Book of Mercy #1-5

[holydove]

Matt, thank you for bringing this thread to our attention. I've been wanting to take a new, closer look at BoM, & I read through the thread to make sure I wasn't repeating anything; so . . .daunting though it may be, here goes . . . If I may return to Psalm 1.1:

"In a transition so delicate it cannot be marked, the court is established on beams of golden symmetry, and once again I am a singer in the lower choirs. . ."

I think the "transition so delicate. . " might be a certain shift in awareness. I've heard Yogic & Buddhist teachers say that the transition from the unenlightened, to the enlightened, state of mind, is a very, very subtle shift in awareness/perception. It is a profound change in perception, but the transition itself is so subtle, that one can miss it, if one is not watching very closely. So I think this psalm could be describing a purely internal process, & the king is the "inner king" - a higher level of one's own soul - (I'm reminded of "for the soul without a king" in Heart With No Companion), & when this inner king takes the throne, the order of the soul is restored, & he is once again in touch with his true identity, & aware of his true purpose.

The Kabbalah says, "When the man & woman face each other, God sits on his throne" (Leonard actually spoke of this in an early concert). I think the man & woman facing each other, are the "beams of golden symmetry" - a manifestation of perfect balance, which, according to the "golden ratio", is equivalent to perfect beauty, & in the Kabbalah, the same sefira represents both beauty & mercy (so we have a kind of A=B=C?). The inner transition has to do with a higher level of his soul taking center stage, & thereby creating a state of mind where the opposing forces are harmoniously integrated with one another, & there is now a state of spiritual balance/order/symmetry - a moment of enlightenment. (In a way, it seems like the book is starting at the end. . .)

"This was a strategy, & didn't work at all. . .I bargain now. I offer buttons for his love. I beg for mercy." There are teachings in Indian/Yogic systems of thought, which say that it is one's longing for enlightenment or union with the Source/Universal Self (whatever one calls it) that ultimately makes it happen, more than any practice or technique ("strategy") one might use.

[Diane]

I love this thread...it is so enriching...I miss you lovely people and your thoughts.

Mat.

Mat, I am always so glad you are here.

Many people from the forum have become my friends, and I've learned much from you all. Not sure I'll be going through the whole of BoM again though. Might join in at some point if I have time on my hands.

Great post, Holydove! You have a great deal to offer in these threads.

edited post as I had already gone off on a tangent, although tangents had been the tradition around here:-)

[DBCohen]

Mat, my old mate,

Long time no see! How nice of you to revive this thread; I thought the discussion was done and over with, but there’s no reason why we shouldn’t take another look at it occasionally. We may gain some new perspectives, as in holydove’s post. And Diane, I caught a glimpse of the poem you’ve posted here, but then it was gone; too bad! Why don’t you post it back? Myself, for the moment I’ve nothing new to offer, I’m afraid, but I do hope to rediscover that special place which used to be occupied by this unique book…

[Diane]

Doron it was really that I realised I had contradicted myself, saying I would not be joining in a new discussion, and then responding to something holydove had said! BoM is deeply fascinating, and I could easily find myself drawn in again - because 'studying with a friend' is priceless, not to mention the times we danced. Will surely meet you all further on up the road.

On Pursuing That Which Leaves No Tracks
by John Crook

From the beginning
there is nothing to be sought.
Already within
is the complete solution.

There is no sense in travelling.
No sense in seeking to get
from a learned teacher
the wisdom you already possess.

No sense in austerity
mindlessly sitting
sifting and searching
for another's insights.

No sense in adopting ceremonies,
rituals, oblations,
doing good just to feel good
trying to reach a destination hidden in the heart.

No sense in walking
to reach a goal that isn't there.
No sense in thinking
to solve a problem that doesn't exist in thought.

All you have to do
This minute
is to stop -
turn the mind upon itself.

Draw your sense within
Turn yourself inside out:
Gazing into the lake of awareness
Let what is there emerge from its lair.

Let what is there
invade your breathing.
Let what is there
pulsate in your heart.

Let what is there
warm your loins, spin in your skull.
What is this anguish of seeking in the future
that which is already lying in the palms of your hands?

Right now - you have it. Hold it close.
Look directly behind your own face.
Grasping the monster firm let him be
or he'll ride you out again along the paths of time.

And let it all go!
Fall!
Gone gone altogether gone!
See within the Universe ringing in your ears.

Time and space
are simply the ring
through which the Tiger
jumps.

