
To be resolute in the way
means from the beginning never to lose
sight of it, whether in a place of calm or in a place
of strife; to not cling to quiet places nor
shun places where there is
disturbance.

To be resolute in the way
means from the beginning never to lose
sight of it, whether in a place of calm or in a place
of strife; to not cling to quiet places nor
shun places where there is
disturbance.

Make your mind
like the clear blue sky at dawn,
unmarked by any message from man
or heaven. Continually stoking the
fire of emptiness with the breath,
you instantly incinerate
whatever appears.

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Whatever state you’re in,
remember you are inside the presence.
Out looking for pleasure, there especially —
I have found no delight better than the mix of touch
with love. That taste is the sweetest. When you are tranced
in that, recall who gave you these pleasurable forms and
inclinations. Even when having a brain seizure,
remember how earthquake energy pries
apart mountains and zigzags a stone
wall. Let that core-energy break
your convulsion.
When you’re afraid
of a certain man in power, of some
authority binding you, in these anxieties,
as well as in prostration prayer,
taste the presence.

In fellowship with others,
embody the principles of the Sage.
This hexagram addresses the proper basis for relationships with others. It generally comes as a sign that some kind of self-correction is in order in this arena.
Proper relationships, whether in love, work, family, or friendship, must be founded on and conducted under proper principles in order to succeed. Our model for how to behave with others is the Sage: in relating we are obliged to practice kindness, humility, correctness, equanimity, and openness. Wherever we depart from these we lose the aid of the Higher Power and risk and encounter with misfortune.
The fundamental rule of the I Ching for the conduct of relationships is that they take place in the open. This means that every facet of a relationship should be seen as fair and correct by everyone concerned, not just yourself. It also means that it is improper to enter into or continue in relationships with unspoken reservations or hidden intentions.
Exceptional things can be accomplished by those who come together correctly in fellowship now under the guidance of an enlightened leader or leaders. Seek that role by patterning yourself after the Sage. Meet others halfway in a spirit of sincerity and receptivity. Give trust where it is due; where it is not, do not resort to harshness – reserve and reticence are adequate measures. Avoid the formation of factions and cliques, and correct your errors in relationships as soon as you become aware of them. In this way you can accomplish magnificent deeds now.
The I Ching, or Book of Changes
Hexagram 13, T’ung Jen / Fellowship with Others
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stilted koans are all monks have
Ikkyü also had a hermitage in Kyoto which he called Katsuroan (Blind Donkey Hermitage), and often stayed at Daitokuji. But increasingly, to the point of anguish, he became disgusted with worldly carryings on at the main temple, shuddering at the…frantic hustling for donations:
Yoso hangs up ladles baskets useless donations in the temple
my style’s a straw raincoat strolls by rivers and lakes
*
ten fussy days running this temple all red tape
look me up if you want to in the bar whorehouse fish market
In 1471, when seventy-seven, Ikkyü revealed his passion for a blind girl, an attendant at the Shuon’an Temple at Takigi. He wrote poems about their affair, some farcical, some very moving. He was self-conscious at the oddness of an old zen monk falling for a young woman, but they spent years together, Ikkyü’s feeling for her growing in intensity:
I love taking my new girl blind Mori on a spring picnic
I love seeing her exquisite free face its moist sexual heat shine
*
your name Mori means forest like the infinite fresh
green distances of your blindness
*
I was like an old leafless tree until we met green buds burst and blossom
now that I have you I’ll never forget what I owe you
poems translated by stephen berg in crow with no mouth
prose introduction by lucien stryk