PROSODY
and the preciousness of life
a site dedicated to the elucidation and practice of prosody
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Over the last 25 years, I've taught various aspects of prosody in contexts as diverse as the Harvard Divinity School, Duke University, SFSU Poetry Center, Laboratorio Alameda in Mexico City, BRIC Arts Media in Brooklyn, HIAP Gallery Agusta in Helsinki, Deep Listening Institute at Rensselaer Polytechnic Institute, Bowery Poetry Club in Manhattan, New School for Social Research, the Robert Wilson Watermill Center and Hofstra University.
In 2006, I co-founded, with choreographer Daria Faïn, an integrative artscience called The Prosody Body, along with its performative body called The Phoneme Choir (subsequently morphed into The Commons Choir).
In spring of 2018, I taught a 3-month prosody course at the Poetry Project at St. Mark's Church in NYC. The course consisted of 11 sessions and was titled Prosody, Privatization, Performance and Peace. This course established the basis for an ongoing, ever-evolving, expansive prosody curriculum, as well as a committed group of participants and practitioners. The course is currently presented under the title Prosody and the Preciousness of Life, continuing prosody's total implication in the composition of our lives.
A prosody program is also currently being proposed as an interactive, trans-disciplinary field in various educational settings. The program could also be considered a very extensive creative writing course, covering, for example, poetry's basic elements of composition, comparative classical and contemporary poetics, evolutionary linguistics, biosemiotics, psychoacoustics, phonosemantics, mantra, and cosmogony.
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general definition of prosody:
Prosody is limitless expression beyond, and encoded within, the lexical limits of language. It's extralinguistic, as well as intrinsic to our impulse to speak. Prosody is, of course, poetry's basic elements of composition: tempo, tension, intensity, timbre, rising and falling intonation, rhyme, meter (and all its metaplasms), duration, cadence, caesura, pause, pitch, sound and syntactic recurrence, and assorted stresses (comprised of loudness, duration and pitch variables). A whisper is purely prosodic, as is a word withheld. Prosody is the overall measure, the music, the manner of making meaning. Pragmatically, emotion, mood, attitude, implied meaning, and the tonal differences between questioning, explaining, exclaiming and commanding, are also prosodic phenomena. Socially, it is by means of prosodic correlates (timbre, intensity, pitch, loudness, formants, frequency contours, interactional response time and speech rate) that we form snap inferences with regard to each other's qualities, character and condition. While conscious use of prosodic elements sets poetry apart from speech, these same elements also constitute speech. And in turn, speech can be set to poetry. This song/speech contrariety is one of the oldest stories on earth... Non-acoustic (retinal/written) transcriptive, typographic devices such as font-choice, boldface, striking-through, overprinting, handwriting, word-spacing, enjambment, line page-placement and use of white space can also be read prosodically, as an extra-lexical score or performance notation. The poem’s stored performance on the page or screen (or in the cloud) might be its only presence, written for no ulterior stage, as pure page or screen prosody untransduced from vocalization, awaiting the metabolic speed of diffusion on paper or speed of light electronic transmission. (And in our soundless reading of writing, prosody is present, perhaps even more boundlessly, in mind.) As a science, prosody can be defined as suprasegmental phonology, focused on the primary correlates of prosody (intensity, pitch, duration, rhythm) of course not necessarily related to poetry. On the other hand, the science of versification (orally transmitted, prehistorically, then written as treatises on pronunciation, articulatory phonetics, phonotactics and appropriate metrics as applied to poetry, tracing back to the Vedic Pratishākhyas, the Dravidian Tolkāppiyam, Aristoxenus's Ἁρμονικὰ στοιχεῖα, Hephaestion's Enchiridion, to name a few) is as old as versification itself. (I think it's fair to say that linguistics itself was conceived for the purposes of poetry.) Defined more broadly, the science of prosody includes a rich array of current linguistic research in areas such as biolinguistics, psychoacoustics, cognitive philology, sociolinguistics, phoniatrics, semiochemical ecology, evolutionary