[holydove]

Thank you, Diane, for your very kind comments! And thank you too, Doron! It's nice to know I'm not alone here!

Thank you also for the truly wonderful poem, Diane - I'm glad you put it back! I love the image of "see the Universe ringing in your ears", & I esp. love the use of the word "see" in the context of something that we would normally think of as being heard - very interesting!!

I somehow feel compelled to write these things out, so I hope noone minds if I write some quick thoughts on Psalm 1.2. (I only have a few moments now, so I will try to make it brief).

I agree with what was previously said, about the "ape" being an image that represents the mind, in Buddhist teachings (usually the word "monkey" is used, but "ape" is commonly used as synonym for "monkey"), & it is specifically a metaphor for the deluded mind, or the samsaric level of consciousness. This connects with "He clowns behind his bars, imitating our hands in the dream." "The dream" might be a reference to the delusions created by the samsaric mind. Here is a relevant quote from Trungpa Rinpoche (a Buddhist teacher): he is talking about a level of consciousness known as the "Fifth Skandha" (there are 5 skandhas altogether, the 5th being the last one): "The monkey's development through the Fourth Skandha has been fairly logical & predictable. But the pattern of development beings to break down as he enters the Fifith Skandha, Consciousness. The thought pattern becomes irregular & unpredictable & the monkey begins to hallucinate, to dream. . .This is projections: we project our version of things onto what is there. Thus we become completely immersed in a world of our own creation. . .Hallucination, in this sense, is a mininterpretation of things & events, reading into the phenomenal world meanings which it does not have".

There is also discussion, in Buddhist teachings, of the monkey-mind becoming imprisoned by its own creations, as well as craving "entertainment", which connects well with "he clowns behind his bars. . ."

If we continue with the idea that it could be a description of inner experience, "when I left the king" would indicate a departure from the more harmonious/enlightened state of mind, & re-entering a state of conflict & struggle, for the sake of creating something that he can offer to the world, & thus "I gave birth to an ape" (what a great line!).

Most interesting, though, is that it seems that the king & the ape are denying each other's existence! The king demands to see the ape (which means, of course, that he is not seeing it), & the ape says, "What king. . .what courtyard?" It is said, in Buddhism, that the deluded/samsaric mind does not want to wake up - it would rather go on sleeping, which would explain what seems to be an uncooperative attitude on the part of the ape. The narrator wants to return to the king, after finding that the ape has turned on him; the king demands to see the ape, perhaps with the intent of illustrating its non-existence, & when the narrator tries to coax the ape out of its cage (or out of its dream), the ape seems to refuse to come out from behind its bars, & even seems to, perhaps, mock the narrator's desire to draw him out in order to show him to the king - "imitating our hands. . ." & "winking at my official sense of urgency". Though I think the "imitating our hands" might have more levels of meaning, but I'm still not sure; it might have something to do with dream yoga/lucid dreaming, where one attempts to be aware of seeing one's hand in one's dreams, & thereby becoming aware, within the dream, that one is dreaming. Anyway, the refusal of the ape to allow himself to be shown to the king, could indicate that the narrator is, once again, trapped in the delusion, as well as indicating that the ape doesn't really exist. But it could also be implying a question as to whether the king really exists, because in Absolute Reality, nothing - not even enlightenment - exists.

[DBCohen]

Thanks for reposting the poem, Diane; I’m not sure what I think about it, though (I guess LC wouldn’t approve with all of it; he believes in discipline, after all).

And holydove, thanks for the Buddhist perspective. It reminds me of Simon’s contributions in the early stages of our discussion, which I missed very much later on. I’m sure LC was aware of some of it, although he often said that for him Zen meant the practice, not the teaching. Also, he would probably not accept that Absolute Reality leads to nothingness; for him, as you know, the Jewish perspective is more meaningful in that respect. But as I often said during the three and a half years of our BoM discussion, the text is open to all kinds of interpretations, and fresh perspective are always welcome.

[mat james]

Hi holydove, Diane, D.B.

I am enjoying your avian lift-off, holydove.

“& the king is the "inner king" - a higher level of one's own soul”

That resonates for me holydove; Or perhaps a deeper, quieter, still (Shiloh) level of their own being.

“But it could also be implying a question as to whether the king really exists, because in Absolute Reality, nothing - not even enlightenment - exists.”

…or in an oceanic sense, all things exist “now”.
Could I call that “juxtaposed I …or the gap between”?
The gap between the constructs of say, Atman and Brahman; where both are the mirror of the other…One... Undifferentiated Unity.

