Seeing: Quotes for Gardeners and Aesthetes

 

Seeing
Looking, Watching, Seeing, Sight
Vision, Perspective, Observing

Quotes for Gardeners and Lovers of the Green Way

Compiled by Michael P. Garofalo

Spirit of Gardening Website

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God's Own Eye

                 The Fireplace Records, Chapter 31

God's Own Eye

Master Seung Sahn liked to write short enigmatic mystical poems.  He once wrote:

"Who sees the All as nothingness,
as nothing all that is,
sees everything through God's own eye.
Enlightenment is this."  (WWSF #63)

"The God who is pure emptiness
is created as form,
becoming substance, light and darkness
the stillness and the storm."  (WWSF #64)

It is quite unusual, also rare, for a Zen Buddhist to refer to the Christian God to support his own mystical theological-philosophical views.  Although, belief in and references to supernatural beings of various kinds is quite common in popular-folk Buddhism. 

Emptiness, nothingness, or the void are common themes, concepts, tropes or cliches in Zen Buddhist Koans and discussions.

Maybe Master Seung Sahn was playing on the sentences from the German Christian mystic, Meister Eckhart, who once wrote: "To be full of things is to be empty of God.  To be empty of things is to be full of God. The eye with which I see God is the same eye with which God sees me."

Avalokiteshavara, a supernatural being, has a thousand hands with one eye in each hand.  Lin-Chi asked, "Which is the real eye?"  (IF 95)

The "Eye that grasps the Universe" is for Zhaozhou an Eye that is empty of defilement, free of attachments, untainted by conceptualizing, and beyond being and non-being. A clear-eyed neutral realistic objectivity--- seeing things as they are? (DSMS #291)

Yunyan contended that the Bodhisattva of Great Compassion had eyes and hands all over its' (his/her) body. Yes, we can "see" (understand/feel) our world with our hands, even with our eyes closed. (BOS #54)

Eyes, seeing, watching, observing, viewing, and overall vision are essential for surviving, learning, moving, and being-in-the-world. 

We love to use sight as a metaphor in poetry about spirituality.  Soren Kierkegaard wrote "All human speech about the spiritual is essentially metaphorical speech." Nietzsche said, "Truth is a mobile army of metaphors." 

The same Eye between God and a Person? 
Is it the same God between two million persons seeing in a spiritual way; or, are there two million Gods? How many eyes does God have? Is God blind in one eye like Sartre. Is God blind in two eyes like Ray Charles or Helen Keller? Does God have a Third Eye like yogi adepts? Is God nearsighted or far sighted and needs spiritual glasses? Are these two Transcendental Eyes looking through each other a pleasant fiction, a distorted double vision, an empty darkness, a blurred visual hallucination, an unfocused metaphor?

Now, really, does even a postulated God of Emptiness (God = Pure Emptiness) give birth to Substance, to Forms, to the realities of sunlight and darkness, man and woman, toads and ravens?  I am doubtful, even if obviously charmed. 

Maybe all this emptiness talk is just about negation. God was lonely, wanted to be creative, wanted to watch something, rejected being alone, and negated his present to create a future. So, It/He/She created ex nihilo the ordinary world. But, in this view, God is not emptiness; It/He/She is Something that rejected the emptiness of aloneness, negated his unpleasant solitude, and projected Somethings into existence. The Ten Thousand Things of Taoist ontology were born from the Dao embracing Change, rejecting and negating undifferentiated Nothingness.  

Ah ... the mysteries of ontology keep us wondering. I need a long walk!

Comments, Sources, Observations

Emptiness has little creative potency.
Somethings give birth to somethings.
Emptiness is not a metaphor for something.
Emptiness may make room for somethings to play.
"God" is maybe another metaphor, analogy, or acronym.
Emptiness is a lonely affair.

Emptiness is the subject of over 50 Zen Koans.

Meetings with Master Chang San-Feng 

Zen Master Raven

Sunyata, Emptiness, Void, Nothingness

Refer to my Cloud Hands Blog Posts on the topic of Koans/Stories. 

