Between You and I (Part II of II)

Shame – a coordinate and the reflection to reality

     Consider the following:   

     For, Izukawa had specifically been designated by the Emperor as the Master Swordsman, the one who, as legend holds, had single-handedly defeated the three Katanoye brothers in a duel which left the eldest decapitated, the middle one without his sword & arm, and the youngest without a discernible face. All within a span of an hour, and without a single wound. Yet, before the noon of this particular day, Master Izukawa – the one whom, as he walked down main street of the Ishidori District of the bustling city, the peasants, the shopkeepers, the men and women of every class and structure, would bow, and bow lower than even he felt comfortable; for he was the Master Samurai, the one who could kill for a reason, or no reason; all with the assent of the Emperor.  At noon, he received the ransom letter – it detailed his actions as a young man; actions which he had relegated to the deep, secreted recesses of his mind.   Before noon, he had possessed the self-image of an invincible Master Samurai; but the Master Samurai has by necessity a personal image, hidden behind the mask of an impervious and emotionless face, for the samurai neither reveals emotion, nor unveils the eyes which reveal the emotion; then there is the public identity; the watchful eyes of the non-samurai class who sees the samurai as the protector, the feared warrior who could arbitrarily end one’s life with no fear of retribution; the one who lives by the Bushido Code.  For the Samurai’s code provided fixed coordinates – of behavior; of thoughts; of correspondence between one’s grasping of karma and the events which unfold in the dream in which we walk, the dream of a butterfly, fleeting and delicate, yet harsh in the reality of death and the sharp edge of a samurai’s sword.  For Izukawa, the fixed coordinates included a public persona of a person who was without fear, who had summarily defeated three swords with the sharp edge of one.  Yes, in his personal “I”, he knew of a shame; and the shame, if revealed, would fail to correspond to the public coordinates which are fixed by the Emperor.

     He could find the “other” who knew and who sent him the ransom letter, and kill him; or he could commit seppuku.   Either act would not change the fixed coordinates, for his karma had already been determined long before, just as the butterfly already dreamed the dream which controlled his fate, and the gods dreamed of the butterfly who dreamed the dream which controlled his fate.
 
     Once, in the dream of another butterfly, Princess Sakumito gave him the honored gift before going into battle against the Katanoye brothers – a duel which everyone, including the Emperor, had expected would end with his death.  Indeed, he suspected that the Emperor had pre-arranged his death, and was prepared to consolidate his power by offering Izukawa, whom many had considered to be an unknown quantity, a loner and a pawn in a complex political climate when the power of the Shogunate was being crafted in delicate steps, a cherry blossom opening in the morning dew of a Zen garden. The gift of a teardrop.  It was, for Izukawa, a foreign sensation.

     From childhood, of the Daikusu clan, he was destined to be a warrior.  Left with the Zen  Monks at age 3, Izukawa was trained to become a master of the sword:  to meditate; to fear nothing; to master the sword; to serve the Emperor.  Training to be a samurai meant long hours of disciplining the body and the mind; the discipline of the former was an easy task; it was always the latter which presented a question.  The tests implemented were harsh and brutal – for a child, it often meant near death.  Though the ‘sword’ was merely a bamboo pole slit so that when it hit the flesh, the slits would open and catch the body upon impact, then close and tear the skin off when pulled away; for a young boy, the pain of such raw separation of flesh from body left deep ravages.  Pain became a daily confrontation; avoidance of pain taught young Izu to be quick.  Quickness is taught; while some may have inherent swiftness, pain is a master teacher which enhances that inherent swiftness.  For most young boys, swiftness was learned in order to avoid pain; for young Izu, he learned first to bear pain; then, once mastered, he disciplined his mind to welcome pain, to embrace it, to savor and to gently preserve it; and only then did he allow himself to fight to avoid pain.  Pain first was his friend; as would be fear.

     The beauty of a butterfly is felt in its silent flow of grace, where color flutters effortlessly in a deafening roar of silence; for in the very soundless folding and unfolding of its wings, mirroring a sensu held with delicate ease in the palm of a Kyoto-trained geisha, opened in fullness in unfolding quietude, then as a stream guided back to its essence; or as the fingers strum the shamisen in the still dawn to evoke neither music nor rest, but a twilight as marked by the flowing entrance to a Shinto Shrine, where the kami resides; and it is here that the warrior became a swordsman; the swordsman became a master; and the master became a legend.

