Eastern Classics

What is consciousness but the Cosmos awakened to itself? This question is fundamental to the Taoist and Ch'an (Zen) Buddhist worldview that shapes classical Chinese poetry. A uniquely conceived biography, Awakened Cosmos illuminates that worldview through the life and work of Tu Fu (712-770 C.E.), China's greatest classical poet. Tu Fu's writing traces his life from periods of relative normalcy to years spent as an impoverished refugee amid the devastation of civil war. Exploring key poems to guide the reader through Tu Fu's dramatic life, Awakened Cosmos reveals Taoist/Ch'an insight deeply lived across the full range of human experience.

Each chapter presents a poem in three stages: first, the original Chinese; then, an English translation in Hinton's masterful style; and finally, a lyrical essay that discusses the untranslatable philosophical dimensions of the poem. The result is nothing short of remarkable: a biography of the Cosmos awakened to itself in the form of a magisterial poet alive in T'ang Dynasty China.

Thirty years ago, David Hinton published America's first full-length translation of Tu Fu's work. Awakened Cosmos is published simultaneously with a newly translated and substantially expanded version of that landmark translation: The Selected Poems of Tu Fu: Expanded and Newly Translated (New Directions).

"An outstanding introduction to reading classical Chinese. Van Norden does a wonderful job of clearly explaining the basics of classical Chinese, and he carefully takes the reader through beautifully chosen examples from the textual tradition. An invaluable work." --Michael Puett, Harvard University

Only by inhabiting Dao (the Way of Nature) and dwelling in its unity can humankind achieve true happiness and freedom, in both life and death. This is Daoist philosophy's central tenet, espoused by the person--or group of people--known as Zhuangzi (369?-286? B.C.E.) in a text by the same name. To be free, individuals must discard rigid distinctions between good and bad, right and wrong, and follow a course of action not motivated by gain or striving. When one ceases to judge events as good or bad, man-made suffering disappears and natural suffering is embraced as part of life.

Zhuangzi elucidates this mystical philosophy through humor, parable, and anecdote, deploying non sequitur and even nonsense to illuminate a truth beyond the boundaries of ordinary logic. Boldly imaginative and inventively worded, the Zhuangzi floats free of its historical period and society, addressing the spiritual nourishment of all people across time. One of the most justly celebrated texts of the Chinese tradition, the Zhuangzi is read by thousands of English-language scholars each year, yet only in the Wade-Giles romanization. Burton Watson's pinyin romanization brings the text in line with how Chinese scholars, and an increasing number of other scholars, read it.

Zen Buddhism is often said to be a practice of mind-to-mind transmission without reliance on texts--in fact, some great teachers forbid their students to read or write. But Buddhism has also inspired some of the greatest philosophical writings of any religion, and two such works lie at the center of Zen: The Heart Sutra, which monks recite all over the world, and The Diamond Sutra, said to contain answers to all questions of delusion and dualism.

This is the Buddhist teaching on the perfection of wisdom and cuts through all obstacles on the path of practice. As Red Pine explains: The Diamond Sutra may look like a book, but it's really the body of the Buddha. It's also your body, my body, all possible bodies. But it's a body with nothing inside and nothing outside. It doesn't exist in space or time. Nor is it a construct of the mind. It's no mind. And yet because it's no mind, it has room for compassion. This book is the offering of no mind, born of compassion for all suffering beings. Of all the sutras that teach this teaching, this is the diamond.

Twenty discourses from the Pali Canon--including those most essential to the study and teaching of early Buddhism--are provided in fresh translations, accompanied by introductions that highlight the main themes and set the ideas presented in the context of wider philosophical and religious issues. Taken together, these fascinating works give an account of Buddhist teachings directly from the earliest primary sources.

In his General Introduction, John J. Holder discusses the structure and language of the Pali Canon--its importance within the Buddhist tradition and the historical context in which it developed--and gives an overview of the basic doctrines of early Buddhism.

A Penguin Classic

Both of these works on life's fleeting pleasures are by Buddhist monks from medieval Japan, but each represents a different worldview. In Essays in Idleness, his lively and sometimes ribald collection of anecdotes, advice, and observations, Kenko displays his fascination with earthly matters. In the short memoir Hojoki, or The Ten Foot Square Hut, however, Chomei recounts his decision to withdraw from worldly affairs and live as a hermit.

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

The short works collected in Four Huts give voice to one of the most treasured aesthetic and spiritual ideals of Asia--that of a simple life lived in a simple dwelling. The texts were written between the ninth and the seventeenth centuries and convey each author's underlying sense of the world and what is to be valued in it. Four Huts presents original translations by Burton Watson--one of the most respected translators of Chinese and Japanese literature. The qualities that emerge from these writings are an awareness of impermanence, love of nature, fondness for poetry and music, and an appreciation of the quiet life. Four Huts features eleven brush paintings by renowned artist Stephen Addiss.

Jayadeva's dramatic lyrical poem Gitagovinda is one of the most important works in Indian literature and a source of religious inspiration in both medieval and contemporary Vaishnavism. Revealing an intense earthly passion to express the complexities of divine and human love, its songs are an important part of Indian devotional music and literature.

The twentith anniversary edition of the renowned translation by noted scholar Barbara Stoler MIller brings this classic to a new generation of readers and offers fresh insights for those familiar with the text.

In premodern China, elite painters used imagery not to mirror the world around them, but to evoke unfathomable experience. Considering their art alongside the philosophical traditions that inform it, The Great Image Has No Form explores the "nonobject"--a notion exemplified by paintings that do not seek to represent observable surroundings.

François Jullien argues that this nonobjectifying approach stems from the painters' deeply held belief in a continuum of existence, in which art is not distinct from reality. Contrasting this perspective with the Western notion of art as separate from the world it represents, Jullien investigates the theoretical conditions that allow us to apprehend, isolate, and abstract objects. His comparative method lays bare the assumptions of Chinese and European thought, revitalizing the questions of what painting is, where it comes from, and what it does. Provocative and intellectually vigorous, this sweeping inquiry introduces new ways of thinking about the relationship of art to the ideas in which it is rooted.

This book presents the major teachings of Mahāyāna Buddhism in a precise, dramatic, and even humorous form. For two millennia this sūtra, called the "jewel of the Mahāyāna Sūtras," has enjoyed immense popularity among Mahāyāna Buddhists in India, central and southeast Asia, Japan, and especially China, where its incidents were the basis for a style in art and literature prevalent during several centuries.

Robert Thurman's translation makes available, in relatively nontechnical English, the Tibetan version of this key Buddhist scripture, previously known to the English-speaking world only through translations from Chinese texts. The Tibetan version is generally conceded to be more faithful to the original Sanskrit than are the Chinese texts. The Tibetan version also is clearer, richer, and more precise in its philosophical and psychological expression. The books of the sūtra are accompanied by an introduction by Dr. Thurman and by three glossaries: Sanskrit terms, numerical categories, and technical terms.

Since its appearance in China in the third century, The Lotus Sutra has been regarded as one of the most illustrious scriptures in the Mahayana Buddhist canon. The object of intense veneration among generations of Buddhists in China, Korea, Japan, and other parts of the world, it has had a profound impact on the great works of Japanese and Chinese literature, attracting more commentary than any other Buddhist scripture.

As Watson notes in the introduction to his remarkable translation, " The Lotus Sutra is not so much an integral work as a collection of religious texts, an anthology of sermons, stories, and devotional manuals, some speaking with particular force to persons of one type or in one set of circumstances, some to those of another type or in other circumstances. This is no doubt why it has had such broad and lasting appeal over the ages and has permeated so deeply into the cultures that have been exposed to it."