“The Philosophy of Tea is not mere aestheticism in the ordinary acceptance of the term, for it expresses conjointly with ethics and religion our whole point of view about man and nature. It is hygiene, for it enforces cleanliness; it is economics, for it shows comfort in simplicity rather than in the complex and costly; it is moral geometry, inasmuch as it defines our sense of proportion to the universe. It represents the true spirit of Eastern democracy by making all its votaries, aristocrats in taste”. Intro to The Book of Tea by Kakuzo Okakura.
I dare say that the old dumb ox didn’t say it more succinctly.
“Those who cannot feel the littleness of great things in themselves are apt to overlook the greatness of little things in others”.
“Nay, we had something worse against you: we used to think you the most impracticable people on the earth, for you were said to preach what you never practiced.
“Will you believe it?—the East is better off in some respects than the West!
“Giovanni Batista Ramusio (1559), L. Almeida (1576), Maffeno (1588), Tareira (1610), also mentioned tea. In the last-named year ships of the Dutch East India Company brought the first tea into Europe. It was known in France in 1636, and reached Russia in 1638. England welcomed it in 1650 and spoke of it as “That excellent and by all physicians approved China drink, called by the Chineans Tcha, and by other nations Tay, alias Tea.” Like all good things of the world, the propaganda of Tea met with opposition.
“There is a subtle charm in the taste of tea which makes it irresistible and capable of idealisation. Western humourists were not slow to mingle the fragrance of their thought with its aroma. It has not the arrogance of wine, the self-consciousness of coffee, nor the simpering innocence of cocoa.
“Charles Lamb, a professed devotee, sounded the true note of Teaism when he wrote that the greatest pleasure he knew was to do a good action by stealth, and to have it found out by accident. For Teaism is the art of concealing beauty that you may discover it, of suggesting what you dare not reveal. It is the noble secret of laughing at yourself, calmly yet thoroughly, and is thus humour itself,—the smile of philosophy. All genuine humourists may in this sense be called tea-philosophers,
“The heaven of modern humanity is indeed shattered in the Cyclopean struggle for wealth and power.
“Tea is a work of art and needs a master hand to bring out its noblest qualities. We have good and bad tea, as we have good and bad paintings—generally the latter. There is no single recipe for making the perfect tea, as there are no rules for producing a Titian or a Sesson. Each preparation of the leaves has its individuality, its special affinity with water and heat, its own method of telling a story. The truly beautiful must always be in it. How much do we not suffer through the constant failure of society to recognise this simple and fundamental law of art and life; Lichilai, a Sung poet, has sadly remarked that there were three most deplorable things in the world: the spoiling of fine youths through false education, the degradation of fine art through vulgar admiration, and the utter waste of fine tea through incompetent manipulation.
“Perhaps we reveal ourselves too much in small things because we have so little of the great to conceal. The tiny incidents of daily routine are as much a commentary of racial ideals as the highest flight of philosophy or poetry.
“Sotumpa wrote of the strength of the immaculate purity in tea which defied corruption as a truly virtuous man. Among the Buddhists, the southern Zen sect, which incorporated so much of Taoist doctrines, formulated an elaborate ritual of tea. The monks gathered before the image of Bodhi Dharma and drank tea out of a single bowl with the profound formality of a holy sacrament. It was this Zen ritual which finally developed into the Tea-ceremony of Japan in the fifteenth century.
“To the latter-day Chinese tea is a delicious beverage, but not an ideal. The long woes of his country have robbed him of the zest for the meaning of life. He has become modern, that is to say, old and disenchanted. He has lost that sublime faith in illusions which constitutes the eternal youth and vigour of the poets and ancients. He is an eclectic and politely accepts the traditions of the universe.
“We have said that the Taoist Absolute was the Relative. In ethics the Taoist railed at the laws and the moral codes of society, for to them right and wrong were but relative terms. Definition is always limitation—the “fixed” and “unchangeless” are but terms expressive of a stoppage of growth.
“But the chief contribution of Taoism to Asiatic life has been in the realm of aesthetics. Chinese historians have always spoken of Taoism as the “art of being in the world,” for it deals with the present—ourselves. [Heidegger was a hack] It is in us that God meets with Nature, and yesterday parts from to-morrow. The Present is the moving Infinity, the legitimate sphere of the Relative. Relativity seeks Adjustment; Adjustment is Art. The art of life lies in a constant readjustment to our surroundings.
Bezalel's Compass 