     Ah, but that legends should die, as worms and other creatures found within the crevasses of soil and filth; so the truth of the blood which coursed through his veins, Izukawa could not rid of.  Once, while still at the Zen monastery, young Izu witnessed a gaijin enter the sacred grounds; a krish-chan, a priest in black, who spoke his language, but with a haughtiness of oral delivery unbecoming of one who was neither a warrior nor a Zen master.

     “Who was he, Master?” young Izu asked humbly, eyes cast down, after the gaijin had departed.  He could feel the piercing eyes of his teacher searching, perhaps with his customary mocking grin, as one who reads the essence of his soul through the tonal unfolding of his voice, words, and wisdom of ages. 

     “The young butterfly inquires, but to what end?” The master responded.  Izu could not detect whether the question to the questioner was asked in an admonishing manner, with sincere inquisitiveness, or with cunning mockery.  With the Master, any one, or all three together, could be contained in a single sentence.

     “I just wanted to know.”

     “To know for knowledge’s own sake, without an end?”

     “Yes.”

     “That would indeed be strange, but that would mean that the answer given would have no end, as life would not end in death, nor birth in life, nor mind in consciousness, nor…”

     The silence of the trailing statement meant that the Master was engaging in the third of the tripartite avenues; of cunning mockery; he quickly looked askance at his Master, and saw the glint of mischief in his Master’s soul; young Izu now knew how to proceed with his Master.

     “But does a gaijin have consciousness, as he is less than human?  Can he therefore have true life, as he was not truly born a man?  Can he have the mark of a man, of honor and shame, if he cannot be a warrior?”

     These questions, Izukawa remembered in his youth.  The shame which he had attributed then to the gaijin was not of his making, and of course, even as a youth, he recognized that fact; but the karma which governed the krish-chan’s life was the same which determined his own, and in that sense neither mattered.  But shame, for a samurai, was a reality; it was the disjointed disharmony which arose between that which is seen, that which is known, and that which is perceived.  It is a cultural judgment, a potential corrective action by a community upon an emerging discordance – between you and I.  For you see me as X as I have conveyed to you the X; but there is a Y coordinate which I have either failed to disclose, or deliberately covered.  When that Y coordinate emerges, and is finally uncovered; as the being of “I” presents itself in the full clothing of truth; when revelation unfolds, in that moment when the geisha unravels the sensu and pushes the warm air of the summer evening to brush upon the forming droplets of sweat – perspiration formed in the heat of the season, or the anxiety of truth, for truth is indeed an angst, an anxiety-stricken state of being, an explosion of tension built up from an admixture of object, coordinates, perception, personality, language, the depths of human complexity formed by a chasm deep and mysterious, a strangeness and tension lost by love, between you and I.

          “What is truth?” the Master asked.  Young Izu immediately suspected that this was a koan.  But the Master did not turn away; instead, he looked upon the young lad with eyes anticipating a response.  He hesitated.  “It is, well, it is…”

     “It is, above all else, not easy.”

     “But should not truth be simple?”

     “Is the village simpleton easy to direct?  Or is simplicity the most difficult to grasp?  To attain truth, one must have the perspective of the kami – neither of you, nor of I; not a man’s view, but a view based upon a removal of one’s self.  This is the true nature of a Zen Master – not to answer a koan rightly, but to answer it without the self.  And, young Izu – remember that shame is the surest path to truth.”

     These thoughts rushed through as the kami rushes through the valleys of his village, swirling around the green moss growing upon the rocks of the Eh-Daiji Temple.  The Emperor, noble and great in his position, was constrained by his culture and society.  His society required his subjects to possess a purity of coordinates – from the Emperor’s perspective; the public reputation of Izukawa; the known reputation of his warrior samurai.  Yet, Izukawa recognized that he was the same man before receiving the information about his past; the sense of shame resulted from his knowledge, lost to a relegated past, in conflict with the human perspective of “the other”, now revealed  within the historicity of the time he lives in.  But truth was not necessarily that which would explode in full authenticity at a given time in history; it might take generations before it would come to fruition.  Shame was the tension which would force the truth to emerge.  For the butterfly, beauty would never fade, for moral judgments could not be made upon such beauty.  It was only for man – between you and I.  Shame was for man, for shame was the arbiter of human secrecy – that act which was a conscious and deliberate act by a man to conceal.  But the thoughtful act to conceal was the same consciousness of man which forced him to reveal – shame.  For shame merged the coordinates of human consciousness, the objective world as I perceive it; as you perceive it; and the attempt to conceal truth.

