After Heart Sutra and before final bell chant in cabin at Sunday Evening Practice, Saskia and I read, renew, and affirm the three promises we hold and practice as meetingbrook monastics.
Gem Mountain
It towers from the beginning
Without a flaw
The rain beats upon it
The wind cuts it
It only shines brighter
Even fog and cloud
Cannot hide the path
To the summit
- Muso Soseki (1275-1351)
At table we read Catherine de Hueck Doherty's words on the kenotic nature of poustinia, especially that of the heart. It seemed fitting for today, the 10th, the 39th anniversary of Thomas Merton's death.
To summarise the plot of Seven Storey Mountain in a sentence, it is the story of how a rather wild young man settled down to become a Trappist monk. This sounds a little like St Augustine’s Confessions but although they are of the same literary genre, the books couldn't’ be more different. Augustine savours too much of Grand Opera to be readily assimilable. Thanks to an expensive rhetorical education, he spends half his time in bel canto arias to the Almighty and the other half beating his breast – starting with his confession of how wicked he was even in the cradle, where he used to yell when he wanted his parents to do things for him. Meanwhile, Merton, a poet rather than an orator, writes of himself that “Free by nature, I was nevertheless the prisoner of my own violence and my own selfishness, in the image of the world into which I was born... loving God and yet hating him, living instead in fear and hopeless self-contradictory hungers” – altogether more likely in the modern world!
Principally what makes the Mountain worth reading is that as he looks into his past Merton loves himself and forgives himself, and loves and forgives everyone else too. This doesn’t mean that he thinks that what he did was good, just that he looks on it dispassionately and sees its proper place in his life. He has drunk of Dante’s Lethe and Eunoë, and so remembers his sins “only as an historical fact and as the occasion of grace and blessedness” (Dorothy L. Sayers, introduction to the translation of Dante’s Purgatorio).
Merton starts his narrative by seeing himself in relation to God, and that’s how it continues. Everything is seen in terms of its true context within his life and its true significance in the course of it and there are a few surprises, as when we see William Blake and James Joyce leading him towards baptism. If this sounds rather ponderous, it isn’t. It isn’t ponderous precisely because it is orthodox. The new man that he has become is like the New Law given by Christ: not a rejection of the old but a fulfilment; and so he loves his old self, like all the rest of God’s creation, but with clear eyes, distinguishing the good from the bad; seeing good in unexpected places and assessing its nature and usefulness.
(http://www.universalis.com/-500/today.htm)
An artist from Thomaston attending practice gifted us with a wide cross with painted images of six birds. It graces middle room wall as you enter kitchen from round dining table.
We pray to Merton. He understands. We pray for all asking us to pray for them.
Especially today, this week, this holy month.
"Holy indifference" wrote Catherine.
Wholly in difference -- always the same. That's what this cold day seems to say.
One seed at a time.
We birds.
To and fro.