“There are teachings …which say that it is one's longing for …union …that ultimately makes it happen, more than any practice or technique.”

I suspect that this is very true, it is almost like saying that in order to be a lover; one must love.

I look forward to following your interpretations/impressions holydove.
And it is great to see the old storm gathering

Mat.

[holydove]

“But it could also be implying a question as to whether the king really exists, because in Absolute Reality, nothing - not even enlightenment - exists.”

…or in an oceanic sense, all things exist “now”.
Could I call that “juxtaposed I …or the gap between”?
The gap between the constructs of say, Atman and Brahman; where both are the mirror of the other…One... Undifferentiated Unity.

Mat, thank you for your kind & interesting comments. I agree with what you said here (or. . .all things exist "now". . .). I think the word "nothing" is kind of deceiving. To clarify, I don't think "nothingness", or "emptiness" is meant to mean "nothing at all", like a vacuum, but rather, nothing of the phenomenal world, or "no form". Of course, Zen/Buddhism, would also say that there is "no formlessness" either - no existence & no non-existence. So Absolute Reality is something that is beyond anything that can be conceptualized; & when we speak of enlightenment, or Absolute Reality, the mere act of speaking about it brings it into the realm of conceptualization. There lies the rub. . .It's impossible to avoid paradoxes when thinking/speaking about such things - which would explain why there are so many paradoxes in the works of the Great Leonard Cohen. . .

I also want to say, in case there is any question about it, my purpose here is not to, in any way, challenge or debate anything that has already been said about these psalms. I greatly value all the views that have been expressed, there is so much insight & brilliance in all the previous posts. I didn't know about the forum when this thread took place, & my only purpose is to re-contemplate Leonard's words & images, & if & where I see another possible angle of interpretation, or something to add within a similar angle, to offer my impressions (I like the word "impressions", Mat - thank you for suggesting it!).

A few brief comments on the very enigmatic Psalm 1.3: "This is what it's like to study without a friend". It was already mentioned that the Sangha - the community of practitioners/friends on the Buddhist path - is considered the Third Jewel, & a very important aspect of the path. The term "friend" here can also refer to the teacher. Here is another quote from Trungpa Rinpoche, the teacher who brought Tibetan Buddhism to the West: ""I am afraid the word 'guru' is overused in the West. It would be better to speak of one's 'spiritual friend', because the teachings emphasize a mutual meeting of two minds. It is a matter of mutual communication, rather than a master-servant relationship betweein a highly evolved being and a miserable, confused one. . .A guru should be a spiritual friend who communicates and presents his qualities to us. . ." (The terms "Guru", "Rinpoche", & "Roshi" are essentially synonomous titles for "teacher/master", from 3 different cultures - Indian, Tibetan, & Japanese respectively).

The leaf, veil/curtain, & wall seem to be 3 progressively dense forms which separate the narrator from his soul, or his higher/deeper self. The word "veil" brings to mind what is known in Indian/Hindu philosophy as the "veil of Maya". Maya is the phenomenal world, the world of form, which is considred illusory in Hinduism, & which hides (veils) the True Reality - the Universal Self/Truth - from us - unless we find a way to penetrate (tear) the veil. The psalm could refer to the progress of civilization, as has been said, & it could also refer to the personal/spiritual "progress" (or opposite of progress) of the narrator. It seems that his "soul" keeps getting further & further beyond his reach. First, it is the natural world (which, as was said, could include sexuality), through which he seeks his soul, by plucking it off the branch. But then, he finds that his soul is hidden behind all the forms of the phenomenal world (if we see "veil" as the veil of Maya), so he tears the veil. But now his soul is behind a wall (be it brick, cement, etc.). So, in his quest for knowledge of the truth, he finds that he has only gotten further & further away from it, & his inner conflict has grown more & more intense, until his soul is not only singing, but "singing mightily" against him. He "can't move this thing alone". He needs the help of his "spiritual friend". But isn't it lovely, that through it all, he never stops hearing the song of his soul; it may be singing against him, but it's still singing.

[holydove]

Just a little more of my impressions for Psalm 1.3: Why was he able to build up the wall & mend the curtain, but not able to put back the leaf?