     Izukawa knew what he would have to do.  He would disappear, and roam the countryside as a ronin.   He would find his extorter and kill him.  In the process, his shame may be revealed; but as the truth would be revealed, it would be his shame which would reveal it. 

 

  A World Without Shame – Leaving only I

      We live in a world of “I”s.  We are shame-less.  The exponential explosion of information, the complete abandonment of objective coordinates, the total embracing of subjectivity, has resulted in the inverse but victorious consequence of Syme’s vision of the world:  “The Revolution will be complete when the language is perfect”; or, conversely, it will be complete when there is utter imperfection.  Thought has become thoughtless because the infinite world of information has come to fruition; there can be no truth where shame does not exist; shame is the surest path to truth.  It is the guiding principle between you, I and the world “out there”.  For, if it was merely between you and I, we would be battling between the power of your subjectivity as opposed to mine.  The world I perceive and the one you perceive must have a corrective principle.  Once, when legends no longer explained, and myths no longer persuaded, Truth was thought to be the prevailing compass, and the guiding coordinate.  For brief centuries, the primacy of Truth prevailed; but just as legends faded and myths merely entertained, Truth became replaced with information, and information resulted in deconstruction, meaninglessness, and the loss of Being.

     Being became merely a language game.   Yet, there would one day come an age of resurgence.  The uncovering of Being was always an inevitability, and as shame is the surest path to Truth, the convergence of Man, Shame and Truth was only a matter of time, between you and I.

 

Postscript

     Years later, the decapitated head of a man was found in a ditch a few miles south of the Eh-Daiji Temple.   The grotesque, gargoyle-like expression, frozen in timelessness, purple tongue jutting out with eyes white and rolled upwards in fear and agony, Kyoji Katanoye was the fourth and last brother.   He had died in fear.  He had attempted to avenge the shame of his three brothers’ deaths, only to fail at the hands of the Master Samurai, of whom legend holds became a faceless ronin, wandering the countryside, emerging when necessity arose, as when the soft wings of a butterfly became trapped in the thorny bushes of concealed human stories of shame.

Kentaiji Winds, the Lizard, and the Ontological Preemption of Storytelling

In the fourth year of the Kagemusha Shogunate, six years since the Tatamorii massacre when the Kazekuo Clan and the Daizoku family committed seppuku upon the death of their Master, a single man arose as the undisputed Master of the Kofuku clan of samurai. His name was whispered with awe and fear. Children in the countryside would play out the legends which swept and changed, like the kentaiji winds from the north that brought the sweet fragrances from the volcanic pits, mixing the bitter taste of ashes, hot spring waters, deep chasms of the heated underworlds, mixed with the cherry blossoms along the Zen Monastery of Kyozuku – as each roll of the winds picked up new mixtures of fragrances and changed in its essence, so the stories of the brave feats of Sazuro – the master swordsman – grew with each breath of the gods.

Legend has it that Sazuro, on a morning filled with the ashen fragrances of the kentaiji winds, in the dew mist of sunrise when the lizard pauses with its mouth parted to allow the rising sun to warm its blood, its transparent eyelids half shading its dilated pupils, sat before his garden, tended with care and patience, swept where each rock and stone rested upon the previous one, and the one before, combed meticulously to form a whole, as only a zen master could embrace; for zen is not to try, but to do, and yet in the act of doing, to understand, and embrace the void of his surroundings. Cross-legged, eyes closed, Sazuro breathed the air of winds; his mind embraced nothingness; his ears heard darkness; his eyes saw silence. Suddenly, from a hundred yards above, along the ridge of the surrounding mountains, the arrow came with the swiftness of the volcanic winds of gods, aiming with lightening precision at the heart of Sazuro. His teacup in hand, his eyes closed, his head slightly tilted, in the silence of darkness, with the sun rising with the pink tint and the dew of morning evaporating as the lizard began to limber under the rising heat, Sazuro flicked his wrist and caught the arrow just inches from his heart. The lizard opened its eyes. Sazuro began running; with such effortless strides, he ran barefoot up the side of the mountain, eyeing the ridge from whence the arrow had come, his sword in one hand, the arrow in the other. Some say that the kentaiji winds stopped blowing because the speed of Sazuro’s rush to meet his attacker created a counterwind; still others claimed that the lizard and man were one, that as Sazuro ran up the rocky mountain, the lizard had disappeared. As he reached the top, the archer suddenly realized that the volcanic fragrances of the kentaiji winds were now replaced with the throbbing of his own heart, the smell of his own sweat, and the mixture of one who had tried but failed; fear enveloped the archer’s mind. But the trap had been set, and the corners of the archer’s lips curled slightly with mischief; the second, hidden archer in the treetop; the two ronin samurai behind the large boulder to his left; and the archer himself with an arrow ready to shoot upon the figure of Sazuro over the ridge. But the kentaiji winds shifted, and Sazuro smelled the sweat from the archer, the garlic enjoyed the night before by the hidden archer in the treetop; the unwashed scent of the ronin samurai – the winds warned Sazuro of each, and the dangers hidden; from whence the dangers came; and how many. Or, perhaps, as some have said, the lizard knew the countryside, and each fly and insect which moved within its boundaries. For the lizard, too, was nowhere to be seen near the rock garden.

