Kafana kod knjiškog moljca II

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Naravno da sve cveta, naravno da ćemo otići. Zar nismo bogovi ti i ja?... U krvi osećam okretanje svemira koji se ne mogu istražiti...
Slušaj - želim da trčim čitav život, da urlam na sav glas. Neka sav život bude nesputani krik. Kao kad gomila pozdravlja ulazak gladijatora.
Ne zaustavljaj se da razmisliš, ne prekidaj urlik, izdahni, oslobodi radost postojanja. Sve cveta. Sve leti. Sve urla, guši se kricima. Smeh. Trčanje. Raspuštena
kosa. To je sve što život može da ponudi.

Vladimir Nabokov - Sabrane priče I (Bogovi)
 
ZVUK JEDNE RUKE

Starešina hrama u Keninu bio je Mokurai, Tiha grmljavina. Mokurai imaše jednog malog, dvanaestogodišnjeg štićenika po imenu Tojo. Tojo je imao priliku da vidi kako stariji učenici svakog jutra i večeri pohode učitelja u njegovim odajama, da bi primili pouku u vidu san-zena ili ličnog vođstva, pri čemu su dobijali koane kako bi predupredili lutanje uma.
I Tojo imađaše želju da primi sanzen.
„Pričekaj malo,” poručio mu je Mokurai. „Previše si mlad.”
Ali, dečak beše uporan, tako da učitelj naposletku pristade.
Te večeri se mali Tojo u određeno vreme našao na pragu Mokuraijeve odaje za sanzen. Udario je u gong da bi obznanio svoje prisustvo, u znak poštovanja tri puta je učinio naklon pred vratima, a potom ušao i seo pred učitelja u tišini ispunjenoj poštovanjem.
„Zvuk dve ruke možeš da čuješ kad pljesneš rukama,” reče Mokurai. „Sada mi pokaži zvuk jedne ruke.”
Tojo se naklonio i otišao u svoju sobu da razmisli o pitanju. Kroz prozor do njega dopiraše muzika gejši.„Aha! Imam ga!”, obradova se.
Sledeće večeri, kada učitelj od njega zatraži da mu dočara zvuk jedne ruke, Tojo stade da izvodi muziku gejša.
„Ne, ne,” reče Mokurai. „To nikako. To nije zvuk jedne ruke. Uopšte ga nisi shvatio.”
Pomišljajući da ga muzika možda ometa, Tojo se prebaci na neko mirnije mesto. Opet i iznova dumaše. ”Zvuk jedne ruke – šta li će to biti?” Iznenada začu kako kaplje voda. „Zacelo je to,” pomisli Tojo.
Kada se ponovo pojavio pred učiteljem, Tojo stade da oponaša kapljanje vode.
„Šta ti je to?” pitao ga je Mokurai. „To jeste zvuk vode koja kaplje, ali ne i zvuk jedne ruke. Pokušaj ponovo.”
Zalud je Tojo meditirao kako bi otkrio zvuk jedne ruke. Čujaše huk vetra. No i taj zvuk beše odbijen kao pogrešan.
Čujaše krik sove. Ni taj nije valjao.
Ni skakavci ne stvarahu zvuk jedne ruke.
Više od deset puta dolazio je Tojo kod Mokuraija sa svakojakim zvucima. Svi su bili pogrešni. Gotovo godinu dana razbijao je glavu pitanjem šta bi to moglo da predstavlja zvuk jedne ru-ke.
Najposle je mali Tojo uronio u istinsku meditaciju i prevazišao sve zvuke. „Više nisam mogao da ih sakupljam,” objasnio je kasnije, „i tako sam došao do nečujnog zvuka.”
Tojo je shvatio zvuk jedne ruke.

whytell.jpg
 
agatha:
Pa to je Sekhmet
Boginja rata ali i lečenja
Kliknite za proširenje...
Divan avatar.
Donosi odgovor na pitanja koja si želela da postaviš.
Evo malo o besnim boginjama...

