Parami starts by singing ‘In the Bleak Midwinter’ by Christina Rossetti. She then goes on to bring out the underlying meaning of some of the imagery in the poem.
The first metaphors are about bleakness, with the earth as hard as iron and water like a stone, times when we struggle and it seems as if no growth is possible. She talks about her early experience of doing the metta bhavana and...
After considering the history and the meaning of the title, Sangharakshita provides a summary of The White Lotus Sutra’s dramatic structure, with brief explanations of the significance of certain details.
Dassini takes us into the Parable of the Burning House from the White Lotus Sutra. Through readings from the sutra and retelling of the parable the main themes of the story are brought out, and the problem at the heart of the parable is revealed, that of unawareness or heedlessness.
In a talk looking deeply at the many manifestations, contexts, and practices of ksanti, patience, here Satyaraja shares a story from The White Lotus Sutra about 5,000 arahants walking out of the assembly as they believed they had nothing more to learn.
Parami evokes the reality of interconnectedness in relation to the second Dasadhamma - My life is dependent on others. I am sustained by the gifts of others. She talks about how the experience of interconnectedness is supported by wisdom, and results in compassionate activity.
Sangharakshita takes us to the Vulture’s Peak, the summit of earthly existence, where the Buddha begins the White Lotus Sutra by speaking on infinity. With his words, (and the forthcoming myths, symbols and parables of the sutra), we are entreated to go beyond into the purely spiritual world of the transcendental.
Indra, the King of the Gods in Hindu Mythology, possesses a number of treasures, one of which is a net made entirely of jewels. According to the Buddha in the Gandavyuha Sutra, “All the Jewels shine in each, and each of them shine in all.”
The universe is just like this. As such, one cannot fully understand any one part of the Dharma unless one understands the whole.
Ratnaguna shares with us his great love for the Vimalakirti Nirdesa, a Buddhist Mahayana text he’s gone back to again and again and again since 1979. He explores how a Bodhisattva should regard living beings, or how they should develop the Great Love for them, according to the mysterious character Vimalakirti.
The spiritual life is about giving up the advantages of the ‘Power Mode’ in exchange for the completely non-violent spiritual quality of the ‘Love Mode.’ Kulanandi offers beautiful and engaging reflections drawing inspiration from the book The Ten Pillars of Buddhism, by Sangharakshita.