For the Zen Master, the encounter with Being is more than stepping upon a thorn in a half-sleep. Though the yell of pain, the trickle of blood, the wakefulness of sudden encounter, crashes us headlong into the realization that the world around us harms, titillates, roughs up and soothes, it is so with each of us; and not merely for the Zen Master. The ronin samurai, masterless by definition, and thus ronin, without identity, would surely die. Legend has it that Sazuro, with one swift movement, decapitated both of their heads, and the body of one took two steps before the second head landed in the cradling arms of the first. Whether consciousness was lost before the body separated from spirit, or spirit recognized the horror of being headless and thus soulless, we shall never fathom to know. The tail of the lizard left a streak of wetness upon the sun-baked, whitewashed boulder which, for a time, had hidden their presence from Sazuro, and the lizard, or both, or one. Nothingness was left for the two ronin; without an identity, without their heads, they evaporated, as the morning dew that morning, as the kentaiji winds began to shift again.

Umberto Eco, in his work, Kant and the Platypus, notes that in the primordial state of man, whether in the deep meditative abyss of a zen master, or that hypothetical time of man pre-language, “being is not a philosophical problem, any more than water is a philosophical problem for fish.” But can such an encounter ever occur? For man is by nature, inherent in his very rationality, wrapped within the definitional essence of Aristotle’s ascription of rationality as his very essence – a storyteller. A storyteller is a purveyor of words, put together to form ideas, for creations of conceptual models, in order to compose and describe a symphony of the human condition. Whether man was or was not ever in that primordial state, the essence of the storyteller impedes any such naked encounter with Being. Yes, self-awareness is an attribute of man; yes, the differentiation between I and thou, the consciousness of self, the awareness of one’s self apart from the other; the non-verbal realization of being; but, always and foremost, we bring with us the need to tell the story. Wrapped into the essence of man is a swirling precondition of historicity; that man comes not from a vacuum, but with a story. The baby who comes into the world possesses a name before she is named; she is the daughter of two who came together in love. And the history of that story is an infinite history of being.

The best trial attorneys are the best storytellers. Trial attorneys do not merely convey or portray “facts” to jurors; they tell stories – stories of crimes and misdemeanors, of passionate advocacy; of injuries so horrific as to make dull minds in a jury box impassioned and outraged, to lengths of irrationality such that the awarding of monetary compensation somehow makes up for the storied outrage. Suspend the fact that money is an insufficient substitute for loss of limb or life; the storyteller convinces us all that compensatory damages sufficiently provide a viable alternative to mental anguish. Go figure. Yet, the narrative told, the human drama described, the conflict relived, and the encounter between I and thou, until a community of empathy is solidified, where the jurors begin – through the story – to see it as we against the defendant. “We the jury find for the plaintiff, and award damages in the amount of ____”

And, as legends grow, Sazuro’s feats of courage and bravery never strayed far from believability. There are legends, and then myths and self-perpetuated, vain-conceited portrayals of bravado. Sazuro’s reputation needed no exaggeration. The hidden archer in the tree was able to shoot an arrow in the general direction of Sazuro; the very branches which he had hoped would shade him from revelation and retain him within the void of darkness, was that very obstacle which prevented him from attacking. The master samurai disappeared behind the boulders; the lizard slithered unnoticed between crevices and followed the paths of nature; and suddenly the sword of Sazuro, the one which whispered death when unsheathed, twirled effortlessly end over end and struck the hidden archer through his neck. With gurgling sounds like a river about to drain with a whirlpool of suctions, the lizard paused, waited, and when the lifeless thump of the body fell into the tall grass below, Sazuro retrieved his sword, and wiped the blood, the saliva, and the waste of human soil, upon the robe of the dead villain.

