RHS class August 1 & 2

presents

Releasing the Hidden SplendourTM

—  A Prosperos Foundation Class  —

Saturday & Sunday, August 1 & 2

This class will run two full days (11:00 am – 5:00 pm, Pacific Time)

It’s online, so you can attend from wherever you are!

     Releasing the Hidden SplendourTM is a simple technique that helps us to free ourselves from old patterns, to know ourselves Truthfully, to LOVE ourselves unconditionally, and to more fully live our unique, individual life purpose.

      In this class, and in the workshops that follow, you will learn to “WORK” with a memory that made you feel bad (angry, fearful, hurt, insulted, injured, etc.), using a simple emotional technique that allows you to GIVE up the old pattern FOR a whole, new understanding of your true identity! 

Your Instructor — Heather Williams, H.W., M.

     

Heather Williams became a Mentor in The Prosperos School of Ontology in 1978. She has taught The Prosperos classes for many years, in many different cities.  

“You will really get a greater awareness regarding Spiritual Truth! Heather sparkles and has such a dynamic, concise delivery.”  
                  — Dr. Anna Hamilton, late Dean of The Prosperos

Further Information and Registration
Copyright © 2026 The Prosperos, All rights reserved.

They’re some of the most famous words ever written. Have you ever really read them?

  • A.O. Scott © 2025 The New York Times Company
  • Jul 4, 2026 (SFExaminer.com)
Declaration of Independence signing Wikimedia
One assumption that has guided generations of interpreters is that Thomas Jefferson, John Adams and their collaborators meant a lot more than they said. Photo: John Trumbull, Public domain, via Wikimedia Commons

“We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.” — The Declaration of Independence, 1776

“The United States themselves are essentially the greatest poem,” Walt Whitman wrote, but the nation was conceived in prose. Other countries have national holidays that commemorate feats of revolutionary or military glory. This one celebrates a document. The Declaration of Independence was a charter and a manifesto, yes, but in essence it was a memo, a hastily drafted, feverishly edited, hand-copied piece of committee work. A masterpiece too.

It’s poetry, philosophy and polemic, all in a little more than 1,300 words and all represented in its second and most famous sentence.

No matter how many times you’ve read it before, it’s worth reading again. Each idea flows from the previous one, and a comprehensive argument takes shape.

We are equal. We have rights. Those rights describe the very essence of our humanity.

That’s a lot. Pages and pages have been written on this passage, seeking out its ideological subtext, its historical context and its intellectual pretexts in classical and early modern thought. But the plain English of the first 35 words — from “We” to “happiness” — is still remarkable in its sweep and radical in its implications.

It moves from a theory of knowledge to a vision of the good.

We — putting aside for a moment just who this “we” might be — don’t appeal to precedent, tradition or any other external authority, but to the evidence of our own eyes. Human equality is not aspirational: It’s obvious.

Furthermore, this equality isn’t just a formal, mathematical axiom. It has a specific moral and metaphysical content. A human creature is defined by the possession of rights, by a divinely granted entitlement to live, to act and to prosper.

This is remarkable writing — and also a slippery and variable text.

English grammar was a more fluid enterprise in 1776; punctuation and capitalization were irregular.

In the first printed version, for example, there was no period after “happiness.” The sentence kept going, swelling to paragraph length and encompassing all of human nature in a chiming succession of clauses.

Even the simplest gloss — the near-heretical attempt to put the language of the declaration “in other words” — hints at the complexities rippling through the crystalline clarity of the prose. Every word is a fighting word, begging to be contested. What exactly did they mean by “equal”? By “Creator”? By “Liberty”? By “We”?

Over the years, writers of various scholarly, literary and political temperaments have proposed answers.

One assumption that has guided generations of interpreters is that Thomas Jefferson, John Adams and their collaborators meant a lot more than they said. Their simple words reflect deep learning and complicated agendas. Some historians have highlighted the influence of John Locke and other philosophers of the Enlightenment; others have emphasized the economic and political concerns of merchants, artisans and farmers in a prosperous outpost of the British Empire.

