The Mystery of Myo

These days one hears a lot about ‘enlightenment’. Generally, I believe, it is thought that ‘enlightenment’ is a super-intellectual state where the brain has great knowledge and knows many answers (or concepts). Nothing could be farther from the truth; it has nothing to do with I.Q. rating or knowledge assimilated. When the individual energy (CHI) merges with the Universal Energy (CHI), something acts thru one, and that something is infallible. This is Prajna, the Inherent Wisdom. Give it Theological terms if you will. Just as my Zen teacher said “Love is Manifestation”, so is ‘enlightenment’ known by this manifesting, not by words, phrases, logic, or diaectics.

In his fine book, “Zen and Japanese Culture”, D. T. Suzuki speaks of MYO, which he says is a hard word to define. “It is a certain artistic quality perceivable not only in works of art but in anything in nature or in life. The sword in the hands of the master swordsman attains this quality when it is not a mere display of technical skill…for MYO is something original and creative growing out of one’s ‘unconscious’ (I wish he wouldn’t use Western psychological terms).” What he is referring to, of course, is the action propelled by Prajna, not one’s discriminating consciousness.

The fencer, the swordsman whose life depends on instantaneous reaction far more rapid than mental response–intuitive sensing, if you will–and the jazz pianist, who has no time to think as he improvises, all cultivate something far beyond necessary technique. It is not enough to be a mere technician, no matter how skilled. When one goes beyond technique, it is MYO, the great mystery. It is the reason enlightened Zen men tend to be artists, poets, etc., all on a spontaneous basis, the manifestation of enlightenment. When I tell T’ai Chi Chih teachers to “Sink into the Essence”, this is what I’m referring to–let T’ai Chi Chih do T’ai Chi Chih.