Beyond Happiness: Buddhism and Human Flourishing

This guy knows happiness! His Holiness the Dalai Lama poses with a wax figure of himself from Madam Tussauds on display at the Sydney Entertainment Center, venue for his three days of teachings in Sydney, Australia, on June 14, 2013. Photo/Rusty Stewart/DLIA 2013 via the Dalai Lama facebook page.

It seems only about 10 years ago that Happiness was all the rage. Martin Seligman, a founder of the Positive Psychology movement had been elected President of the American Psychological Association, everyone was learning how to pronounce Mihály Csíkszentmihályi (author of the book Flow: the Psychology of Optimal Experience), and I even got to take a senior-level philosophy class called something like “Philosophy of Happiness.”

We read Seligman’s book, Authentic Happiness: Using the New Positive Psychology to Realize Your Potential for Lasting Fulfillment, debating the psychology and ethics of various ways of trying to be happy, and even the metaphysics and epistemology of this fundamental human desire. Oh, and Seligman assures us, it sounds like ‘cheek-sent-me-hyle’. 

Not long after that I read The Art of Happinessby the Dalai Lama and Howard C. Cutler, M.D. and when Happiness: A Guide to Developing Life’s Most Important Skill by Matthieu Ricard came out, I was eager to read and share it. These books have all been wonderful, and I hope I can safely lump them all into the “good” happiness category.

The “bad” happiness category can be summed up with two words: the and secret.

The unfortunate thing, and this is no doubt by design, is that much of the bad happiness crap out there begs, borrows, and steals from the good happiness people. There is a Dalai Lama quote or a Buddha quote (or a fake one) in practically every article of bad happiness literature. This has had the unfortunate effect of making a lot of smart people see ‘happiness’ in a bad light – some of the funniest parts of Ricard’s book are about his interactions with French intellectuals, who have been très blasé  with ‘happiness’ for decades. 

Distinguishing between “good” and “bad” happiness isn’t always easy, even when people have agreed about what constitutes each. But suffice to say that real happiness takes time and effort, perhaps even discipline. It will probably require some time away from the world, away from the busy flow of information and quick-fixes; but will also require time back in the world, dealing with one’s own difficulties in the world and helping others with their difficulties too. Leaving the world is sometimes hard for extroverts, coming back can be hard for introverts, but using one’s time wisely in both is hard for everyone.

Be very wary of anyone with a simple tip, trick, or tool, whether it’s cloaked in ancient wisdom or the latest science. There is no simple guide to happiness. We live in a culture of me, me, me / now, now, now. But the ancients and the latest scientists knew/know better. I remember one story coming from a Greeks or Romans of a man asking another if a recently deceased man had lived a good life. “We’ll see.” Said the other. “If his children do well, and their children, and so on. Then we shall say that he lived a good life.” 

And in Buddhism it is much the same. The path leading to awakening (the best of the “good” happinesses) is long and arduous. The other kind of happiness, often found in the label kāma, is easy, quick at hand, and ultimately worthless (there is even a Buddhist Kāma Sutta). The happiness that results in following the path is better, I can attest to that just as much as J.S. Mill can assure you that it’s better to be a man dissatisfied than a pig satisfied, better to be Socrates dissatisfied than an ordinary man satisfied, but this happiness is definitely not

easier,

simpler,

or quicker (than the 2-bit happiness peddled by the bad ‘happiness’ industry).

~

For those in the UK, an upcoming conference on this topic -broadly speaking- might be of interest:

  • Buddhism and Human Flourishing Conference – University of Chester 25th June 2013 The line-up for second conference in the Philosophy and Religious Practices on June 25th at the University of Chester has now been confirmed. We are delighted that Gina Clayton and Jamie Creswell are able to join the stellar line-up we already have confirmed. They will be focusing on the current engagement by Buddhism in public life and social action in the UK and elsewhere.
    For full details of the conference aims and participants please click below:
    Buddhism and Human Flourishing Flier
    SPEAKERS include Professor Peter Harvey, Caroline Brazier, Ratnaguna, Dr Mary Welford, Dr Paramabandhu Groves, Gina Clayton, Jamie Cresswell
    Cost: Waged : £25.00/Unwaged: £10.00 (Book online http://shopfront.chester.ac.uk/ and click on ‘event booking’)
    Enquiries to Carly McEvoyc.mcevoy@chester.ac.uk 01244 511031

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Buddhism has the Rope and the Snake, Christianity has Jesus and the Pug

Look closely… who do you see?

