By Stephen Berg, Ikkyū
Translated through Stephen Berg.
When Zen grasp Ikkyu Sojun (1394-1481) was once appointed headmaster of the good temple at Kyoto, he lasted 9 days prior to denouncing the rampant hypocrisy he observed one of the clergymen there. He in flip invited them to seem for him within the sake parlors of the excitement Quarters. A Zen monk-poet-calligrapher-musician, he dared to jot down concerning the joys of erotic love, in addition to extra conventional Zen topics. He was once an eccentric and genius who dared to defy authority and despised corruption. even though he lived during periods affected by conflict, famine, rioting, and non secular upheaval, his writing and track prevailed, influencing eastern tradition to this present day.
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Additional resources for Ikkyu: Crow With No Mouth: 15th Century Zen Master
3 Let us now turn briefly to the content of the ‘Conversation’. Heidegger treats two main topics in this pseudo-dialogue: first, the idea of iki, in connection with questions about the aesthetics and special nature of East Asian (Japanese) art; and second, the nature of language, in connection with the Japanese word for language, kotoba. By the way, as it were, large parts of the text present the reader with a striking mixture of biographical self-portrayal and wide-ranging self-interpretation, often looking back far into the past, in which discussions of East Asian thinking play a not insignificant role.
There can be no doubt that in both cases we are dealing with passages that Heidegger has modified slightly and skilfully integrated into his pseudo-dialogue. Third, for his interpretation of iki Heidegger apparently looked to Benl for assistance, but in an inappropriate text. For Heidegger’s interpretation of iki can hardly be squared with Kuki’s understanding of the idea. Heidegger, with the poet working more than the thinker, has his ‘Japanese’ say: ‘Iki is the gracious [das Anmutende]’ (43/140).
65 These kinds of obvious correspondences, which are easily to be found throughout Heidegger’s work and represent essential factors in its design, always concern his major thought, namely ‘Nothing’, which constitutes unmistakably (as we have seen already in the case of Being and Time) the ‘meaning of Being’. Thus Heidegger makes a clear distinction between this idea and what he calls ‘empty nothing’66 or also nugatory nothing [das nichtige Nichts]. By contrast: ‘This [true] Nothing…is nothing nugatory [nichts Nichtiges].