清靜經 Qing Jing Jing - Quiet Calm Weave #16-32 Recap

The next article in this series is #33. Some of the previous articles had two or more sentences so as to retain continuity of the sentences' ideas, and thus the article numbering was not sequenced the same as the sentence numbering. Therefore, this article has been inserted to serve two purposes: [1] to align the articles' numbering with the currently existing article #33, and [2] to do a quick recap of what the words 清, 靜, and 道 mean within Qing Jing Jing.

As was originally interpreted of the act of 'emptiness', 清 would indeed imply a mental state that is thoroughly 'quiet, silent, peaceful' as the "I" observes. Within the suggested manner of 'emptiness', it is sort of like looking at a photograph while you youself are within the photograph. The normal mental activities of analyses and judgements are not present, and thus, the mental experience is as quiet as a photograph. Individuals who are self-aware of their own thoughts, may better imagine 'emptiness' by imagining all thoughts, analyses, and memories momentarily turning-off.

As was also originally interpreted of the act of 'emptiness', 靜 imples a mental interpretation of 'calm, stillness', which parallels the book's idea of 'not move'. Again similar to being within a photograph, you yourself do not move as the world around you moves.

Thus far within the book, 道 implies 'way of emptiness', while not implying 'Nature's Way' nor 'Way of Nascent'. Regardless of the book suggesting that the 'way of emptiness' is the 'true way' and 'great way', still the book's 'way' is not the 'Way of Source's root' as was hinted of within Dao De Jing. The book's use of the Dao De Jing quotes is misleading.

Also thus far within the book, 經 (weave) has not been given focus. It is highly unlikely that the book will adequately comment on the topic, but, since 清, 靜, and 道 were finally given a rational meaning, then perhaps 經 might also receive a meaning that is adequate enough for the reader to grasp what the author implied.

Some of the book's early analogies also now make more sense. 'Heavens move, earth not move' could be an analogy of the observer seeing the stars, sun, and moon move, while the earth around oneself does not move. The analogy is now seen to be acceptable. However, still the book's idea of male and female do not appear to make sense unless the observer is a male looking at males and females; seeing a male creates no interest, but seeing a 'oh my gosh she's so so so beautiful!!!' female does create an inner interest. Perhaps the remainder of the book might better explain what was implied, but at present, several of the analogies and metaphores still do not make sense.

One item that the book still has not mentioned is the observer's self-tone. The self-tone was a common knowledge thousands of years ago during the Confucian era, but no other known books nor ideologies have spoken of self-tones since. Self-tones are the self-created tone of one's self-chosen ingredients. Recognizing one's own self-tone is simple and obvious for individuals who are able to self-observe their own thoughts, but, apparently, the observation is extremely rare for other people. The self-tone will describe the person's inner nature, as well as describe the differences of how each individual experiences the 'void' within 'emptiness'. All things in Nature exist within curves, all curves have durations, all durations have 'tones', all "I"s have tones, and all mentions of 'emptiness' ought to include descriptions of self-tones.

Thus far, it continues to appear that the author may not have been skilled with written words, which might explain his use of male/female instead of using yin/yang. The book is nearing its conclusion, and so, hopefully, more can discovered in the last sentences.