Subject Index to 1,975 Zen Buddhist Koans

Zen Buddhist Koans: Indexes, Bibliography, Commentary, Information

The Daodejing by Laozi

Pulling Onions  Over 1,043 One-line Sayings by Mike Garofalo

Chinese Chan Buddhist and Taoist Stories and Koans

The Fireplace Records  By Michael P. Garofalo

Or

Taijiquan and Seeing

 "Looking and seeing are two different things. In tai chi we see without looking. When we look, we focus our gaze on some point. As we do that, there are subtle changes in our facial muscles which affect all our muscles. We see what we're looking at but miss the rest. Imagine having to deal with multiple opponents. The ideal is to see as if you're looking from behind your head so that your vision broadens. An easy way to understand it is by holding your arms at your side as if making a cross with your body. Can you see your hands with your peripheral vision? If you can, that's what your seeing should feel like. As you do that, you will notice that things get quieter and softer, more relaxed, and seem to slow down."
- Joe Eber, Facebook Post 

"Eyelids relaxed:  The eyelids should be relaxed like a curtain. As the eyelids relax, the mind is able to calm down and release the tension of the body’s muscles. The facial muscles also need to be soft and relaxed. As always, your outlook should be aware but not focused. Another reason to curtain the eyes is to hide your intention from others. In a martial arts’ sense, this is used for effective defense and offense.

Center the vision:  Set the eyes straight ahead but do not focus outward onto anything in particular. I tell my students to see, without looking; likewise to hear, without listening. By not focusing on any one thing, we cultivate awareness of all things. A centered vision helps to engage our peripheral vision so that we get a better sense of what is going on all around us. This also encourages awareness of our internal environment; our sense of feeling, balance, movement, and posture. A centered vision pertains to seeing both within and without."
-  William Ting, Essential Concepts of Tai Chi  

"What is the color of your head from the standpoint of your eyes?  You feel that you head is black, or that it has not any color at all.  Outside you see your field of vision as an oval because your two eyes act as two centers of an ellipse.  But what is beyond the field of vision?  What color is it where you can't see?  It is not black, and this is an important point; there is no color at all beyond your field of vision.  This little mental exercise gives us an idea of what is mean by the character hsüan.  Although its dictionary definition is "dark, deep, obscure," it actually refers to this kind of no color that is the color of your head - as far as your eyes are concerned.  Perhaps we could say that the invisibility of one's head, in a certain sense the lack of a head, is the secret of being alive.  To be headless, or have no head in just the same sense I am talking about, is our way of talking about the Chinese expression wu hsin, or "no mind."  As a matter of fact, if you want to see the inside of your head all you have to do is keep your eyes open, because all that you are experiencing in the external, visual field is a state of your brain."
-  Alan Watts, Swimming Headless, 1966 

Vision, Seeking, Sensations, Perceptions, Looking  By Michael P. Garofalo

Seeing, in solo Taijiquan practice, refers mostly to being visually aware of one's immediate physical environment your moving within.  With home indoor practice, that involves awareness of tripping hazards, walls, chairs, etc.  Adjustments are made accordingly.  Take in the big picture of where you are practicing - outdoors or indoors.  A wider angle of vision is preferred.

Some aspects of seeing in Taijiquan practices involve carefully looking at an imaginary opponent, your hands, or in a specific direction.  Looking is a focused kind of seeing, and the field of vision is more circumscribed.  

Concentration and Gazing in Yoga Practice

"Drishti (IPA: [ dɽʂʈi ]; Sanskrit: दृष्टि; IAST:dṛṣṭi), or focused gaze, is a means for developing concentrated intention. It relates to the fifth limb of yoga (pratyahara) concerning sense withdrawal as well as the sixth limb dharana relating to concentration."
Drishti - Wikipedia


While doing various yoga postures the eyes gaze at and concentrate on eight specific parts of the body: 
middle of the thumb
eyes lowered, imagine gazing at third eye in the middle of the forehead
tip of the nose
palm of the hand and fingers
look to left side or right side
look upwards at sky or ceiling
navel
toes


"Simply speaking, drushti is sensitive awareness to that which you are doing. This has two aspects that are vital to every aspect of our practice. First it means bringing your mind to bear exactly on what you are doing. Not doing one thing while thinking another. This actually means learning not even to be thinking about what you are doing. Rather, just be doing it, feeling it. In the beginning we must think before we act. Then we act. Then think again. But we must learn to separate these two processes so that we can act with precision and clarity, without the distraction of thought. Eventually we will learn to trust the intelligence of the body and will be able to dispense with the thinking process more and more. Then our practice becomes meditation in action."

"The second aspect is to feel the effect of what we are doing. Not only at the point of the action itself, but throughout the whole structure of the body and the quality of the mind. We must feel its impact on the functioning of the body, breath and mind. We use this feedback to go deeper into the poses by making adjustments according to the four secondary techniques of asana, vinyasa, bandha and pranayama. Then through the dynamic created between our intention and our actions, a meditative awareness emerges."

