Richard Bertschinger on the legend of King Arthur and Chinese internal alchemy

Recently, Richard Bertschinger stopped by the Singing Dragon offices in London to film a talk about his book, The Secret of Everlasting Life. On that occasion he alluded to some fascinating parallels between Chinese internal alchemy and the Arthuran legend. He kindly elaborates for us here.

Click to watch the video of Richard’s talk.

Well, this is all speculation, you know! It is only that I have always been struck by the evocative image – I think we all have – of the Lady of the Lake, holding up the sword Excalibur. This is the sword with which King Arthur won his final battle. In Somerset we have many lakes that could have been the source of this legend. The idea of gentleness holding up the ultimate symbol of power and justice, I think we all have to admit, is doubly evocative.

Remember too that at the end of Arthur’s life he casts the sword back into the waters. So we have the idea of the completion of a cycle. The power returns back to the mystic waters. This is well told by Tennyson in The Idylls of the King. So we have strength returning back to its source. And let’s remember that Arthur is also called ‘the once and future king’. I think this rigmarole came from T.H.White, but he took it from the reputed Latin inscription on Arthur’s grave at Glastonbury Abbey. In some way he is out of time; he is born – but also eternal.

Now these ideas are fundamentally Taoist! Water is the source of all life in both northern European and Chinese folklore traditions. The Tao-te Ching states: ‘the greatest good in people, is like water’ (Chapter 8). It is known that much primitive life needs to return to water to reproduce – and sexuality (is it not?) is all about fluids! Fluids are the basis of life (you might remember the mad Colonel in the film Dr. Strangelove and his obsession with fluids?) But never mind. It has to be said that, along with fire, water and gold are two of the most fundamental elements in the alchemical process. You have water in the lake – and gold, that which never tarnishes, is represented by the mystical sword. The Chinese character for gold – 金 jin –stands for all metals. Interestingly enough it also stands for ‘the precious’ (but don’t get me started on Gollum and the Lord of the Rings!).

Enough to say that there are parallels, out and about, throughout all the high romance of northern European folk-lore and Chinese mystical, internal alchemy, While we are on the subject, it is interesting, isn’t it, that we wear the Golden Ring as a wedding ring? The ring is the symbol of eternity, itself. You only have to consider the idea of the snake eating its own tail, or uroboros, which C.G. Jung identified as one of his archetypes, or symbols within the ‘collective unconscious’. So with the ring (or circle) and gold we have two symbols of the unchanging and eternal.

In Chinese internal alchemy the ‘gold is plucked out the water’ – just as ‘the wood is taken out the fire’. In both cases this means that Change is arrested. It’s dramatic. It is meant to be. In the Candong Qi (The Secret of Everlasting Life, Chapter 10) comes the phrase:

know the white, but guard the black,
the spiritual light comes of itself;
for the white is the fine gold,
but the black is the water taken as basis

Let’s unpack this a little bit. The phrase ‘know the white, but guard the black’ (which incidentally is from the Taoist scripture, the Tao-te Ching, Chapter 28) shows how although we understand the white, the brilliant, ‘the fine gold’, we seek its source in the black, the dark of the waters. Indeed the ‘spiritual light comes of itself’ – this refers to Taoist non-action, or wuwei. Spirituality is no big deal, we might say. So Arthur finds his ultimate strength – that which will enable him to rule supreme and conquer every foe – given to him by a mystic lady, during a walk in the woods. Guided, some say, by the magician-shaman Merlin. Under the dark and misty trees he comes across a vision of ultimate strength, born from the dark waters.

There is much more on this in the Chinese alchemical tradition. The sword is, of course, a sword of truth. It is no coincidence that our law-courts use the symbol of blindfolded justice holding a sword. In the Awakening to Reality poem (the Wuzhen Bian) the renown Zhang Boduan has the verse:

The Smelter Ou told to his friends
A Spell for casting a Sword
Named ‘Do No Evil’, in which
Gold and Water were evenly Matched!
Once finished, it knew
The will of the one who wore it –
Ten-thousand miles, it eradicated
GOBLINS IN A FLASH!

