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Ice on the Potomac
A treasured friend and respected colleague who left her body late last week was buried this morning. The work year started, then, with some colleagues and I leaving the office for a portion of the middle of the day to drive up to the cemtery and offer our love to her family and our good-byes to her physical presence. On the way back to the office, I noticed that the Potomac has been icing over, which is very unusual. I also remembered that I had my camera in my pocket. So I took it out and caught the moment in honor of my friend who would have loved the way the birds were dancing on the ice, in honor of beauty, in honor of the life teeming above and below the apparently still, frozen river.

“First principle” (and akrama and krama)
When I think about the Anusara alignment principles in the context of the tattvas (see earlier posts), I think about “opening to grace” appearing in two places on the tier. As “first principle” it is the first among a larger sequence about how we come to the mat, rather than just the first of the physical principles. “First principle” not only starts the practice and the dialogue, but is already there. It is, in this sense, so fundamental that it is not part of the sequence, but is sequenceless (akrama). If you are fully conscious of “grace” and can embody it in all aspects of your physical, energetic, and mental day to day existence without further instruction, study, or practice, then there is no need for other practice or instruction (this I think is a very rare being, and certainly I’m not such a being).
The next set of tattvas — suddha vidya, ishvara, saddha shiva, and shiva-shakti (see link above), correspond to the Anusara alignment principles of “attitude, alignment, and action,” which although they are themselves described in sequence, are fundamentally sequenceless as they happen all at the same time and are more elemental than the practice of the physical/energetic alignment principles in sequenced practice.
In this way of understanding the play between the sequenceless and sequenced, we have a universal “first principle” that embodies the purpose of all we do on and off the mat. It is followed by how we want to practice, described in a way that becomes less of just a concept (which as a universal concept is akrama) and more of a practical understanding (which applies when we are in space and time and therefore in the krama of embodied existence). As we dance in this play between the sequenceless and the sequenced, we come to practice (or to do any activity) with the “attitude” of wanting to live the “first principle,” to know and experience what is fully present and not bound by time and space. We then (because we must) study and practice specific “alignment” to try and express this attitude with our “actions.”
The physical/energetic alignment principles then come in as a the way of better refining, studying, and practicing the desire to recognize with mind and body the “first principle.” The sequence of “open to grace, muscular energy, inner spiral, outer spiral, organic energy” comes then at the level of physical and mental practice to return us back to “first principle.” “Open to grace” is first in this sequence, too, but as “first principle,” for me, it is something more than the first of the alignment principles. “First principle” is not just the start of how we practice when we practice Anusara yoga, but the whole reason for practice. It is the universal, overarching, blissful element of being that draws us to the practice because of our yearning to know it.
- Art and Culture | Asana, Pranayama, and Yoga Practice | Food for the Mind (Yoga Philosophy, etc) | Meditation
“It’s All Good” (and Voltaire’s Candide at the Shakespeare Theater)
Last night I went to see the revival of the Bernstein musical version of Voltaire’s Candide, now playing at the Shakespeare Theater’s Harmon Hall (discount tickets available), which was absolutely a delight — fantastic staging and direction, luxurious costuming, enthusiastic performances. Throughout his journey, which is beset with cruelty, hardship, natural disaster, and other mishaps wherever he goes, Candide sings of his tutor’s optimistic advice that “all’s for the best in this best of all possible worlds.” The application of this philosophy leads to some silly results, including the Monty Python-worthy lyric “it’s a great day for an auto da fe.”
I have a friend who, after telling me of various life challenges and griefs, inevitably signs off with the phrase “it’s all good,” though I am not sure she believes it. I thought of her repetition of the phrase “it’s all good,” while I was watching the musical. Later in Candide’s travels, he encounters a second philosopher scholar who (I’m paraphrasing loosely) contradicts the “it’s all for the best” philosophy of Candide’s tutor by telling Candide to just look around and he will know that things are not in fact always for the best. A fluffier version of the debate in the novel, as to whether things are all for the best when there is so much cruelty and devastation, is interwoven into the rest of the play.
I’ve never had a desire to wear the t-shirt proclaiming that “it’s all good.” I look around me, and I simply do not believe it. I do believe wholeheartedly, though, Voltaire’s premise that we have the responsibility to “cultivate our garden.” As my teachers John Friend and Paul Muller-Ortega espouse, we should “respond from the highest,” regardless of what we experience and encounter. By having our response make the best of all possible worlds from things that are not evidently for the best, we bring more light into the world, whatever is our world view. I can only hope that with steady practice of yoga and meditation, I can keep ever truer to these teachings when I am seriously challenged.