- Godfrey Devereux, Dynamic Yoga, 1998, p. 24 

Seeing, Looking, Watching

Yoga:  Posture Lists, Research, Reading Lists, Notes   By Mike Garofalo

Meditation

Mike Garofalo's Yoga Classes in Red Bluff, California 

Qigong (Chi Kung)

Body-Mind: Theory and Practices


"Seeing is a gift that comes with practice."
-   Stephanie Mills   

"What we see depends mainly on what we look for."
-  John Lubbock    

 

Eye to Eye Memories from Cape Disappointment

 Eye to Eye Memories

Raccoon in a tree:
me looking at him
him looking at me

Deer at a mailbox:
me looking at her
her looking at me

Two eyes looked at two eyes—
Four eyes make memories
for a curious raccoon and me
or a white-tailed doe and me.

Animals in the forests, swamps, clearings
at Cape Disappointment, in January—
Memories of Seeing:
others as they seem to be,
Beachcombers searching carefully
focused clearly and true
Looking around by my shoes
right before my very eyes
A happy dog runs to my side
seeing is believing some believe
Many clouds and wind, rain will come
"I saw it" is a claim to truth
A Seaview Cafe sign says "closed"
seeing gives birth to memories
A stray cat begs for food from me
memories give context to what I see
The Big Picture is my biggest scheme
    the gestalt I see
    sets the stage background for me
I invent what is seen
Did I imagine or did I see?
He testified "I saw..."
what I saw is a memory
A seagull searched the sand
    the new glasses helped me see
    my memories more clearly
I forget most of It—
sleep caused me not to see
Not talking increased what I saw
watching someone talking
children yelled, we looked
I remembered, I forgot
memories weaken, pictures fade
I remembered to look, fortunately
remember, two eyes is all you need
    Seeing the 101 North sign
    my memories aligned geographically
Did I see a tree or a memory?
without memories it is
    just a blur to see—

The Raccoon and I met on North Jetty Road,
he between two spruce trees on a branch,
and I, sitting in the shade, entranced;
For our quick and passing Glance,
    assessing dangers with four eyes—

Reading opens up my open eyes
memorizing a poem brings it to life
naming what you see builds memories
watching someone talking
Seeing and Looking and Saying What—

Did I really see that or just imagined it all?
For the reader, writer, speaker, audience;
Who makes the call?
Real or imagined, fiction or fact—

Dali's drooping melted clock
Pollack's abstract overdubbed sprays
Van Gogh's perfect rolling clouds
Memories hanging paintings in my mind

That Racoon's mask and eyes
    are still looking back in my head.
    The Raccoon was real,
    Not so sure that I
        was very real
        in my head
        anyway.

[Is that Real or real? God or god?
A painting or a photograph?]

 

 

25 Steps and Beyond Anthology
by Michael Peter Garofalo

Highway 101 and Hwy 1

Stepping Over Epiphanies

Haiku - North Sacramento Valley

A Fork in the Crypto Road

Exhibits at the Cyber Garden Gazebo: TextArt

At the Edges of the West

A Wreck Ahead Comes Into View

Cloud Hands Blog

Stuck in Some Concrete Poetry

Pulling Onions: 1,000 One Liners

Four Days at Grayland Beach

Meetings with Master Chang San Feng

25 Steps and Beyond Anthology

More Poetry by Mike Garofalo

Poetry Research

Five Senses

Fireplace Records Koan Collection

the scissors of my decisions

more to come ...

 

Dao De Jing, Laozi, Chapter 14

Tao Te Ching, by Lao Tzu

Chapter 14


"Look for It, you won't see It: It is called 'fleeting'.
Listen for It, you won't hear It: It is called 'thin'. 
Grasp at It, You can't get It: It is called 'subtle'.
These three lines
       are about something that evades scrutiny.
Yes, in it everything blends and becomes one.

Its top is not bright
Its underside is not dim.
Always unnameable, It turns back to nothingness. 
This is the shape of something shapeless
The form of a nothing
this is elusive and evasive. 
Encountering It, you won't see the front
Following It, you won't see Its back.