His strategies in seeking the Truth, in trying to unite with his soul, were not working - the barriers were only becoming more impenetrable - so he not only drops the strategies, but tries to reverse the process & get back to the beginning - to "the place/ where the suffering began". He is able to repair the wreckage he wrought to a certain point, but he cannot mend the initial disconnect (the plucked leaf). This initial disconnect might refer to the process of being born into the physical body, where our experience is that we are separate from the Tree of Life/the Source/God/the Universal Truth. To mend that perceived disconnect, one would have to go back to before one was born; conventional Western religions (as opposed to the esoteric/mystical versions) say that we can only be reunited with the Source through death. One of the aims of Buddhist study/practice, as well as mystical forms of Western religions, is to do this while we are still alive, in our present physical form. In holding the leaf in his hand, he is holding his very delicate, fragile, individual soul (disconnected from the Tree/the Source) in his hand, & it is now singing more mightily than ever, against him. He can feel it, he can hear it, he can see it, but he cannot unite himself with it, or re-unite it with the Tree/the Source of Life. To do that, he needs the help of his friend. (It's interesting how all of this, for me, seems to mirror the beautiful lyrics of "Show Me The Place").

[holydove]

An additional thought on Psalm 1.3: As the barriers have become more impenetrable, his strategies in seeking unity have become more & more aggressive: first plucking, then tearing, then breaking the perceived barriers. This might indicate an increasing level of desperation, & perhaps the increased level of aggression is what causes his soul to turn against him with increasing intensity. The instructions of a Zen/Buddhist spiritual friend would counteract the aggression, because Zen/Buddhism instructs the practitioner to approach the pursuit in a gentle manner, & to practice loving-kindness toward oneself (which eventually leads to the capacity to practice loving-kindness toward others).

Editing: Also, the plucking of the leaf could represent not only physical birth, but any kind of birth where one experiences a separation from the source. Every time we experience awareness of ourselves as separate from the rest of the universe, represents a kind of birth. So we are almost constantly involved in a process of birth, being born over & over again, at almost every moment of our existence. So the plucked leaf could represent a recurring sense of separateness from the Source. So he experienced himself, first, as separate from the Source (the Tree), then as separate from all other forms of the phenomenal world, & then - & throughout the entire pursuit - he experiences himself as separated from his own soul.

[mat james]

Hi holydove,

I continue to enjoy your meander and I look forward to sauntering along with you and your rich impressions. I am sure many, many others are reading also and enjoying it all.

“his strategies in seeking unity”
This phrase of yours above encapsulates the quest of Leonard Cohen, in my opinion.

“…any kind of birth where one experiences a separation from the source. Every time we experience awareness of ourselves as separate from the rest of the universe, represents a kind of birth.”

And hence, perhaps, the need for more than one strategy ?

“Strategies For Seeking Unity”. What a great title for a book.

Go Plotinus!

And the concept that one can be "separate from their own soul" is intriguing and pregnant with a distant clarity. Somewhere out there, or in here, that view may be one removed from "Unity". ? ...Sounds like a tasty topic for discussion.

MatbbgJ (Mat-belly-button-gazer-James)

[holydove]

“Strategies For Seeking Unity”. What a great title for a book.

Go Plotinus!

And the concept that one can be "separate from their own soul" is intriguing and pregnant with a distant clarity. Somewhere out there, or in here, that view may be one removed from "Unity". ? ...Sounds like a tasty topic for discussion.

MatbbgJ (Mat-belly-button-gazer-James)

Hi Mat,

Thank you for your very generous comments & input!

Yes, the idea of being separate from one's own soul is rather bewildering - good point! And "'pregnant with a distant clarity" - I love that!! It's difficult to find words to describe one's impressions of these very rich, intense, "pregnant", dare I say "sacred" psalms (they feel sacred to me). I guess it might be more accurate to say that one "feels" separate from one's own soul, rather than that one "is" separate, because, depending on what the word "soul" refers to, one would think it's not possible to really "be" separate from it. I suppose "feeling" separate could mean various things: it could refer to the experience of feeling fragmented, like the different parts of oneself are not connecting with each other. This idea also brings to mind, well, the image of the Unified Heart - two hearts, entwined but separate, each one whole within itself, yet each one not whole without the other one, & both of them longing for unity with each other. The two hearts could, in turn, represent various things: the opposing but complementary forces within every heart, all the opposing but complementary forces within the universe (male/female, darkness/light, etc. - like the Taoist yin/yang), the individual human heart & the Divine/Universal heart, the heart of one individual & the hearts of all other individuals, etc., etc. . .However one interprets the image, I'd venture to say that it represents that feeling/perception of disunity, & that longing for unity, which, like you, I see as the golden thread that runs through all of Leonard's works. Yes, a tasty topic, which would take another whole forum to discuss thoroughly - so I'll leave it at that for now - but I'm glad you brought that up, as it certainly warrants some contemplation!