Well, they’re not exactly equivalent, but bear with me.

Who… or what, do you see in the image above?

Yes! Wow! Oh, wait?! Ewwww. Really?

Here’s the whole image:

As much as I love Jesus, I’m just as happy to see that its a pug! (And I’m sure my pug-loving girlfriend will agree.)

Ahhh, just look at that face. A bit blurry, but anyhow….

That is just one of (apparently many) photos of dog’s rear quarters that amazingly resemble what some people would swear is a miraculous image of Jesus.

The simple, natural explanation, is that we see things that we want to see, sometimes when they aren’t really there.

The flip-side of this is that we just as often see things we’re afraid of even though they aren’t there. That is where the Buddhist story of the snake and the rope comes in. As far as I can tell, the story isn’t found in the early Pali sources. The story, as I was first told it, goes something like this: A man, filled with a mind of fear, walks in to a shed and sees a snake coiled in the corner. Fearful, he runs away. Later, with a mind cooled of fears, he returns to the shed. There he sees that the snake is just a rope, coiled up in the corner. A recent Tibetan master elaborates thus:

“Sentient beings, self and others, enemies and dear ones—all are made by thoughts. It is like seeing a rope and mistaking it for a snake. When we think that the rope is a snake, we are scared, but once we see that we are looking at a rope, our fear dissipates. We have been deluded by our thoughts. Likewise, mentally fabricating self and others, we generate attachment and aversion.”

~Dilgo Khyentse Rinpoche

In science, this is called confirmation bias: the process of actively searching out or interpreting evidence to support your own preconceptions. In Buddhism it is simply our ignorance, perpetuated by saṅkhāra/saṃskāra (mental formations). One of the powerful effects of meditation – for most of us – is the ability to see our own mental formations. If we are angry people, we ‘see’ images, thoughts, and feelings of anger arising in our mind. We might try to externalize these, thinking, “this meditation teacher is an idiot, meditation is stupid, and so on.” Or we might observe them, noting “anger… judgment… unpleasant… etc…”

Trained meditation teachers will go into much greater detail than this, but it’s a very basic start. If you find yourself fearful of something – like snakes – and seeing them in every rope, stick, shadow, etc that you come across, you can sit in meditation (in an appropriately ‘safe space’) and call the fear to mind, simply observing memories of ropes-turned-into-snakes in your past, or calling to mind an imaginative rope and ‘watching’ the mind twist it into a living snake before your mind’s eye. Notice the visceral, bodily sensations of fear arising from this simple process. Again, one can say here that, “meditation makes me fidgety and uncomfortable” (sometimes that’s exactly what it should do), but if you sit with it and observe it, this sensation too will pass.

Easy enough in words, but the practice can and often will be incredibly daunting (and again should be done in the guidance of a qualified teacher). But as I mentioned last month in writing about Buddhism and Mental Illness, I credit this practice with helping me move through the clinical depression of my early 20s. And still today when heavily depressive thoughts or feelings arise it seems that I am faced with a choice: sink in to them, listen to them, treat them as if they are real and have power over me, or… watch, note: “fear… heavy feeling… anxiety… etc…”

Ven Sochu retells the rope and the snake story:

There is an old Buddhist parable that tells of a man walking home one evening. In the half-light he sees on the path a snake apparently crossing in front of him. He starts and jerks himself away, heart beating fast, wide-eyed and alert. Peering closely he suddenly realises that he was mistaken, in fact it is an old piece of rope! Relieved and laughing to himself at his foolishness he goes to step over it and glancing down suddenly realises the rope is a string of jewels. He gasps in awe!

A simple story and we nod and ‘get the point’. But do we realise how often each day opportunities arise for such ‘mistaken identities?

The playwright Alan Bennett tells the story of a holiday at a hotel in Harrogate with his mother. They were taking tea, one afternoon, when a smartly dressed middle-aged woman entered the room with a younger man in tow. Alan’s mother turned to her son and said, “She’s here with her boyfriend, I see!” The next day, while taking tea again, the woman enters alone. Alan’s mother says “I see they’ve had a row then!”