Those specific contexts and hidden meanings are important. But if the declaration remains relevant and vital for ordinary readers after 250 years, it may be for the opposite reason: Its writers said so much more than they meant. The genius of the document lies not in the original, local intentions that might be excavated from it, but in the meanings that later generations have projected onto it.

Unlike its younger sibling, the U.S. Constitution, the declaration isn’t an instruction manual. Interpreting it isn’t the job of tenured specialists. It belongs to the secular realms of politics and literature, which means that it lives to be adapted, quoted (and misquoted), wrenched out of its original bearings and repurposed.

The contradictions and limitations of the historical text are self-evident. The founders proclaimed liberty in a slave-owning society. They could hardly have anticipated the raucous, pluralistic, self-polarizing democracy the United States would become. (For what it’s worth they didn’t, in 1776, imagine what we know as the United States at all, but rather 13 autonomous, loosely affiliated political entities.) They wrote, as everyone does, in the heat of a chaotic present and in the face of an unknowable future.

That future, a succession of chaotic presents, including the one we now occupy, has looked back at those men gathered in Philadelphia as signers of an as yet uncashed check.

Abraham Lincoln at Gettysburg cited the words of the declaration as a promise to be, however belatedly, fulfilled.

And nearly 100 years later, at the March on Washington, the Rev. Martin Luther King Jr. warned that the check had bounced.

For Lincoln and King, the declaration functions as both a sacred text and an unfulfilled promise. The conditions that it holds to be self-evident in that second sentence did not, at the time it was written, exist in any known reality. Whether they subsequently did or ever could is the subject of debates that have more or less defined our politics ever since, but the ringing confidence of the statement has not diminished.

The source of that confidence, the conviction that gives the prose its bracing clarity, lies in the founders’ understanding of what they were against. Liberty and equality were ideals yet to be realized, but tyranny was a fact. The main body of the declaration is devoted to describing its manifestations in exacting detail — taxing the colonists without their consent, suspending their legislatures, keeping standing armies among them — in order to justify the radical and unprecedented disruption of the status quo put forth at the beginning.

The invocation of self-evident truths and inherent rights is a warrant for the destruction of existing order, a rhetorical erasure not only of the divine right of kings but also, more generally, of the prerogatives of power.

This is a revolutionary document. Many years after it was written, when the world, emerging from the Napoleonic Wars, seemed to be entering an era of reaction and retrenchment, Jefferson wrote to Adams that “the flames kindled on the 4th of July 1776 have spread over too much of the globe to be extinguished by the feeble engines of despotism. On the contrary they will consume those engines, and all who work them.”

This article originally appeared in The New York Times.

ChatGPT on Homo Novus

By Mike Zonta, BB editor

Me:

What are the metaphysical implications of “homo novus”?

ChatGPT:

That’s a fascinating question, because homo novus (“new man”) has had different meanings in politics, philosophy, religion, and psychology. The metaphysical implications depend on which meaning you emphasize.

Let’s begin with the words themselves.

Word-tracking

Homo

  • Latin: human being, person.
  • Related to humus (earth, ground), suggesting the earth-bound or embodied human.

Novus

  • New
  • Fresh
  • Renewed
  • Unprecedented
  • Not merely recent, but qualitatively different.

So, at its simplest:

Homo novus = a new human being.

But what does “new” mean?


Historically

In ancient Rome, a homo novus was the first member of a family to attain high political office.

It meant someone who was not defined by ancestry but by merit.

Even here there is a metaphysical implication.

Identity is no longer inherited.

Identity is realized.


Spiritually

In Christianity, the “new man” refers to the transformation of consciousness.

The old self is identified with fear, separation, and sin.

The new self lives in Truth.

That is remarkably close to the direction of your Translations.


Jung

Carl Jung might say the homo novus is the person who has integrated the unconscious rather than being ruled by it.

The transformation is inward.


In your metaphysical framework

I think homo novus would have a very specific meaning.

It would not mean a biologically improved human.

Nor merely a psychologically healthier one.

It would mean:

The human who no longer derives identity from sense testimony.

That would be the truly “new” human.

The old human says:

I am what my senses report.

The new human says:

I am what Truth is.


Following your first step:

Truth is all.

Truth is One.