linguistics, phonosemantics, kinesics, biosemiotics, affective prosody, comparative poetics, graphemics, corpus linguistics and choreoprosodia. Yet, these sciences are rarely, if ever, referred to within the teaching and practice of poetry, even though tending to the opaque, material qualities of words is basic to verse. Reciprocally, poets' contribution to linguistic science is, I believe, negligible-to-nonexistent. Of course, literary studies and cultural literary theory and criticism (often written by poets themselves) necessarily focus on the language-art object. Still, a vital interchange, a profoundly integrative, non-polar prosody artscience, has not been part of the curriculum. "I am myself hopeful that linguistic studies will bring to contemporary criticism a vocabulary and method more sensitive to the basic activity of poetry and less dependent upon assumed senses of literary style." Robert Creeley Prosody and gesture are co-occurrences in the same semiotic system, processed in the same areas (Broca's and Wernicke's) of the brain. Motor gestures conduct/accompany/pantomime prosodic expression. Deictic gestures point things out. Iconic gestures like waving goodbye or throwing a kiss substitute for words. Lexical gestures are like non-verbal, semiotic onomatopoeia. Gesture Theory posits that language evolved from manual gesturing. Gesture enactment helps us select and recall words. In effect, articulation is a highly specific sequence of gestures performed by the tongue within the vocal cavity. Gesture is one way in which performance is a part of prosody's multimodality. Prosody conducts conversation, syncs work, organizes play, frees emotion, regulates bioprocesses and modulates mood. "... it’s that I experience myself inside these constantly swerving, intensely physical processes of semiosis. Biochemistry and language just don’t feel that different to me." (Donna Haraway). In terms of evolutionary development, in my approach, prosody is the precursor of both language and music. And ontogenically, prosody (beginning with embryoprosodia and even conception and preconceptive impulses to nurture and parent) is the precious proto-linguistic motherese (Infant Directed Speech). Through tone and touch, we're basically made to be infinitely attentive, receptive, nuanced and loving. Although prosody is conventionally considered a suprasegmental phenomenon, I include the segments (the phonemes) as part of prosody — these few dozen fundamental sounds specific to human phonation, as potencies in themselves. In terms of both physics and metaphysics (say, vibration, invisibility, indivisibility) the elements of composition of poetry — the forces that pattern matter — can be directly experienced as cosmogenic, as background silence, un-caused sound, relic rhythm, the beginning's pre-condition, formative phonemic energy, initial arising re-enacted as the impulse to speak. Prosody includes cosmos as part of nature. Nature makes 'our' nature part of the cosmos. Immateriality of language is also part of prosody. Here, I'm not referring to 'transparency' in contradistinction to 'opacity.' The term 'transparency' is often used to disparage poetry unaware of the physicality of its medium; see-through poetry. Prosody is partnered with the immateriality of mind and the inscrutable arising, presence, disappearance of language. Prosody is formative rhythm, if you prefer. It solves and dissolves the hard problem of the division of energy and matter. Spiritual Prosody, if you will. Perhaps Subtle Prosody. Here, Samuel Beckett's statement is perfectly apt: "All poetry, as discriminated from the various paradigms of prosody, is prayer.” Prosody is that which makes language poetry. Which words? Entheogenic words. Logos is human perception of language by means of prosody. Because language exists at all, words are realization no matter what we say. Prosody inscribes spirituality in language. Vocal, vibrational patterns resume materialization. We speak seed sounds. Sequences of phonemes make mantras and orisons. The sequences, as speech, make interrelationship. (We formed around the phones, once upon a time.) Prosodic Listening picks up total interconnectivity: cross-species call and response and rhythmic entrainment. The unstruck word, anahata-śabda, the deepest listening practice. Patanjali's vāg-yoga, union with words as original. Word after word — grammar — the force for breaking through the doubled door of ignorance and ego. The meters each assigned a divinity. Meaning, however changeable (because contingent) is meant to last forever. For the Vedic rishis and rishikas, it was an initial