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Zen in English Literature and Oriental Classics
It was R.H Blyth's belief that "all that is good in European literature and culture is simply and solely that which is in accordance with the Spirit of Zen." He thereafter applied himself to the task of searching the writings of East and West in an attempt to discover that Spirit. Zen in English Literature and Oriental Classics embraces the classical literature of China and Japan and the whole extent of English literature, with numerous quotations not only from English but also from French, German, Italian, and Spanish writing. Don Quixote has a chapter all to himself, and the author considers him possibly the purest example in all of world literature of a man who lives by Zen. In English, the Zen attitude toward life is found most consistently in Shakespeare, Wordsworth, Dickens, and Stevenson. This book is essential reading for anyone interested in Zen, haiku, or indeed English literature.
482 pages, Paperback
First published January 1, 1942
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About the author
R.H. Blyth
79 books41 followersReginald Horace Blyth was an English author, interpreter, translator, devotee of Japanese culture and English Professor, having lived in Japan for eighteen years.
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Displaying 1 - 12 of 12 reviews
November 11, 2008
Given the fact that R. H. Blyth was a friend and disciple of D. T. Suzuki, one might expect Zen in English Literature to be an apology for Zen Buddhism, using quotations from Western classics to make Buddhist philosophy palatable to an educated Anglophone audience. While Blyth indeed achieves this, the reader quickly becomes aware that he is up to something more. Not only does his book explore Buddhism; it also sheds new light on the classic works of the English language.
One example of this double-edged sword is his use of Shakespeare, who seems to make an appearance on every other page of Zen in English Literature. Blyth places Shakespeare at the outset of his work next to a Zen classic, invoking the two as his highest authorities:
Throughout this book and throughout life itself, one thing must never be forgotten: "In the three worlds, everything depends on the mind" [from the Hojoki], that is, "Nothing is either good or bad, but thinking makes it so."
This quotation from Hamlet becomes a refrain that shows up at key moments in the book, a kind of epigraph that, as it is continually developed, becomes the summary of the truth of Zen and Shakespeare. For, as Blyth explains, the bard's greatness is that he "looks steadily at the object," which is also the ultimate goal that Zen hopes to achieve:
These thoughts about things, this colouring of things by the emotions, that is, the desires and antipathies of the mind, – this is what Zen wishes us, above all things, to do away with.
Although it is practically a truism that Shakespeare's allusiveness, his ability to put on the cloak of any of his characters and speak genuinely as him or her, is precisely his genius, Blyth goes one step further and argues that this is also the essence of Zen, that is, Truth. From this perspective, Shakespeare's works becomes the paragon of religious poetry.
Shakespeare is just one author whose work takes on deeper meaning after Blyth's treatment of it. Cervantes' Don Quixote, for example, becomes "Zen incarnate," a character who "surpasses Hakuin, Rinzai, Enô, Daruma and Shakamuni [the Buddha] himself" in his embodiment of Zen ideals. Rather than following the traditional interpretation that Don Quixote is a fool, Blyth invites the reader to see him as "the vision of Truth" inadequately put into practice, whose story illuminates "the underlying sense of shame that our lives are directed to the acquisition of all the things Don Quixote so rightly despised." Other authors Blyth treats at length include Dickens, Stevenson, Wordsworth, and Keats, in each case compelling the reader to view their works anew.
The force of Zen in English Literature is that it touches upon as many literary heroes as possible, demonstrating how pervasive is the truth he espouses. But this is also the book's weakness. It serves as an introduction rather than an in-depth criticism, and, like any introduction, risks skimming on the surface of the topics he brings up. For example, in his chapter on "Figures of Speech," Blyth introduces the idea that "figures of speech are jumps, jumps out of appearance into reality, a return to the Unity of things, to the ever-blessed One," rather than just interesting ways of describing the mundane. He even goes so far as to condone one of my favorite pastimes, saying, "The mixing of metaphors... far from being a vice, is the highest of virtues, if you can do it properly." Though the author begins to describe how different kinds of figures of speech (simile, metaphor, metonymy, etc.) relate to his mystical monism, he fails to offer anything more than a brief sketch.
Yet literary criticism, on the whole, has focused too exclusively on the minutiae for too long. A change is due. The breadth Blyth displays in Zen in English Literature and the Oriental Classics is increasingly becoming a necessity as globalization continues to thrust disparate cultures into one another's arms. The ability to communicate with each other is now a necessity, not a luxury. Blyth, however, anticipated the coming interconnection of East and West and set up a dialogue between the classics of both worlds, fostering mutual understanding, that the Orient and the Occident may be less (forgive the pun) Zenophobic.
One example of this double-edged sword is his use of Shakespeare, who seems to make an appearance on every other page of Zen in English Literature. Blyth places Shakespeare at the outset of his work next to a Zen classic, invoking the two as his highest authorities:
Throughout this book and throughout life itself, one thing must never be forgotten: "In the three worlds, everything depends on the mind" [from the Hojoki], that is, "Nothing is either good or bad, but thinking makes it so."