Keep to the Tao of the ancients
And so manage things happening today.
The ability to know the ancient sources,
this is the main thread of Tao."
-  Translated by Michael LaFargue, 1992, Chapter 14 



"When you're sitting, trying to get in touch with the Softness, the One important thing, it evades your grasp─like a spirit that appears here, then there, then is gone.  You think you see it, then it recedes into nothing.  This is the only way to describe the presence that is formless.  But in this practice we achieve a oneness.  And we come in contact with the deep sources of all things, the ancient sources that enable us to handle whatever comes to us today."  ...  "I take "know the ancient sources" of things to mean gaining an intuitive understanding of the deep truth about affairs.  (As often, "ancient" serves to express what we more commonly express by images of "depth" or "Origin."  (Note that here Tao is not the name of the ancient source that one knows, but of the practice by which one comes to know it.)  It seems very unlikely that "these three" refers to the three different things mentioned [i.e., seeing, listening, grasping] which "become one."  It makes more sense to suppose that "these three" refers to the three line saying, which is about a presence or mental quality incapable of being grasped through close mental scrutiny.  in this mental space everything is Merged, "blends and becomes one."  This observation is a partial basis for my solution to the puzzle about the meaning of Chapter 1, reading literally "these two, merged."  That is, it refers to the previous two-line saying in Chapter 1, which is (partly) about the state of "not desiring," which identifies with a mentally Still state called t'ung/"The Merging.""
-  Michael LaFargue  


The Tao of the Tao Te Ching.  A Translation and Commentary by Michael LaFargue.  State University of New York Press, 1992.  Detailed glossary, extensive bibliography, 270 pages. This translation is based on the oldest version ( 168 BCE) of the Tao Te Ching found in King Ma's tomb - the famous Magwandali manscript.  81 Chapters arranged in a topical order by the author.  Chapter 14, pp. 80-81. 


The Tao and Method: A Reasoned Approach to the Tao Te Ching.  A translation and commentary by Professor Michael LaFargue.  New York, SUNY Press, 1994.  640 pages.  Detailed index, bibliography, notes, and tables.  An essential research tool. 

"What you don't see when you look
is called the unobtrusive.
What you don hear when you listen
is called the rarefied.
What you don't get when you grasp
is called the subtle.
These three cannot be completely fathomed,
so they merge into one:
above is not bright, below is not dark.
Continuous, unnameable, it returns again to
     nothing.
This is called the stateless state,
the image of no thing;
this is called mental abstraction.
When you face it you do not see its head,
when you follow it you do not see its back.
Hold the ancient Way
so as to direct present existence:
only when you can know the ancient
can this be called the basic cycle of the Way."
-  Translated by Thomas Cleary, 1991, Chapter 14


"Looked at, but cannot be seen -
That is called the Invisible (yi).
Listened to, but cannot be heard -
That is called the Inaudible (hsi).
Grasped at, but cannot be touched -
That is called the Intangible (wei).
These three elude our inquiries
And hence blend and become One.

Not by its rising, is there light,
Nor by its sinking, is there darkness.
Unceasing, continuous,
It cannot be defined,
And reverts again to the realm of nothingness.

That is why it is called the Form of the Formless,
The Image of Nothingness.
That is why it is called the Elusive:
Meet it and you do not see its face;
Follow it and you do not see its back."
-  Translated by Lin Yutang, 1955, Chapter 14  




視之不見名曰夷.
聽之不聞名曰希.
搏之不得名曰微.
此三者不可致詰.
故混而為一.
其上不皦其下不昧.
繩繩不可名.
復歸於無物.
是謂無狀之狀.
無物之象.
是謂惚恍.
迎之不見其首.
隨之不見其後.
執古之道.
以御今之有.
能知古始.
是謂道紀.-  Chinese characters, Tao Te Ching, Chapter 14


shih chih pu chien ming yüeh yi.
t'ing chih pu wên ming yüeh hsi.
po chih pu tê ming yüeh wei.
tz'u san chê pu k'o chih chieh.
ku hun erh wei yi.
ch'i shang pu chiao ch'i hsia pu mei.
shêng shêng pu k'o ming.
fu kuei yü wu wu.
shih wei wu chuang chih chuang.
wu wu chih hsiang.
shih wei hu huang.
ying chih pu chien ch'i shou.
sui chih pu chien ch'i hou.
chih ku chih tao.
yi yü chin chih yu.
nêng chih ku shih.
shih wei tao chi.
-  Wade-Giles Romanization, Tao Te Ching, Chapter 14


"We look for it but do not see it:
    we name it "subtle."
We listen for it but do not hear it;
    we name it "rare."
We grope for it but do not grasp it;
    we name it "serene."
These three cannot be fully fathomed,
Therefore,
They are bound together to make unity.
Of unity,
its top is not distant,
its bottom is not blurred.
Infinitely extended
and unnameable,
It returns to non-entity.
This is called
"the form of the formless,"
"the image of nonentity."
This is called "the amorphous."
Following behind it,
    you cannot see its back;
Approaching it from the front,
    you cannot see its head.
Hold to the Way of today
    to manage the actualities of today
    thereby understanding the primeval beginning.
This is called "the thread of the Way.""
-  Translated by Victor H. Mair, 1990, Chapter 14 


