Nanavira Thera Quotes

The word 'inauthentic' is used by Heidegger to describe the ostrich-like attitude of the man who seeks to escape from his inescapable self-responsibility by becoming an anonymous member of a crowd. This is the normal attitude of nearly everybody. To be 'authentic' a man must be constantly and deliberately aware of his total responsibility for what he is. For example, a judge may disclaim personal responsibility for sentencing people to punishment. He will say that as a judge it is his duty to punish. In other words it is as an anonymous representative of the Judiciary that he punishes, and it is the Judiciary that must take the responsibility. This man is inauthentic. If he wishes to be authentic he must think to himself, whenever he sits on the Bench or draws his salary, 'Why do I punish? Because, as a judge, it is my duty to punish. Why am I a judge? Is it perhaps my duty to be a judge? No. I am a judge because I myself choose to be a judge. I choose to be one who punishes in the name of the Law. Can I, if I really wish, choose not to be a judge? Yes, I am absolutely free at any moment to stop being a judge, if I so choose. If this is so, when a guilty man comes up before me for sentence, do I have any alternative but to punish him? Yes, I can get up, walk out of the courtroom, and resign my job. Then if, instead, I punish him, am I responsible? I am totally responsible.

To be completely objective we must say:All men are mortal.Lionel Samaratunga's son is a man.Therefore Lionel Samaratunga's son is mortal.So stated, it is quite generally true, and is the concern of no-one in particular. It is so generally true that it would serve in a textbook of logic as an example of a syllogism in Barbara (though usually, instead of Lionel Samaratunga's son, it is Socrates whose mortality is logically demonstrated).But how many students of logic are going to shed tears when they read that Lionel Samaratunga's son is destined to die? How many have so much as heard of Lionel Samaratunga, let alone of his son? (And anyway, how many students of logic shed a tear even over the death of Socrates, of whom they may perhaps have heard?) But if you were to come across this syllogism unexpectedly, it is not impossible that you might feel emotionally moved (as perhaps at this very moment you may be feeling a little uncomfortable at my having chosen an example so near home). And why should this be so? Because you are fond of Lionel Samaratunga's son and cannot regard this syllogism in Barbara, which speaks of his mortality, quite so objectively as a student of logic. In other words, as soon as feeling comes in at the door objectivity flies out the window. Feeling, being private and not public, is subjective and not objective.And the Buddha has said (A. III,61: i,176) that it is 'to one who feels' that he teaches the Four Noble Truths. So, then, the Dhamma must essentially refer to a subjective aniccatā—i.e. one that entails dukkha—and not, in any fundamental sense, to an objective aniccatā, which we can leave to students of logic and their professors. (Feeling is not a logical category at all.)

A few years ago a practising Harley Street psychiatrist, who was dabbling in Buddhism, came to see me. I opened the conversation by saying 'At some time in his life, every intelligent man questions himself about the purpose of his existence.' Immediately, and with the most manifest disapproval, the psychiatrist replied 'Anybody who thinks such thoughts is mentally diseased.' Thus with a single gesture, he swept half-a-dozen major philosophers (some of whom have held chairs in universities—which guarantees their respectability if not their philosophy) into the lunatic asylum—the criminal lunatic asylum, to judge from his tone. I have never seen a man in such a funk.

Every increase in objectivity takes us further from reality.

I have finished Russell's Nightmares and must confess that they did not come up to expectation. No doubt it was my fault for expecting too much, knowing how unsatisfactory I find his philosophical views; but I had hoped that, at least, when he was not writing normal philosophy, he would be entertaining. Alas! I found his wit insipid, and his serious passages almost intolerable—there was something of the embarrassment of meeting a Great Man for the first time, and finding him even more preoccupied with trivialities than oneself.In his Introduction, Russell says 'Every isolated passion is, in isolation, insane; sanity may be defined as a synthesis of insanities', and then he proceeds to give us examples of isolated insanities—the Queen of Sheba as Female Vanity, Bowdler as Prudery, the Psycho-Analyst as Social Conformity, and so on. Amongst these, as you noted, is the Existentialist as Ontological Scepticism. Here, Russell's satire is directed partly against what Sartre has called 'a literature of extreme situations'; and this, for an Englishman, is no doubt a legitimate target, since the English do not admit that there are such things—though, of course, this makes the English a target for the satire of the rest of Europe, particularly the French.But what Russell is not entitled to do is to group the insanity of doubting one's existence along with the other insanities, and this for the simple reason that it precedes them. One may be vain or modest; one may be prudish or broadminded; one may be a social conformist or an eccentric; but in order to be any of these things, one must at least be. The question of one's existence must be settled first—one cannot be insanely vain if one doubts whether one exists at all and, precisely, Russell's existentialist does not even succeed in suffering—except when his philosophy is impugned (but this merely indicates that he has failed to apply his philosophy to itself, and not, as Russell would have us believe, because he has failed to regard his philosophy in the light of his other insanities). The trouble really is, that Russell does not, or rather will not, admit that existence poses a problem at all; and, since he omits this category from all his thinking nothing he says concerns anybody in particular.