act of ascesis that brought the world about; an operation dimensionlessness performed on itself; a fervor, if you prefer, embodied by the poets; disciplines and anti-disciplines; basic skills and somatic/energetic practices indispensable to the creation of poetry: nature-of-mind meditation, chant, fasting, withdrawal of the senses, pranayama, kumbhaka, dark retreat, medical practice, ritual, nonconformity, total attunement, lunacy, channel opening, becoming luminous. When appropriate, I've integrated ascetic practices in my teaching. I've always presented prosody as experiential, not as a study or topic per se. Prosody is what is most human about us; conscious, attuned conduct; the totally transformative power of tone of voice and potency of words emanating from insight and heart; the pleasure of rhythmic reciprocity. The role of the poet: the responsibility in picking up the pith elements of composition as the means for realizing one's life in being of benefit to others. The writing of the poem is both a small part of the practice of poetry and all there is to it. I've called this capacious approach 'integrative' or 'implicate' prosody. Conscious Prosody, for balancing; Vestibular Prosody, for forthrightness, for conflict resolution, for bioregulation, for being conscious and caring for each other. Prosody Diagnostics. Dead Giveaway Prosody. It's written all over us. I have been variously practicing, researching, presenting, performing, propagating and publishing prosodic works for over 30 years. In 2006, with choreographer Daria Faïn, I co-founded an experiential art-science named The Prosodic Body. In 2008, in order to put into practice and perform our research, Faïn and I then formed a theater group known as The Phoneme Choir, commingling movement and language as choreoprosodia. In 2010, to apply our practice more directly to social, systemic, civilizational and karmic suffering and wellbeing, the choir morphed into The Commons Choir. In March of 2018 I began teaching a prosody course (through the Poetry Project at St. Mark's Church, grâce à Simone White) titled Prosody Privatization Performance and Peace — a poetry and creative writing course with voice, movement, somatic, medical, meditation, mantra and spiritual practices integral to the teaching. This ongoing course is now called Prosody and the Preciousness of Life. And there will be further iterations and subtitles. Although the course is conceived in series, the individual sessions are also stand-alone presentation/discussions, complete in themselves. While the sessions do, for the most part, follow and fulfill a predetermined sequence, the energetics is also experiential and improvisatory; the sessions react to themselves; they may be out of sequence or in sync with breaking news or participant needs. Although the course is whole at every point, at the same time, the elucidation of prosody is exhausting and inexhaustible. It's prosody's ever-present and impossible wholeness that impels me forward, backward, outward, inward, everywhere, anywhere. 'This' story of prosody, told through the cosmogenic stich that brought the world about (and has continually been updated by poets to this day) with a special focus on contemporary poetry, poetics and the current plethora of prosodic innovations.
NEXT MEETING:
6:30-8:30pm EST, Wednesday 6/15/22
Randy Warshaw Studio
115 Wooster St. 2F NYC (507) 460-2083
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Audio Recording of the 5th Meeting
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Audio Recording of the 6th Meeting
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Audio Recording of the 7th meeting
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TEXTS/READINGS FROM THE 4TH MEETING:
Prosody As Proto- And Para-Language
Audio Recording of the 4th Meeting
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(for the meeting on 4/12)
TOMORROW, I'll pick up where we left off, with the distinction between conventional and natural language (between arbitrary/invented and congruent/gifted) and then shift into evolutionary linguistics with prosody as porto-language, precursor of both music and language.
I'll just note for now that: instinctual, intuited, revealed, learned, evolved, developed, mutated, phylogenic, ontogenetic, cosmogenic, dreamed, awakened, gifted from above from within from nowhere, learned, cried out, idea'd, phonological, semantic, as is, contrived, in the beginning, once upon a time, right now, miraculous, mundane, timelessly aware, tempo'd, organic, in spirit, worded, wondered — reflected in each other, are ONE interwovenness of Living Voice.
