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    Zen Teaching of Instantaneous Awakening

    A Classic Zen text written in the 8th century by Hui Hai. He was a student of Ma-tsu and from the same line as Hui Neng, Huang Po and Rinzai (Lin-chi).

  • Don't Take Your Life Personally

    Ajahn Sumedho urges us to trust in awareness and find out for ourselves what it is to experience genuine liberation from mental anguish and suffering.

  • Perfect Wisdom: Prajnaparamita Texts

    The Short Prajnaparamita Texts were composed in India between 100 BC and AD 600. They contain some of the most well known Buddhist texts such as The Perfection of Wisdom in 700 Lines, The Heart Sutra, and The Diamond Sutra.

  • Fingers and Moons, by Trevor Leggett

    Trevor Leggett points to the truth beyond words, beyond explanations and methods.

  • Experience Beyond Thinking: Practical Guide to Buddhist Meditation. An easy to follow guide to Buddhist meditation and the reflections of an ordinary practitioner. Used as a guide by meditation groups.

    An easy to follow guide to Buddhist meditation.

  • Understanding Karma and Rebirth A Buddhist Perspective

    Meditations and exercises to help us understand karma and rebirth and to live from the unborn moment.

  • The Old Zen Master by Trevor Leggett

    Stories, parables, and examples pointing to the spiritual implications of practical events in daily life.

  • Teachings of a Buddhist Monk

    Modern practical teachings from an American monk living within one of the oldest Buddhist traditions.

Buddhism as music — Vedanta as architecture.

by Trevor Leggett

Buddhism can be looked at in terms of music, whereas the Vedanta of the Upanishads could correspond to architecture, where reality is something immense and unchanging, with events, including human events, passing in and out, to and fro, like shadows. They pass away. But the great reality remains, unchanging. In Buddhism, on the other hand, Buddha‑nature is change. In this sense, Buddhism can be compared to music, the essence of which is also change.

As an example, take the familiar opening chords in Rachmaninov’s popu­lar Second Piano Concerto. The movement begins with seven crashing chords. Most pianists have to fake them today, as Rachmaninov wrote for his own hands, which were exceptional in their stretch. This is a famous dramatic passage. Each chord is different, but there is a dramatic inevitability in the sequence. Listening to it, each one is perfect in itself, but though it is perfect, we do not feel: Oh, let it stay. It is perfect. Let it stay forever. The next chord, too, is perfect and the next one. As we listen, we find that the sequence of the chords, too, is per­fect. Bukko is saying: Each chord is perfect, and the sequence is perfect. But you spoil it because when one is being played, you’re thinking it should stay. Or else you’re thinking of the next one, or perhaps of the last one, or perhaps all these things together. So you don’t appreciate the things as they stand.

An extract from The Old Zen Master


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