For, consider the master storyteller, Anton Chekhov, in his short story, Grief (translator’s subtitle: “To Whom Shall I Tell My Grief,”), where the cab-driver, Iona Potapov, within a span of 6 pages, tells the story of human need; of a son’s death; a tale of tragedy, and of human indifference. And in the end, he turns to his horse, and speaks the mournful song of every human desire: “That’s how it is, my old horse. There’s no more Kuzma Ionitch. He has left us to live, and he went off pop. Now let’s say, you had a foal, you were that foal’s mother, and suddenly, let’s say, that foal went and left you to live after him. It would be sad, wouldn’t it?” Sadder still if Iona was left incapable of telling his story. For the very ontological encounter that he and all of us have, is one which tells a story. To be human is to tell a story of one’s humanness; for we are neither inanimate objects, indifferent to the weathering storms of our surroundings, anymore than we are Pavlov’s experimental subjects exhibiting conditional reflexes or revealing transmarginal inhibitions, reacting or shutting down in response to our surroundings. For, Nothingness is not just the absence of Being; it is, more profoundly, the existence of Silence. And so the Zen Master attempts to reveal to his novices the path to enlightenment, to shed one from the confusion of one’s self; to dive into the abyss of Nothingness, a cauldron within a maze of conundrums, only to know that in the art of trying, one may lose forever the soul of his being. But the true zen master knows – lives – the essence of man as the storyteller.

Sazuro was a warrior. His zen training was a means to escape the natural fear of death; being a warrior defined the essence of Sazuro. For a warrior, it was the penultimate act to return the weapon meant for his death, to the one who so attempted to kill him. Sazuro, with arrow still in hand, stood before the archer. The eyes stared; it is a frightening sight to watch a man’s eyes, when those eyes show more than mere fear; for fear may be an uplifting emotion, one which allows for survival, and to be able to fight for another day; but fear mixed with the certainty of oblivion, when the mind knows that the body cannot respond to the adversary who stands before him – such fear results in the loss of soul of a man. A warrior’s first duty is to protect his lord; the second, to protect himself; and for the warrior samurai, if he fails the former, he must affirmatively fail the latter, and commit seppuku. Today, Sazuro stood before his enemy because the enemy desired to kill his lord; to kill his lord, he needed to kill Sazuro. Both Sazuro and the archer knew this. Legend has it that as Sazuro raised the hand which held the arrow which, but for the swiftness of the lizard in the misty dew of morning, aimed but an inch from his heart, and the hand which beheld the abyss of death beyond the valley of life, reached and grasped, stopped and froze, the pointed arrow; Sazuro raised the hand, and before he could act, to return the arrow to its rightful owner, the archer trembled, oozed blood from his pores, and convulsed in a weighty heap of quivering death. The legend of Sazuro – of death in silence, of vanquished enemies without raising a sword, would spread throughout the Kagemusha Province. And the children, playing in the dusty streets in towns and cities, would act out the legend; and the only true fights which would erupt noisily, would be the shrill protestations of the child who was chosen to be the archer.

Heidegger, in Being in Time, wrote: “When tradition thus becomes master, it does so in such a way that what it ‘transmits’ is made so inaccessible, proximally and for the most part, that it rather becomes concealed. Tradition takes what has come down to us and delivers it over to self-evidence; it blocks our access to those primordial ‘sources’ from which the categories and concepts handed down to us have been in part quite genuinely drawn.” Yes, but what Heidegger did not understand – or fully comprehend – is that the blocking of such access was not a negative event to be corrected; it is, after all, the very being of our human-ness.

For, just as the lizard was seen the next morning raising its shiny white underbelly to the rising sun, so Sazuro meditated in silence before the crystal white stones of his rock garden. The kentaiji winds blew warmly that morning, bringing forth the soft fragrances of volcanic ashes, cherry blossoms, and the silent encounter with Being. But whether Sazuro was aware of the presence of the lizard, or the lizard felt the fearsome reputation of Sazuro, we shall never know. Only the storyteller can shed light upon that.