"When you look, it isn't there
 Listen and you cannot hear it
 It seems to be beyond your reach
 Because you are so near it
 This single source of everything
 Appears to be an empty image
 Though it cannot be understood
 You can see its naked visage
 Follow it to nothingness
 Approach it where you have no face
 From nowhere to infinity
 This vacant image leaves no trace
 From never to eternity
 This naked face is what you are
 An empty, vacant, open door
 Forevermore ajar"
 -  Translated by Jim Clatfelder, 2000, Chapter 14   


"Se le llama invisible porque mirándole no se le ve.
Se le llama inaudible porque escuchándole no se le oye.
Se le llama impalpable porque tocándole no se le siente.
Estos tres estados son inescrutables y se confunden en uno solo.
En lo alto no es luminoso, en lo bajo no es oscuro.
Es eterno y no puede ser nombrado, retorna al no-ser de las cosas.
Es la forma sin forma y la imagen sin imagen.
Es lo confuso e inasible.
De frente no ves su rostro, por detrás no ves su espalda.
Quien es fiel al Tao antiguo domina la existencia actual.
Quien conoce el primitivo origen posee la esencia del Tao."   
-  Translation from Wikisource, 2013, Tao Te Ching, Capítulo 14


"Look at it: nothing to see.
Call it colorless.
Listen to it: nothing to hear.
Call it soundless.
Reach for it: nothing to hold.
Call it intangible.
Triply undifferentiated,
it merges into oneness,
not bright above,
not dark below.
Never, oh! never
can it be named.
It reverts, it returns
to unbeing.
Call it the form of the unformed,
the image of no image.
Call it the unthinkable thought.
Face it: no face.
Follow it: no end.
Hold fast to the old Way,
we can live in the present.
Mindful of the ancient beginnings,
we hold the thread of the Tao."
-  Translated by Ursula K. Le Guin, 1997, Chapter 14 


"Look, it cannot be seen,
So it is called invisible.
Listen, it cannot be heard,
So it is called soundless.
Touch, it cannot be caught,
So it is called elusive.
These three cannot be examined,
So they unite into one.  
Above it there is no light,  
Below it there is no darkness.
Endlessness beyond description.
It returns to non-existence.
It is called the shapeless shape,
The substance without form.
It is called obscurely evasive.
Meet it and you do not see its beginning,
Follow it and you do not see its end.
Hold on to the ancient Way to master the present,
And to learn the distant beginning.
This is called the unbroken strand of the Way."
-  Translated by Stefan Stenudd, Chapter 14


"Looking for it, it cannot be seen -
Being formless, it is called Yi, the invisible.
Listening to it, it cannot be heard -
Being soundless, it is called Hsi, the inaudible.
Grasping at it, it cannot be reached -
Being subtle, it is called Wei, the intangible.
These three; imperceptible, indescribable -
Mystically united and elusively perceived
as an undefinable oneness.

As the oneness ascends - no light appears.
As the oneness descends - no darkness is perceived.
Unceasingly, continually, form eluding definition,
Evasively reverting to spirit - to nothingness.
The form of formlessness.
The image of imagelessness.
The oneness remains nameless.
Meeting it, it has no part which is front.
Following it, it has no behind.

Encompassing the ancient Tao,
Present affairs are mastered.
Knowing the primal nature of mankind
and the universe,
Is to know the essence of Tao."
-  Translated by Alan B. Taplow, 1982, Chapter 14 


 "Plainness is that which cannot be seen by looking at it.
 Stillness is that which cannot be heard by listening to it.
 Rareness is that which cannot be felt by handling it.
 These, being indiscernible, may be regarded as a Unity of the Tao.
 It is not bright above nor dark beneath.
 Infinite in operation, it is yet without name.
 Issuing forth it enters into Itself.
 This is the appearance of the Non-Apparent, the form of the Non-Existent.
 This is the unfathomable mystery.
 Going before, its face is not seen; following after, its back is not observed.
 Yet to regulate one's life by the ancient knowledge of Tao is to have found the path."
 -  Translated by Walter Gorn Old, 1904, Chapter 14