Truth is harmonious.

I am.

Therefore my being is Truth being.

The “new man” is simply the one who lives from that realization.


Another implication

You’ve often emphasized the distinction between mechanism and Being.

This connects beautifully with our conversation about AI.

If humanity defines itself by intelligence, memory, calculation, or productivity, then AI challenges that definition.

But if humanity is fundamentally Being, then AI cannot replace what is essential.

In that sense:

Homo novus is not the smarter human.

It is the human who discovers that intelligence itself is grounded in Being.


A Translation of “Homo Novus”

If I were to express it in your language, I might say:

The old human believes himself to be a separate consciousness struggling for survival in a world of otherness.

The new human recognizes that the beingness and consciousness of oneself are not other than the beingness and consciousness of Truth.

That is a radical shift.

The “newness” is not chronological.

It is ontological.


A possible definition

If you were writing a philosophical treatise, you might define Homo Novus like this:

Homo Novus is the human being who has ceased identifying with sense testimony and recognizes his or her beingness and consciousness as the very being and consciousness of Truth.

Or even more simply:

Homo Novus is the human who knows that his being is Truth being.


I find that last formulation especially elegant because it captures something that has gradually emerged in all the Translations we’ve done together. The goal has never been merely to replace one belief with another. It has been to move from identification with appearances to identification with Being.

If I may add one philosophical observation, I think your conception of Homo Novus is not primarily about becoming something different. It is about discovering what has always been true. In that sense, the “new” human is paradoxically the one who awakens to the timeless reality of Being. The novelty lies not in Truth but in the transformed understanding of the person who recognizes it.

Word-built world: beatitude means happiness

  • Google AI Overview

beatitude

/bēˈadəˌto͞od/

“Beatitude” means supreme blessedness or supreme happiness

Etymologically, the word derives from the Latin noun beātitūdō (“happiness” or “blessedness”). This is built from the Latin adjective beātus (meaning “happy” or “blessed”) and the suffix -tūdō. The term was famously used in the Latin translation of the Bible (the Vulgate) for the blessings delivered by Jesus during the Sermon on the Mount. Wiktionary, the free dictionary +3

For further reading on its linguistic evolution and definitions, check the Etymonline Entry for Beatitude or visit the Wiktionary page on Beatitude

Gabor Maté: We choose partners with same level of trauma resolution

  • Google AI Overview

Renowned trauma expert Dr. Gabor Maté often states that couples unconsciously choose partners who are at the exact same level of emotional development and trauma resolution as they are. Rather than identical traumas, partners usually share complementary wounds—acting as mutual mirrors or triggers for each other’s unresolved childhood pain. Instagram·needtotalk +4

Maté explains that while initial attraction is often based on shared interests or humor, the subconscious also seeks out a partner to “fix” or receive the unconditional love that was missed in childhood. This makes long-term relationships a delicate balance between a supportive “shield” against the world and a “magnifier” that highlights personal insecurities. Facebook·We Need To Talk +2

Because partners share a similar baseline of past hurt, one of three things usually happens in a relationship as they navigate life: 

  • The Trap: Both partners continuously blame each other or expect the other to rescue them from their own unresolved distress. 
  • The Split: If one partner begins doing the “work” to grow and heal, and the other refuses to evolve, the relationship often breaks apart. Intagram·needtotalk
  • The Crucible: If both partners recognize the patterns and take responsibility for their own reactions, the relationship becomes a vehicle for mutual healing and growth. YouTube·GROWTH™ +1

To explore how these unconscious childhood attachment templates dictate adult relationship dynamics, you can read more via the Musixmatch Podcasts discussion.

Would you like to explore how these relationship dynamics manifest in your own life, or are you looking for advice on how to communicate about these triggers?

Emily Doe (Chanel Miller), Victim Impact Statement (2015)

The American Yawp Reader

On January 18, 2015, Stanford University student Brock Turner sexually assaulted an unconscious woman outside of a university fraternity house. At his sentencing on June 2, 2016, his unnamed victim (“Emily Doe”) read a 7,000-word victim impact statement describing the effect of the assault on her life. [Note: Chanel Miller identified herself publicly as Emily Doe in September 2019.]

