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Tuesday, 17 September 2013

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IN Europe the Golden Flower opened slightly some forty years ago when Richard Wilhelm, prefaced by C. G. Jung, revealed its "secret."[1] It is not the least of the contradictions attaching to this work that it has become almost as well known thanks to Professor Jung's commentary as by reason of its own text: there is nevertheless no common measure between the two. The object of this commentary, so wrote the celebrated psychiatrist, "is to try and build the bridge of an interior, spiritual understanding between East and West." However, since the parallelism here was being established on a psychic level, not on a spiritual level, the said "bridge" he was building was that of a total confusing of values. The "action in non-acting" of Liu-tsu, the "fasting of the heart" (sin-chai) of Chuang-tse, the Taoist "spontaneity" (tso-jan) do not spell a "psychic laisser faire" opening a path for the suspect fantasies of the unconscious any more than does the "self-abandoning" of Meister Eckhart. In fact, every method of meditation, and the method of Liu-tsu in particular, presupposes a "stopping" of that imaginative function which Mr. Jung for his part had it in mind to "liberate." A traditional mandala is not comparable to such and such a drawing by a mental patient, unless it be by inversion, that is to say in the very way that the forces of the lower regions parody the divine Powers. But after all, why discuss the subject of mandala, seeing that its symbolism in no wise enters into the unfolding of the Golden Flower?

In the course of so brief a study one cannot claim to cover the complete analysis of the symbolism attaching to the Golden Flower; all one can do is to establish a few points of reference starting out from which it will be possible to replace its growth in the proper traditional framework—rather should one have said: in its traditional soil. Our text speaks of "the ground of thoughts," the fecundity of a spirit open to the celestial influx (in Chinese: ling, mouths opened to catch the rain from Heaven).

What is really in question here? A Taoist text, probably of late but ambiguous date, together with a commentary of the XVIIIth century whereof the tendencies, when all's said and done, do not always coincide exactly with those of the text thus commented upon. The Treatise of the Golden Flower of the Supreme One (T'ai-yi kin-hua tsong-che) is not a systematic exposition by a spiritual Master; rather is it a noting down of the elements of an oral teaching by disciples who may not have been its listeners in a direct sense. The introductory doctrinal notions are confined to a few rather confused lines from which there emerges, however, the vocabulary of the ancient Taoist books of the Han period; the remainder is a description of a masterly method of spiritual realization, far too complete to have been originally intended for wide diffusion and not complete enough to be realizable without danger or by one devoid of a previous training. This exposition moreover is entirely lacking in chronological precision, it is encumbered with recapitulations and digressions, loose citations and obscure sentences: should one perhaps describe it as "heterogeneous"? In regard to its expression this might perhaps be so, but certainly not in regard to its method. In fact many solid and well authenticated elements can be discerned there, various in origin but skilfully assembled: one finds the constant principle of "action in non-acting," as mentioned above, also practices of "concentration" and of invitation to the enlightening intuition such as call to mind at one and the same time Chuang-tse and the sutras, the Pao-p'u tse and the tantras, not to mention the apocryphal writings of the T'ang period. To these must be added two apparently original elements, namely: the movement of "the revolving of Light," followed by what in modern technical language would be called "photosynthesis"; and the final opening of the Golden Flower.

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