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"Tiwa, the language I learned at Picuris Pueblo when I was a child, isn't a "word language" it is a sound language. It is an example of the language of the land. It came not from the people's desire to communicate, but from their desire to stay as close as possible to Creator's gift of manifestation — life. To stay as close as possible to life in this realm was to sound whatever happened to exist at the moment. If you were standing, for instance, and you could get in touch with how standing sounds, then you couldn't possibly stray too far from wisdom: physical wisdom or intellectual wisdom, or emotional wisdom, or spiritual wisdom." — Joseph Rael (Beautiful Painted Feather)
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REFERENCES:
Traité de Rythme, de Couleur, et d'Ornithologie (English translation) — Olivier Messiaen
History of the Voice — Kamau Brathwaite
Emotional and Interactional Prosody Across Animal Communication Systems — Piera Filipp
i
Emotional Voice Intonation: A Communication Code at the Origins of Speech Processing and Word-Meaning Association? — Piera Filippi
A Joint Prosodic Origin of Language and Music — Steven Brown
Prelinguistic Evolution in Early Hominins: Whence Motherese? — Dean Falk
Rhythmic Cognition in Humans and Animals: Distinguishing Meter and Pulse Perception — W. Tecumseh Fitch
The Evolution of Language — W. Tecumseh Fitch
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AUDIO RECORDING OF THE THIRD MEETING
In keeping with pith/practice (breathing, sounding, somatics, askēsis) as integral to poetics, the first 1:10mn of the recording involves the unstruck-sound starting point, ujjayi breathing, kumbhaka hypoxia, vagus nerve, aprosodia, illegibility of poetry, sound/sight synesthesia, etc. The remainder of the recording proceeds from natural language (inherent/original/self-arising/Adamic/gifted) and conventional language (invented/contrived/arbitrary) as noncontradictory (interdependent, interfusional), touching upon the 4 stages of speech, Dante's interview of Adam in Paradiso 26, heresy/hearsay, taking war apart with prosody and magic procedures, spiritual practice is NOT emotional, fierce energy bypass, levitating the Pentagon as daily discipline, etc.
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transcript from the second meeting TANTRA 2: PROSODY AND CAUSE AND EFFECT ≤≥
from: The Science of Interdependent Connection Mantra Healing (rten ‘brel sngags bcos thabs kyi rig pa), Dr Nida Chenagtsang, Yeshe Drolma. ≤≥
Toward a Black Feminist Poethic, Denise Ferreira da Silva. ≤≥
Eros and Magic in the Renaissance, Ioan P. Couliano ≤≥
The Great Discourse on Causation: The Mahānidāna Sutta and its Commentaries, Bhikkhu Bodhi ≤≥
Dhāranī of Dependent Origination
ye dharmā hetu prabhavā hetuṃ teṣāṃ tathāgato hyavadat,
teṣāṃ cha yo nirodha evaṃ vādī mahā śramaṇaḥ soha
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AUDIO RECORDING OF THE FIRST MEETING
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TANTRA
It's startling to start. So said the ageless.
Everything helps. Only one thing heals: existence.
What do you prefer, omniscience or omnipresence? Your life may depend on the answer. Neither? Where does that put you? A neither that is free of, or oppressed by, lack of either? Omnibenevolence, anyone? No omni. How about that-without-which-nothing-could-exist"?
Spiritual is: the harder I look at this merciless bloodbath, the more the glimmer of bliss is bliss, more inconceivable beauty, the more steadily I rest in its pristine facts, the less alone in aloneness.
Take one breath per minute, live 1500 years!
There's actually a name for the sounds of the name the same as that which is named: svarūpa-śakti (inherent, actual energy, or, simply, vibe.) Linguistics generally doesn't want any part of this, not knowing how to partake of it. Speech feels the same way, conventionally speaking. Of what does a name consist? Of what does a name consist when that of which it consists is not ignorance? When consciousness is the overwhelming sweetness of bliss?
Transcendence is confusing, at best. Mock schism.
"Truth"... where did such a word come from? When it was new, how different from our understanding now, after thousands of years of bludgeoning ourselves with respective truths. (Is that what truth is, relative truth? Heraclitus would not agree.)
None of this is absolute. And there's a hidden benefit in that: the absolute becomes relative, walks among us, issues straight from our mouths; not rarified epiphany or revelation. We can actually speak! That's already unbelievable, because ... we don't have a clue. Universal Grammar? Really?Mothersese? Maybe if it includes being cooed to by a Goddess. Taking in a drip mix of ambrosia and soda.
What language do you speak? I speak omniscience, with a mouthful of popcorn.
Prana, the wind of words.
I stir cosmoi.
Words were made to allow us to realize we're as phenomenal as they are.
Write until the writing is the only writing that it can be, not whatever it can be.