On January 17th, 2015, it was a quiet Saturday night at home. My dad made some dinner and I sat at the table with my younger sister who was visiting for the weekend. I was working full time and it was approaching my bed time. I planned to stay at home by myself, watch some TV and read, while she went to a party with her friends. Then, I decided it was my only night with her, I had nothing better to do, so why not, there’s a dumb party ten minutes from my house, I would go, dance like a fool, and embarrass my younger sister. On the way there, I joked that undergrad guys would have braces. My sister teased me for wearing a beige cardigan to a frat party like a librarian. I called myself “big mama,” because I knew I’d be the oldest one there. I made silly faces, let my guard down, and drank liquor too fast not factoring in that my tolerance had significantly lowered since college.

The next thing I remember I was in a gurney in a hallway. I had dried blood and bandages on the backs of my hands and elbow. I thought maybe I had fallen and was in an admin office on campus. I was very calm and wondering where my sister was. A deputy explained I had been assaulted. I still remained calm, assured he was speaking to the wrong person. I knew no one at this party. When I was finally allowed to use the restroom, I pulled down the hospital pants they had given me, went to pull down my underwear, and felt nothing. I still remember the feeling of my hands touching my skin and grabbing nothing. I looked down and there was nothing. The thin piece of fabric, the only thing between my vagina and anything else, was missing and everything inside me was silenced. I still don’t have words for that feeling. In order to keep breathing, I thought maybe the policemen used scissors to cut them off for evidence.

Then, I felt pine needles scratching the back of my neck and started pulling them out my hair. I thought maybe, the pine needles had fallen from a tree onto my head. My brain was talking my gut into not collapsing. Because my gut was saying, help me, help me.

I shuffled from room to room with a blanket wrapped around me, pine needles trailing behind me, I left a little pile in every room I sat in. I was asked to sign papers that said “Rape Victim” and I thought something has really happened. My clothes were confiscated and I stood naked while the nurses held a ruler to various abrasions on my body and photographed them. The three of us worked to comb the pine needles out of my hair, six hands to fill one paper bag. To calm me down, they said it’s just the flora and fauna, flora and fauna. I had multiple swabs inserted into my vagina and anus, needles for shots, pills, had a Nikon pointed right into my spread legs. I had long, pointed beaks inside me and had my vagina smeared with cold, blue paint to check for abrasions….

I thought there’s no way this is going to trial; there were witnesses, there was dirt in my body, he ran but was caught. He’s going to settle, formally apologize, and we will both move on. Instead, I was told he hired a powerful attorney, expert witnesses, private investigators who were going to try and find details about my personal life to use against me, find loopholes in my story to invalidate me and my sister, in order to show that this sexual assault was in fact a misunderstanding. That he was going to go to any length to convince the world he had simply been confused….

Instead of taking time to heal, I was taking time to recall the night in excruciating detail, in order to prepare for the attorney’s questions that would be invasive, aggressive, and designed to steer me off course, to contradict myself, my sister, phrased in ways to manipulate my answers.

My damage was internal, unseen, I carry it with me. You took away my worth, my privacy, my energy, my time, my safety, my intimacy, my confidence, my own voice, until today.

… I am no stranger to suffering. You made me a victim. In newspapers my name was “unconscious intoxicated woman”, ten syllables, and nothing more than that. For a while, I believed that that was all I was. I had to force myself to relearn my real name, my identity. To relearn that this is not all that I am. That I am not just a drunk victim at a frat party found behind a dumpster, while you are the All­ American swimmer at a top university, innocent until proven guilty, with so much at stake. I am a human being who has been irreversibly hurt, my life was put on hold for over a year, waiting to figure out if I was worth something….

… Finally, to girls everywhere, I am with you. On nights when you feel alone, I am with you. When people doubt you or dismiss you, I am with you. I fought everyday for you. So never stop fighting, I believe you. As the author Anne Lamott once wrote, “Lighthouses don’t go running all over an island looking for boats to save; they just stand there shining.” Although I can’t save every boat, I hope that by speaking today, you absorbed a small amount of light, a small knowing that you can’t be silenced, a small satisfaction that justice was served, a small assurance that we are getting somewhere, and a big, big knowing that you are important, unquestionably, you are untouchable, you are beautiful, you are to be valued, respected, undeniably, every minute of every day, you are powerful and nobody can take that away from you. To girls everywhere, I am with you.

