Many of Western philosophy’s greatest texts have run to hundreds of thousands of words. Some of the deepest works of Zen philosophy have been written in the form of three-line poems. Haikus, as these are known, contain three parts, two images and a concluding line which helps to juxtapose them. The best-known haiku in Japanese philosophy is called ‘Old Pond’, by Matsuo Bashō: 'Old pond / A frog leaps in / Water’s sound.' It is all (deceptively) simple – and yet contains, when one is in the right frame of mind, a gracious call to redemptive reverie. Here is another by him: 'Violets / how precious on / a mountain path.' Bashō believed that poetry could ideally allow one to feel a brief sensation of merging with the natural world. One might become – through language – the rock, the water, the stars, leading one to an enlightened and prized frame of mind known to Zen Buddhist philosophers as muga, or ‘a loss-of-awareness-of-oneself’.
At present, our culture is dominated by a Romantic outlook; its predecessor, and in many ways its more deserving alternative, is a Classical view of life. Classicism is founded upon an intense, pessimistic awareness of the frailties of human nature and on a suspicion of unexamined instinct. The Classical attitude knows that our emotions can frequently over-power our better insights, that we repeatedly misunderstand ourselves and others, and that we are never far from folly, harm and error. In response, Classicism seeks via culture to correct the failings of our minds. Classicism is wary of our instinctive longing for perfection. In love, it counsels a gracious acceptance of the ‘madness’ inside each partner. It knows that ecstasy cannot last, and that the basis of all good relationships must be tolerance and mutual sympathy. Classicism has a high regard for domestic life; it sees apparently minor practical details as deeply worthy of care and effort; it doesn’t think it would be degrad...

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