Claire Douglas - The Old Woman’s Daughter
"Before this, I had wondered why Vajrayogini is often explained away, especially in the West, simply as a Tibetan Kali and, as with Kali Ma, reduced to her destructive aspect; at the same time, she is one of the most venerated and meditated upon figures in the Buddhist pantheon. Both Kali and Vajrayogini have much in common. They embody an inherently fiery, active aspect of feminine wholeness from which our Western Judeo-Christian world recoils. It rejects this powerful and sometimes uncanny part of the feminine, fears it, and turns it demonic. These Great Mother archetypes have their fierceness equated with evil, as when Kali is reduced to a devil-possessed witch who is supposed to cause cholera and eat little children. This ignores her ancient triune Goddess role and thus makes it easier to discount the feminine’s power. In contrast, the ancient Mahanirvana tantra addresses Kali in this way: “Thou art the Original of all manifestations; Thou art the birthplace of even Us; Thou knowest the whole world, yet none know Thee . . . Thou art both Subtle and Gross, Manifested and Veiled, Formless, yet with form. Who can understand Thee? . . . It is Thou who art the Supreme Primordial Kalika . . . Resuming after dissolution Thine own form, dark and formless, Thou alone remains as One ineffable and inconceivable . . . Thou art the Beginning of all, Creatrix, Protectress, and Destructress.” "
......................................
"All three archetypal images of the Great Mother—Vajrayogini, Lilith, and Kali—bring life and nourish it in endless cycles as well as bring about its demise. They hold the same mystery as the triune Goddess of the Demeter, Persephone, Hecate myth before she was blown apart into maiden, mother, and crone and her story perverted into a patrifocal one of rape and Severed-head Vajrayogini. Drawing by Emily Martindale. In Shaw, Passionate Enlightenment, The Snake and the Girl Transfigured separation. In essence, the three in one represent mater materia, the creation, and the dissolution of the world. They are emanations of Shakti, feminine power, and Maya, the endless spinning of creation. As such, they receive negative projections and enmity from those who have turned their back on the feminine, denied her power, fled from acknowledging their vulnerable mortality, and despised and polluted the earth rather than accepting the sacredness of earthly life."
 
Sandveil dance:
Divan avatar.
Donosi odgovor na pitanja koja si želela da postaviš.
Evo malo o besnim boginjama...

Claire Douglas - The Old Woman’s Daughter
"Before this, I had wondered why Vajrayogini is often explained away, especially in the West, simply as a Tibetan Kali and, as with Kali Ma, reduced to her destructive aspect; at the same time, she is one of the most venerated and meditated upon figures in the Buddhist pantheon. Both Kali and Vajrayogini have much in common. They embody an inherently fiery, active aspect of feminine wholeness from which our Western Judeo-Christian world recoils. It rejects this powerful and sometimes uncanny part of the feminine, fears it, and turns it demonic. These Great Mother archetypes have their fierceness equated with evil, as when Kali is reduced to a devil-possessed witch who is supposed to cause cholera and eat little children. This ignores her ancient triune Goddess role and thus makes it easier to discount the feminine’s power. In contrast, the ancient Mahanirvana tantra addresses Kali in this way: “Thou art the Original of all manifestations; Thou art the birthplace of even Us; Thou knowest the whole world, yet none know Thee . . . Thou art both Subtle and Gross, Manifested and Veiled, Formless, yet with form. Who can understand Thee? . . . It is Thou who art the Supreme Primordial Kalika . . . Resuming after dissolution Thine own form, dark and formless, Thou alone remains as One ineffable and inconceivable . . . Thou art the Beginning of all, Creatrix, Protectress, and Destructress.” "
......................................
"All three archetypal images of the Great Mother—Vajrayogini, Lilith, and Kali—bring life and nourish it in endless cycles as well as bring about its demise. They hold the same mystery as the triune Goddess of the Demeter, Persephone, Hecate myth before she was blown apart into maiden, mother, and crone and her story perverted into a patrifocal one of rape and Severed-head Vajrayogini. Drawing by Emily Martindale. In Shaw, Passionate Enlightenment, The Snake and the Girl Transfigured separation. In essence, the three in one represent mater materia, the creation, and the dissolution of the world. They are emanations of Shakti, feminine power, and Maya, the endless spinning of creation. As such, they receive negative projections and enmity from those who have turned their back on the feminine, denied her power, fled from acknowledging their vulnerable mortality, and despised and polluted the earth rather than accepting the sacredness of earthly life."
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stanje
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