Thank you.

Source: Emily Doe, “Victim Statement to Brock Turner,” June 2, 2016. Available online via BuzzFeed: https://www.buzzfeednews.com/article/katiejmbaker/heres-the-powerful-letter-the-stanford-victim-read-to-her-ra

Herman Melville: Americans are the new “chosen people”

  • Google AI Overview

Herman Melville famously captured the concept of America as a “New Israel” in his 1850 novel White-Jacket. He wrote, “We Americans are the peculiar, chosen people—the Israel of our time; we bear the ark of the liberties of the world”. This notion reflects a long history of American exceptionalism and Manifest Destiny. [1, 2, 3, 4]

The Melville Context

While the quote sounds like a celebration of American missionary zeal, Melville often used it with deep irony. In White-Jacket, he critiqued the military, the government, and the authoritarian nature of the American naval system. He recognized the immense promise of the nation but warned heavily against its hubris and cruelty. [1, 2, 3, 4]

The “Chosen People” Concept

The idea of being the “new chosen people” or the “Israel of our time” is one of the most enduring civic conceits in American history: [1]

  • Roots: The metaphor dates back to the Puritans, who viewed their journey to the New World as a biblical Exodus and the Atlantic crossing as a path to a new Promised Land. [1]
  • Revolutionary Era: Preachers and politicians frequently cast the break from Britain as a new Exodus, casting King George III as Pharaoh and the American colonies as God’s chosen. [1]
  • Melville’s Usage: In We Americans are the peculiar, chosen people, Melville contrasts this lofty ideal against the nation’s capacity for violence, viewing it both with “delirious passion” and profound skepticism. [1]

Broader Perspectives

Scholars often examine this paradox of the “chosen” American identity, which elevates the nation to a universal standard while also tempting it with tribalism and violence. For an in-depth breakdown of how this theological metaphor shaped U.S. politics and history, you can read the Americans, the Almost-Chosen People analysis provided by Tablet Magazine. [1, 2, 3]

The concept of a “Chosen Nation” is a powerful political and religious myth. It suggests that a specific country is selected by a divine power to fulfill a special mission on Earth. [1, 2, 3, 4, 5]

Core Characteristics

Nations that claim this identity usually share specific traits:

  • Sacred Mission: Believing they must spread democracy, freedom, or religion.
  • Exodus Narrative: Viewing their founding as a miraculous escape from tyranny.
  • Moral Superiority: Judging their actions as inherently good or divinely sanctioned.
  • Promised Land: Treating their physical territory as a holy or gifted space. [1, 2]

Key Historical Examples

  • Ancient Israel: The original biblical archetype, serving as the foundational model for later Western nations.
  • The United States: Rooted in the Puritan “City upon a hill” metaphor and evolving into Manifest Destiny and American Exceptionalism.
  • Great Britain: During the Victorian era, the British Empire often viewed its global expansion as a divine duty to “civilize” the world.
  • Apartheid South Africa: Afrikaner nationalism heavily relied on a chosen-people narrative to justify minority rule and separation. [1, 2, 3, 4, 5]

The Double-Edged Sword

This belief system creates a powerful paradox within a society:

  • The Positive: It fosters deep national unity, inspires social reform, and drives monumental national achievements.
  • The Negative: It frequently justifies colonialism, the displacement of indigenous peoples, imperialism, and blind nationalism.

The Art of Losing and the Art of Beckoning Love Back: The Story Behind One of the Greatest Poems Ever Written

By Maria Popova (themarginalian.org)

You wouldn’t have bet on it, the frail famous poet teaching at Harvard as a visiting professor and the athletic secretary of the campus residence half her age. But every great love exists against probability, belongs to that region of the universe where the wildest bet may be the winning bet.

