threshold
Why mourn for a cocoon
After the butterfly has flown?
Death is one of the few givens in life, and yet we fear it. We
immaturely deny its presence or refuse to take it into account. In
life, where so few things are stable enough to serve as true reference
points, death is one of our few assurances.
Death is not an ending. It is a transformation. What dies is only our
sense of identity, which was false to begin with. Death is the
threshold of this life. Beyond it is something else, some mystery. We
can only be sure that it is unlike this life.
Let us be unabashed in admitting that no one knows death definitively.
The closest we may come in a supposed near-death experience, which, by
definition, cannot be death itself. Alternatively, we can examine other
people who have died. We can look at a corpse. When we do, we see that
whoever or whatever it was that animated that body is no longer in
force. Is that body our dead friend? No. Whatever it was that was
the person we knew is gone. What use is there to mourn over a lifeless
shell in a casket?
Death defines the limits of life. Within those limits, there is
structure upon which to base one's decisions. Whenever one deems that
one's life has been fulfilled, one can utilize death as the portal away
from this existence.
threshold
365 Tao
daily meditations
Deng Ming-Dao (author)
ISBN 0-06-250223-9
The House of Bijapur, ca. 1680;
`Adil Shahi period (1490-1686)
Kamal Muhammad; Chand Muhammad
Deccan, Bijapur, India
Ink, opaque colors, gold, and silver on paper;
H. 16 1/4 in. x W. 12 13/16 in. (41.3 x 30.9 cm)
Metropolitan Museum of Art
Description
The nine 'Adil Shahi rulers of Bijapur are assembled in a brilliant
display of dynastic history. Dynastic memories linger, too, in the
depiction of distant seas, for in earlier days the kingdom extended to
the Arabian Sea and included Goa. The picture was painted for the young
man at the right, Sultan Sikandar, the last ruler of Bijapur, who
inherited the throne at the age of four in 1672. Bijapuri pictures are
typically lyrical, poetic, even otherworldly, but this relatively late
work reflects the influence of Mughal naturalism in the sensitive
portraits.
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