to have this experience and yet still be unable to fully let go. Whether you can or can’t let go, don’t let this bother you. Before anything else, you must at least develop and sustain this level of awareness or fixed determination in the mind. You have to keep applying the pressure and destroying defilements through determined effort, penetrating deeper and deeper into the practice.

Having discerned the Dhamma in this way, the mind will withdraw to a less intense level of practice, which the Buddha and subsequent Buddhist scriptures describe as the Gotrabhū citta12. The Gotrabhū citta refers to the mind which has experienced going beyond the boundaries of the ordinary human mind. It is the mind of the puthujjana (ordinary unenlightened individual) breaking through into the realm of the ariyan (Noble One) – however, this phenomena still takes place within the mind of the ordinary unenlightened individual like ourselves. The Gotrabhūpuggala is someone, who, having progressed in their practice until they gain temporary experience of Nibbāna (enlightenment), withdraws from it and continues practising on another level, because they have not yet completely cut off all defilements. It’s like someone who is in the middle of stepping across a stream, with one foot on the near bank, and the other on the far side. They know for sure that there are two sides to the stream, but are unable to cross over it completely and so step back. The understanding that there exist two sides to the stream is similar to that of the Gotrabhū puggala or the Gotrabhū citta. It means that you know the way to go beyond the defilements, but are still unable to go there, and so step back. Once you know for yourself that this state truly exists, this knowledge remains with you constantly as you continue to practise meditation and develop your pāramī. You are both certain of the goal and the most direct way to reach it.

Simply speaking, this state that has arisen is the mind itself. If you contemplate according to the truth of the way things are, you can see that there exists just one path and it is your duty to follow it. It means that you know from the very beginning that mental states of happiness and suffering are not the path to follow. This is something that you have to know for yourself – it is the truth of the way things are. If you attach to happiness, you are off the path because attaching to happiness will cause suffering to arise. If you attach to sadness, it can be a cause for suffering to arise. You understand this – you are already mindful with right view, but at the same time, are not yet able to fully let go of your attachments.

So what is the correct way to practice? You must walk the middle path, which means keeping track of the various mental states of happiness and suffering, while at the same time keeping them at a distance, off to either side of you. This is the correct way to practise – you maintain mindfulness and awareness even though you are still unable to let go. It’s the correct way, because whenever the mind attaches to states of happiness and suffering, awareness of the attachment is always there. This means that whenever the mind attaches to states of happiness, you don’t praise it or give value to it, and whenever it attaches to states of suffering, you don’t criticise it. This way you can actually observe the mind as it is. Happiness is not right, suffering is not right. There is the understanding that neither of these is the right path. You are aware, awareness of them is sustained, but still you can’t fully abandon them. You are unable to drop them, but you can be mindful of them. With mindfulness established, you don’t give undue value to happiness or suffering. You don’t give importance to either of those two directions which the mind can take, and you hold no doubts about this; you know that following either of those ways is not the right path of practice, so at all times you take this middle way of equanimity as the object of mind. When you practise to the point where the mind goes beyond happiness and suffering, equanimity will necessarily arise as the path to follow, and you have to gradually move down it, little by little – the heart knowing the way to go to be beyond defilements, but, not yet being ready to finally transcend them, it withdraws and continues practising.

Whenever happiness arises and the mind attaches, you have to take that happiness up for contemplation, and whenever it attaches to suffering, you have to take that up for contemplation. Eventually, the mind reaches a stage when it is fully mindful of both happiness and suffering. That’s when it will be able to lay aside the happiness and the suffering, the pleasure and the sadness, and lay aside all that is the world and so become lokavidū(knower of the worlds). Once the mind – ‘one who knows’ – can let go it will settle down at that point. Why does it settle down? Because you have done the practice and followed the path right down to that very spot. You know what you have to do to reach the end of the path, but are still unable to accomplish it. When the mind attaches to either happiness or suffering, you are not deluded by them and strive to dislodge the attachment and dig it out.

This is practising on the level of the yogāvacara, one who is travelling along the path of practice – striving to cut through the defilements, yet not having reached the goal. You focus upon these conditions and the way it is from moment to moment in your own mind. It’s not necessary to be personally interviewed about the state of your mind or do anything special. When there is attachment to either happiness or suffering, there must be the clear and certain understanding that any attachment to either of these states is deluded. It is attachment to the world. It is being stuck in the world. Happiness means attachment to the world, suffering means attachment to the world. This is the way worldly attachment is. What is it that creates or gives rise to the world? The world is created and established through ignorance. It’s because we are not mindful that the mind attaches importance to things, fashioning and creating sankhāra (formations) the whole time.

It is here that the practice becomes really interesting. Wherever there is attachment in the mind, you keep hitting at that point, without letting up. If there is attachment to happiness, you keep pounding at it, not letting the mind get carried away with the mood. If the mind attaches to suffering, you grab hold of that, really getting to grips with it and contemplating it straight away. You are in the process of finishing the job off; the mind doesn’t let a single mind-object slip by without reflecting on it. Nothing can resist the power of your mindfulness and wisdom. Even if the mind is caught in an unwholesome mental state, you know it as unwholesome and the mind is not heedless. It’s like stepping on thorns: of course, you don’t seek to step on thorns, you try to avoid them, but nevertheless sometimes you step on one. When you do step on one, do you feel good about it? You feel aversion when you step on a thorn. Once you know the path of practice, it means you know that which is the world, that which is suffering and that which binds us to the endless cycle of birth and death. Even though you know this, you are unable to stop stepping on those ‘thorns’. The mind still follows various states of happiness and sadness, but doesn’t completely indulge in them. You sustain a continuous effort to destroy any attachment in the mind – to destroy and clear all that which is the world from the mind.

You must practise right in the present moment. Meditate right there; build your pāramī right there. This is the heart of practice, the heart of your effort. You carry on an internal dialogue, discussing and reflecting on the Dhamma within yourself. It’s something that takes place right inside the mind. As worldly attachment is uprooted, mindfulness and wisdom untiringly penetrate inwards, and the ‘one who knows’ sustains awareness with equanimity, mindfulness and clarity, without getting involved with or becoming enslaved to anybody or anything. Not getting involved with things means knowing without clinging – knowing while laying things aside and letting go. You still experience happiness; you still experience suffering; you still experience mind-objects and mental states, but you don’t cling to them.

Once you are seeing things as they are you know the mind as it is and you know mind-objects as they are. You know the mind as separate from mind-objects and mind-objects as separate from the mind. The mind is the mind, mind-objects are mind-objects. Once you know these two phenomena as they are, whenever they come together you will be mindful of them. When the mind experiences mind-objects, mindfulness will be there. Our teacher described the practice of the yogāvacara who is able to sustain such awareness, whether walking, standing, sitting or lying down, as being a continuous cycle. It is sammā patipadā (right practice). You don’t forget yourself or become heedless.

You don’t simply observe the coarser parts of your practice, but also watch the mind internally, on a more refined level. That which is on the outside, you set aside. From here onwards you are just watching the body and the mind, just observing this mind and its objects arising and passing away, and understanding that having arisen they pass away. With passing away there is further arising – birth and death, death and birth; cessation followed by arising, arising followed by cessation. Ultimately, you are simply watching the act of cessation. Khayavayam means degeneration and cessation. Degeneration and cessation are the natural way of the mind and its objects – this is khayavayam. Once the mind is practising and experiencing this, it doesn’t have to go following up on or searching for anything else – it will be keeping abreast of things with mindfulness. Seeing is just seeing. Knowing is just knowing. The mind and mind-objects are just as they are. This is the way things are. The mind isn’t proliferating about or creating anything in addition.

Don’t be confused or vague about the practice. Don’t get caught in doubting. This applies to the practice of sīla just the same. As I mentioned earlier, you have to look at it and contemplate whether it’s right or wrong. Having contemplated it, then leave it there. Don’t doubt about it. Practising samādhi is the same. Keep practising, calming the mind little by little. If you start thinking, it doesn’t matter; if you’re not thinking, it doesn’t matter. The important thing is to gain an understanding of the mind.

Some people want to make the mind peaceful, but don’t know what true peace really is. They don’t know the peaceful mind. There are two kinds of peacefulness – one is the peace that comes through samādhi, the other is the peace that comes through paññā. The mind that is peaceful through samādhi is still deluded. The peace that comes through the practice of samādhi alone is dependent on the mind being separated from mind-objects. When it’s not experiencing any mind-objects, then there is calm, and consequently one attaches to the happiness that comes with that calm. However, whenever there is impingement through the senses, the mind gives in straight away. It’s afraid of mind-objects. It’s afraid of happiness and suffering; afraid of praise and criticism; afraid of forms, sounds, smells and tastes. One who is peaceful through samādhi alone is afraid of everything and doesn’t want to get involved with anybody or anything on the outside. People practising samādhi in this way just want to stay isolated in a cave somewhere, where they can experience the bliss of samādhiwithout having to come out. Wherever there is a peaceful place, they sneak off and hide themselves away. This kind of samādhiinvolves a lot of suffering – they find it difficult to come out of it and be with other people. They don’t want to see forms or hear sounds. They don’t want to experience anything at all! They have to live in some specially preserved quiet place, where no-one will come and disturb them with conversation. They have to have really peaceful surroundings.

This kind of peacefulness can’t do the job. If you have reached the necessary level of calm, then withdraw. The Buddha didn’t teach to practise samādhi with delusion. If you are practising like that, then stop. If the mind has achieved calm, then use it as a basis for contemplation. Contemplate the peace of concentration itself and use it to connect the mind with and reflect upon the different mind-objects which it experiences. Use the calm ofsamādhi to contemplate sights, smells, tastes, tactile sensations and ideas. Use this calm to contemplate the different parts of the body, such as the hair of the head, hair of the body, nails, teeth, skin and so on. Contemplate the three characteristics of aniccam(impermanence), dukkham (suffering) and anattā (not-self). Reflect upon this entire world. When you have contemplated sufficiently, it is all right to reestablish the calm of samādhi. You can re-enter it through sitting meditation and afterwards, with calm re-established, continue with the contemplation. Use the state of calm to train and purify the mind. Use it to challenge the mind. As you gain knowledge, use it to fight the defilements, to train the mind. If you simply enter samādhi and stay there you don’t gain any insight – you are simply making the mind calm and that’s all. However, if you use the calm mind to reflect, beginning with your external experience, this calm will gradually penetrate deeper and deeper inwards, until the mind experiences the most profound peace of all.

The peace which arises through paññā is distinctive, because when the mind withdraws from the state of calm, the presence ofpaññā makes it unafraid of forms, sounds, smells, tastes, tactile sensations and ideas. It means that as soon as there is sense contact the mind is immediately aware of the mind-object. As soon as there is sense contact you lay it aside; as soon as there is sense contact mindfulness is sharp enough to let go right away. This is the peace that comes through paññā.