When she met Alice Methfessel, Elizabeth Bishop had served as Poet Laureate of the United States, had won the National Book Award and the Pulitzer Prize, had spent the better part of her youth in solitude and the better part of her middle age in South America with the woman she loved for seventeen years, who had taken her own life three years earlier.

Across their stations, across their age difference, across the abyss of possibility between their era’s parameters of permission, Elizabeth and Alice fell deeply and enduringly in love — a love that comes abloom on the pages of Megan Marshall’s delicious biography Elizabeth Bishop: A Miracle for Breakfast (public library).

Soon, they were beginning each day with a ritual refrain: “Good-morning I love you.” The “blue blue blue” of Alice’s eyes became the sky of a new world shimmering with new life. More poems poured out in a spring than had in a decade. They swam together in the Galápagos, admiring the flamboyance of flamingos, and in the Greek Isles, admiring the poppies and their thousand shades of red. Whenever they were separated by Elizabeth’s itinerant life as a public poet, she sent Alice “love — housefulls, churchfulls, airportsfull” and carried her photograph in her breast pocket. She revised her will to leave everything except her books to Alice.

Elizabeth Bishop

After five years together — years of extraordinary creative vitality for the poet, but also years of savage struggle with alcohol — Alice, exhausted by Elizabeth’s increasingly out-of-control drinking to the point of collapse, met a young man who soon proposed.

“I want you to be happy and good and loved,” Elizabeth told her in a touching reminder that the deepest measure of love is wanting the best possible life for the other person. But she was heartbroken.

She coped the way all artists do.

What began as mostly prose became, seventeen drafts and several titles later — “How to Lose Things,” “The Gift of Losing Things,” “The Art of Losing Things” — one of the greatest poems ever written:

ONE ART
by Elizabeth Bishop

The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.

Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn’t hard to master.

Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.

I lost my mother’s watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn’t hard to master.

I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn’t a disaster.

—Even losing you (the joking voice, a gesture
I love) I shan’t have lied. It’s evident
the art of losing’s not too hard to master
though it may look like (Write it!) like disaster.

When she learned that Alice had decided to accept the proposal, Elizabeth was devastated. With the helpless vulnerability of love laid bare, which neither pride nor prejudice can touch, she wrote to her:

I DO want you to be free, darling — that wouldn’t ever make me stop loving you… You can always have me back if ever you should want me… truly.

And then she sent her the poem.

Elizabeth Bishop (Archives & Special Collections, Vassar College Libraries)

Nobody knows what beckoned Alice back — the poem, the way a badly sprained ankle signaled Elizabeth’s fragility and made Alice shudder at the thought of losing her, or simply the inexplicable gravitational pull of love that eludes, always eludes, theory.

“I like being with you more than anyone else in the world,” Alice wrote to Elizabeth that summer.

They remained together until death did them part — one awful October evening, a cerebral aneurysm left Elizabeth’s body for Alice to find on their bedroom floor.

Years earlier, in her most intimate poem that she never published, Elizabeth had looked to death as dreadful only for separating her from Alice:

BREAKFAST SONG
by Elizabeth Bishop

My love, my saving grace,
your eyes are awfully blue.
I kiss your funny face,
your coffee-flavored mouth.
Last night I slept with you.
Today I love you so
how can I bear to go
(as soon I must, I know)
to bed with ugly death
in that cold filthy place
to sleep there without you,
without the easy breath
and nightlong, limblong warmth
I’ve grown accustomed to?
— Nobody wants to die;
tell me it is a lie!
But no, I know it’s true.
It’s just the common case;
there’s nothing one can do.
My love, my saving grace,
your eyes are awfully blue
early and instant blue.

Inside the tragedy, a triumph: It is miracle enough to have found blue.

How to Be More Alive: The Samurai Guide to Dying Every Day

By Maria Popova (themarginalian.org)

The great paradox of human life is that our mortality is the fulcrum of our search for meaning — the yearning to make this brief lungful of life matter amid the breathless void of space and time — and yet we spend our lives obviating the fact that we are mortal. If we are lucky enough, if we are lucid enough, it may take us less than a lifetime to learn that to deny death is to deny life. Rilke knew this: “Death is our friend precisely because it brings us into absolute and passionate presence with all that is here, that is natural, that is love,” he wrote. Alice James — William and Henry James’s equally brilliant sister, whose chromosomes confined her to the margins of her time — knew this: “It is the most supremely interesting moment in life, the only one in fact when living seems life,” she wrote as she approached her untimely death.