It’s not just that I continually commentate and interpret what goes on around me, but that this ‘story’ – of thoughts and feelings I weave filters my perception of what is real. If I think you are a great person then I see you as one. If I feel the world is a hostile place then I see other people out to get me everywhere I go. Once I think something, it is as if it becomes real and I cannot distinguish between what the situation is and what I think and feel about it.

Walking home at twilight in India it would not be unrealistic to see a cobra slithering across the path. An expectation, a flutter of fear, the half-light, an ambiguous object across the path, imagination can supply the rest. It might be worth remembering that next time you meet with someone you have a bad feeling about and they seem to be antagonising you.

For me the ‘mistaken identity’ was of myself as a depressed person. As a Satrean aside, there is great value in “owning” one’s facticity, which is fancy-talk for simply acknowledging where you are right now. If your mind is dominated by anger, greed, depression, etc, it’s best to say so. The mistake is in projecting that out into the future. It is “how things are right now” but thanks to impermanence, things can and will change. It is perhaps all too human to spend countless hours building one’s story, fine tuning one’s filters. Doing this is like returning to that first picture at the top and really staring at it to find all of the Jesus-like features.

Good luck with that.

I should note that this isn’t meant to be a slight against Christians. Most Christians I know would find the Jesus-in-the-pugs-butt ‘miracle’ as silly as anyone else. And part of the rise of Secular Buddhism seems to be the recognition that there are plenty of Buddhas-in-pugs-butts (or similar) among traditional Buddhists. That’s not to say such wondrous images don’t have value, even in a secular sense. Beyond a good laugh, which can be highly therapeutic, they might spark genuine awe and wonder into the workings of the mind.

And perhaps, just as much as for the person who sees a miracle ‘out there’ the reaction of the secular Christian or Buddhist can be a movement to practice (be that charity, loving-kindness, generosity, etc).

Wagner Dream: Buddhism from ancient India to Wales and England

Opening scene from Harvey's Wagner Dream (June 2013, Wales)

Opening scene from Harvey’s Wagner Dream (June 2013, performed by the Welsh National Opera)

Before the opera begins, a solitary figure in white robes walks purposefully out on to stage from the right, turns onto a raised platform, and sits, facing slightly away from the audience.

This is how Wagner Dream, a modern British opera, begins. The opera is based in two worlds, that of 1883 Venice and the last day in the life of Richard Wagner, and 5th century India and the romantic entanglement of a young outcast woman and the Buddha’s cousin and chief attendant, Ānanda.

The divide in time is rather creatively visualized, allowing both to exist on stage simultaneously by placing the scenes from Venice on a narrow strip of stage in front of (from the perspective of the audience) the orchestra pit. The scenes from ancient India, meanwhile, take place on and around the platform behind the orchestra. The divide is further accentuated by the Welsh National Opera’s director Pierre Audi’s decision to have the sung dialogue of the Buddhists placed in Pali, which is commonly described as the language of the Buddha, but is actually a term meaning ‘text’ – referring to the recorded teachings of the Buddha and his disciples. Meanwhile the spoken dialogue of Wagner and friends is in German. Surtitles (supertitles) translate both above the stage in English and Welsh. The use of the two languages helps move the audience both out of their own world and into the lives of the characters on the stage.

As you would guess, this is a bit of a niche opera. Four languages, three time periods (if you include the very modern use of minimalist stage sets and electronic sound effects), and the clashing of two very distant cultures as a 19th century German composer encounters ancient Indian ideas and stories. Again we might add our own time period as a third culture, in some ways as distant from Wagner as he finds himself from the Buddha. And, to further complicate things, the story that was placed in Pali itself comes from Eugene Burnouf’s 1844 work, “Introduction à l’Histoire du Buddhisme Indien” (recently translated into English here), which is based on a Sanskrit text, the Divyāvadāna (Divine Stories) an anthology of Buddhist tales dating to around the 2nd Century CE.

The framing story, that of Wagner, his wife, a young English lover, and a doctor, has the great composer agonizing over an unfinished piece of work. Wagner had read Burnouf’s work and was so fascinated by it that he planned an opera based on it. The opera was to be called Die Sieger (The Victors) and was composed – though never completed – between 1856 and 1858. As he is stricken with a heart attack he is visited by the Buddha Vairocana, who implores him to make the right decision at this oncoming moment of death. In his dying moments, Wagner retraces the love story of the outcast woman Prakriti and Ānanda, in which the Buddha eventually allows a chaste union, ordaining her into the community/Sangha.