A typical webpage created by Mike Garofalo for each one of the 81 Chapters (Verses, Sections) of the Tao Te Ching (Daodejing) by Lao Tzu (Laozi) includes over 25 different English language translations or interpolations for that Chapter, 5 Spanish language translations for that Chapter, the Chinese characters for that Chapter, the Wade-Giles and Hanyu Pinyin transliterations (Romanization) of the Mandarin Chinese words for that Chapter, and 2 German and 1 French translation of that Chapter.  Each webpage for each one of the 81 Chapters of the Tao Te Ching includes extensive indexing by key words, phrases, and terms for that Chapter in English, Spanish, and the Wade-Giles Romanization.  Each webpage on a Chapter of the Daodejing includes recommended reading in books and websites, a detailed bibliography, some commentary, research leads, translation sources, a Google Translate drop down menu, and other resources for that Chapter.   

Chapter 14, Tao Te Ching by Lao Tzu

Chapter and Thematic Index (Concordance) to the Tao Te Ching by Lao Tzu

English Language Daodejing Translators' Source Index

Spanish Language Daodejing Translators' Source Index

Ripening Peaches: Taoist Studies and Practices

Taoism: A Selected Reading List

A Daoist Druid's Final Journey  

An Old Philosopher's Notebooks

"The Slow Pacific Swell" by Yvor Winters

The Slow Pacific Swell

By Yvor Winters (1902-1968)

Far out of sight stands the sea,
Bounding the land with pale tranquility.
When a small child, I watched it from a hill
At thirty miles or more. The vision still
Lies in the eye, soft blue and far away:
The rain has washed the dust from April day;
Paint-brush and lupine lie against the ground;
The wind above the hill-top has the sound
Of distant water in unbroken sky;
Dark and precise the little steamers ply--
Firm in direction the seem not to stir.
That is illusion. The artificer
Of quiet, distance holds me in a vise
And holds the ocean steady to my eyes.

Once when I rounded Flattery, the sea
Hove its loose weight like sand to tangle me
Upon the washing deck, to crush the hull;
Subsiding, dragged flesh at the bone. The skull
Felt the retreating wash of dreaming hair.
Half drenched in dissolution, I lay bare.
I scarcely pulled myself erect; I came
Back slowly, slowly knew myself the same.
That was the ocean. From the ship we saw
Grey whales for miles: the long sweep of the jaw,
The blunt head plunging clean above the wave.
And one rose in a tent of sea and gave
A darkening shudder; water fell away;
The whale stood shining, and then sank in spray.

A landsman, I. The sea is but a sound.
I would be near it on a sandy mound,
And hear the steady rushing of the deep
While I lay stinging in the sand with sleep.
I have lived inland long. The land is numb.
It stands beneath the feet, and one may come
Walking securely, till the sea extends
Its limber margin, and precision ends.
By night a chaos of commingling power,
The whole Pacific hovers hour by hour.
The slow Pacific swell stirs on the land,
Sleeping to sink away, withdrawing land,
Heaving and wrinkled in the moon, and blind;
Or gathers seaward, ebbing out of mind.

The Selected Poetry of Yvor Winters. By Yvor Winters and R. L. Barth. Swallow Press, 1999, 176 pages. VSCL.

California Poetry: From the Gold Rush to the Present.  Edited by Dana Gioia, Chryss Yost and Jack Hicks.  Santa Clara University, 2004, 376 pages. VSCL.

Four Days at Grayland by Michael P. Garofalo  Pacific Coast travel and camping adventures in Washington, Oregon, and Northern California. Guides, Links, Bibliography, Research, Photographs, Commentary, Notes, Travel Information, Hiking trips, Outdoor Fun, Natural History. A special emphasis on Native American People of the Pacific Northwest.  Focus on US Highway 101.  Yurt camping tips and techniques.

Primacy of Sight

"Sight is valued above all other senses.  True, we can be persuaded that touch and hearing are more basic─the one to survival, the other to the acquisition of language.  Nevertheless, sight enjoys primacy.  It immediately gives us a world "out there."  Self, without a world, is reduced to mere body.  All senses give us a world, but the visual one has the greatest definition and scope.  This expansive visual world is both sensual and intellectual.  It is sensual, not only because of its colors and shapes, but also because of its tactile quality: we can almost feel what we see─smile with pleasure as we look at a fluffy blanket.  It is intellectual because somehow to see is to think and to understand: sight is coupled with insight, and to exercise the mind is to see with "the mind's eye."  Perhaps most important of all, the primacy of sight rests on a simple experience.  Open our eyes, and the world spreads before us in all its vividness and color; close them, and it is instantly wiped out and we are plunged in darkness.  One moment, the world is an enticing space inviting us to enter; the next, it collapses to the limit of our body and we are helplessly disoriented."
-  Yi-Fu Tuan, Passing Strange and Wonderful: Aesthetics, Nature, and Culture, 1995, p. 96. 

