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Image of the quote is loading... SaveSave When we are young the noise of general conversation seems much the most fun. When we grow up we discover the possibilities of the tete-a-tete. In maturity the monologue habit sets is. But now at last there is the chance to investigate the rich depth of the silence when the monologue is suspended. - Quote by Nanamoli Thera

When we are young the noise of general conversation seems much the most fun. When we grow up we discover the possibilities of the tete-a-tete. In maturity the monologue habit sets is. But now at last there is the chance to investigate the rich depth of the silence when the monologue is suspended.

Nanamoli Thera
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Suppose boredom is a backstairs to liberation — insignificant, and so often overlooked. No one who has not known its higher degrees can claim to have lived. Not the Relative Boredom of long waiting at junctions for railway connections on the way to visit friends—or the rashly accepted week-end with acquaintances—the reviewing of a dull book. In such Relative Boredom the "wasting-of-time"-feeling only heightens the enjoyment of the coming escape, the anticipation of which sustains us meanwhile. Absolute Boredom is rather the pain of nausea, it is the loss of one's livelihood as for the pianist who loses his hands, the unsatiable desire for what we know makes us sick, it is the Great Drought, the "Carnal physic for the sick soul", the Dark Night of the Soul after the climbing of Mount Carmel, it is the pillar of salt, the exile from the land which is no more, the Sin against the Holy Ghost, the break-up of patterns, the horror that waits alone in the night, the entry into the desert where Death mocks by serving one one's daily food and one cannot bear hut to keep the darkness of one's own shadow before one for the very brightness of the light that reveals the universal emptiness. Do not try to turn back now — here in the desert perhaps there are doors open—in the cool woods they are overgrown, and in the busy cities they have built over them.
Nanamoli Thera
The more I examine and observe experience (What else can one do? Build castles?), the more I find that I can only say of consciousness (and in this I find a notable confirmation in the Pali Suttas) that it seems only describable (knowable) “in terms of what it arises dependent upon” (i.e. seeing-cum-seen … mind-knowing-cum-mind, known or mind cum-ideas), that is, negatively as to itself. And so, instead of being said to appear, it should rather be called that negativeness or “decompression of being” which makes the appearance of life, movement, behaviour, etc., and their opposites, possible in things and persons. But while life, etc. cannot be or not be without the cooperation of the negative presence of consciousness, which gives room for them (and itself) to “come to be” in this way (gaining its own peculiar form of negative being, perhaps from them)—the only possible way of being—they are, by ignorance, simultaneously individualized in actual experience. Unindividualized experience cannot, I think, be called experience at all. Thus there appears the positive illusion also of individual consciousness: “illusion” because its individuality is borrowed from the individualness of (1) its percepts, and (2) the body seen as its perceiving instrument.Unindividualized perception cannot, any more, I think, be called perception at all. The supposed individuality of consciousness (without which it is properly inconceivable) is derived from that of its concomitants. This illusory individualization of consciousness, this mirage, manifests itself in the sense both of “my consciousness” and of “consciousness that is not mine” (as e.g. in the sensation of being seen when one fancies or actually finds one is caught, say, peeping through a keyhole, and from which the abstract notion of universal consciousness develops). The example shows that the experience of being seen does not necessarily mean that another’s consciousness is seeing one, as one may have been mistaken in one’s fancy owing to a guilty sense (though the experience was just as real at the time), before one found no one was there. To repeat: my supposed consciousness seems only distinguishable from the supposed consciousness that is not mine on the basis of the particular non-consciousness (i.e. material body, etc.) through which its negativity is manifested and with which it is always and inevitably associated in some way. It is impossible, I think, to overemphasize the importance of this fact.
Nanamoli Thera
How is it I have the strength to carry my own weaknesses?
Nanamoli Thera
Everyone knows that border across which he cannot go, even in thought, and it is that, not the former, that people automatically shut out and cannot face. Yet one knows at times (in the middle of the night, perhaps, when one is sleepless, or on encountering some revolting experience) that this horror haunts every form of experience (always and ever), and hastily one readjusts the blinkers that had slipped. Put the beautiful before you and the horror behind you. Yes, but then I shall not dare to turn round.The world is a bad place. Is it? But it seems that this haunting, this self-delusion by wearing blinkers, is not an attribute of the world. The haunting is in consciousness itself, in its very nature. Just as when I set up any object in the sunlight a shadow is cast (because it is the nature of sunlight to cast shadows), so anything that comes into the light of consciousness casts a shadow of the unknown. It is in the unknown that the horror resides in the dark of knowledge where the patterns can no longer be traced, where chaos resides, and whence utterly hostile systems may emerge, devour, and digest us.
Nanamoli Thera
Where would I be (and what would happen to me), if I could see all round me and above and below at once ?
Nanamoli Thera
All the world's a stage, and all the men and women actors on it" says Shakespeare. But actually only the men and women in the public gaze are actors on it. I, for instance, whom — and this I hold one of my greatest blessings while it is so — the public does not gaze on, am not an actor, but only a scene-shifter: the stage is curtained when I and those like me move on it. (Addition:) Or that is how I should like it to be always
Nanamoli Thera
Sati—sampajanna ("Mindfulness and clear comprehension") should be examined carefully from the point of view of the centipede who could not walk when she thought about how she moved her limbs. And also from the point of view of absorption in, say artistic creation and detached observation of it. Absorption in piano playing or painting seems to be "successful" but detached observation or enjoyment of "my playing" or "my painting" seems to have the centipede effect. What are the facts here and what is the lesson to be drawn?
Nanamoli Thera
A thought for this Damocletian Age: the trouble with justice is it just isn't it?
Nanamoli Thera
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