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Journals (album)
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Journals
Compilation album by Justin Bieber
Released
December 23, 2013 (2013-12-23)
Recorded
2012–13
Genre
Soul
R&B
Length
55:03
Label
Island
RBMG
Schoolboy
Producer
Justin Bieber (exec.)
Scott "Scooter" Braun (exec.)
Usher Raymond IV (exec.)
Justin Bieber chronology
Believe Acoustic
(2013) Journals
(2013) Purpose
(2015)
Singles from Journals
"Heartbreaker"
Released: October 7, 2013
"All That Matters"
Released: October 14, 2013
"Hold Tight"
Released: October 21, 2013
"Recovery"
Released: October 28, 2013
"Bad Day"
Released: November 4, 2013
"All Bad"
Released: November 11, 2013
"PYD"
Released: November 18, 2013
"Roller Coaster"
Released: November 25, 2013
"Change Me"
Released: December 2, 2013
"Confident"
Released: December 9, 2013
Journals is the second compilation album by Canadian recording artist Justin Bieber. The album was only released digitally through online platforms, such as iTunes, on December 23, 2013 by Island Records.[1][2] A ten-week digital download campaign entitled Music Mondays, in which one new song was released every Monday night, was held from October 7, 2013 to December 9, 2013. In addition to the songs released on "Music Mondays", Journals is also composed of other five previously unreleased songs. The recording sessions took place between 2012 and 2013, while the singer was on his Believe Tour, which generated one or two songs a day throughout the entire tour.
To achieve a more mature sound, Journals sees Bieber working with a variety of different R&B producers, such as The Audibles, Jason "Poo Bear" Boyd, Andre Harris, D.K. the Punisher, Soundz, Chef Tone, T-Minus, as well as his previous producers Maejor Ali, Diplo, Rodney "Darkchild" Jerkins and Sir Nolan, while collaborating with R&B and hip-hop artists and rappers, such as Future, R. Kelly, Chance the Rapper, Big Sean and Lil Wayne. An R&B and soul album with pop influences, Journals mostly deals with themes of heartbreak and forgiveness in a romantic relationship. It was suggested that Bieber's relationship with former girlfriend, actress and singer Selena Gomez, was the main inspiration for the majority of the album. The album was supported with the release of ten singles, with two of them receiving music video treatment.
The album was met with lukewarm reviews from music critics. Although some praised its mature direction and labeled it his best material, others felt dismissed its similar themes and "unfinished" production. Despite promotions of the album that helped Bieber reach number one on the Social 50 chart and the release planned to capitalize the sales rush before Christmas, the album was not submitted for sales tracking to SoundScan, thus it did not chart on the Billboard 200 due to its first week sales going unreported. It reached the top-forty in some countries and debuted in the top 10 only in Denmark and Norway. The compilation was meant to be released physically, but due to the label not supporting Bieber's sound's choices, they did not support the album project. It was, however, eventually released on LP in 2016.[3]
Contents
[hide]
1 Background and recording
2 Musical style and influences
2.1 Composition
3 Themes and lyrical content
3.1 Songs
4 Release and promotion
5 Critical reception
6 Track listing
7 Charts
7.1 Weekly charts
7.2 Year-end charts
8 Certifications
9 Release history
10 References
Background and recording[edit]
While touring with his Believe Tour throughout 2012 and 2013, Justin Bieber managed to write new songs everyday. According to his manager, Scooter Braun, the writing process had him "writing one to two songs a day for the entire tour and [...] label[ing] them by the city he wr[o]te them in."[4] In January 2013, Bieber confirmed he was writing for a new album,[5] as well as American R&B singer R. Kelly that confirmed he was working with Bieber on the album.[6] Meanwhile, in June of the same year, he confirmed a new album, the rest of the Believe Tour and a movie for 2013.[7] In July, Braun gave an interview for MTV News, where he discussed the album, claiming: "For this project, we want to do things a little bit differently. And there are more songs than 10 or 12, so if you have more music and you have more things you want to express, you gotta think out the box, and [think like] ’How do I get this out there in a unique way where it gets directly to my fans and I can express myself through music directly to them?’ And I think that’s what it’s about when you have people who are incredibly creative, things happen."[8] In August, Bieber confirmed he was working with American rapper Future. It was also reported he was working with Juicy J, Ludacris and Big Sean.[9] In December, he also confirmed he was working with Chance the Rapper and Lil' Wayne.[10]