Vision, Seeing, Sight: Quotations, Facts, Poems

The Five Senses

Doctor, My Eyes

"Doctor, my eyes have seen the years
And the slow parade of fears without crying
Now I want to understand

I have done all that I could
To see the evil and the good without hiding
You must help me if you can

Doctor, my eyes
Tell me what is wrong
Was I unwise to leave them open for so long

'Cause I have wandered through this world
And as each moment has unfurled
I've been waiting to awaken from these dreams

People go just where they will
I never noticed them until I got this feeling
That it's later than it seems

Doctor, my eyes
Tell me what you see
I hear their cries
Just say if it's too late for me

Doctor, my eyes
Cannot see the sky
Is this the prize
For having learned how not to cry."

Doctor, My Eyes, 1972
By Jackson Browne

Dao De Jing, Chapter 12

Tao Te Ching by Lao Tzu

Chapter 12

"The five colors combined
the human eye will blind;
The five notes in one sound
the human ear confound;
The five tastes when they blend
the human mouth offend.

Racing and hunting will human hearts turn mad,
Treasures high-prized make human conduct bad.

Therefore,
The sage attends to the inner and not to the outer.
He abandons the latter and chooses the former."
- Translated by Paul Carus, 1913, Chapter 12 


"The meaning of the verses quoted in Chapter 12 carries out the principle enunciated in Chapter 11. The utility of things, as well as the worth of life, is attained not by having everything in completion and in fullness, but by selecting some parts and omitting others, by moderation and by discrete elimination. Together, all the colors blind you, while a discrete selection will make a picture. Together, all the notes just make noise, while a few of them in proper succession make a melody. Together, all the tastes mixed together are offensive, but a choice of them is pleasant. Such is Lao-Tzu's method of teaching that the form of things is more important that the substance. The phrase 'he attends to the inner and not to the outer: reads in a literal translation 'acts on the stomach, not acts on the eye'. The outer and the inner are called in Chapter 38 the flower and the fruit, the former being more show, while the latter is the true import of life."
- Paul Carus, 1913

The Teachings of Lao-Tzu: The Tao Te Ching. Translation, commentary, and notes by Paul Carus, 1913. New York, St. Martin's Press, 2000. ISBN: 0312261098.  D.T. Suzuki worked and studied with Paul Carus around 1905 in Illinois, and translated together the Tao Te Ching.   

"The five colors cause man's eyes to be blinded.
The five tones cause man's ears to be deafened.
The five flavors cause man's palate to be cloyed.
Racing about on horseback and hunting cause man's mind to be maddened.
Hard to obtain merchandise cause mankind to do wrong,
So the Sage concerns himself with the abdomen and not the eyes.
Therefore, he rejects the one and chooses the other."
- Cheng Man-ch'ing, 1981, Chapter 12


"Color's five hues from the eyes their sight will take;
Music's five notes the ears as deaf can make;
The flavors five deprive the mouth of taste;
The chariot course, and the wild hunting waste
Make mad the mind;
And objects rare and strange,
Sought for,
Men's conduct will to evil change.
Therefore the sage seeks to satisfy the craving of the belly,
and not the insatiable longing of the eyes.
He puts from him the latter, and prefers to seek the former."
-   Translated by James Legge, 1891, Chapter 12  


"The five colors
blind our eyes.
The five notes
deafen our ears.
The five flavors
dull our taste.
Racing, chasing, hunting,
drives people crazy.
Trying to get rich
ties people in knots.
So the wise soul
watches with the inner
not with the outward eye,
letting that go,
keeping this."
-  Translation by Ursula K. Le Guin, 2009, Chapter 12  


"An excess of light blinds the human eye; an excess of noise ruins the ear; an excess of condiments deadens the taste.
The effect of too much horse racing and hunting is bad, and the lure of hidden treasure tempts one to do evil.
Therefore the wise man attends to the inner significance of things and does not concern himself with outward appearances.
Therefore he ignores matter and seeks the spirit."
-  Translated by Dwight Goddard and Henri Borel, 1919, Chapter 12 


"The fives colours confuse the eye,
The fives sounds dull the ear,
The five tastes spoil the palate.
Excess of hunting and chasing
Makes minds go mad.
Products that are hard to get
Impede their owner's movements.
Therefore the Sage
Considers the belly not the eye.
Truly, “he rejects that but takes this”."
-  Translated by Arthur Waley, 1934, Chapter 12 


