Suffering is inevitable, yet it is something many try hard to avoid. This avoidance has its risks, according to Tricycle contributing editor Pico Iyer in yesterday’s piece in The New York Times. Iyer contends that there is great value to suffering. And that it’s danger is not if this suffering will harm us, but rather if we learn nothing in its wake.
Wise men in every tradition tell us that suffering brings clarity, illumination; for the Buddha, suffering is the first rule of life, and insofar as some of it arises from our own wrongheadedness — our cherishing of self — we have the cure for it within. Thus in certain cases, suffering may be an effect, as well as a cause, of taking ourselves too seriously. I once met a Zen-trained painter in Japan, in his 90s, who told me that suffering is a privilege, it moves us toward thinking about essential things and shakes us out of shortsighted complacency; when he was a boy, he said, it was believed you should pay for suffering, it proves such a hidden blessing.
My neighbors in Japan live in a culture that is based, at some invisible level, on the Buddhist precepts that Issa knew: that suffering is reality, even if unhappiness need not be our response to it. This makes for what comes across to us as uncomplaining hard work, stoicism and a constant sense of the ways difficulty binds us together — as Britain knew during the blitz, and other cultures at moments of stress, though doubly acute in a culture based on the idea of interdependence, whereby the suffering of one is the suffering of everyone.
“I’ll do my best!” and “I’ll stick it out!” and “It can’t be helped” are the phrases you hear every hour in Japan; when a tsunami claimed thousands of lives north of Tokyo two years ago, I heard much more lamentation and panic in California than among the people I know around Kyoto. My neighbors aren’t formal philosophers, but much in the texture of the lives they’re used to — the national worship of things falling away in autumn, the blaze of cherry blossoms followed by their very quick departure, the Issa-like poems on which they’re schooled — speaks for an old culture’s training in saying goodbye to things and putting delight and beauty within a frame. Death undoes us less, sometimes, than the hope that it will never come.
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