When you are practising with the mind in this way, the mind becomes considerably more refined than when you are developing samādhi alone. The mind becomes very powerful, and no longer tries to run away. With such energy you become fearless. In the past you were scared to experience anything, but now you know mind-objects as they are and are no longer afraid. You know your own strength of mind and are unafraid. When you see a form, you contemplate it. When you hear a sound, you contemplate it. You become proficient in the contemplation of mind-objects. You are established in the practice with a new boldness, which prevails whatever the conditions. Whether it be sights, sounds or smells, you see them and let go of them as they occur. Whatever it is, you can let go of it all. You clearly see happiness and let it go. You clearly see suffering and let it go. Wherever you see them, you let them go right there. That’s the way! Keep letting them go and casting them aside right there. No mind-objects will be able to maintain a hold over the mind. You leave them there and stay secure in your place of abiding within the mind. As you experience, you cast aside. As you experience, you observe. Having observed, you let go. All mind-objects lose their value and are no longer able to sway you. This is the power of vipassanā (insight meditation). When these characteristics arise within the mind of the practitioner, it is appropriate to change the name of the practice to vipassanā: clear knowing in accordance with the truth. That’s what it’s all about – knowledge in accordance with the truth of the way things are. This is peace at the highest level, the peace of vipassanā. Developing peace through samādhialone is very, very difficult; one is constantly petrified.

So when the mind is at its most calm, what should you do? Train it. Practise with it. Use it to contemplate. Don’t be scared of things. Don’t attach. Developing samādhi so that you can just sit there and attach to blissful mental states isn’t the true purpose of the practice. You must withdraw from it. The Buddha said that you must fight this war, not just hide out in a trench trying to avoid the enemy’s bullets. When it’s time to fight, you really have to come out with guns blazing. Eventually you have to come out of that trench. You can’t stay sleeping there when it’s time to fight. This is the way the practice is. You can’t allow your mind to just hide, cringing in the shadows.

Sīla and samādhi form the foundation of practice and it is essential to develop them before anything else. You must train yourself and investigate according to the monastic form and ways of practice which have been passed down.

Be it as it may, I have described a rough outline of the practice. You as the practitioners must avoid getting caught in doubts. Don’t doubt about the way of practice. When there is happiness, watch the happiness. When there is suffering, watch the suffering. Having established awareness, make the effort to destroy both of them. Let them go. Cast them aside. Know the object of mind and keep letting it go. Whether you want to do sitting or walking meditation it doesn’t matter. If you keep thinking, never mind. The important thing is to sustain moment to moment awareness of the mind. If you are really caught in mental proliferation, then gather it all together, and contemplate it in terms of being one whole, cutting it off right from the start, saying, ‘All these thoughts, ideas and imaginings of mine are simply thought proliferation and nothing more. It’s all aniccamdukkham and anattā. None of it is certain at all.’ Discard it right there.


Footnotes

…samana1
Recluse, monk or holy one – one who has left the home life to pursue the Higher Life.
…ārammana2
Ārammana: mind-objects; the object which is presented to the mind (citta) at any moment. This object is derived from the five senses or direct from the mind (memory, thought, feelings). It is not the external object (in the world), but that object after having been processed by one’s preconceptions and predispositions.
…bhikkhus’3
Bhikkhu: Buddhist monk, alms mendicant.
…Arahants4
Arahant: Worthy one, one who is full enlightened.
5
Venerable: in Thai, ‘Phra‘.
…khandhas6
Khandhas: Groups or aggregates: form (rūpa), feeling (vedanā), perception (saññā), thought formations (sankhārā) and consciousness (viññāna). These groups are the five groups that constitute what we call a person.
7
Magga-phala: Path and fruition: the four transcendent paths – or rather one path and four different levels of refinement – leading to ‘nobility’ (ariya) or the end of suffering, i.e., the insight knowledge which cuts through the fetters (samyojana); and the four corresponding fruitions arising from those paths – refers to the mental state, cutting through defilements, immediately following the attainment of any of these paths.
…pāramī8
Pāramī: refers to the ten spiritual perfections: generosity, moral restraint, renunciation, wisdom, effort, patience, truthfulness, determination, kindness and equanimity.
…upapāramī9
Upapāramī: refers to the same ten spiritual perfections, but practised on a deeper, more intense and profound level (practised to the highest degree, they are called paramattha pāramī)
…jhāna10
Jhāna: Various levels of meditative absorption. The five factors of jhāna are initial and sustained application of mind, rapture, pleasure and equanimity.
…dhātu11
Dhātu: Elements, natural essence. The elementary properties which make up the inner sense of the body and mind: earth (material), water (cohesion), fire (energy) and air (motion), space and consciousness.
…citta12
Gotrabhū citta: Change-of-lineage (state of consciousness preceding jhāna or Path).
Contents: © Wat Nong Pah Pong, 2007 | Last update: March 2008

La serenità e l’arte -The serenity and art – Hermann Hesse


La serenità e l’arte

“La serenità, è il segreto del bello e la vera e propria sostanza di ogni arte. Il poeta, che col ritmo danzante dei versi esalta la magnificenza e l’orrore della vita, e il musicista che li fa risuonare come pura presenza, sono coloro che portano la luce, che aumentano la gioia, e la chiarità del mondo, anche se prima ci conducono attraverso lagrime e tensioni dolorose. Il poeta che ci delizia coi versi può anche essere triste e solitario, il musicista sognatore e malinconico, ma anche in questo caso la loro opera partecipa della serenità degli dei e delle stelle. Ciò che essi ci danno, non è più la loro tenebra, la loro sofferenza o angoscia, ma è una goccia di luce pura, di eterna serenità. “

Herman Hesse- Il gioco delle perle di vetro

Ovidio affermava ” Gutta cavat lapidem” – La goccia scava la roccia.

Immaginiamo se questa goccia fosse Luce. Spesso il nostro cuore si inaridisce di fronte al dolore, alle pene della vita e cosa sarebbe se non incontrassimo quella piccola goccia che, con costanza e con l’umiltà dell’acqua non fosse anche nutrimento? Il muro della diffidenza, nato dal dolore, si scaverebbe e la goccia di luce avrebbe spazio per far dono di sè. Così è per l’artista che attraverso il proprio passaggio dalle tenebre alla luce, dal timore alla speranza, impara a dissetare i cuori in ricerca di presenza attraverso la manifestazione e la condivisione della propria Opera nata spesso come travaglio interiore.

02.01.2008 Poetyca

The serenity and art

“Serenity, is the secret of beauty and true essence of all art. The poet, dancing with the rhythm of the verses that enhances the grandeur and horror of life, and the musician that makes them sound like pure presence, are those who carry the light, that increase the joy, and clarity of the world, but first take us through tears and painful tensions. The poet who delights us with verses can also be sad and lonely, melancholy dreamer and musician, but also In this case, their work shares the serenity of the gods and the stars. What they give us, is no longer their darkness, their suffering or distress, but it’s a drop of pure light, of eternal peace. “

-Herman Hesse The Glass Bead Game

Ovid said “Gutta cavat lapidem” – The drop excavates the rock.

Imagine if this drop was light. Often our hearts are withering in the face of pain, the sufferings of life and what it would be if we meet that little drop that, with perseverance and humility of the water was not even food? The wall of distrust, born of pain, you dig and the drop of light would make room for the gift of self. So is the artist who through their passage from darkness to light, from fear to hope, learn to quench the thirst of hearts in search of presence through the event and sharing their work often born as internal turmoil.

02.01.2008 Poetyca

Una perla al giorno – Tirukkural, 834


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Non c’è sciocco più insensato di colui
che espone ardentemente ad altri
una sapienza che non riesce a seguire egli stesso.

Tirukkural, 834
There is no fool more foolish of him
that exposes ardently to other
a wisdom that can not follow himself.

Tirukkural, 834

Nuova alba – New dawn


Nuova alba
Siamo forti insieme,
riscaldati dal sole,
accarezzati dalla speranza.

Siamo vita adesso,
con questo calore
e questa vibrante Presenza.

Noi siamo Amore che colora
le tempeste della notte
offrendo adesso con amore luce di alba nuova.

La bellezza ci accoglie
dentro a questo soffio divino
che alimenta la nostra anima.

18.12.2008 Poetyca
New dawn
We are strong together,
heated by the sun,
caressed by hope.

We are living now,
with this heat
and this vibrant presence.

We love that color
storms of the night
Now offering with love light of new dawn.

The beauty welcomes us
in this divine breath
that feeds our soul.

12.12.2008 Poetyca

Con le parole – With words


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Con le parole

Con le parole
dipingi l’aurora
Colori si spargono
sulla tela dei respiri
mentre con stupore
rincorro istanti
illuminati dalla Luce
di questa scintilla
chiamata vita

24.05.2015 Poetyca

With words

With words
paint the aurora
Color spread
on canvas breaths
while in amazement
run after moments
illuminated by the Light
this spark
called life

24/05/2015 Poetyca

Savitri – l’ultima notte – The last night


Savitri

Ma ora lei sedeva accanto a Satyavan addormentato,
interiormente attenta, ed enorme la Notte
la circondava della vastità dell’Inconoscibile.

Una voce cominciò a parlare dal Suo cuore,
che non era la Sua, ma dominava il pensiero e i sensi.

Com’essa parlava, tutto cambiava dentro e fuori di lei;
tutto esisteva,tutto viveva;lei sentì tutto l’essere uno;
il mondo dell’irrealtà cessò di esistere:
non c’era più un universo costruito dalla mente,
condannato come struttura o segno;
uno spirito, un essere vedeva le cose create,
si proiettava in forme innumerevoli
ed era ciò che vedeva e generava;tutto divenne allora
la prova di un’unica stupenda verità,
d’una Verità in cui non c’era posto per la negazione,
la prova di un essere e d’una coscienza vivente,
d’una Realtà completa e assoluta.

Sri Aurobindo Savitri – Volume II- Canto VII

L’ultima notte

Una Verità inconoscibile attraverso i sensi,
eppure di essi è parte,
un percorso oltre ogni immaginazione
che vibra, respira, s’espande ed E’.

Un viaggio senza muovere passo,
perchè sia manifesta la Realtà
che in tutto è Presenza ed è di Tutto essenza.

Senza stupore, senza timore
perchè sia quel che deve essere
oltre ogni freno nel fremito dell’ultima notte.

03.05.2008 Poetyca

SavitriBut now she sat beside Satyavan asleep
inwardly attentive, and the big night
The surrounding of the vastness of the Unknowable.A voice began to speak from his heart,
that was not His, but dominated the thoughts and feelings.

As she spoke, everything changed in and out of her;
All there, all living, and she felt a whole being;
the world of unreality ceased to exist:
there was a universe constructed by the mind,
condemned as a structure or sign;
a spirit, he saw a being created things,
is projected in many forms
and what he saw and was generated, then everything became
proof of one stupendous truth,
of a Truth in which there was no room for denial,
evidence of a living being and consciousness,
Reality of a complete and absolute.

Sri Aurobindo’s Savitri – Canto VII-Volume II

The last night

A Truth unknowable through the senses,
yet it is part of them,
a journey beyond imagination
that vibrates, breathes, expands and E ‘.

A journey without moving step,
because the reality is manifested
Presence and that everything is all essence.

No wonder, without fear
because it is what must be
beyond any brake shudder in last night.