As executive producer, Justin enlisted previous collaborators such as Rodney Jerkins, Maejor Ali, Diplo and Sir Nolan, while working with a range of new R&B producers such as The Audibles, Andre Harris, D.K. the Punisher, Soundz, Chef Tone, T-Minus, Jason "Poo Bear" Boyd and others. Boyd became one of the most frequent collaborators on the album, writing with Bieber several songs as well as producing some. According to the producer, Bieber suggested they to "flip those Craig David chords and [...] create something." By doing so, he came up with the song "Recovery", a song that was finished at Cherry Beach Sound in Toronto. As he recalled, the process had Bieber hearing Boyd songs and selected them to sing, and many songs from the producer turned into songs off Journals. Boyd continued: "He [Bieber] just felt them so much, so strongly. It was just a matter of me letting go of the fact that I don't care about me being a singer more so than I care about putting great music out into the universe. Then I was able to do it. The songs that I felt like were too mature, we changed them up to fit him like a custom suit."[11]
Musical style and influences[edit]
Composition[edit]
An R&B and soul album,[12][13][14][15] Journals steps away from Bieber's more teen-pop sound of his previous efforts, while also having pop influences. As claimed by Spin's Brandon Soderberg, "[s]onically, it’s up there with Beyoncé in terms of holding tight to the patience of ’80s and ’90s R&B while never forgetting the sugar-rush rewards of pop." Soderberg also reflected that Bieber was inspired by many R&B artists such as "Aaliyah, Drake, Maxwell, Miguel, Sade, and Usher out of EDM mode."[12] According to one of its producers, Jason Boyd, "Justin grew up listening to R&B. Journals was trying because it was going against the grain [of what he had been doing sonically], but it served so much of a purpose in him growing up."[11] Chris Martins of Billboard also noted that the album "drew on Boyd’s experience writing for 112, Usher and Chris Brown."[16]
The album is composed by many "slow numbers", such as "Hold Tight," "All Bad" and "PYD", which Carl Williot of Idolator considered "racy, restrained jams in the vein of The Weeknd’s mixtapes (minus the danger), each utilizing the bare minimum in terms of percussion." "One Life" was also noted for having influences by The Weeknd and Frank Ocean.[17] Williot also noted that "'Roller Coaster' took the disco-pop craze of 2013 and marries it to trap stomps,[14] as well as "freestyle-meets-Sonic the Hedgehog roller-skating grooves", completed Soderberg.[12] "Bad Day" and "Swap It Out" flirt with late ’90s R&B/bling rap sweet spot, while "Confident" and closer "Memphis" channel Timbaland's prime with their brittle, syncopated percussion and background yelps."[14] "Change Me', as noted by Soderberg, has a "The Tony Rich Project" feel to it, while "Backpack" is a futuristic pop song with a guitar solo.[12] Meanwhile, "Recovery" features a "Craig David-sampling swoon" of "Fill Me In", "All that Matters" pushes Bieber's "earnest vocal into the limelight over an instrumental that relies on little more than swirling guitar strums and plush bass," and "Heartbreaker" features "chords [that] swim in and out of focus over a low-slung groove and vocals [that] float menacingly somewhere over your head" as Fact's Aimee Cliff noticed.[15]
Themes and lyrical content[edit]
Songs[edit]
Journals main themes deal with heartbreak and forgiveness in a romantic relationship, with many critics noting that it was influenced by Bieber's relationship with former girlfriend Selena Gomez.[18][19][20] It finds the singer apologizing, taking responsibility for bad behavior and pledging lifelong faithfulness, while also talking about sex in some songs.[20] Adam R. Holz of Plugged In noted that "'Journals' is a mournfully desperate, frequently "freaky" set of songs that finds the 19-year-old Canadian singer begging for a second chance with an ex. And it's tempting to buy in to Justin Bieber's repeated pleas for one last loop-around with his beloved. That's because the painfully plaintive nature of his repeated pleas gives him an air of wounded authenticity. It's not hard to believe that he really has lost the one girl (Selena Gomez?) who means everything to him, and that he'll do anything to win her back."[20]
The first song, "Heartbreaker", finds Bieber begging for his lover to not break his heart, "suggest[ing] that while he's got real flaws, those shouldn't completely disqualify him" and "pledg[ing] love through ups and downs, good times and bad." "I know the seasons may change/And sometimes love goes from sunshine to rain/ … I still believe in us/I still believe in love," he sings.[20] "All That Matters" continues in the same vein, with lines like: "Oh, oh, whenever you're not in my presence/It feels like I'm missing my blessings, yeah."[20] "Hold Tight" "focuses almost exclusively on sex," while "Recovery" finds Bieber " taking responsibility for mistakes and praying for a second chance."[20] "Bad Day" and "All Bad" shared similarities, with the first talking about a painful break-up, while the latter has him "assuring a lover that the haters have him all wrong"[18] and, according to Holz, making a "meanspirited and sexist accusation" about how "females like to run their mouths."[20] "PYD" features Bieber and R. Kelly singing about "having sex with a woman in just about as many locations as they can brainstorm. The titular acronym stands for "put you down," a slang reference to sex."[20]
