We seldom realize, for example, that our most private thoughts and emotions are not actually our own. For we think in terms of languages and images w… - Alan Watts

We seldom realize, for example, that our most private thoughts and emotions are not actually our own. For we think in terms of languages and images which we did not invent, but which were given to us by our society. We copy emotional reactions from our parents, learning from them that excrement is supposed to have a disgusting smell and that vomiting is supposed to be an unpleasant sensation. The dread of death is also learned from their anxieties about sickness and from their attitudes to funerals and corpses. Our social environment has this power just because we do not exist apart from a society. Society is our extended mind and body.

The whole problem is that it would be very bad indeed if God were the author of evil, and we were his victims. That is to say, if we keep the model of the king of the universe in which the creatures are all subjects of the king, then a God who is responsible for evil is being very unkind to the people. But in the Hindu theory, God is not another person. There are no victims of God. He is never anything but His own victim. You are responsible. If you want to stay in the state of illusion, stay in it. But you can always wake up.

The fear that self-acceptance necessarily annihilates ethical judgment is groundless, for we are perfectly able to distinguish between up and down at any point on the earth's surface, realizing at the same time that there is no up and down in the larger framework of the cosmos. Self-acceptance is therefore the spiritual and psychological equivalent of space, a freedom of which does not annihilate distinctions but makes them possible.

But the Oriental musician has a rough notation which he uses only as a reminder of a melody. He learns music, not by reading notes, but by listening to the performance of a teacher, getting the “feel” of it, and copying him, and this enables him to acquire rhythmic and tonal sophistications matched only by those Western jazz artists who use the same approach.