03.05.2008 Poetyca

Compagni di viaggio – Travel friends



Compagni di viaggio
Penso che quando si entra in contatto con un gruppo di ricercatori, sia fondamentale porsi la domanda: – Cosa mi aspetto da questi compagni di viaggio?
Sebbene ci si dimentichi spesso: – Cosa ho intenzione di offrire di me stesso agli altri?

Accade allora che siamo noi stessi ad idealizzare, a mettere in atto una forma di proiezione circa quel ” mondo perfetto” che, chiaramente, troverà un impatto contro la realtà.
Nessuno abbraccia la perfezione, in primis chi si attende che gli altri ci trascinino, addirittura ci possano portare in braccio per qualche tratto di strada.

E’ importante il mettere in atto l’offerta e l’interscambio, senza arroccarsi, magari con la pretesa di prendere senza mai avere una briciola di gratitudine.
Così come è importante ogni giorno chiedersi ( magari a fine giornata): – Cosa ho seminato oggi? Potrei fare di meglio?
Molto bello il seguente pensiero:
“Il dono prezioso
Ricorda sempre che tu sei un dono e tale devi essere per tutte le persone che ti circondano.
Non entrare nella vita di qualcuno se non riesci ad essere un dono. Quando qualcuno entra inaspettatamente nella tua vita, cerca di capire quale dono è venuto a ricevere da te.

Neale Donald Walsch”
In realtà lo sforzo va compiuto singolarmente, il confronto non deve rappresentare qualcosa di frustrante ma uno stimolo, un’apertura che ci faccia sentire parte di un gruppo. Per il buddhismo il Shanga ( il gruppo di praticanti) è tra i fondamenti del cammino stesso, infatti, insieme a Dharma e Buddha è considerato come uno dei tre gioielli. Fare parte di un Shanga non significa che si abbia accanto dei “tutori” che ci facciano da scudo durante le tempeste, piuttosto è naturale che si possa coltivare il seme dell’amorevolezza e della compassione nei confronti di chi in noi generi rabbia o incomprensione, questo perchè senza le opportunità di confronto non si avrebbe modo di leggere nel profondo quali atteggiamenti vadano osservati, accolti e poi fatti andare. Essere da soli, percorrere – la via stretta – è qualcosa che resta indelebile in noi, siamo infatti artefici delle nostre personali scelte, delle conseguenze che ne possano derivare, però è fondamentale mettere in comune ed applicare quelle piccole conquiste nell’ambito sociale. In fondo anche Gesù aveva bisogno del sostegno di una comunità, era importante che si mettesse a frutto ogni insegnamento e non ci sarebbe confronto senza il lavoro comune.
Poetyca 01.04.2008

Travel friends

I think that when you come into contact with a group of researchers, it is essential to ask yourself the question: – What do I expect from these travel companions?
Although we often forget: – What am I going to offer of myself to others?
It then happens that we ourselves idealize, implement a form of projection about that “perfect world” which, clearly, will find an impact against reality.
Nobody embraces perfection, first of all those who expect others to drag us, even they can carry us in their arms for some stretch of the road.
It is important to implement the offer and the exchange, without entrenching oneself, perhaps with the pretense of taking without ever having a crumb of gratitude.
Just as it is important every day to ask oneself (perhaps at the end of the day): – What have I sown today? Could I do better?
Very nice the following thought:
“The precious gift
Always remember that you are a gift and that you must be for all the people around you.
Don’t enter someone’s life if you can’t be a gift. When someone unexpectedly enters your life, try to understand what gift they have come to receive from you.

Neale Donald Walsch ”

In reality, the effort must be made individually, the comparison must not represent something frustrating but a stimulus, an opening that makes us feel part of a group. For Buddhism the Shanga (the group of practitioners) is among the foundations of the path itself, in fact, together with Dharma and Buddha it is considered as one of the three jewels. Being part of a Shanga does not mean that we have “guardians” next to us to shield us during storms, rather it is natural that we can cultivate the seed of kindness and compassion towards those in us who generate anger or misunderstanding, this is because without the opportunities for comparison there would be no way of reading in depth which attitudes should be observed, accepted and then let go. Being alone, walking – the narrow way – is something that remains indelible in us, we are in fact the architects of our personal choices, of the consequences that may derive from them, but it is essential to share and apply those small achievements in the social sphere. Basically, even Jesus needed the support of a community, it was important that every teaching be put to good use and there would be no comparison without common work.

Poetyca 01.04.2008

Navigando la cyber vita – Navigating the cyber life


Navigando la cyber vita
Una piccola isola,
lontano da oceani di dati,
un piccolo incanto
che non è raggiunto
da file congelati.
Cyber spazio e bit
scorrono freddi e silenziosi
come in una slot machine
regalano sorrisi o rubano
tutte le tracce della tua storia.
Una mano distante attraversa
questo spazio virtuale e la memoria di silicio
è un contatto che non ti aspettavi:
una voce, degli occhi profondi
che non sono contaminati.
Una ricerca in punta di dita
per rincorrere la corsa di un cuore
che si è appena svegliato,
in un’alba che ha spezzato il torpore
per riscaldare questo momento
Un sorriso che ricorda
che in noi resta qualcosa di umano
tra occhi in stupore che sbattono le ciglia
nel guardare la vita nel tuo schermo
e nel sorriso in palpito di cuore
tuffato nella tua gioia infinita
20.12.2008 Poetyca
Navigating the cyber life
A small island,
far from oceans of data,
a little magic
which is not reached
from frozen file.
Cyberspace and bits
run cool and quiet
like a slot machine
give smiles or steal
all traces of your history.
A hand away through
this virtual space and memory silicon
is a contact that you did not expect:
a voice, eyes deep
they are not contaminated.
A search at your fingertips
to chase the ride of a heart
who has just woken up,
in a dawn that broke the torpor
to heat at this time
A smile that reminds
that is something human in us
between eyes that blinked in amazement
in looking at life on your screen
and smile in the heart throb of
Dipped in your infinite joy
20.12.2008 Poetyca

Ultima notte – The last night


L’ultima notte

Una Verità inconoscibile attraverso i sensi,
eppure di essi è parte,
un percorso oltre ogni immaginazione
che vibra, respira, s’espande ed E’.

Un viaggio senza muovere passo,
perchè sia manifesta la Realtà
che in tutto è Presenza ed è di Tutto essenza.

Senza stupore, senza timore
perchè sia quel che deve essere
oltre ogni freno nel fremito dell’ultima notte.

03.05.2008 Poetyca

The last night

A Truth unknowable through the senses,
and yet they belong to,
a journey beyond imagination
that vibrates, breathes, expands and it is.

A trip without moving step
because it is obvious Reality
that everything is all presence and essence.

No wonder, without fear
because it is what it must be
beyond the brake shudder last night.

03.05.2008 Poetyca

Costruire la pace – Building peace



Costruire la pace.
“Quando punti il dito per condannare, tre dita restano puntate contro di te”

Proverbio cinese
Amicizia e riflessione
Credo sia importante un’analisi relativa alle proprie responsabilità,
alle aspettative e se e in che modo abbiamo trasmesso amicizia o altro.
Sicuramente,se è amicizia che offriamo ( e non pretendiamo ),
dobbiamo essere in grado di scacciare da noi stessi sentimenti di possesso,
cogliere in noi se,dietro la parola amicizia si cela altro.
Prima di puntare il dito su quanto altri non avrebbero fatto verso
di noi sarebbe opportuno chiedersi se, in fondo, ci attendevamo qualcosa.

Se riusciamo a non fuggire le nostre responsabilità,se siamo capaci
di vedere cosa abbiamo sbagliato, se siamo capaci di manifestare
dove si sia colto un malinteso( facile interpretare diversamente
ed il dialogo leale serve a questo)allora si è capaci di portare
avanti un rapporto maturo.Troppo facile dare ad altri responsabilità
e non vedere la trave che ci renderebbe ciechi.
Dialogo,condivisione,senza nulla pretendere, è la migliore base
per mettere le radici a rapporti destinati a durare nel tempo.
Quando muore in fretta era solo illusione.

Luglio 2007 Poetyca
Grandi e piccoli. Gli adulti per primi e i bambini per spirito d’emulazione
imparano a tenere stretta un’opinione.A voler dimostrare a tutti i costi
di avere ragione, dimenticando spesso come la realtà che si potrebbe cogliere,
quando non si è liberi dall’attaccamemto è sempre distorta.
Pestare i piedi, urlare l’altrui torto, dimenticando di leggere
in profondità cosa possa avere mosso in noi delle eccessive reazioni,
è solo alimentare il nostro ego che non ci permette di distaccarci
dall’attaccamento alle proprie opinioni,si diventa ” territoriali”,
come se la difesa ad oltranza di quello che possa essere uno spazio che
ci rappresenti sia capace di tenere in equilibrio una già precaria opinione di sè.
Si cercano alleanze, attenzioni e altre persone che ci possano appoggiare.
Ma,riflettendo,è meglio avere accanto il ” paladino a spada tratta”
che inconsciamente alimenta la nostra dipendenza o chi, pur sapendo
di rischiare la profonda incomprensione, sia capace di farci capire che,
in fondo, è necessario mettere in atto una profonda analisi sull’eccessiva
reazione legata a questa insicurezza?

Naturalmente si è liberi nelle personali scelte, esse saranno rispettate,
ma non ha senso entrare in nuovi ” loop” ( percorsi senza uscita con la
ripetizione sistematica degli stessi atteggiamenti mentali) e non fare nulla
per venirne fuori. Essere capaci di maturità è tra le nostre opportunità.
siamo sempre tutti pronti a puntare il dito contro gli altri. Gli altri
sbagliano, gli altri si comportano male, gli altri mentono, gli altri
sono incapaci e diversi da quanto vorremmo.

Gli altri,e noi?
E’comune il puntare l’indice contro qualcuno dicendo che ha fatto un errore,
ma se osserviamo la nostra mano è facile notare che nel fare questo gesto
ci sono altre tre dita che sono puntate contro di noi,
Il ruolo di queste tre dita è è la chiave di volta per imparare che:

1) Non si deve essere sempre sicuri di avere ragione.
2) Anche se avessimo ricevuto un torto, è anche vero che non siamo infallibili.
3) La frustrazione ed il disagio provati ora ed altre volte
precedenti devono indurre e non ripetere il nostro autoinganno.

Non è mai stato facile crescere, superare dei modelli che sono autoindotti
ma avere modo di sperimentare l’ascolto interiore, di mettere una nuova procedura
che spezzi la coazione a ripetere è la via che ci insegni a non giudicare e
a ” lasciare andare ” la presa. Un modo maturo per non essere fonte di energie
quali la rabbia ed il rancore che sono distanti dalla pace interiore e pongono
in atto un percorso legato all’ignoranza e all’illusione.

Tre dita, non uno soltanto sono la necessità di alimentare la pace interiore.
30.03.2008 Poetyca

Building peace.

“When you point your finger to condemn, three fingers are pointed at you”

Chinese proverb
Friendship and reflection
I think it’s important to test for their responsibilities,
expectations and whether and how we have transmitted friendship or more.
Surely, if friendship is that we (and do not claim)
we must be able to rid ourselves of feelings of ownership,
If we take in, hides behind the word friendship more.
Before pointing the finger at what others have done to
of us would be asked whether, after all, we expected something.

