Hello my email list friends,

Today’s message is coming on the heels, hooves?, of a post I made on IG. Some people were asking a bit more about what I was talking about so I’ll just leave the things here.

The first item is an email I received in 2014 containing a transcript of a story told by La Monte Young, noted minimalist composer. The story is about training horses to come to a bell and is used as an allegory for how Mr. Young approaches teaching his students.

The second item is translated from the writings of noted minimalist, Chuang Tzu. Chapter 8 describes his feelings about horses.

There is a lot to say about what I really learned from studies with Mr. Young. But as I think about composing a new work for The Hudson Valley Shakuhachi Choir I thought it would be good to have a place to easily access these two tales. Hope you enjoy!

Special thanks are due to my friend RM. Thank you for the antidote.

Best,

Adam

The following was transcribed as per Khan Sahib's request from a
recording made on my computer on 14 IV 26:

"My father was an outstanding horseman. He was from a family of
horsemen, and his father was a horse trader, and they knew everything
about training horses and how to make them into good horses.

"So as you know, the Arabians have a long history of riding and
training horses. Arabian horses are very famous, and my father told me
that the way the Arabs chose the horses that would be used for
breeding purposes was that they would teach the horses to come every
time they rang a bell. And once they had trained the horses thoroughly
to come every time when they rang the bell, they would put them in a
corral without water. And there was running water outside of the
corral. And they would leave them in the corral to the point
of--what's that common phrase?--the point of no return.

"And then they would open the gate. And if the horses came running out
of the gate, they would stand over to the side and ring the bell. The
horses that came to the bell ringer were the ones who were chosen, and
the horses who went and drank water were not chosen.

"And to use an animal for breeding purpose is like choosing a disciple
who could carry on a tradition.

"In India they had a related concept that a disciple should be like a
sandal that is there for the guru to step into at any time and walk
on. That is a story that I have published.

"Okay that's my story for the day, and I told Adam you would give him a copy.”

The Complete Works Of Chuang Tzu
Translated by Burton Watson
 
Section NINE - HORSES' HOOFS
HORSES' HOOFS ARE MADE for treading frost and snow, their coats for keeping out wind and cold. To munch grass, drink from the stream, lift up their feet and gallop this is the true nature of horses. Though they might possess great terraces and fine halls, they would have no use for them.

Then along comes Po Lo.1 "I'm good at handling horses!" he announces, and proceeds to singe them, shave them, pare them, brand them, bind them with martingale and crupper, tie them up in stable and stall. By this time two or three out of ten horses have died. He goes on to starve them, make them go thirsty, race them, prance them, pull them into line, force them to run side by side, in front of them the worry of bit and rein, behind them the terror of whip and crop. By this time over half the horses have died.

The potter says, "I'm good at handling clay! To round it, I apply the compass; to square it, I apply the T square." The carpenter says, "I'm good at handling wood! To arc it, I apply the curve; to make it straight, I apply the plumb line." But as far as inborn nature is concerned, the clay and the wood surely have no wish to be subjected to compass and square, curve and plumb line. Yet generation after generation sings out in praise, saying, "Po Lo is good at handling horses! The potter and the carpenter are good at handling clay and wood!" And the same fault is committed by the men who handle the affairs of the world!

In my opinion someone who was really good at handling the affairs of the world would not go about it like this. The people have their constant inborn nature. To weave for their clothing, to till for their food - this is the Virtue they share. They are one in it and not partisan, and it is called the Emancipation of Heaven. Therefore in a time of Perfect Virtue the gait of men is slow and ambling; their gaze is steady and mild.

In such an age mountains have no paths or trails, lakes no boats or bridges. The ten thousand things live species by species, one group settled close to another. Birds and beasts form their flocks and herds, grass and trees grow to fullest height. So it happens that you can tie a cord to the birds and beasts and lead them about, or bend down the limb and peer into the nest of the crow and the magpie. In this age of Perfect Virtue men live the same as birds and beasts, group themselves side by side with the ten thousand things. Who then knows anything about "gentleman" or "petty man"? Dull and ununwitting,2 men have no wisdom; thus their Virtue does not depart from them. Dull and unwitting, they have no desire; this is called uncarved simplicity. In uncarved simplicity the people attain their true nature.3

Then along comes the sage, huffing and puffing after benevolence, reaching on tiptoe for righteousness, and the world for the first time has doubts; mooning and mouthing over his music, snipping and stitching away at his rites, and the world for the first time is divided. Thus, if the plain unwrought substance had not been blighted, how would there be any sacrificial goblets? If the white jade had not been shattered, how would there be any scepters and batons? If the Way and its Virtue had not been cast aside, how would there be any call for benevolence and righteousness? If the true form of the inborn nature had not been abandoned, how would there be any use for rites and music? If the five colors had not confused men, who would fashion patterns and hues? If the five notes had not confused them, who would try to tune things by the six tones? That the unwrought substance was blighted in order to fashion implements - this was the crime of the artisan. That the Way and its Virtue were destroyed in order to create benevolence and righteousness - this was the fault of the sage.

When horses live on the plain, they eat grass and drink from the streams. Pleased, they twine their necks together and rub; angry, they turn back to back and kick. This is all horses know how to do. But if you pile poles and yokes on them and line them up in crossbars and shafts, then they will learn to snap the crossbars, break the yoke, rip the carriage top, champ the bit, and chew the reins. Thus horses learn how to commit the worst kinds of mischief. This is the crime of Po Lo.

In the days of Ho Hsu,6 people stayed home but didn't know what they were doing, walked around but didn't know where they were going. Their mouths crammed with food, they were merry; drumming on their bellies, they passed the time. This was as much as they were able to do. Then the sage came along with the crouchings and bendings of rites and music, which were intended to reform the bodies of the world; with the reaching-for-a-dangled-prize of benevolence and righteousness, which was intended to comfort the hearts of the world. Then for the first time people learned to stand on tiptoe and covet knowledge, to fight to the death over profit, and there was no stopping them. This in the end was the fault of the sage.