Contemplative Inquiry

This blog is about contemplative inquiry

Tag: Dogen

ANIMISM FOR OUR TIMES

This post looks at Animism as the guiding principal of my Druidry. The term itself comes from nineteenth century anthropology, and is somewhat problematic. Scholars from European and North American backgrounds , formed by a mix of Christian and secular ideas, were studying, and labelling, the traditional practices of other people. The people themselves were mostly in the process of becoming colonial subjects and living in cultures under stress. So ‘Animism’ started out as a top-down classification, which gave Animists a lowly position in the hierarchy of cultural and spiritual life. A stigma persists to this day.

Despite this dubious history, the word ‘Animism’ is now being turned around by people from the global north itself, spiritually hungry in our now palpably faltering 21st century world. Some years ago, research by Graham Harvey distinguished two positive uses of the term Animism among modern western Pagans. “Some Pagans identified Animism as a part of their religious practice or experience which involved encounters with tree-spirits, river-spirits or ancestor-spirits. This Animism was metaphysical. … Other Pagans seemed to use ‘Animism’ as a short-hand reference to their efforts to re-imagine and re-direct human participation in the larger-than-human, multi-species community. This Animism was relational, embodied, eco-activist and often ‘naturalist’ rather than metaphysical” (1).

My Animism draws primarily on the second of the two accounts above. But it is deepened by a Buddhist influence, especially that of the Vietnamese Zen Master Thich Nhat Hanh: “There is no absolute dividing line between living matter and inert matter. If we took the so-called inanimate elements out of you and me, we would not be able to live. We are made of non-human elements. This is what is taught in the Diamond Sutra, an ancient Buddhist text that could be considered the world’s first treatise on deep ecology. We cannot draw a hard distinction between human beings and other living beings, or between living beings and inert matter. There is vitality in everything. The entire cosmos is radiant with vitality. If we see the Earth as a block of matter lying outside of us, then we have not yet truly seen the Earth. The Earth is also alive” (2).

Thich Nhat Hanh follows an old tradition. In thirteenth century Japan, Zen Master Eihei Dogen had taught that enlightenment is just ‘intimacy with all things’. Elsewhere in his own text, Thich Nhat Hanh says: “Just as a wave doesn’t need to go looking for water, we don’t need to go looking for the ultimate. The wave is the water. You already are what you want to become. You are made of the sun, moon and stars. You have everything inside you”. Thich Nhat Hanh explains that a flower is made only of non-flower elements. We can say that the flower is empty of separate self-existence. But that doesn’t mean that the flower is not there. “When you perceive reality in this way, you will not discriminate against the garbage in favour of the rose” (2).

This Buddhist wisdom doesn’t seem to me to come directly out of the four noble truths or eightfold path. The Buddhists of south-east and east Asia were at ease with the traditional Animism of their cultures, and the views expressed above appear to me to be at least partly a cultural gift from the Animists. Japan, for example, was intensely influenced by Buddhism without any thought of displacing Shinto, and the traditions readily interwove.

It was otherwise in the west. Already, In the first century CE, the Roman philosopher Plutarch wrote of the death of Great Pan, after the time of Jesus but before the rise of Christianity. James Hillman comments: “With Pan dead, so was Echo; we could no longer capture consciousness through reflecting within our instincts. … The person of Pan the mediator, like an ether who invisibly enveloped all natural beings with personal meaning, with brightness, had vanished. Stones became only stones – trees, trees; things, places, animals no longer this god or that, but became ‘symbols’, or were said to ‘belong’ to one god or another. When Pan is alive, then nature is too – the owl’s hoot is Athena and the mollusc on the shore is Aphrodite … Whatever was eaten, smelled, walked upon or watched, all were sensuous presences of archetypal significance”.” (3).

James Hillman, after service as Director of Studies as the Jung Institute in Zurich, went on to develop his own form of archetypal psychology. He was a strong proponent of Panpsychism, a world view very similar to forms of Animism being articulated today. Panpsychism literally means the ensoulment of everything (from the Greek), though the sound ‘Pan’ also associates us with the god. At the same time this view broadly fits with the understanding of Zen Buddhist Thich Nhat Hanh, described above.

‘Animism’ is for me a word, not a thing, or a another religious banner to raise. It points to a wide range of experiences, understandings, and articulations. Pinned down to a single, dictionary definition, it would lose its power and energy. Yet Animism has become the word that best describes my way of being a modern Druid, both as view and as practice. I find it grounding and regenerative to have decisively adopted this word.