If we can not escape our responsibilities, if we can
to see what we did wrong, if we are able to express
where it is caught a misunderstanding (easy to interpret differently
and honest dialogue serves this) then you are able to bring
maturo.Troppo easy to forward a report to other responsibilities
and not see the beam that blinds us.
Dialogue, sharing nothing to claim, is the best basis
to take roots in relationships intended to last.
When he dies in a hurry was just an illusion.

July 2007 Poetyca
Large and small. Adults and children first in the spirit of emulation
learn to keep close review. want to show at all costs
to be right, as often forgetting the reality that they could grasp
when you are not free dall’attaccamemto is always distorted.
Stamping his feet, shouting the others wrong, forgetting to read
What may have moved deep in us excessive reactions,
Food is only our egos that we can detach
from attachment to their opinions, we become “territorial”
as if to defend to the bitter end of what could be a space that
represent us is able to balance a precarious opinion of himself.
We seek alliances, attention and other people who can support.
But, on reflection, it is better to have the next “champion to the hilt”
unconsciously feeds our addiction or who, knowing
to risk profound misunderstanding is capable of making us understand that
basically, you need to implement a deep analysis on the excessive
reaction related to this insecurity?

Of course you are free on personal choices, they will be met,
it is nonsense to enter new loop (with no exit routes
systematic repetition of the same mind) and do nothing
to get out. Being able to maturity is one of our opportunities.
We are all always ready to point the finger at others. Other
wrong, the others behave badly, others lie, the other
are unable and different from what we want.

The other, and we?
E’comune the point the finger at someone saying that he made a mistake,
but if we keep our hand is easy to see that in making this gesture
There are three other fingers are pointed at us,
The role of these three fingers and is the key to learn that:

1) You should not always be sure of being right.
2) Even if we had been wronged, it is also true that we are not infallible.
3) The frustration and discomfort proven time and other times
above should lead and not repeat our self-deception.

It has never been easy to grow, to overcome patterns that are self-induced
but having to experience the inner listening, putting a new procedure
that breaks the repetition compulsion is the way we teach and not giudcare
to “let go” grip. A mature way to not be a source of energy
such as anger and resentment that are distant from inner peace and pose
act in a way linked to ignorance and illusion.

Three fingers, not one only are the need to nurture inner peace.
30.03.2008 Poetyca

Vuoto – Emply


🌸Vuoto🌸

Il vuoto non sempre
è concepito
come la mancanza
di qualcosa
ma è uno stato
di perfetta armonia.
La mente indugia
nella ricerca
di risposte,di ipotesi
che non sempre
possono essere
verificate.
Dunque tutto decade
se a nulla ci si aggrappa.

20.01.2022 Poetyca
🌸🌿🌸#Poetycamente
🌸Empty

The void is not always
is conceived
like the lack
say something
but it is a state
of perfect harmony.
The mind lingers
in research
of answers, of hypotheses
that not always
they can be
check.
So everything decays
if you cling to nothing.

20.01.2022 Poetyca

Sussurro infinito – Whisper infinite


Sussurro infinito

Esprimi tutte le parole che sai,
falle scorrere piano sul foglio…
Come lacrime, come lampi di cielo notturno
e poi prendi fiato prima che possano
in un solo istante scagliarsi
a lasciare sgomenta questa notte

Offri la linfa del tuo essere
per rendere complice
solo quest’irripetibile istante
e non temere l’arrivo dell’alba
perchè sarà nascita e vita
a cullare ogni tua vibrante attesa

Io ascolto cullata dal sogno
che appeso alle stelle
sa scuotere ogni respiro
ed accolgo ora
le emozioni vive
che ci accompagnano ancora

Nulla sarà più
come prima della manifestazione
di questa polvere d’oro
che ricopre le palpebre
in un sussurro infinito d’amore

29.01.2008 Poetyca

Whisper infinite

Give all the words you know,
slide it on top of sheet …
Like tears, like flashes of the night sky
and then take breath before they can
in an instant dash
frightened to leave tonight

Give the lifeblood of your being
making accomplice
only quest’irripetibile moment
and not fear the arrival of dawn
Why is birth and life
to cradle your every expectation vibrant

I listen rocked by Dream
that hung the stars
knows how to shake every breath
and I hour
emotions live
that still c’accompagnano

Nothing will be more
as before the event
This gold dust
covering the eyelids
in a whisper of endless love

29.01.2008 Poetyca

Siamo – We are


Siamo

Siamo tutti bimbi, relegati in un angolo.

Siamo tutti in attesa di una voce, di un richiamo o di qualcuno

che con un sorriso ci stringa la mano.

Siamo adulti che non ricordano più

il sapore di un dolce antico

il suono di una canzoncina

il cuore che era in attesa di una carezza.

Oggi fuggiamo, rincorriamo il futuro

e dimentichiamo la nostra antica storia

raccolta in un sacchetto di carta, abbandonato su di una panchina

dove non andiamo a giocare più.

Ci manca la presenza amica, le voci in cortile e gli attimi eterni

quando si giocava tutti insieme.

Senza vere sconfitte e con il coraggio

che usciva dalle tasche con la fionda

o con quegli occhi sognanti che sapevano sempre sperare.

Siamo bambini silenti

che non raccontano più

storie fantastiche e ricchi momenti

perché sembrerebbe ridicolo

in un mondo

che non ci lascia giocare.

20.04.2008 Poetyca

We are all

We are all children, relegated to a corner.

We are all waiting for a voice, a point or someone

with a smile that we shake hands.

We are adults who can not remember more

the flavor of a sweet old

the sound of a song

the heart that was waiting for a caress.

Today we escape, we chase the future

and forget our ancient history

collected in a paper bag, abandoned on a bench

where we’re not going to play anymore.

We miss the friendly presence, voices in the courtyard and the eternal moment

when we played together.

No real setbacks and with the courage

that came from the pockets with a slingshot

or with those dreamy eyes who could always hope.

We are silent children

that do not tell more

fantasy and rich moments

it seems ridiculous

in a world

we will not play.

20.04.2008 Poetyca

Momenti – Moments


Momenti

Ogni battito di vita non è distante dal nostro essere, ogni momento non è che un riflesso del nostro esistere – qui ed ora – dove la compassione e l’armonia sono il suono ed il respiro che avvolgono il nostro percorso.

© Poetyca

Moments

Every beat of life is not far from our being, every moment is merely a reflection of our existence – here and now – where compassion and harmony are the sound and the breath that surround our path.

©Poetyca

La vera libertà – True Freedom


“Prima di agire, voi siete liberi; ma, dopo aver agito, l’effetto di quella azione vi seguirà, sia che lo vogliate o no. Quella è la legge del ‘Karma’. Voi siete un libero agente; ma, quando eseguite un certo atto, voi raccoglierete i risultati di quell’atto.”

Paramahansa Yogananda

La vera libertà

La vera libertà è scelta,
non è percorso obbligato ma opportunità.
In noi la capacità di leggere nel profondo,
di applicare la presenza mentale
per cercare le origini della nostra sofferenza.

Non è attraverso la reazione che si trova la libertà, essa fiorisce attraverso l’azione consapevole, dove il nostro disagio possa essere letto e con attenzione si possa trovare la soluzione ad esso.

Il Nobile Ottuplice Sentiero è strumento per essere capaci di risalire la corrente di un fiume, di relazionarsi con la nostra mente
e da essa sciogliere le cause della sofferenza.

Ogni effetto nuovo è fiore che conduce
ad amorevolezza e compassione verso noi stessi e tutti gli esseri senzienti.

La libertà dai condizionamenti esterni, intesi come non consapevolezza e ripetizione di credenze a volte erronee, senza riflettere se effettivamente esse sono capaci di rappresentarci, è un piccolo passo alla scoperta di Sè. L’ascolto di noi stessi, delle emozioni è il tracciato da percorrere.
In forma semplicistica Susanna Tamaro affermerebbe ” Vai dove ti porta il Cuore”, questo non signifca un seguire senza regole l’impulsività a volte distruttiva e cieca, ci sfugge spesso che l’aggressività trova origine dalla paura, dal timore di non essere oggetto d’amore.
La conoscenza dei meccanismi che procurano la sofferenza conduce a svelarne l’origine nella paura, nell’attaccamento, nelle aspettative e nelle illusioni. Quando riconosciamo in noi questi atteggiamenti, perchè siamo stati capaci di osservarci senza farci trascinare, con equidistanza, allora possiamo attraversare il nostro spazio interiore con una consapevolezza nuova che ci permetta di manifestare la nostra vera natura.Sopratutto ci permette di non reagire di fronte a chi tentasse di provocarci perchè ne comprendiamo i meccanismi mentali e proviamo comprensione.
Non è facile camminare nel Mondo del tutto disarmati, trasparenti, senza maschere, ma è una sfida che ci permetta di ascoltare e manifestare il nostro vero Sè.
Quando infatti avremo fatto spazio, con l’ascolto del silenzio, delle piccole manifestazioni, siamo pronti ad essere quel che siamo. Come una freccia scoccata che possa colpire il bersaglio senza esitazione.

Le regole che ci possiamo dare diventano delle naturali inclinazioni che conoscono e manifestano il rispetto di sè e degli altri, non come ” disciplina” ma come evoluzione di queli disagi oramai tramutati in empatia, attenzione amorevole verso tutti gli altri esseri.

Poetyca 25.08.2008

❤ ❤ ❤

“Before you act, you are free, but having acted, the effect of that action will follow, whether we like it or not. That is the law of ‘Karma’. You are a free agent, but whenexecuted a certain act, you reap the results of that act. “Paramahansa Yogananda

True freedom

True freedom is choice,
path is not required, but opportunity.
In us the ability to read deeply,
to apply mindfulness
to search for the origins of our suffering.

It is through the reaction which is freedom, it blooms through the conscious action, where our hardship can be read and carefully you can find the solution to it.

The Noble Eightfold Path is a tool to be able to go against the current of a river, to relate to our mind
dissolve it and the causes of suffering.

Every effect has a new flower that leads
with loving kindness and compassion towards ourselves and all sentient beings.

Freedom from external constraints, understood as non-awareness and repetition of erroneous beliefs sometimes, without thinking whether they are actually able to represent us, is a small step to the discovery of self. Listening to ourselves, is the trace of emotion to go.
In simplistic form Susanna Tamaro would say “Go where your heart takes you”, this is not no rules to follow a signifca impulsiveness sometimes destructive and blind, often escapes us that aggression stems from fear, fear of not being the subject of ‘love.
Knowledge of the mechanisms that bring suffering leads to unravel the origin in fear, attachment, expectations and illusions. When we recognize these attitudes in us, because we were able to observe without being dragged, equidistant, then we can cross our inner space with a new awareness that allows us to express our true natura.Sopratutto allows us not to react to those who were trying to provoke us because we understand the mental mechanisms and try to understand.
It is not easy to walk around unarmed in the World, transparent, without masks, but it is a challenge that allows us to listen and show our true self.
In fact, when we made room, listening in the silence of small events, we are ready to be who we are. As an arrow that can hit the target without hesitation.