The impossibility of proceeding is the process embracing itself.
Creation gave birth to incomprehension.
Presence itself, neither form nor formlessness.
I'm writing this tantra. I just sit here and receive all these jewels. This tantra is nothing other than the relationship between finding a way to write itself and whether we will find ways to survive as a species, at this dissolute point in time. Kali-Yuga.
How can one write the beginningless?
Words before the beginning ... alright, Logos is well known. Phonemes before the beginning, fine as well, realizable by way of tantra. But poets before the beginning? Good luck with that.
Forget any secure definition of any word you know, particularly the word "word." That's a start.
Why should the wonder of words depend on what we say? Depending on content is a perilous elitist gamble. I don't discriminate. Every book is the words of god. Every meaning a guru. Ever heard a word that was not incarnate?
Wonder is a right few claim. My audience is infinite. If bliss can exist, why wouldn't it? We weren't thrown out of the garden, we just stopped gardening.
Started freeloading.
What it is to not be here: what here's all about.
Point a finger at the place from which words arise. You'll be swallowed alive. Grace is the words you can't make come. They're the opposite of ours-for-the-taking.
Speaking is our non-difference from the ground of being. Neurology is a switchboard. Mouthing the mind, which you now read also un-aloud.
It's patent that the limitations of language are a condition of the speaker, not the words themselves. Do we disagree?
(Daria asks from the next room, how do you write "bear" when you say bear witness. B E A R. Are you sure? Yes. Like the animal? Yes. That's amazing! Yes, bears do it too. Pristine hearing is a start.)
"There are two Creators to be meditated upon: sound and non-sound. Non-sound is revealed only by sound" ... followed to its end.
Each non-arising word. All knowing.
Fortunately we have a word for word and that word is "word."
Words are a way for absolutely anything to appear; the only possible analog for the act of Creation; for itself, as that act. I can't speak without blacking out.
Oh, you must be talking about conventional language spoken conventionally. Why would we diminish ourselves and drag existence down with us?
Word/name/sound/meaning/form/function non-difference.
Subsequent is initial.
Ram-rasik poet-saint Agradās: "Without the Name, all spiritual practices are worthless. Where there is no country, time, family, or daily rites, there I have abandoned both the proscriptions and restrictions of religion."
One consequence of living without the Name: we wall ourselves in with books, gorge on e-information, enroll in one workshop after another, binge on tv.
Shaikh Farīd, the lone Sufi poet included in the Adi Granth: "Those who forget the Naam, are a burden on the earth." The Name has affinities with burgeoning.
The most direct medicine is our blind spot.
That which exists.
The heart is the scripture.
A single sigh of separation has more knowledge than all we have in our hearts.
Mother Nature is our child.
Your Name is "I don't know." That's alright. Name and Nameless are the opposite of contradictory.
When will astrophysics finally call it "nectar"? Say, "candy." Our material miseries will end.
Keep the Name secret if it turns others off.
Perform it.
So what if you're free. You haven't even begun to be unconfused. We're consonant with succulent light.
Liberation doesn't liberate. Ask for so little and, to your detriment, it will be granted. Speculative knowledge is impersonation. It's not the bliss, it's the service.
Mahabhava; how does that sound? Softens the heart. I wait like a garland unworn. Now I see what I'm saying.
Why practice perception? The nondifference in difference is inconceivable. If mind is beginningless, we can't be far off or too far gone. Correct?
The actual question is: Was poetry formed at or just before and constitutive of the beginning? To exist, it must be beginningless, without having been beginningless. Only the unstruck can tell. We can't now have been there; though we're before the original swinging door: subjectivity overawe.
I see the plantain tree and say "well thought well said well done." Vibration incarnate.
Language — revealed not learned or built-in — is always going on, whether we tune to it or not, and even when we're talking. We can hear from the beginning, just as we can look back along relic light.
Tremoring is its truest word.
Awareness as words. As aware as a word? Which one? No matter.
Fervor was requisite for creation to occur. Prosody is energy work.
The only energy that has ever been
makes us up.
The continuum of conditions in which we occur, for the safekeeping of the continuum through twofold ascetic/aesthetic ardor. Who we are.
