decline
|
Fog chills heaven
to gray,
Nights come earlier.
Everyone knows decline,
But few discern its border.
Although it is summer and there are many warm months to come, it is
possible to sense that the heavens are already turning downward. Nearly
imperceptibly, the fruit is ripening on the trees and the nights are
lengthening once again. It is too early to talk of autumn, and yet the
next season is on its way.
Why do we never prepare for decline? We all realize that it is a valid
phenomenon – we know about the fall of empires, the aging of heroes,
the lessening of our own skill – but we are not always aware of its
approach. We often realize too late that we are in a period of decline,
and so we are unprepared. It takes a wise person to perceive the moment
when things begin to change.
Summer does not fade away in a day. Our actions must accord with the
times. Just as the decline of summer is gradual, so too should our
actions be commensurate with the pace of change. Even though decline
may be approaching, we must gauge how quickly or how slowly events are
moving. If we are too hasty – like someone who notices the first col
breeze and immediately dons winter clothing – we will be overreacting.
It is important to think of decline as something natural and
inevitable. Therefore there should be no emotional values attached to
it. It simply happens, and that is all.
decline
365 Tao
daily meditations
Deng Ming-Dao (author)
ISBN 0-06-250223-9
Sarangi, ca. 1900
India
wood, ivory, parchment, metal;
L. 74.7 cm (29-7/16 in.); W. 24.2 cm (9-1/2 in.); Diam. 17.5 cm (6- 7/8
in.)
Gift of Mrs. Harold H. Krechmer,
in memory of her husband, 1982 (1982.143.2)
Description
A beautiful full sound and a close proximity to the melodic flexibility
of the human voice make the sarangi the most important bowed instrument
of classical Hindustani music of northern India and Pakistan. A rigid
horsehair bow (not shown) rhythmically sounds the gut melody strings
that cross over an ivory elephant-shaped bridge (bara ghurac). Melody
and virtuosic embellishment are produced by pulling the strings to the
side with the fingernails. This playing technique combines with the
instrument's short neck to make the sarangi a particularly difficult
instrument to master. The number of metal sympathetic strings (tarabs)
that pass through the bridge varies. Today thirty to forty of these
strings attach to pegs (khunti), either at the side or by entering
diagonally placed holes along the neck (chati). Decorative openings at
the top, where melody strings enter the peg box (mattha), reflect
Mughal architectural influences.
also,
do let
me know if you wish to unsubscribe from the daily
meditations or need to take a vacation.
..........................................................................................................................................................................................