The rules that we can become the natural inclinations that they know and demonstrate respect for self and others, not as a “discipline” but as an evolution of that unease now turned into empathy, caring attention to all other beings.

Poetyca 25.08.2008

Pentangle – Basket of light (1969) full album


I Pentangle sono un gruppo britannico che ha proposto una innovativa miscela di folk, jazz e blues. Il nome, che significa “pentagono”, indica i cinque membri della formazione originale che suona tra il 1968 e il 1972, contendendosi il titolo di più grande folk rock band inglese con i Fairport Convention. Come nel pentagono ogni lato è indispensabile, così ogni membro del gruppo apporta il suo fondamentale contribuito alla musica del gruppo. Inoltre il pentagramma è un simbolo mistico, che è rappresentato, tra l’altro, sullo scudo di Sir Gawain nel poema medievale Sir Gawain e il cavaliere verde, da cui Renbourn era affascinato.

https://it.wikipedia.org/wiki/Pentangle

Pentangle (or The Pentangle)[1] are a British folk-jazz band with an eclectic mix of folk, jazz, blues and folk rock influences. The original band were active in the late 1960s and early 1970s, and a later version has been active since the early 1980s. The original line-up, which was unchanged throughout the band’s first incarnation (1967–1973), was: Jacqui McShee, vocals; John Renbourn, vocals and guitar; Bert Jansch, vocals and guitar; Danny Thompson, double bass; and Terry Cox, drums.

The name Pentangle was chosen to represent the five members of the band, and is also the device on Sir Gawain’s shield in the Middle English poem Sir Gawain and the Green Knight which held a fascination for Renbourn.[2]

In 2007, the original members of the band were reunited to receive a Lifetime Achievement award at the BBC Radio 2 Folk Awards and to record a short concert that was broadcast on BBC radio. In June 2008, the band, comprising all five original members, embarked on a twelve-date UK tour.

https://en.wikipedia.org/wiki/Pentangle_(band)

La notte – The night


La notte

Un respiro
un sentiero tra le stelle
dove i sogni sono in attesa
Un ricordo che tocca la pelle
lasciano impronte indelebili
ed accende quella nostalgia
che ha un solo nome

Un tuffo
dove il tempo non esiste
e tutto rincorre fantasia
Un pensiero senza catene
in interminabili palpiti vivi
ed è soffio di magia
che armonizza la notte

13.08.2011  Poetyca

The night

A breath
a path among the stars
where dreams are waiting
A reminder that touches the skin
leave indelible imprints
and turns that nostalgia
which has only one name

A dip
where time does not exist
chases and all fantasy
A thought without chains
live in endless thrills
and is the breath of magic
harmonizing the night

13.08.2011  Poetyca

Tom Petty greatest hits


[youtube https://www.youtube.com/watch?v=TsH4CrwExCQ&list=PLupOSjd2mAJDGEqaZeac4zWVQtJyFQRQY]

Thomas Earl Petty è nato a Gainesville, in Florida, e non aveva nessuna aspirazione musicale finché Elvis Presley non visitò la sua città natale. Dopo aver fatto parte di alcune band come The Sundowners, The Epics, e Mudcrutch (di cui facevano parte i futuri membri degli Heartbreakers Mike Campbell e Benmont Tench) inizia la sua carriera discografica come Tom Petty & the Heartbreakers, quando la band irrompe nella scena musicale nel 1976 con l’album omonimo di debutto. La canzoneBreakdown, pubblicata come singolo, entra nella Top 40 nel 1977.

Il secondo album You’re Gonna Get It! uscito nel 1978 conferma le buone musicalità dell’album di debutto, ma i singoli tratti da questo album (Listen To Her Heart e I Need To Know non ripetono il successo di Breakdown. Petty stesso racconta che in quel periodo erano considerati troppo hard per gli amanti del mainstream e troppo soft per i punk.

Nel periodo successivo la sua casa discografica fallisce, scatenando l’apertura di una causa giudiziaria con la nuova per la proprietà dei diritti d’autore delle sue canzoni. Petty finanzierà le spese della causa con un nuovo tour chiamato appunto Lawsuite Tour. In questo stato precario nasce il suo album di maggior successo, Damn the Torpedoes, che raggiunge negli USA il triplo platino. L’album successivo, Hard Promises, ottiene un buon giudizio di critica, ma un minor successo di pubblico, risultando tuttavia un buon lavoro.

Sul suo quinto album Long After Dark (1982), il bassista Ron Blair è sostituito da Howie Epstein, che completa la line-up degli Heartbreakers. Petty in quel periodo ha problemi di stress dovuto al successo e si prende un periodo di pausa dalle scene.

Con il suo album del ritorno Southern Accents (1985) Tom Petty & The Heartbreakers ricominciano lì da dove avevano interrotto. Secondo il progetto iniziale il disco doveva essere doppio, avendo una parte più acustica dedicata alla riscoperta del sud degli Stati Uniti e una parte più sperimentale alla quale collabora Dave Stewart. Durante le registrazioni si verificano problemi e Petty a, causa della frustrazione, si frattura la mano sinistra, tirando un pugno contro il muro. Per questo incidente l’artista non potrà suonare la chitarra per circa otto mesi e questo farà tramontare del tutto l’idea dell’album doppio. Il singolo tratto dall’album èDon’t Come Around Here No More prodotto da Dave Stewart, il video della canzone vede Tom vestito come il Cappellaio Matto dal libro Alice nel Paese delle Meraviglie.

Il tour è un successo, e verrà documentato sull’album Pack Up The Plantation: Live! (1986). Le capacità live della band vengono ulteriormente confermate quando Bob Dylan invita Tom Petty & the Heartbreakers a unirsi a lui durante il True Confessions Tour attraverso USA, Australia, Giappone nel (1986) ed Europa nel (1987).

Durante il 1987, il gruppo incide anche l’album Let Me Up (I’ve Had Enough), un album in studio che presenta sonorità assimilabili a quelle di un album dal vivo, registrato utilizzando tecniche prese in prestito da Bob Dylan. L’album include Jammin’ Me, che Petty scrive con Dylan.

Prima di Full Moon Fever, Lynne e Petty lavorano insieme nella all-stars band Traveling Wilburys, nella quale sono presenti anche Bob Dylan, George Harrison e Roy Orbison.[1] I Traveling Wilburys nascono per gioco per registrare il lato B di un singolo di George Harrison, ma Handle with Care, la canzone che ne viene fuori, è considerata troppo valida per essere relegata sul lato B di un singolo e infatti ha un tale successo che i membri decidono di registrare un intero album. Traveling Wilburys Vol. 1 esce nel 1988 ma pochi mesi dopo la morte improvvisa di Roy Orbison fa calare un’ombra sul successo dell’album, visto anche che Del Shannon, con il quale il gruppo avrebbe intenzione di sostituirlo, si suicida. Nonostante ciò un secondo album, curiosamente chiamato Traveling Wilburys Vol. 3 segue nel 1990.

Nel 1989, Petty registra Full Moon Fever, solo nominalmente un progetto solista, infatti altri membri degli Heartbreakers e altri musicisti famosi partecipano alla produzione. Mike Campbell co-produce l’album con Petty e Jeff Lynne. Il disco raggiunge la Top Ten della rivista Billboard e vi rimane per più di 34 settimane, raggiungendo il triplo disco di platino, insieme ai singoli I Won’t Back Down, Free Fallin’ e Runnin’ Down A Dream.

Petty si riunisce con gli Heartbreakers per l’album successivo, Into the Great Wide Open nel 1991. È prodotto di nuovo da Jeff Lynne e include i singoli Learning to Fly e la title-track Into the Great Wide Open, che vede gli attori Johnny Depp, Gabrielle Anwar e Faye Dunaway nel video.

Nel 1994, Petty registra il suo secondo album solista, Wildflowers prodotto da Rick Rubin, che include i singoli You Don’t Know How It Feels, You Wreck Me, It’s Good to Be King, A Higher Place e Honey Bee. Petty considera questo uno dei suoi album più riusciti, parere condiviso anche dalla critica.

Due anni dopo 1996 realizza la colonna sonora del film Il senso dell’amore del regista Edward Burns. Nominato direttore artistico del progetto, non riusce però a trovare nessun altro musicista disposto a fornirgli brani validi e decide quindi di usare insieme alle canzoni nuove composte per l’occasione, anche brani non usati nel disco precedente.

Dovranno passare ancora tre anni, periodo travagliato del divorzio dalla prima moglie, prima che esca il successivo album in studio Echo, con cui Petty ottiene un buon successo soprattutto negli USA. Nonostante in questo periodo conosca Dana, quella che diventerà la sua seconda moglie, l’album ha testi molto tristi e sofferti.

Dopo che nel 2000 esce un’altra antologia in doppio CD, nel 2002 esce The Last DJ, in cui parte dei testi esprimono una critica all’industria discografica, che a suo parere schiaccia la vera arte per cercare solo l’utile economico. La critica musicale non è tenera e giudica l’album il peggiore in assoluto della sua carriera, giudizio senz’altro severo visto che il disco benché sia distante dai picchi della sua produzione, resta un disco ascoltabile con qualche pezzo discreto. L’artista stesso si stupirà di come tutte le critiche siano rivolte ai testi senza nessun accenno alla qualità delle canzoni.

Il 24 luglio 2006 è uscito Highway Companion, nuovo album solista dell’artista, realizzato nuovamente con Jeff Lynne e il fido Mike Campbell.[2] L’album prodotto come l’album solista Wildflower del 1994 da Rick Rubin, è il primo inciso per la American Recordings, etichetta del produttore stesso, che fa parte della Warner con la quale Tom Petty incide da più di dieci anni. Si tratta di un album certamente migliore da un punto di vista musicale rispetto al precedente anche se certi capolavori sembrano oramai irripetibili. 

Nella primavera del 2008 Tom Petty riunisce la sua prima band, i Mudcrutch, con cui non aveva mai inciso alcun disco e pubblica l’album Mudcrutch, che stilisticamente non si discosta troppo dalle sue recenti produzioni.

Nel giugno 2010 Petty pubblica, nuovamente con gli Heartbrakers, l’album Mojo, seguito nel luglio 2014 da Hypnotic Eye.

http://it.wikipedia.org/wiki/Tom_Petty

 

Thomas EarlTomPetty (born October 20, 1950) is an American musician, singer, songwriter, multi-instrumentalist, and record producer. He is best known as the lead vocalist of Tom Petty and the Heartbreakers, but is also known as a member and co-founder of the late 1980s supergroup the Traveling Wilburys (under the pseudonymsof Charlie T. Wilbury, Jr. and Muddy Wilbury) and Mudcrutch.