Here we have a clear indication of the wondrous use of a single sword, which combats all evil. When gold and water are evenly matched the sword comes into being. Now follow this closely. This is because in the ‘cycling five’ (aka: The Five Element cycle) metal, or gold gives birth to water. (Just as incidentally ‘wood gives birth to fire’.) But in the alchemy we reverse natural process. This is extremely important. And so gold is born from water – ‘the mother hiding her little child’. This is explained in Chapter 10 of The Secret of Everlasting Life, entitled ‘Understanding the Double-Entranced Cave of Knowledge,’ which is basically all about how to find the pathway to inner knowledge. There is a wonderful line in this poem:

the uttermost real in man is fascinating,
as if there, as if not…
it feels like toppling into the great deeps,
now in the shallows, now in the depths…

This is, of course, the basic tenet of Chaos Theory, which says that it is on the boundaries of Chaos that the most interesting things (like the creation of life) happen. There is a most wonderful book to read on this by John Gribbin (Deep Simplicity).

In summary, the gold taken out of the water, the sword of truth brought up and given to King Arthur by the Lady of the Lake describes the internal alchemical process achievable by each one of us, each of us who commits to the spiritual path.

Zhang Boduan’s next stanza in Awakening to Reality states:

Tap with Bamboo, summon the Tortoise,
To swallow the Magic Jade Mushrooms;
Strum the Lute, summon the Phoenix
To eat off the Knife-point.
Soon through the whole body
A Light appears:
Not with everyone
CAN YOU DISCUSS THESE CUSTOMS!

Now the Chinese yoga and meditation of the internal alchemists get to work (‘tap with bamboo, summon the tortoise’ refers to The Book of Change or I Ching divination). As we proceed with our shamanistic ceremony (‘strum the lute, summon the phoenix’) – we uncover an Elixir which can be taken and eaten within, ‘off the point of a knife’. We only need the merest scrap of it! Then ‘soon through the whole body a Light appears’. This is the ultimate spiritual transformation.

The Chinese alchemists certainly knew a thing or two! Isn’t it interesting how a few threads of this wisdom found their way into northern European and Arthurian legend?

Copyright © Singing Dragon 2011.

Video: Richard Bertschinger on Gia-fu Feng and The Secret of Everlasting Life

This month, Singing Dragon staff were treated to an afternoon talk with author Richard Bertschinger, author of the new book  The Secret of Everlasting Life: The First Translation of the Ancient Chinese Text on Immortality.

In these videos, Richard explains the origins of this second century text, the Can Dong Qi, and talks about the careful way in which he translated it from the Chinese over two decades. He also shares memories from his time with the influential Taoist sage and Master, Gia-fu Feng, and reads some passages from the book.

Part One

Part Two

Workshop: ‘Healing, Yijing, and Cultivation’ with Master Wu

This weekend, Singing Dragon author Master Zhongxian Wu will be holding a workshop on ‘Healing, Yijing, and Cultivation’ in Stockholm, Sweden, 11-12 September.

Learn more about this workshop.

Master Wu has devoted himself to the study of Qigong, martial arts, Chinese medicine, Yijing science, Chinese calligraphy, and ancient chinese music for over 30 years. He was Director of the Shaanxi Province Association for Somatic Science and the Shaanxi Association for the Research of Daoist Nourishing Life Practices, and has written five books and numerous articles on the philosophical and historical foundations of China’s ancient life sciences. Visit www.masterwu.net for more info about Master Wu.

Singing Dragon, an imprint of Jessica Kingsley Publishers, is an independent publisher of authoritative books on complementary and alternative health, bodywork, Tai Chi, Qigong and ancient wisdom traditions for personal and professional development.

www.singing-dragon.com

Taijiquan, Qi Gong, and the Cultivation of Health, Happiness and Longevity: An Interview with Michael Acton

Michael W. Acton is Founder and Senior Instructor of the Wu Shi Taiji Quan and Qi Gong Association UK. He has been training for over 30 years and is the sole representative of Dr Li Li-Qun, a fourth generation Wu Style Taiji Quan master and a leading Qi Gong master. Here, he answers some questions about his new book Eternal Spring: Taijiquan, Qi Gong, and the Cultivation of Health, Happiness and Longevity.

When did you first become interested in Taijiquan and Qi Gong?

When I was young I was fascinated by Indian Yoga and so I began to practice meditation when I was eleven. I was without a teacher then and pretty much in the dark. There were no yoga teachers anywhere near my home town in the early sixties and I certainly had not heard of Taiji quan or Qi Gong then. I have always been drawn to yogic practices.

