June 16, 2017 § Leave a comment
Hoen said: “The past and future Buddhas, both are his servants. Who is he?”
Mumon’s comment: If you realize clearly who he is, it is as if you met your own father on a busy street. There is no need to ask anyone whether or not your recognition is true.
Do not fight with another’s bow and arrow.
Do not ride another’s horse.
Do not discuss another’s faults.
Do not interfere with another’s work.
“The Gateless Gate” (Koan 45)
Most come to the path with the question, “Who am I?” Hoen asks, “Who is he?”
To the Buddhist there is no permanent self. What others call a permanent self is actually an ever-changing collection of feelings, perceptions and thoughts associated with a physical body. Out of this aggregate comes a concept of self that is presumed to be permanent but which is, in fact, constantly in flux.
The self is just an endless line of passing stages given names like child, adult, husband, wife, happy, sad, etc. Underneath these there is no self but that no self is not nothingness. It is the innermost essence of all sentient beings.
In meditation you study self to drop self and in doing so come to know your true essence. When studying self you ask, “Who am I?” But when the self is dropped and your essence revealed, it is seen as the ‘other’. The question then becomes, “Who is the other? Who is he? Who is she?”
It is through their actions that others are known.
In the documentary “Possibilities” the great jazz musician, Herbie Hancock, said, “A master wants you to reveal yourself.” Herbie Hancock wasn’t suggesting that he was a master. He was merely saying that when he encouraged musicians to show their talent, and he showed his, that something of greater value arose than if he just told them what to play. In the true sense of the koan, Herbie Hancock was asking the question, “Who is he?” It wasn’t the ego he wanted to know but the musician and he could only know that by how the person played.
You might imagine that Herbie Hancock wouldn’t be impressed by a musician playing in another’s style. In the words of the koan, that musician would have been riding another’s horse or fighting with another’s bow and arrow. You might also imagine that he wouldn’t point out faults or interfere with another’s playing if it truly came from the heart. Whether a true expression was feast or famine, Hancock’s idea was to turn it into something of value.
That is how to approach koan 45, if not life in general. Take your inner recognition and find a way to express it that is your own. Take each moment and turn it into something of value. And in each encounter with others, seek to do the same. It is the expression that is all-important.