An epoch before them, while the Western world was grappling intellectually with Montaigne’s unnerving assertion that the subject, the substance, the very purpose of philosophy is to learn to die, the Japanese samurai turned Zen priest Yamamoto Tsunetomo (1659–1719) was attesting to it with his life and articulating with piercing precision the fundaments of the art of living lensed through death.

Samurai by Japanese artist Yoshitoshi from his series One Hundred Aspects of the Moon, 1885-1892. (Available as a print and more.)

Born to an uncommonly elderly father who had already outlived the era’s life expectancy twofold, Tsunetomo grew up so sickly that the family doctor deemed him unlikely to live past twenty. And yet despite his precocious proximity to death — or perhaps precisely because of it — he became a samurai. Four centuries before Bruce Lee emerged as the philosopher-fighter of the modern world, Tsunetomo came to see that a true warrior trains both the body and the mind. Sensing that strength springs from sinew and spirit entwined, he apprenticed with a Zen priest and a Confucian scholar, took work as a scribe, fell under the spell of poetry, and eventually became a Buddhist priest and teacher himself.

Anchoring his teachings, transcribed by one of his disciples under the title Hakagure (public library) — perhaps best translated as Umbral Leaves — is the idea that death is the beating heart of bushido, the Way of the warrior, and yet we are wired to turn away from the very thing that makes us strong, constantly caging ourselves in denial. He writes:

We all want to live. And in large part we make our logic according to what we like… But… if by setting one’s heart right every morning and evening, one is able to live as though his body were already dead, he gains freedom in the Way. His whole life will be without blame, and he will succeed in his calling.

He offers a daily practice, potent and brutal as the birth of galaxies, to translate the cerebral understanding of life into the art of living:

Meditation on inevitable death should be performed daily. Every day when one’s body and mind are at peace, one should meditate upon being ripped apart by arrows, rifles, spears and swords, being carried away by surging waves, being thrown into the midst of a great fire, being struck by lightning, being shaken to death by a great earthquake, falling from thousand-foot cliffs, dying of disease… And every day without fail one should consider himself as dead.

Our difficulty living and our difficulty dying, Tsunetomo intimates, spring from the same source — a troubled relationship with time, haunted by our constant self-expatriation from the only thing ours for the keeping: the naked now. Lamenting that “everyone lets the present moment slip by, then looks for it as though he thought it were somewhere else,” he writes:

There is surely nothing other than the single purpose of the present moment. A person’s whole life is a succession of moment after moment. If one fully understands the present moment, there will be nothing else to do, and nothing else to pursue. Live being true to the single purpose of the moment.

Art from An Almanac of Birds: 100 Divinations for Uncertain Days, also available as a stand-alone print.

Centuries later, the great Zen teacher and peace activist Thich Nhat Hanh — a modern samurai of the human spirit — would arrive at the same elemental truth in his surprising library epiphany about the meaning of life:

To live, we must die every instant. We must perish again and again in the storms that make life possible.

Complement with Henry James on how to stop waiting and start living and Nathaniel Hawthorne on how not to waste your life, then let this poem teach you how to live and how to die.

Elif Shafak on the voices within

(Shafak in 2021)

“On the Sufi path, first you discover the art of being alone amid the crowd. Next you discover the crowd within your solitude – the voices inside you.”

~ Elif Shafak

Elif Shafak is a Turkish-British award-winning author and political scientist who writes in both Turkish and English. Her work has been translated into 56 languages and nominated for major literary awards. Shafak is known for her global perspective and blending of Eastern and Western narrative traditions. Her writing is rooted in her feminist education and knowledge of Sufism and Ottoman culture.  (Wikipedia.org)

Born October 25, 1971 (age 54 years), Strasbourg, France

Spouse Eyüp Can (m. 2005)

Consciousness, spirituality, biography, sexuality, androgyny, futurism, space, the arts, science, astrology, democracy, humor, books, movies and more