Kafka is an ethical, not an aesthetic, writer. There is no conclusion to his books. The Castle was actually unfinished, but what ending could there be to it? And there is some doubt about the proper order of the chapters in The Trial—it does not really seem to matter very much in which order you read them, since the book as a whole does not get you anywhere. (An uncharitable reader might disagree, and say that it throws fresh light on the Judiciary.) In this it is faithful to life as we actually experience it. There is no 'happy ending' or 'tragic ending' or 'comic ending' to life, only a 'dead ending'—and then we start again.We suffer, because we refuse to be reconciled with this lamentable fact; and even though we may say that life is meaningless we continue to think and act as if it had a meaning. Kafka's heroes (or hero, 'K.'—himself and not himself) obstinately persist in making efforts that they understand perfectly well are quite pointless—and this with the most natural air in the world. And, after all, what else can one do? Notice, in The Trial, how the notion of guilt is taken for granted. K. does not question the fact that he is guilty, even though he does not know of what he is guilty—he makes no attempt to discover the charge against him, but only to arrange for his defence. For both Kierkegaard and Heidegger, guilt is fundamental in human existence. (And it is only the Buddha who tells us the charge against us—avijjā.)

You will have noticed that my interpretation of The Trial as the account of a man who, at a certain point in his life, suddenly asks himself why he exists, and then considers various possible justifications for his existence until he is finally obliged to admit honestly to himself that there is no justification, corresponds to what I have said in the Preface to the Notes:Every man, at every moment of his life, is engaged in a perfectly definite concrete situation in a world that he normally takes for granted. But it occasionally happens that he starts to think. He becomes aware, obscurely, that he is in perpetual contradiction with himself and with the world in which he exists.The Trial describes what happens to a man when he starts to think: sooner or later he condemns himself as unjustified, and then despair begins (K.'s execution, the execution of hope, is the beginning of despair—henceforth he is a dead man, like Connolly and Camus and so many other intelligent Europeans, and do what he may he can never quite forget it). It is only at this point that the Buddha's Teaching begins to be intelligible. But it must be remembered that for Connolly and the others, death at the end of this life is the final death, and the hell of despair in which they live will come to an end in a few years' time—why, then, should they give up their distractions, when, if things get too bad, a bullet through their brain is enough? It is only when one understands that death at the end of this life is not the final end, that to follow the Buddha's Teaching is seen to be not a mere matter of choice but a matter of necessity. Europe does not know what it really means to despair.

If you can find no way of getting the Notes duplicated, why not try the Ministry of Cultural Affairs, who might be sympathetic (provided they do not actually read them)? I must, however, confess to a rooted dislike—perhaps you share it?—of seeking the help of Official (particularly Government) Bodies. Whenever anyone addresses me in his official capacity, I am at once filled with a desire to attack the Official Body he represents. I have every sympathy with the Irishman who, on being fined five shillings for Contempt of Court, asked the Magistrate to make it ten shillings; 'Five shillings' he explained 'do not adequately express the Contempt I have for this Court'. I am quite unable to identify myself with any organized body or cause (even if it is a body of opposition or a lost cause). I am a born blackleg. I thoroughly approve of E. M. Forster's declaration, 'If I had to choose between betraying my country and betraying my friend, I hope I should have the guts to betray my country'. For me, there is no doubt that the very small word in the centre of the blank canvas at the end of 'The Artist at Work' is solitaire, not solidaire.