He has recorded a number of hit singles with the Heartbreakers and as a solo artist, many of which remain heavily played on adult contemporary and classic rock radio. His music has been classified as rock and roll, heartland rock and even stoner rock. His music, and notably his hits, have become popular among younger generations as he continues to host sold-out shows.[1] Throughout his career, Petty has sold more than 80 million records worldwide, making him one of the best-selling music artists of all time.[2] In 2002, he was inducted into the Rock and Roll Hall of Fame.

http://en.wikipedia.org/wiki/Tom_Petty

Sussurro infinito – Infinite whisper


Sussurro infinito

Esprimi tutte le parole che sai,
falle scorrere piano sul foglio…
Come lacrime, come lampi di cielo notturno
e poi prendi fiato prima che possano
in un solo istante scagliarsi
a lasciare sgomenta questa notte
Offri la linfa del tuo essere
per rendere complice
solo quest’irripetibile istante
e non temere l’arrivo dell’alba
perchè sarà nascita e vita
a cullare ogni tua vibrante attesa
Io ascolto cullata dal sogno
che appeso alle stelle
sa scuotere ogni respiro
ed accolgo ora
le emozioni vive
che ci accompagnano ancora
Nulla sarà più
come prima della manifestazione
di questa polvere d’oro
che ricopre le palpebre
in un sussurro infinito d’amore
29.01.2008 Poetyca

Infinite whispers

Give all the words you know,
Slide it up on the sheet …
Like tears, like flashes of the night sky
and then take a breath before they can
in an instant lash
frightened to leave tonight
Offer the lifeblood of your being
to make accomplice
only quest’irripetibile moment
and do not fear the arrival of dawn
Why is birth and life
to cradle your every expectation vibrant
I listen lulled by a dream
that hung the stars
knows how to shake every breath
and welcome hour
emotions live
that is still with us
Nothing will be more
as before the event
This gold dust
covering the eyelids
in a whisper of endless love
29.01.2008 Poetyca

The Best Of Jeff Buckley


[youtube https://www.youtube.com/playlist?list=PL471682480210921C]

Jeffrey Scott Buckley (Anaheim, 17 novembre 1966 – Memphis, 29 maggio 1997) è stato un cantautore e chitarrista statunitense.

Figlio del cantautore Tim Buckley, Jeff riscosse in vita la maggior fetta di fama in Francia e Australia e poi, dopo il suo decesso avvenuto per annegamento il 29 maggio 1997, in tutto il mondo, tanto che i suoi lavori rimasero famosi nel tempo e appaiono regolarmente nelle classifiche delle riviste di settore.

https://it.wikipedia.org/wiki/Jeff_Buckley

Jeffrey ScottJeffBuckley (November 17, 1966 – May 29, 1997), raised as Scott “Scottie” Moorhead, was an American singer-songwriter and guitarist. After a decade as a session guitarist in Los Angeles, Buckley amassed a following in the early 1990s by playing cover songs at venues in Manhattan‘s East Village, such as Sin-é, gradually focusing more on his own material. After rebuffing much interest from record labels and his father’s manager Herb Cohen he signed with Columbia, recruited a band, and recorded what would be his only studio album, Grace, in 1994. Rolling Stone considered him one of the greatest singers of all time.

Over the following two years, the band toured widely to promote the album, including concerts in the U.S., Europe, Japan, and Australia. In 1996, they stopped touring and made sporadic attempts to record Buckley’s second album in New York with Tom Verlaine as producer. In 1997, Buckley moved to Memphis, Tennessee, to resume work on the album, to be titled My Sweetheart the Drunk, recording many four-track demos while also playing weekly solo shows at a local venue. On May 29, 1997, while awaiting the arrival of his band from New York, he drowned during a spontaneous evening swim, fully clothed, in the Mississippi River when he was caught in the wake of a passing boat; his body was found on June 4.

Since his death, there have been many posthumous releases of his material, including a collection of four-track demos and studio recordings for his unfinished second album My Sweetheart the Drunk, expansions of Grace, and the Live at Sin-é EP. Chart success also came posthumously: with his famous cover of Leonard Cohen‘s song “Hallelujah” he attained his first No. 1 on Billboards Hot Digital Songs in March 2008 and reached No. 2 in the UK Singles Chart that December. Buckley and his work remain popular and are regularly featured in “greatest” lists in the music press.

https://en.wikipedia.org/wiki/Jeff_Buckley

Oriente – East


Oriente

In Oriente si rispetta ogni essere visto come manifestazione divina, contenitore di divinità e il solo gesto semplicissimo del saluto ( la mudra) del Namaste è indicativo dell’inchinarsi e riconoscere nell’altro la divinità. Immagina dunque se essa sgorgasse da persona elevata, che genere di devozione si possa applicare.

Noi siamo abituati diversamente, considerandoci creature e spesso miserevoli e non meritevoli di attenzione divine. Questo in eredità della tradizione ebraica, dal quale deriva il Vangelo.

Possiamo in fondo avvicinarci alla lettura e cultura orientale ma in noi, nel nostro tessuto sociale, resta il rispetto di sè e il non fare delle persone un motivo di venerazione, questo perchè cogliamo il divino in forma esterna e non ” dentro” le persone.

Non ci poniamo problemi su Atman e Brahman, su quella scintilla che rappresenta l’essere abitati dal divino stesso, come sua manifestazione in svariate forme.

Nell’Antico Testamento si raffigura la Creazione come l’emissione della ” Ruah”, il soffio divino, l’emissione dello Spirito nella materia, ma si vede la presenza di un Padre e noi le creture impefette che devono ancora maturare, per capire la differenza tra Bene e Male.

Si cade in quella che è la dualità, questo mondo la rappresenta.

In Oriente ( inteso come cultura orientale) la dualità è solo illusione ( Maya) della quale liberarsi, alla quale strappare il velo per riconoscere come il divino sia in ogni forma, anche in coloro che ci appaiano distanti e nemici.
Ogni essere viene considerato come parte di noi stessi, questo perchè tutti è lo stessi divino.

Da questo nasce il considerare : Tutto in Uno – Uno in Tutto.

A distaccarsi da questi atteggiamenti di venerazione di Guru e Dei è la scuola del Buddha, dove lui stesso ha spiegato che tutti sono contenitori di un seme di buddhità e che si è uniti nel Dharmakaya ( una sorta di filo che unisce le perle di una collana) che permette l’interconnessione, ma non trova in questo alcuna presenza divina ma la contemplazione della ” realtà come essa è” e dunque l’armonia con la legge immutabile del Dharma.

Lo spezzare l’armonia procura la sofferenza.
Il Buddha non si pone alcuna domanda circa la presenza divina, concentra la sua attenzione sulla liberazione dalla sofferenza, la ricerca delle sue cause e la soluzione sarebbe nel rispetto di quella legge naturale che è il Dharma.

Lui stesso non amava essere visto come una sorta di estensione o rappresentazione divina.

Come immagini allora è importante entrare nella mentalità di chi si esprime negli scritti, coglierne l’essenza e considerare quanto comunque sia poco importante dal punto di vista formale.

Ogni via contiene un seme d’insegnamento.

24.09.2008 Poetyca

East

In the East, we respect each be seen as a manifestation of God, gods, and the container only simple gesture of greeting (the mudra) of namaste is indicative dell’inchinarsi and recognize the divinity in the other. Imagine then if it flowed from high person, what kind of devotion can be applied.

We are used differently, and often perceived as mere miserable and not worthy of divine attention.
This is a legacy of the Jewish tradition, which derives from the Gospel.

We can get closer to the bottom in reading and Eastern culture but in ourselves, in our social fabric, there is the self-respect and not make people a reason to worship, this is because we take the divine in external form and not “inside” people.

No problems on ourselves Atman and Brahman, on the spark that is being inhabited by the divine itself, as its manifestation in different forms.

The Old Testament depicts the Creation as the issue of “Ruah”, the divine breath, the release of the Spirit in matter, but you can see the presence of a Father and we creture impefette that have yet to mature, to understand the difference between Good and Evil.

You fall into what is the duality, this world is.

In the East (as a culture of Eastern Europe) the duality is only an illusion (Maya) which escape, which tear the veil to recognize how the divine is, in any form, even those who appear distant enemies.
Each will be considered as part of ourselves, because all this is the same God.

From this comes the consideration of: All in One – All in One.

A move away from this attitude of worship of Gods and Gurus is a school of Buddha, where he explained that all containers are the seed of Buddhahood and that we are united in the Dharmakaya (a sort of common thread between the beads of a necklace ) that allows the interconnection, but can not find this in any but the contemplation of divine presence “reality as it is,” and therefore in harmony with the immutable law of Dharma.

The breaking of the harmony brings suffering.
The Buddha does not arise any question about the divine presence, focuses on the liberation from suffering,
the search for its causes and the solution would have respected the natural law that is the Dharma.

He himself did not like being seen as a kind of extension or representation of God.

How do you picture then it is important to get into the mindset of those who express themselves in writing, grasping the essence and is still considered as unimportant by the formal point of view.

Each path contains a seed of education.

24.09.2008 Poetyca

Phil Collins – En Concert Complet a (Paris 2004)


Philip David Charles Collins (Londra, 30 gennaio 1951) è un cantautore, polistrumentista e musicista britannico, noto sia come solista sia come componente dello storico gruppo dei Genesis.

Collins è uno dei tre artisti (insieme a Paul McCartney e Michael Jackson), ad aver venduto oltre 150 milioni di album in tutto il mondo sia come solisti che come membri principali di una band[1].

https://it.wikipedia.org/wiki/Phil_Collins

Philip David Charles “Phil” Collins, LVO (born 30 January 1951),[6] is an English singer, songwriter, multi-instrumentalist, music producer and actor. He gained fame as both the drummer and lead singer for the rock group Genesis, and he also gained worldwide fame as a solo artist.

Collins is one of the most successful songwriters and performers of all time, singing the lead vocals on dozens of hit albums and singles in the UK and the US between 1976 and 2010, either as a solo artist or with Genesis. His solo singles, sometimes dealing with lost love and often featuring his distinctive gated reverb drum sound, ranged from the atmospheric “In the Air Tonight“, dance-rock of “Sussudio“, piano-driven power balladAgainst All Odds“, to the political and religious connotations of “Another Day in Paradise“. Collins has been described by AllMusic as “one of the most successful pop and adult contemporary singers of the ’80s and beyond”.[1]

Collins joined Genesis in 1970 as the group’s drummer and became their lead vocalist in 1975 following the departure of the original lead singer Peter Gabriel. His solo career, which was launched in 1981 and was heavily influenced by his personal life and soul music, brought both himself and Genesis greater commercial success. Collins’s total worldwide sales as a solo artist are 150 million.[7] Collins has won numerous music awards throughout his career, including seven Grammy Awards, six Brit Awards—winning Best British Male three times, three American Music Awards, an Academy Award, two Golden Globe Awards and a Disney Legend Award in 2002 for his solo work.[8][9][10] He received a star on the Hollywood Walk of Fame in 1999, was inducted into the Songwriters Hall of Fame in 2003, and into the Rock and Roll Hall of Fame as a member of Genesis in 2010.[11][12] Collins was listed at number 22 in Rolling Stone magazine’s list of the “100 Greatest Drummers of All Time”.[13]

Collins is one of only three recording artists (along with Paul McCartney and Michael Jackson) who have sold over 100 million albums worldwide both as solo artists and (separately) as principal members of a band.[14] During his most successful period as a solo artist between 1981 and 1990, Collins had three UK number-one singles and seven number-one singles on the Billboard Hot 100 in the United States, as well as a U.S. number one with Genesis in 1986. When his work with Genesis, his work with other artists, as well as his solo career is totalled, Collins had more top 40 hits on the Billboard Hot 100 chart during the 1980s than any other artist.[15] In 2008, Collins was ranked the 22nd most successful artist on the “Billboard Hot 100 All-Time Top Artists”.[16] Although one of the world’s best-selling recording artists and a highly respected drummer, Collins has garnered significant criticism over the years from music journalists and fellow artists. He announced his retirement in 2011 to focus on his family life,[17][18] though he continued to write songs and in 2013 he said he was considering a return to the music industry.[19]

https://en.wikipedia.org/wiki/Phil_Collins

Bruce Cockburn playlist


[youtube https://www.youtube.com/watch?v=4s2zN9j78LM&list=PLQXCjPp9upb_0J83QGoCj_6Y4dwXJnfiH]

Bruce Cockburn (Ottawa, 27 maggio 1945) è un cantautore canadese.