I was also interested in all things Chinese and especially Chinese painting and its Daoist roots. I was already a good candidate for Qi Gong and Taiji though still knew little to nothing about it. My first introduction to Qi Gong was a small book of Daoist Yogic practies and I also found a book by the American dancer Sophia Delza who had studiied the Big Slow Form of Wu Style Taiji Quan with Ma Yueh Liang when she had lived in Shanghai. I think that was in the 1940’s. The illustrations in the book were hopeless to learn anything from and although I got the first few moves I got no further. It was not until many years later, after university, that I found a teacher of Taiji Quan.

I am not sure when I first saw Taiji even. There were only a few teachers in London at the time. I was however lucky enough to meet a young Chinese Malaysian who was starting a small group. When I saw him practice the form I was deeply impressed with the beauty and natural elegance and sense of integrated power. I started to learn the Wu Style form, Tui Shou and some Qi Gong from him. As fate would have it, it was the same form which Sophia Delza had studied and whose book I had struggled with back in my school days.

It was many years later (1992) in Shanghai that I would eventually find my true teacher; 16 or so years after my first Wu style teacher had returned to Malasia. During that time I had kept up my practice though not always systematically and even learned other forms and worked with and met other teachers. Only one however really impressed me. He was an old Chinese artist from Shanghai who had left China for London. His Traditional Yang Style, Hsing Yi and Ba Gua were quite remarkable and inspirational. When he stopped teaching and moved to Australia I realised that I would have to go to China to get what I wanted.

What do you think is the particular relevance of Taijiquan and Qi Gong for a Western audience?

Their relevance to the Western audience must surely be the remarkable ability of Taiji and Qi Gong to bring about good health, self healing and restore a sense of vitality and mental clarity. It also bring us back into contact with our true nature and the natural environment and the conditions of life.

Western Science will no doubt eventually explain much of what Qi Gong is and what it can do. But we don’t have to wait for explanations, we can cultivate the experience now. We can rediscover our innate ability to restore and heal ourselves and rest in mental dimensions that will always remain beyond science. In a world where we are sensorially overloaded and so many of our experiences are tailored, limiting and manipulative we can discover an internal freedom and strength and a sense of real liberation and empowerment and perhaps even spirituality. The methods for this were cultivated thousands of years ago. It has taken a long time for the West to notice them.

What would be your advice for anyone in taking up either Taijiquan and Qi Gong?

Find a good teacher and a good and mutually supportive group, and don’t get caught up in the politics of who does what and which form is best. Always avoid conceit and arrogance in a teacher and never submit anything for the promise of ‘secret knowledge’. Just do it with no aim other than giving yourself up to the experience. It may take a long time to feel you are getting somewhere so persevere and do not look at the end goal. The key to the achievement of Taiji and Qi Gong are firstly perseverance, then slowness, precision, lightness and correct awareness. I rate correct awareness very highly since without it form often remains only beautiful movement and the deeper levels of achievement will remain a mystery. There are often long periods when you do not seem to achieve much but progress often occurs when you least expect it. Suddenly you may discover that your level of practice is deepening and your ability to maintain a steady and undistracted awareness is maturing. Always return to the experience; perseverance is more important than talent and never give up. The extraordinary lies hidden within the ordinary.

What or who most inspires you?

I think it must be the people in China who rise early and go to the park to practice their Taiji or Qi Gong. In a way they have transcended the discipline of practice because for them it is as ordinary as eating rice; just an everyday activity. One feels good, the other tastes good and both are important for a long and healthy life. My teacher Dr Li Li Qun is one of them and he has been practicing since childhood. He is now in his 80’s and still cycles to the park each morning. Such an inspiration. His belief that Taiji and Qi Gong is for everybody is also inspiring. Finally I should say that I am inspired also by the humility of such people and their deep connection to an ancient and remarkable tradition and belief.

What do you enjoy doing in your spare time (other than Taijiquan and Qi Gong)?

I make no distinction between spare time and Taiji and especially Qi Gong time which I try to practice continuously from morning to night. I am also an artist and so I am often thinking about paintings. I spend a lot of time with my wife and daughter and the rest goes on working to make a living. My first Taiji teacher said that making money must come first, then the family (since without money the family would not be secure) and finally the practice of Taiji Quan. It is a good rule of thumb in our modern world, though I’m afraid I have done it the wrong way around.

Copyright © Singing Dragon 2009