This quotation from Hamlet becomes a refrain that shows up at key moments in the book, a kind of epigraph that, as it is continually developed, becomes the summary of the truth of Zen and Shakespeare. For, as Blyth explains, the bard's greatness is that he "looks steadily at the object," which is also the ultimate goal that Zen hopes to achieve:
These thoughts about things, this colouring of things by the emotions, that is, the desires and antipathies of the mind, – this is what Zen wishes us, above all things, to do away with.
Although it is practically a truism that Shakespeare's allusiveness, his ability to put on the cloak of any of his characters and speak genuinely as him or her, is precisely his genius, Blyth goes one step further and argues that this is also the essence of Zen, that is, Truth. From this perspective, Shakespeare's works becomes the paragon of religious poetry.
Shakespeare is just one author whose work takes on deeper meaning after Blyth's treatment of it. Cervantes' Don Quixote, for example, becomes "Zen incarnate," a character who "surpasses Hakuin, Rinzai, Enô, Daruma and Shakamuni [the Buddha] himself" in his embodiment of Zen ideals. Rather than following the traditional interpretation that Don Quixote is a fool, Blyth invites the reader to see him as "the vision of Truth" inadequately put into practice, whose story illuminates "the underlying sense of shame that our lives are directed to the acquisition of all the things Don Quixote so rightly despised." Other authors Blyth treats at length include Dickens, Stevenson, Wordsworth, and Keats, in each case compelling the reader to view their works anew.
The force of Zen in English Literature is that it touches upon as many literary heroes as possible, demonstrating how pervasive is the truth he espouses. But this is also the book's weakness. It serves as an introduction rather than an in-depth criticism, and, like any introduction, risks skimming on the surface of the topics he brings up. For example, in his chapter on "Figures of Speech," Blyth introduces the idea that "figures of speech are jumps, jumps out of appearance into reality, a return to the Unity of things, to the ever-blessed One," rather than just interesting ways of describing the mundane. He even goes so far as to condone one of my favorite pastimes, saying, "The mixing of metaphors... far from being a vice, is the highest of virtues, if you can do it properly." Though the author begins to describe how different kinds of figures of speech (simile, metaphor, metonymy, etc.) relate to his mystical monism, he fails to offer anything more than a brief sketch.
Yet literary criticism, on the whole, has focused too exclusively on the minutiae for too long. A change is due. The breadth Blyth displays in Zen in English Literature and the Oriental Classics is increasingly becoming a necessity as globalization continues to thrust disparate cultures into one another's arms. The ability to communicate with each other is now a necessity, not a luxury. Blyth, however, anticipated the coming interconnection of East and West and set up a dialogue between the classics of both worlds, fostering mutual understanding, that the Orient and the Occident may be less (forgive the pun) Zenophobic.
March 15, 2014
Actually, re-reading, which says it all.
September 22, 2011
It's my BIBLE !!
December 4, 2012
My favorite book on zen and a very informative book on classical English literature. I gave away my copy and now regret that gift. Oh well.
May 3, 2020
Illuminating and entertaining book.
In life, the best perspectives are achieved by comparative studies of different viewpoints on the same subject. A lot of cultural, group, and peer prejudices are necessarily taken away and you get to see the essence. His recognition of Zen in Shakespeare, Wordsworth, Stevenson, Keats as well Bach do this.
The essence of this book is what is truth? Literature (and music which is mentioned in book) move us to the extent it touches on the truth. Zen is the process of distilling the truth in every situation. Zen can help us to see parts of the arts that touch on the truth and dismiss the parts that do not.
Blyth is ruthlessly funny in doing this exercise. One example is his comment on the following line from a Tennyson poem: "Faith hears the lark within the songless egg" - "This is not poetry at all. It is a kind of proleptic vivisection."
His exposition of the various key aspect of Zen is also excellent as below:
"Nothing divides men so much as thought. Emotion may be communicated in a variety of ways, it is infectious. On the contrary, Thought is peculiarly individual, communicable only in words, and establishing barriers between the fool and the sage whereas Emotions unite.
... Thus the construction of dogmatic beliefs by the highest intellect reduces man to the same state of mental slavery as the crudest and most infantile superstition."
A truly excellent book.
In life, the best perspectives are achieved by comparative studies of different viewpoints on the same subject. A lot of cultural, group, and peer prejudices are necessarily taken away and you get to see the essence. His recognition of Zen in Shakespeare, Wordsworth, Stevenson, Keats as well Bach do this.
The essence of this book is what is truth? Literature (and music which is mentioned in book) move us to the extent it touches on the truth. Zen is the process of distilling the truth in every situation. Zen can help us to see parts of the arts that touch on the truth and dismiss the parts that do not.
Blyth is ruthlessly funny in doing this exercise. One example is his comment on the following line from a Tennyson poem: "Faith hears the lark within the songless egg" - "This is not poetry at all. It is a kind of proleptic vivisection."
