DBCohen wrote: in some places “he” may refer to some other entities, and this should be examined carefully. I’m not really sure yet.
I agree with you, DBCohen, this should be examined carefully. It may be the key to the whole structure. What is the inventory of possible caracters involved? I don’t have the book with me handy just now, but there is:
teacher, I, he, king, god, master,… maybe other denominations too, I’ll have to check tomorrow. Sometimes those denominations are capitalized, sometimes they are not, and there is a possibility that they don’t refer to the same caracter when this happens. Maybe we should do this quick inventory of the whole book before we go any further., as to try to get acquainted with as many pieces of the puzzle before we let ourselves be mislead into trying to construct any kind of whole picture.
I also feel at this point like stating a postulate, not that I feel attached to any specific interpretation, but a postulate as a standing ground, a basis for reasonning, an angle from which to construct argumentation. The postulate may be demonstrated wrong in the end, and may be only the result of my untamed imagination, but I’ll play the part as if…
My postulate is that Book of Mercy is an account of micro-moments of poetical sensibility decribing his zen experience in biblical terms and style.
So I set myself a bit off course from the direction the discussion has taken so far. Let’s keep in mind two things for now, well let’s say three:
1- Before the first "
he" appears on the first line, appart from the
"I", the only other reference to a caracter is "
teacher", in the dedication of the book. (Students of Roshi generally refer to him as "my teacher")
2- At the time Book of Mercy was written, Roshi must have been about 75 years old already.
3- Book of Mercy was written before LC spent several years as a monk on Mount-Baldy.
Now here’s what. Reading and re-reading the first psalm, I cannot help but to picture LC sitting in zazen in the zendo. It is early morning, the monks have aligned themselves symmetrically on their zafus on both sides of the zendo (as is the pratice in rinzai zendos – not so much so in soto zendos). He sees the beams of early morning golden light coming thrue some window to the floor in front of him. That is were he should be looking, such is the practice. Or is it maybe the golden glow of candles for it may still be dark outside. The Jikijitsu (Roshi, the zendo officer who leads formal sitting practice), and the Shoji (The zendo officer who serves tea) have not entered yet. Soon the morning tea ceremony will be performed and will be followed by the chanting of the sutras. LC is waiting. He is riding the wild horse that morning, that is to say debating, bargaining, knitting with his own thoughs. He is waiting for Roshi to come in and begin the formal sitting. Roshi finally comes in, haltingly (due to his age? – how else to interprete this "
haltingly" here, for sure the Lord, God doesn’t move about haltingly) he walks to his zafu (in some zendo the Jikijitsu’s zafu his raised higher than those of the monks, like a throne. The monks, some reluctantly, break their meditation to join in for the chanting of the sutras.
This whole process is typical of zen practice, every day, every minute, every intant in a zendo. Those are very humbling moments indeed, no matter who you were before joining the choir of monks. This is the introduction to the book and the endavour it is about to describe. We find LC depicted as a novice in the practice. This is the begining.There are two key elements here: he is seeking relief in the practice and he is humbled by the whole setting.
So if psalm 1.1 may be describing a typical morning sitting on Mount Baldy, and since “
he” is still not clearly determined, could it be read like this?
I stopped to listen, Roshi did not come. I began again with a sense of loss. As this sense deepened I heard Roshi again. I stopped stopping and I stopped starting, and I allowed myself to be crushed by ignorance. This was a strategy, and didn’t work at all. Much time, years were wasted in such a minor mode. I bargain now. I offer buttons for Roshi’s love. I beg for mercy. Slowly Roshi yields. Haltingly Roshi moves toward his throne. Reluctanlty the monks grant to one another permission to sing. 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, born fifty years ago to raise my voice this high, and no higher.
Finally a second postulate could be that choosing to describe the poetics of zen with the help of biblical judaic style, LC in fact is stressing his craving for the perception of enchantment in a universal way. Enchantment which is what poets dwell upon. Poetry is a perception before it is an expression. I interpret Leonard Cohen as someone extremely sensitive to the multi-layered poetry of the instant. His prayer, maybe, is trying to say that perception matters more than expression. Perception of the enchantment of every moment as the antidote to the appearent non sense, depressive human condition. Perception of the enchantment of every moment as self defence for the human brain against the incomprensibility of the mystery of birth and death. Poetical perception of enchantment as balance in the chaos. Such is the mercy he may be praying for.
In fact he could probably have done the reverse, describe in zen poetics and style his judaic sensitivity, stressing that the style of expression is secondary to perception, but I don't know, don't necessarily trust me on this, but in fact that may be Book of Longing.
---------------------------------------------------------------
Before we move on to psalm 1.2, could anyone recall the story of the intertwined hearts on the cover of the book?