Il suo stile, con il personalissimo modo di suonare la chitarra, fonde generi come pop, folk, rock, reggae e jazz. Le liriche sono ispirate dalla sua visione umanistica e metafisica della vita vicina all’etica cristiana. 

http://it.wikipedia.org/wiki/Bruce_Cockburn

Bruce Douglas Cockburn OC (/ˈkbərn/; born May 27, 1945)[1] is a Canadian guitarist and singer-songwriter whose career spans over 40 years. His song styles range from folk to jazz-influenced rock and his lyrics cover a broad range of topics that reveal a passion for human rights, politics and spirituality.

In 2014, he released his memoirs, Rumours of Glory: A Memoir.[2]  

Cockburn was born in 1945 in Ottawa, Ontario, Canada, and spent some of his early years on a farm outside Pembroke, Ontario. He has stated in interviews that his first guitar was one he found around 1959 in his grandmother’s attic, which he adorned with golden stars and used to play along to radio hits.[3] Cockburn attended Nepean High School, where his 1964 yearbook photo states his desire “to become a musician”.[4]He attended Berklee School of Music in Boston for three semesters in the mid-1960s. In 1966 he joined an Ottawa band called The Children, which lasted for about a year. In the spring of 1967 he joined the final lineup of The Esquires. He moved to Toronto that summer to form The Flying Circus with former Bobby Kris & The Imperials members Marty Fisher and Gordon MacBain and ex-Tripp member Neil Lillie. The group recorded some material in late 1967 (which remains unreleased) before changing its name to Olivus in the spring of 1968, by which time Lillie (who changed his name to Neil Merryweather) had been replaced by Dennis Pendrith from Livingstone’s Journey. Olivus opened for The Jimi Hendrix Experience and Cream in April 1968. That summer Cockburn broke up the band with the intention of going solo, but ended up in the band 3’s a Crowd with David Wiffen, Colleen Peterson, and Richard Patterson, who had been a co-member of The Children. Cockburn left 3’s a Crowd in the spring of 1969 to pursue a solo career.

Cockburn’s first solo appearance was at the Mariposa Folk Festival in 1967, and in 1969 he was a headliner. In 1970 he released his self-titled, solo album. Cockburn’s guitar work and songwriting won him an enthusiastic following. His early work featured rural and nautical imagery and Biblical metaphors. Raised as an agnostic, early in his career he became a Christian.[5] Many of his albums from the 1970s refer to Christianity, which in turn informs his concerns for human rights and environmentalism. His references to Christianity include the Grail imagery of 20th-century Christian poet Charles Williams and the ideas of theologian Harvey Cox.[6]

In 1970 Cockburn became partners with Bernie Finkelstein in the music publishing firm Golden Mountain Music.[7]

While Cockburn had been popular in Canada for years, he did not have a big impact in the United States until 1979, with the release of the album Dancing in the Dragon’s Jaws. “Wondering Where the Lions Are“, the first single from that album, reached No. 21 on the Billboard Hot 100 in the US in June 1980, and earned Cockburn an appearance on NBC‘s hit TV show Saturday Night Live.

Cockburn was married from 1969 to 1980 and has a daughter from that marriage.[citation needed] He wrote the song “Little Seahorse”, released on In the Falling Dark, in late 1975 about the time when his daughter wasin utero.[citation needed]

Through the 1980s Cockburn’s songwriting became increasingly urban, global and political as he became more involved with progressive causes. His political concerns were first hinted at on the albums: Humans,Inner City Front and The Trouble with Normal. They became more evident in 1984, with his second US radio hit, “If I Had a Rocket Launcher” (No. 88 in the US) from the Stealing Fire album. He had written the song a year earlier, after visiting Guatemalan refugee camps in Mexico that were attacked by Guatemalan military helicopters. His political activism continues to the present. Cockburn has travelled to countries such as Mozambique and Iraq, played benefit concerts, and written songs on a variety of subjects ranging from the International Monetary Fund to land mines. His internationalist bent is reflected in the many world musicinfluences in his music, including reggae and Latin music.

In 1991 Intrepid Records released Kick at the Darkness, a tribute album to Cockburn whose title comes from a phrase in his song “Lovers in a Dangerous Time“. It features the Barenaked Ladies‘ cover of that song, which became their first Top 40 hit and an element in their early success. This lyric was also referenced by U2 in their song “God Part II” from their album Rattle and Hum.

In the early 1990s, Cockburn teamed with T-Bone Burnett for two albums, Nothing but a Burning Light and Dart to the Heart. The latter included a song, “Closer to the Light”, inspired by the death of songwriter Mark Heard, a close friend of Cockburn and Burnett. Cockburn frequently refers to Heard as his favourite songwriter and he was one of many artists who paid tribute to Heard on an album and video titled Strong Hand of Love.

In 1998 Cockburn travelled with filmmaker Robert Lang to Mali, West Africa, where he jammed with Grammy Award-winning blues musician Ali Farka Toure and kora master Toumani Diabate. The month-long journey was documented in the film River of Sand, which won the Regard Canadien award for best documentary at the Vues d’Afrique Film Festival in Montreal. It was also invited for competition at the International Festival of Environmental Films in Paris.[8]

Some of Cockburn’s previously published material had been collected in several albums: Resume, Mummy Dust, and Waiting for a Miracle. His first greatest hits collection was Anything Anytime Anywhere: Singles 1979–2002, released in 2002.

In January 2003 Cockburn finished recording his 21st album, You’ve Never Seen Everything, which features contributions from Emmylou Harris, Jackson Browne, Sam Phillips, Sarah Harmer, Hugh Marsh, Jonell Mosser, Larry Taylor and Steven Hodges. (Taylor and Hodges, formerly of Canned Heat who performed at Monterey and Woodstock in the 1960s, may be known best for their work with Tom Waits).

Cockburn performed a set at the Live 8 concert in Barrie, Ontario, on July 2, 2005. Speechless, an instrumental compilation of new and previously released material, was released on October 24, 2005. His 22nd album, Life Short Call Now, was released on July 18, 2006.

Canadian senator and retired general Roméo Dallaire, who is active in humanitarian fundraising and promoting awareness, appeared on stage at the University of Victoria with Cockburn. The October 4, 2008, concert was held to aid the plight of child soldiers.[9]

In 2009 Cockburn travelled to Afghanistan to visit his brother, Capt. John Cockburn, and to play a concert for Canadian troops. He performed his 1984 song “If I Had a Rocket Launcher” and was temporarily awarded an actual rocket launcher by the military. Cockburn has stated that, while unsure of the original Invasion of Afghanistan, he supported Canada’s role there.[10]

Cockburn released his studio album Small Source of Comfort in 2011. “Lois on the Autobahn”, a cheerful and experiential instrumental recalling “Rouler sa bosse” from Salt, Sun and Time is a tribute to Cockburn’s mother, Lois, who succumbed to cancer in 2010.[citation needed]

Cockburn married his longtime girlfriend M.J. Hannett shortly after the birth of his second daughter, Iona (b. November 2011) in 2011.[11][12] As of 2014, the family lives in the San Francisco area, where Cockburn is writing his memoirs up to 2004.[13]

A documentary film, Bruce Cockburn Pacing the Cage,[14][15] was released in 2013 on television and a brief theatrical showing; directed by Joel Goldberg, gave a rare look into Cockburn’s music, life and politics

http://en.wikipedia.org/wiki/Bruce_Cockburn

Rifugi lungo la via – Shelters along the way


Riflettendo…

bodhidarma

La Riflessione

Ho vissuto per più di cinquant’anni,

fluttuando nel mare della vita e della morte.

Non v’è nulla a cui afferrarsi.

Shin’etsu (1639-1696)

————————

Il valore della gratitudine,

per la bellezza del percorso,

per le opportunità maturate

è nella comprensione di tutte le volte

che un respiro nuovo

ci ha permesso di essere qui ed ora,

ad attraversare lo spazio

che separa le acque tra la vita

che continua e la sfuggita morte.

In noi la capacità di accogliere

passo dopo passo questo momento

senza aggrapparsi ma facendosi scivolare

con dolcezza sulle onde

della compassione amorevole.

Poetyca

————————

L’insegnamento

Rifugi lungo la Via

Generalmente si pensa che prendere i Rifugi sia il primo gradino della pratica buddhista,una formula che si recita all’inizio della propria vita da buddhisti,

ma che poi si lascia cadere su uno sfondo dietro di sé.

Invece, l’atto di prendere i Rifugi può essere usato come un mezzo di pratica,

un metodo per elevare se stessi, poiché quando si prendono i Rifugi

in effetti si dà una particolare direzione alla propria mente.

Se lo si fa consapevolmente, lentamente e deliberatamente,

quest’atto mette in moto alcuni fattori mentali, le cinque facoltà spirituali (indriya).

Esse sono fede, energia, consapevolezza, concentrazione e saggezza.

Prendendo consapevolmente i Rifugi si fanno sorgere,

si potenziano e si rinforzano queste cinque qualità mentali,

fino al punto che esse diverranno le linee guida del nostro sviluppo spirituale.

Venerabile Bhikkhu Bodhi

————————-

Giungere ad un apparente traguardo è in realtà tracciare una linea di partenza,

in coerenza e retto sforzo per essere capaci di mantenere fede

ad una scelta formulata con la mente/cuore.

Mai si deve cancellare quello che è nella via da intraprendere

e passo dopo passo, tutto si riconferma dal calore che noi mettiamo

per far ardere la fiamma della presenza mentale, dove la pura mente

sa dare limpidezza al percorso scelto con consapevolezza ed amorevolezza.

Con gratitudine si porta attenzione a tutte le difficoltà

che ci aiutano a riconfermare il nostro modo di vivere le esperienze.

Poetyca

————————

28.12.2008 Poetyca

❤ ❤ ❤

Reflecting …

Reflection

I have lived for more than fifty years ,

waving in the sea of ​​life and death.

There is nothing to hold on .

Shin’etsu (1639-1696)

————————

The value of gratitude ,

for the beauty of the route ,

for the opportunities gained

is in the understanding of all times

that a new breath

has allowed us to be here and now,

to traverse space

which separates the waters between life

continues and escaped death.

In us the capacity to accommodate

step by step this time

but being without clinging slip

gently on the waves

of loving compassion .