(1) Graham Harvey (ed.) The Handbook of Contemporary Animism London & New York: Routledge, 2014 (First published by Acumen in 2013)

(2) Thich Nhat Hanh The Art of Living London: Rider, 2017 (Rider is part of Penguin Random House)

(3) James Hillman The Essential James Hillman: A Blue fire London: Routledge, 1989 (Introduces and edited by Thomas Moore in collaboration with the author)

See also my recent post at https://contemplativeinquiry.blog/2023/07/02/animist-endarkenment which references Emma Restall Orr’s The Wakeful World: Animism, Mind and the Self in Nature

IN A NUTSHELL

I value clarity and simplicity, especially in spirituality. Yet the subject often gives rise to mystifying ideas and language. From now on I want to avoid these, when genuinely avoidable, in my inquiry.

In 2014, not long before he became ill, Thich Nhat Hanh retranslated the Prajnaparamita Heart Sutra, foundational to Mahayana Buddhism, and revised his commentary. Although brief, the sutra develops Buddhist emptiness teachings and therefore the Buddhist view of non-duality. After more than sixty years of monastic study and practice, Thich Nhat Hanh tells us that a flower is made only of non-flower elements, so we can say that the flower is empty of separate self-existence. But that doesn’t mean that the flower is not there. “When you perceive reality in this way, you will not discriminate against the garbage in favour of the rose”.

Thich Nhat Hanh worked at making Buddhism accessible to a modern Western audience, because the teachings of Buddhism are not one, but many. When Buddhism enters a new country, that country always acquires a new form of Buddhism. As part of his own teaching, he invented the term ‘interbeing’. Yet he is also true to tradition. In thirteenth century Japan, Zen Master Eihei Dogen taught that “enlightenment is just intimacy with all things”. Such intimacy nourishes the seed of compassion. Thich Nhat Hanh offers essentially the same understanding to other peoples in another time.

POEM: THE MOON IN DEWDROPS

Simplicity and complexity, elegance and wisdom combined in the poetry of Japanese Zen. I notice that I respond more strongly to such poetry than I do to didactic texts about meditation and philosophy.

 

To what shall

I liken the world?

Moonlight, reflected

In dewdrops,

Shaken from a crane’s bill.

 

I particularly love this poem. The apparent naturalism of the imagery makes it powerful and accessible to anyone. Yet for me, this poem also brings up wider issues about reading and interpretation. The poet’s location in place, time and culture do make a difference. Ehei Dogen (1200-1253) was one of the first to transmit Zen Buddhism from China to Japan and was founder of the Soto School. His poem is a waka – a 31 syllable form predating the invention of haiku. Dogen is a key figure in both Japanese Buddhism and Japanese literature.

In Mahayana Buddhism, the Buddhism of all Japanese schools including Zen, the moon stands for Buddha-nature. So the poem teaches a familiar Mahayana truth that the moon (Buddha-nature) is completely reflected in every one of the countless dew drops (all things) without discrimination, namely one in all, all in one. This understanding is accompanied by a sense of fragility and impermanence within nature – strongly present in Japanese culture independently of Buddhism and reinforced by Buddhist teaching. Dogen gives us elegance and complexity in a 31 syllable form.

Hee-Jin Kim*, a modern Zen scholar, takes this further, bringing out Dogen’s sensitivity to history as well as to nature. He draws attention to the word ‘shaken’: each dew drop holds a full yet shaken reflection of the moon. Dogen lived in what was seen as a dark and ill-starred time in Japanese history. Many Buddhists thought that even their path was compromised and talked of degenerate dharma (mappo). Kim understands Dogen as resisting this ideology of despair whilst fully aware of the collective turmoil. On this reading, the poem asserts that timelessness is experienced within, and only within, momentariness, even when the times are stressed.

 

To what shall

I liken the world?

Moonlight, reflected

In dewdrops,

Shaken from a crane’s bill.

 

* Hee-Jin Kim Dogen on meditation and thinking: a reflection on his view of Zen Albany, New York: State University, 2007 (At the time of publication Hee-Jin Kim was Professor Emeritus of Religious Studies at the University of Oregon. He is also the author of Dogen-Kigen: Mystical Realist).

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