"Five excessive colors make people blind;
five excessive sounds make people deaf;
five excessive flavors rob people's taste;
racing and hunting make people mad;
and rare goods make people steal.
Thus a Sage ruler took care of people's basic-needs (stomachs),
not their excessive-desires (luxuries).
Thus he eliminated desires and supplied needs."
-  Translated by Tang Zi-Chang, Chapter 12 

"Los cinco colores ciegan el ojo.
Las cinco notas ensordecen el oído.
Los cinco sabores empalagan el paladar.
La carrera y la caza enloquecen la mente.
Los objetos preciosos tientan al hombre a hacer el mal.
Por eso, el Sabio cuida del vientre, y no del ojo.
Prefiere lo que está dentro a lo que está afuera."
-  Translated into Spanish by Alfonso Colodrón from the English translation by
    John C. H. Wu, 1993, Tao Te Ching, Capítulo 12  

"wu se ling ren mu mang.
wu yin ling ren er long.
wu we ling ren kou shuang.
chi cheng tian lie, ling ren xin fa kuang.
nan de zhi huo, ling ren xing fang.
shi yi sheng ren wei fu bu wei mu.
gu qu bi qu ci."
-  Hanyu Pinyin Romanization, Daodejing, Chapter 12

  "Iridescent colours cause blindness.
 Beautiful music causes deafness.
 Delicious food causes loss of taste.
 Racing and hunting cause madness.
 Rare goods tempt people to rob and steal.
 Therefore the sage only wants to feed the people rather than to dazzle them.
 That's why he goes for the former and turns down the latter."
 -  Translated by Jiyu Ren, 1985, Chapter 12 

"The five colours blind the eyes of men.
The five tones deafen their ears.
The five flavours vitiate their palates.
Galloping and hunting induce derangement of the mind.
Objects that are difficult of attainment lead them to incur obstacles or injury.
Thus the Sage cares for his inner self, and not for that which his eye can see;
for which reason he discards the latter and preserves the former."
- Translated by Frederic Henry Balfour, 1884, Chapter 12

Daodejing 81 Website 

A typical webpage created by Mike Garofalo for each one of the 81 Chapters (Verses, Sections) of the Tao Te Ching (Daodejing) by Lao Tzu (Laozi) includes 25 or more different English language translations or interpolations for that Chapter, 5 or more Spanish language translations for that Chapter, the Chinese characters for that Chapter, the Wade-Giles and Hanyu Pinyin transliterations (Romanization) of the Mandarin Chinese words for that Chapter, and 2 German and 1 French translation of that Chapter.

Each webpage for each one of the 81 Chapters of the Tao Te Ching includes extensive indexing by key words, phrases, and terms for that Chapter in English, Spanish, and the Wade-Giles Romanization. 

An electronic Concordance for all 81 Chapters of the Tao Te Ching is provided.

Each webpage on a Chapter of the Daodejing includes recommended reading in books and websites, a detailed bibliography, some commentary, research leads, translation sources, a Google Translate drop down menu, and other resources for that Chapter. 


Chapter 12, Tao Te Ching by Lao Tzu

Concordance for the Tao Te Ching by Lao Tzu

Daodejing 81 Website

English Language Daodejing Translators' Source Index

Spanish Language Daodejing Translators' Source Index

Ripening Peaches: Taoist Studies and Practices

Taoism: A Selected Reading List

One Old Daoist Druid's Final Journey

How to Live a Good Life: Advice from Wise Persons

Autumn Garden Mosaic

"Winter is an etching, spring a watercolor, summer an oil painting
and autumn a mosaic of them all."
-   Stanley Horowitz

"There is a harmony
In autumn, and a lustre in its sky,
Which through the summer is not heard or seen,
As if it could not be, as if it had not been!"
-   Percy Bysshe Shelley  

"The leaves fall, the wind blows, and the farm country slowly
changes from the summer cottons into its winter wools."
-   Henry Beston, Northern Farm

Autumn- Quotes, Sayings, Lore

November - Quotes, Sayings, Lore  

39F degrees this morning, clear, blue skies, needing rain and snow.  Too cold for me to walk early in the morning, I wait till about 10 am to do so.  I've been fighting a chest cold, so I take extra care to stay warm and not over exert myself.  

We have been improving our winter vegetable garden.  We set up a cold frame on Friday and moved the frost tender plants inside. 

Here are a few photos that Karen took in our back yard.