Psalm 1.4: There's so much rich, complex imagery here, it would take too long to touch on all of it, so I will try to focus on a couple of impressions, & I'd like to refer to these lines for now: "I went out myself to gladden the heart. It was here that I found my will, a fragile thing, starving among ferns and women and snakes. I said to my will, 'Come, let us make ourselves ready to be touched by the angel of song'. . .and I went out of the house to rescue the angel of song. . .I covered her nakedness with my will, and we stood in the kingdom that shines toward you, where Adam is mysteriously free, and I searched among the words for words that would not bend the will away from you." (Sorry for not quoting the entirety but I'm trying to keep things relatively brief).

I think his "will" could refer to his desire to create something of beauty - poetry & song - to offer to the world - his irresistible longing to sing, which relates to his sense of purpose, & which is one of the ways by which he connects with the Source. He "searches among the words" - he is, perhaps, searching for the "secret chord", which would "please the lord", & turn the lord's face toward him. After finding that he was unable to connect with the Source completely, by requesting or inviting this presence into his heart, or through his meditation on "the words" (be they names of god, mantras, his words of poetry, his relationship with language, etc.) his current strategy is to connect with the "angel of song" - his Muse - the energy of inspiration. Given that the angel of song is female here, I think this represents the need to connect with the female aspect of himself - his own femal energy - in order to create "words that will not bend the will away from you " - in order to create the "golden symmetry", or the perfect balance/beauty, which is necessary for - or equivalent to - Divine manifestation. He prepares to be "touched by the angel of song" ("what must I do to prepare. . ."), but whatever he did to prepare, did not bring her to him. He must go "out of the house" - he must leave his comfort zone - the familiar constructs of his mind where he feels safe - & "cover her nakedness" with his will; he must actively embrace this female essence, welcome it & integrate it with his "will", or his longing to create beauty which will manifest the Divine Will, & once he accomplishes that integration, then - "we stood in the kingdom that shines toward you" - the kingdom of wholeness, where the male & female, the individual & the Divine, the Yin & Yang, the two hearts - are united. And this kingdom, this wholeness, this uniting of opposing energies, "shines toward you" - it illuminates the way - the entry - to the Source.

There's more, esp. about the "ferns and women and snakes", but that's all the time I have right now, & I will come back to it again. I know my verbalizations are very inadequate; like I said, it's difficult to put these impressions into words, & there doesn't seem to be any way to make it all completely coherent - but that's why we need poetry, isn't it - to say things that can't really be said! But somehow, the effort itself seems to help me to connect with some kind of essence which I feel coursing through these beautiful psalms; hopefully, it might help others too. . .or maybe at least provide some amusement. . .

It's interesting that you mentioned Plotinus, Mat. I used to read his works; it was many years ago, so I don't remember details, but I remember that I loved him - in fact, he was my favorite western philosopher, way back when. . .And I love your middle name!

[mat james]

his Muse - the energy of inspiration. Given that the angel of song is female here, I think this represents the need to connect with the female aspect of himself - his own femal energy - in order to create "words that will not bend the will away from you " - in order to create the "golden symmetry", or the perfect balance/beauty, which is necessary for - or equivalent to - Divine manifestation.

I usually interpret that female "muse" as his Soul; that fickle lover of two; Leonard and God,
who plays with Leonard all day and sings (in the higher Choirs) and plays around with God all Night, so to speak.
What a Muse she is too! Ha!
Oh, Oh what a gal

MatbbgJ

[MaryB]

And yet, because of his history and his propensity for the appreciation of the female species, I feel that his muse is always female.

[mat james]

If I were a woman, I would argue that Leonard is an untrustworthy lover.
It is all about Leonard; not the girl/woman.
Even his musing soul is merely a useful tool that screws his way to g~d.
Leonard is not really interested in women; rather he is addicted to the pleasure he can get from them. He has no regard for their long term well-being.
This is why he had/has a well of self-hatred winding through much of his background work.
If I were a woman I would keep a healthy distance from this bundle of egocentric selfishness.

But being a man, I say that he is simply a naughty, naughty boy.
And good luck to him for being such a chic-magnet.

I love his work (most of it); but if I were a woman, he would not really be my sort of man.
I think maybe he tried too hard to be Dean, from Kerouac's "On The Road".
...and so "Beautiful Losers"...and all that jive...
??? Well that is my thought for the day.

matbbgj