Poetyca

————————

The teaching

Shelters along the Via

It is generally thought that taking refuge is the first step of Buddhist practice , a formula that is recited at the beginning of his life as a Buddhist ,

but then you drop on a background behind him.

Instead , the act of taking refuge can be used as a means of practice,

a method to elevate themselves, because when you take refuge

in fact it gives a particular direction to the mind .

If you do it consciously , slowly and deliberately ,

this act sets in motion some mental factors , the five spiritual faculties ( Indriyas ) .

They are faith , energy, mindfulness , concentration and wisdom .

Going for Refuge consciously they do arise ,

is strengthening, and reinforcing these five mental qualities ,

to the point where they become the guidelines of our spiritual development.

Venerable Bhikkhu Bodhi

————————-

Reaching an apparent goal is actually to draw a line starting

in consistency and rectum effort to be able to maintain faith

to a choice made ​​with the mind / heart.

Never will need to delete what is in the way to go

and step by step , everything is reconfirmed by the heat that we put

to burn the flame of mindfulness, where the pure mind

can give clarity to the path chosen with awareness and kindness .

With gratitude brings attention to the difficulties

that help us to reconfirm our way of life experiences .

Poetyca

————————

28.12.2008 Poetyca

Neil Young – The Needle & The Damage Done


[youtube https://www.youtube.com/watch?v=UyRwde95sfE&list=PL76C4C09DDAFF76C8]

Neil Percival Young (Toronto, 12 novembre 1945) è un cantautore e chitarrista canadese.

Dopo aver debuttato giovanissimo con la storica formazione dei Buffalo Springfield e aver raggiunto il successo nel supergruppo Crosby, Stills, Nash & Young,[1] Neil si è imposto come uno dei più carismatici e influenti cantautori degli anni settanta,[2] contribuendo a ridefinire la figura del songwriter con album come After the Gold Rush e il vendutissimo Harvest.[3]

Artista solitario e tormentato,[3] capace di passare con disinvoltura dalla quiete della ballata acustica alla brutalità della cavalcata rock, per l’approccio spesso volutamente “grezzo” che contraddistingue tanto i suoi dischi quanto i suoi concerti è stato considerato da alcuni un precursore del punk,[3] mentre la ruvida passione delle sue performance ha spinto tanto la critica quanto gli appassionati e gli stessi musicisti ad acclamarlo negli anni novanta padrino del grunge.[3][4] È stato inoltre un personaggio determinante per l’evoluzione di generi come l’alternative country[5] e l’alternative rock in generale.[6]

Tratti inconfondibili del suo stile sono la voce acuta e nasale, la chitarra “sporca” e cacofonica, i testi introspettivi e malinconici (specie nella cosiddetta Trilogia del dolore,[7] culminata nell’album Tonight’s the Night,[8] da molti ritenuto il primo concept album della storia del rock a misurarsi con temi quali il dolore e la perdita) nonché l’immancabile camicia di flanella, divenuta negli anni un autentico status symbol alternativo.

http://it.wikipedia.org/wiki/Neil_Young

Neil Percival Young, OC OM[4][5] (born November 12, 1945) is a Canadian singer-songwriter and musician. He began performing in a group covering Shadowsinstrumentals in Canada in 1960, before moving to California in 1966, where he co-founded the band Buffalo Springfield together with Stephen Stills and Richie Furay, and later joined Crosby, Stills & Nash in 1969. He released his first album in 1968 and has since forged a successful and acclaimed solo career, spanning over 45 years and 35 studio albums, with a continuous and uncompromising exploration of musical styles.[6] The Rock and Roll Hall of Fame website describes Young as “one of rock and roll’s greatest songwriters and performers”.[7] He was inducted into the Hall of Fame twice, first as a solo artist in 1995, and second as a member of Buffalo Springfield in 1997.[8]

Young’s music is characterized by his distinctive guitar work, deeply personal lyrics[9][10][11] and characteristic alto or high tenor singing voice.[12][13] Although he accompanies himself on several different instruments, including piano and harmonica, his idiosyncratic electric and clawhammer acoustic guitar playing are the defining characteristics of a varyingly ragged and melodic sound.

While Young has experimented with differing music styles throughout a varied career, including swing and electronic music, most of his best known work is either acousticfolk-rock and country rock or electric, amplified hard rock (most often in collaboration with the band Crazy Horse). Musical styles such as alternative rock and grunge also adopted elements from Young. His influence has caused some to dub him the “Godfather of Grunge“.[14]

Young has directed (or co-directed) a number of films using the pseudonym Bernard Shakey, including Journey Through the Past (1973), Rust Never Sleeps (1979),Human Highway (1982), Greendale (2003), and CSNY/Déjà Vu (2008). He has also contributed to the soundtracks of films including Philadelphia (1993) and Dead Man(1995).

Young is an environmentalist[15] and outspoken advocate for the welfare of small farmers, having co-founded in 1985 the benefit concert Farm Aid. He is currently working on a documentary about electric car technology, tentatively titled LincVolt. The project involves his 1959 Lincoln Continental converted to hybrid technology as an environmentalist statement.[16][17] In 1986, Young helped found The Bridge School,[18] an educational organization for children with severe verbal and physical disabilities, and its annual supporting Bridge School Benefit concerts, together with his ex-wife Pegi Young (née Morton). Young has three children: sons Zeke (born during his relationship with actress Carrie Snodgress) and Ben, who were diagnosed with cerebral palsy, and daughter Amber Jean who, like Young, has epilepsy. Young lives on his ranch in La Honda, California.[19] Although he has lived in northern California since the 1970s and sings as frequently about U.S. themes and subjects as he does about his native country, he has retained his Canadian citizenship.[20] On July 14, 2006, Young was awarded the Order of Manitoba,[5] and on December 30, 2009, was made an Officer of the Order of Canada.[4]

http://en.wikipedia.org/wiki/Neil_Young

 

John Mellencamp – full album- the best of – greatest hits


[youtube https://www.youtube.com/watch?v=CElCy4IqRvM]

John Mellencamp (Seymour, 7 ottobre 1951) è un musicista, cantante e compositore statunitense.

Conosciuto inizialmente con i nomi d’arte di Johnny Cougar, John Cougar e John Cougar Mellencamp, nella sua carriera ha venduto oltre 40 milioni di dischi, è stato nominato a 13 Grammy Awards vincendone uno.

Mellencamp è stato inoltre inserito nella Rock and Roll Hall of Fame il 10 marzo 2008.[2] Le sue più grandi influenze musicali sono state Bob Dylan, Woody Guthrie ed iRolling Stones

http://it.wikipedia.org/wiki/John_Mellencamp

John J Mellencamp,[1] also known as John Cougar Mellencamp (born October 7, 1951), is an American Rock singer-songwriter, musician, painter and occasional actor known for his catchy, populist brand of heartland rock which emphasizes traditional instrumentation. Mellencamp rose to superstardom in the 1980s while “honing an almost startlingly plainspoken writing style that, starting in 1982, yielded a string of Top 10 singles,”[2] including “Hurts So Good,” “Jack & Diane,” “Crumblin’ Down,” “Pink Houses,” “Lonely Ol’ Night,” “Small Town,” “R.O.C.K. in the U.S.A.,” “Paper in Fire,” and “Cherry Bomb.” He has sold over 40 million albums worldwide and has amassed 22 Top 40 hits in the United States. In addition, he holds the record for the most tracks by a solo artist to hit number-one on the Hot Mainstream Rock Trackschart, with seven, and has been nominated for 13 Grammy Awards, winning one. Mellencamp released his latest album, Plain Spoken, on September 23, 2014 to widespread critical acclaim.

Mellencamp is also one of the founding members of Farm Aid, an organization that began in 1985 with a concert in Champaign, Illinois to raise awareness about the loss of family farms and to raise funds to keep farm families on their land. The Farm Aid concerts have remained an annual event over the past 30 years, and as of 2015 the organization has raised over $45 million to promote a strong and resilient family farm system of agriculture.

Mellencamp was inducted into the Rock and Roll Hall of Fame on March 10, 2008.[3] His biggest musical influences are Bob Dylan, Woody Guthrie, James Brown and The Rolling Stones.[4] Said longtime Rolling Stone contributor Anthony DeCurtis: “Mellencamp has created an important body of work that has earned him both critical regard and an enormous audience. His songs document the joys and struggles of ordinary people seeking to make their way, and he has consistently brought the fresh air of common experience to the typically glamour-addled world of popular music.”[5]

The late Billboard magazine editor-in-chief Timothy White said in 2001: “John Mellencamp is arguably the most important roots rocker of his generation. John has made fiddles, hammer dulcimers, Autoharps and accordions lead rock instruments on a par with electric guitar, bass and drums, and he also brought what he calls ‘a raw Appalachian’ lyrical outlook to his songs. Mellencamp’s best music is rock ‘n roll stripped of all escapism, and it looks directly at the messiness of life as it’s actually lived. In his music, mortality, anxiety, acts of God, questions of romance and brotherhood, and crises of conscience all collide and demand hard decisions……This is rock music that tells the truth on both its composer and the culture he’s observing.

http://en.wikipedia.org/wiki/John_Mellencamp

Contorno d’aurora – Outline of dawn


Contorno dell’aurora

Carezza antica
dal sapore d’attesa
sei ora festante vita
che con dolcezza danza

Intreccio d’armonia
oltre la notte lontana
percorrendo amorevolezza

Contorno dell’aurora
che rincorre e palpita
luce e speranza

03.06.2008 Poetyca

Outline of dawn

Caress old
flavor waiting
six hours festive life
that gently dance

Intertwining of harmony
beyond the night away
along kindness

Outline of dawn
that chases and beats
light and hope

03.06.2008 Poetyca

Senza più domani – No more tomorrow


Senza più domani

A volte la vita graffia,
a rallentatore
si vorrebbe tornare indietro:
rivedere l’ultimo frammento
di quello che è accaduto.

Alle volte non comprendiamo
da che parte proviene
quella profonda ferita
che come un turbine
sconvolge tutte le carte.

E’ stato un attimo,
un passo falso del cuore
che era in bilico oltre l’abisso
ed ha trovato una verità
che non si voleva guardare.

Ma oggi che scorrono
come fiume in piena
tutte le tue lacrime
è più facile capire
quanto sia stato fragile.

Un salto nel vuoto
senza più respiro
perchè è stata una pugnalata
che ha spezzato il senso
del nostro credere davvero.

Ed ho davanti agli occhi
l’inganno che indossavi:

ed è il silenzio
che racconta la vertigine
senza più domani
06.06.2008 Poetyca

No more tomorrow

Sometimes life scratch,
slow motion
one would like to go back:
review the last fragment
of what happened.

Sometimes we do not understand
which way comes
that deep wound
and as a whirlwind
upsets all the cards.

It ‘been a while,
a slip of the heart
that was hovering over the abyss
and found a truth
who did not want to watch.

But now that flow
as swollen river
all your tears
is easier to understand
As has been fragile.

A leap of faith
without breath
because it was a stab
that broke the sense
of our belief really.

And I have before my eyes
deception were wearing:

and silence
which tells the vertigo
no more tomorrow

06.06.2008 Poetyca