His exposition of the various key aspect of Zen is also excellent as below:
"Nothing divides men so much as thought. Emotion may be communicated in a variety of ways, it is infectious. On the contrary, Thought is peculiarly individual, communicable only in words, and establishing barriers between the fool and the sage whereas Emotions unite.
... Thus the construction of dogmatic beliefs by the highest intellect reduces man to the same state of mental slavery as the crudest and most infantile superstition."
A truly excellent book.
October 2, 2022
A great way to access Zen stuff and read more good literature. WIN win win!
March 25, 2021
There are several books which I'll re-read over the years and this is one of them. R H Blyth, one of the first Westerners to seriously study and write about Zen Buddhism, sets out to show the nature of Zen and how it is expressed (and not expressed) in English literature and Oriental classics.
Spoiler: Shakespeare is a Zen man. (Maybe that's not such a spoiler.)
Blyth spent time in Japanese prisons during the war where he began his own practice. The book came out in 1942. While the use of the term "Oriental" is, at best, archaic, Blyth expresses his respect and even reverence for Japanese, Chinese and Indian cultures.
Blyth's writing can verge on pretentiousness-- but that's not what I love about the book. It's the original works that are liberally spread through the text that brings me back. From my favorite poet, Basho to Wordsworth, there are hundreds of examples of great works throughout the 400+ pages.
This is my fourth time I've read the book. I'll read it again.
Spoiler: Shakespeare is a Zen man. (Maybe that's not such a spoiler.)
Blyth spent time in Japanese prisons during the war where he began his own practice. The book came out in 1942. While the use of the term "Oriental" is, at best, archaic, Blyth expresses his respect and even reverence for Japanese, Chinese and Indian cultures.
Blyth's writing can verge on pretentiousness-- but that's not what I love about the book. It's the original works that are liberally spread through the text that brings me back. From my favorite poet, Basho to Wordsworth, there are hundreds of examples of great works throughout the 400+ pages.
This is my fourth time I've read the book. I'll read it again.
May 12, 2011
3.5-4 stars.
Blyth is the classic englishman educated in his own culture and western culture who turns to the east. People like this don't exist anymore. From a literary, poetic, and spiritual perspective, Blyth has authority. This is a one-of-a-kind exploration of what it means to be zen using eastern and western literary examples. Being an English Lit and Western Canon nerd myself, I'm not sure there could be any funner book than this. Also, Blyth has some gutsy, unorthodox opinions and this seems striking coming from the traditional english scholar. His point of view reminds me a lot of Alan Watts in 'This is It.' I am currently reading Blyth's Oriental Humour which so far is just as wonderful and eclectic as this one.
Blyth is the classic englishman educated in his own culture and western culture who turns to the east. People like this don't exist anymore. From a literary, poetic, and spiritual perspective, Blyth has authority. This is a one-of-a-kind exploration of what it means to be zen using eastern and western literary examples. Being an English Lit and Western Canon nerd myself, I'm not sure there could be any funner book than this. Also, Blyth has some gutsy, unorthodox opinions and this seems striking coming from the traditional english scholar. His point of view reminds me a lot of Alan Watts in 'This is It.' I am currently reading Blyth's Oriental Humour which so far is just as wonderful and eclectic as this one.
May 16, 2021
I can only ponder who this book was written for, men ‘of the club’ in that era of men’s supper clubs? In Jane Austen, a woman could only be considered truly accomplished if she has, " ...knowledge of music, singing, drawing, dancing, and the modern languages, to deserve the word”. I can say the author expects the reader of this book have working knowledge of at least Latin, French, and German as no translation of quotes from these languages are given. Though translations are included for Spanish, Italian and Japanese. This book is written in English and published in Japan in 1942 which makes it odder still. Wikipedia explains that Blyth wrote while interred in Japan during WWII. My copy was printed in Japan in 1942 and makes me wonder how it made its way to America and my bookshelf...
January 1, 2008
blyth's first book ain't his best nor his easiest but worth at least one read
the premise is more or less that great literature is zen, and what's not is not. so when wordsworth is good he's also zen, and bad wordsworth is also non-zen.
blyth's personal story is worth googling [it's also recounted in [author: rick fields]' wonderful how the swans came to the lake
the book came out the same time as aldous huxley's perennial philosophy by the way (context, context)
September 5, 2020
This was a good book, but it had many quotations in German, French and Latin that were not translated. Also, it a lot of it was about how Wordsworth's poetry was not Zen or at least became less Zen as his life progressed. I would have preferred if he had included more of the poets who did express what he considered Zen, such as Blake, Whitman, and Dickenson. At the beginning of the book, it looked like what he considered Zen was strange to me. I did enjoy the book, and reading it made me look at the world differently.
June 15, 2017
A marvelous oddball classic. Not to be taken seriously except as the passion of an idiosyncratic treasure of idiosyncratic passions.
Displaying 1 - 12 of 12 reviews