As Stephen Walsh of the Arts Desk wrote:

To describe in detail the many levels of Harvey’s score would take a much longer review than this. Both musically and dramaturgically the opera is a palimpsest: layer on layer, from Harvey’s own culminating work and death, down through Wagner’s, and on into the virtual world of the Buddha and the hidden reality of Schopenhauer’s noumenon, the profound truth which, he maintained, we can only ever glimpse through music.

In the movement between layers, one is drawn in to parallels, either real or imagined, between

  • Prakriti and Ānanda’s love affair and Wagner’s own with the young singer Carrie Pringle, who appears in the opera to comfort him, sparking discord with his wife;
  • The motif of giving up / letting go; as Wagner must give up his ambition to complete his work and accept death and Prakriti must give up romantic ideas to truly be with her love Ānanda;
  • and perhaps even eugenics or ideas of purity of blood; as Prakriti is an outcaste, denounced by a Brahmin in the play and Wagner himself is known to have held some of the racist and antisemitic views common to Germany of his time;
And there is likely more that will catch the trained eye of Wanger fans or those trained in aspects of Buddhism that I know very little about. But all in all, the motions back and forth, and it’s accompanying drama, was fluid and engrossing and I found myself drawn in to both stories, empathizing just as much with Prakriti and Ānanda as for Wagner in his struggle to face death.

As a student of early Buddhism, it is exciting to see a work of art such as this featuring both a story from the Buddha’s life and lengthy dialogue in Pali. Richard Gombrich, the man who translated Harvey’s English into Pali, once stated that we in Buddhist Studies are at least 100 years behind our fellow scholars in Biblical Studies, and I agree. We are still relatively few in number and those working hard on the texts rarely communicate well with those doing archaeological work; and then there are those who seem to do well by interpreting everyone else through postmodern psychoanalysis or other such contemporary theories.

So, popularizations such as this, as niche as they might be, are a welcome contribution to the world’s understanding of – and hopefully interest in – Buddhism.

For a couple more reviews that come from writers better versed in the arts/opera see here and here. I saw the opera on Friday the 8th of June at Cardiff’s Wales Millennium Centre; the opera can be seen for the last time in this run tomorrow in Birmingham – see here for tickets. I hope to have an interview with my friend, Caroline Barker, who acted as the Pali pronunciation coach for the opera, in the next week or two.

Grabbing hold of life

YouTube Preview Image

Watching this video I heard Māra creeping up in the form of voices of naysayers, and looking around the world today their is no shortage of such people: the young and nihilistic, the old and crotchety, the middle-aged beer-bellied bad-mustached cop with the pepper spray. Such people are inescapable as we go through life. Anything of value that you do will be met by people who don’t want you to do it. Whether it’s due to their own insecurities, or ideologies, or anything else, simply remember: it’s just them.

But that’s not to say that ignoring them will make life easier. Or that anything will make life easier. Naysayers, after all, might have bits of wisdom to share. Perhaps a small change of subject is all that is needed to unlock this wisdom. Engagement might change everything, but it takes work.

Life, well lived, isn’t necessarily easy. But with practice we get better and better at taking what life gives us.

Subhuti (Thag 1.1)

My hut is roofed, comfortable, free of drafts; my mind, well-centered, set free.
I remain ardent. So, rain-deva. Go ahead & rain.

And we do learn to set aside those things that are not useful.

Mutta {Therigatha v. 11}

So freed! So thoroughly freed am I! — from three crooked things set free: from mortar, pestle, & crooked old husband. Having uprooted the craving that leads to becoming, I’m set free from aging & death.

In the end, or even as you are going along, it becomes clear that some people just don’t see. You might feel surrounded by those people – which is often a sign that things need to change. However the people who do see are out there and often more willing and happy than you would imagine to share what they see. Finding them, and asking the questions is up to you though.

Vappa (Thag 1.61) 

One who sees sees who sees, sees who doesn’t.
One who doesn’t see doesn’t see who sees or who doesn’t.

Verses from the Theragatha (poems of elder monks) and Therigatha (poems of elder nuns) via Access to Insight.