Nothing paranormal about being what reality is. The hidden in the unhidden, the unhidden in the hidden, the hidden in the hidden, the unhidden in the unhidden at last.
Though it can be spoon-fed, can't be created or destroyed, and certainly can be desecrated; language, the prime instrument of ignorance, hell-on-earth's weapon of choice.
Something must be hosting everything that's happening without being that which is happening, otherwise it would change with every appearance and nothing further could appear; we'd be used up; mirrors accumulating reflections; soundscapes in which frequencies never die out.
Such a that.
A cure is but a reprieve.
Forgive us for not being, each time we could have been.
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Dear Each !
To begin to START BEFORE THE BEGINNING, I'll start posting resources on this page, and will be adding materials over the upcoming days. If you find time, read through the PRACTICES page, the basis of the first session. I'd also like to start by practicing the Anāhata Nada and reciting the American Varnamala and Ashem Vohu (see below), so feel free to familiarize yourselves with those practices beforehand.
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To in fact start before we begin, I'd like to propose a contemplative practice right now, in light of current events. In the course description I mentioned that one part of the sessions would be "instruction"and that Longchenpa's pith poetry would figure prominently in this approach. What good is prosody when people are being killed? How might meditation and outbreak of war interdepend? Can we get to a basic space of spontaneous compassion as distinct from reaction and belligerence and victimhood? Interfacing various statements I've heard over the last few days and a few of Longchenpa'a antidotes:
"You didn't want us to be friends, but you didn't have to make an enemy of us." Vladimir Putin, televised speech, 2/21/22 ≤≥ and 2/24/22 ≤≥.
"We are sick of your interpretations." (Ukrainian UN representative Sergiy Dyslytsya to Russian UN representative Vassily Nebenzia, 2/24/22)
"Who are you to moralize?" (Vassily Nebenzia to US Ambassador to the UN Linda Thomas-Greenfield, 2/25/22)
"Putin chose this war." Biden. Putin: "I had no choice."
"It's not a matter of whose bomb has a better intention." (Nina Potarska, Women's International League for Peace and Freedom.)
"We must complete our recovery from the embers of dead empires in a way that does not plunge us back into new forms of domination and oppression." Martin Kimani, Kenyan ambassador to the UN.
"Sides are interdependent."
ANTIDOTES:
Because enemies who cause you harm are the most precious conditions of your fortitude, to be angry and resentful is to misunderstand the spirit of your practice. Because criticism of your faults and failings is instruction that dispels these limitations, to react defensively or lose your temper is to misunderstand the nature of innate compassion.
Enlightened intent is free of extremes; don't succumb to the deadliness of holding to belief systems.
If you encounter many obstacles, tear down the wall of conforming to accepted conventions. Do not let your resolve weaken, but rely on the sense that there is no time to waste. If you encounter numerous sources of harm, thoroughly investigate your circumstances.
There are six ways to take adversity as your spiritual path. When any illness or negative influence manifests, see it as sweeping away your obscurations and the effects of your harmful actions. When enemies despise, harm, or thwart you, see this as an inducement to be of benefit to others. When any thoughts whatsoever arise, see them as serving only to clarify your experience of timeless awareness.
If you do not understand that the true nature of suffering is bliss, you will remain gravely ill. If you do not understand that negative circumstances are by nature your allies, you will remain caught in the great trap of having to adopt some other method.
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PRACTICE
Poets Were Here Before the World (Śhatapatha Brahmana) ≤≥
Articulatory Phonetics, Sanskrit and American Varnamalas ≤≥
Basis of Unstruck (Anāhata Nada) Practice ≤≥
Ashem Vohu (Avestan Mantra) ≤≥
Cause and Effect as the Medium of Prosody ≤≥
The Four Stages of Speech
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PITH
Longchenpa Pith Instructions ≤≥
Lojong: Jinpa ≤≥ , Fischer. ≤≥
Pauline Oliveros ≤≥
Vijnanabhairava ≤≥
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POETRY
Parmenides Untitled Poem ≤≥
Charles Olson: Secret of the Black Chrysanthemum ≤≥
Bhakti
Bibliography
Glossary