The eighth track, "Roller Coaster", which references "Ohio Players' 1970s hit "Love Rollercoaster", talks about the loneliness of long-distance loving,[15] while the piano ballad "Change Me" is about "accepting responsibility before proposing a solution to a problem he didn't even have."[18] "Confident" returns talking about sex, with Bieber talking about someone he's apparently just spied, while Chance the Rapper also talks about the song's main subject.[20] "One Life", co-written by Drake, "offers another take on those sorts of faithfulness pledges",[20] having a "YOLO [you only live once] with a conscience" theme.[12] "Backpack" finds Bieber "fall[ing] in love with an alien girl whom he desires to 'stay in my backpack forever'."[17] "What's Hatnin'" focuses on conflict resolution and forgiveness,[20] "Swap It Out" "looks into the complicated feelings that go into a relationship,"[13] and "Memphis" "finds Bieber exploring a relationship, wherein he wants to be with his butterfly-giving girl 24/7."[13] The bonus song, "Flatline", "explores a failed relationship, due to his busy schedule and the girl in question always contacting him at the wrong times, then not returning the phone calls he attempts to make."[21]
Release and promotion[edit]
On October 3, 2013, Bieber announced that he would release one new song every Monday for 10 weeks, leading up to the release of his Believe theatrical film, which saw a limited one-week release on Christmas Day 2013. Each of the singles released has its own original artwork, featuring a white and purple theme.[22] The album and single's artwork was designed by Cooper Sebastian. The first song issued during "Music Mondays", as Bieber had touted the weekly releases, "Heartbreaker", was issued on October 7, 2013.[23] The song reached the top of the Denmark charts, the top-ten in other three countries and peaked inside the top-twenty on the US Billboard Hot 100, the UK Singles Chart and other five territories.[24] The second song, "All That Matters", was released on October 14, 2013, and was the first to receive a music video treatment, released on December 2, 2013.[25] It was another number-one single in Denmark, while reaching the top-twenty in eight countries, including the United Kingdom. In the United States, it reached number 24.[26] "Hold Tight" was the third, released on October 21, 2013, and also his third consecutive number-one in Denmark; elsewhere it reached the top-forty in over ten countries,[27] followed by "Recovery" and "Bad Day", released on October 28, 2013 and November 4, 2013, respectively, with both reaching the top-forty in many countries, while the latter becoming the album's fourth number-one single in Denmark.[28][29] The other five subsequent singles, "All Bad", "PYD", "Roller Coaster", "Change Me" and "Confident", were released each a week and attained moderate impact on the charts worldwide,[30][31][32] with "Roller Coaster" and "Confident" also reaching the top of Denmark charts,[33][34] and the latter also receiving a music video treatment.[35]
On December 9, 2013, Bieber announced that the ten Music Monday releases would be packaged with an additional five new songs in a compilation entitled Complete My Journals. Although the album was initially set for release on December 16, 2013, the date was pushed back one week to December 23, as Bieber intended to include one more song on the compilation. Though it does not appear on the album itself, the bonus track, "Flatline", was available for a free download on the iTunes Store for a limited time.[36] Journals was available on iTunes from January 2, 2014, and all sixteen songs are available for purchase individually.[1] According to one of its producers and Bieber's personal friend, Jason "Poo Bear" Boyd, the album was supposed to receive a full release, as well as its singles to be promoted on radio, however the label didn't support it because it wasn't the direction they wanted Justin to go.[11] It was, however, eventually released on LP in 2016.[3]
Song "Looking For You", which features hip hop trio, Migos, was possibly going to appear on the album, but never made the final cut due to never being released.
Critical reception[edit]
Professional ratings
Review scores
Source
Rating
Absolute Punk (6.6/10)[37]
Chicago Tribune [38]
Fact [15]
The Los Angeles Times [18]
Milwaukee Journal Sentinel (mixed)[39]
New York Daily News [19]
Newsday B-[40]
Spin (positive)[12]
Toronto Star [17]
Washington Post (negative)[41]
Journals was met with lukewarm reviews, with most music critics noting his artistic growth. In a positive review, Mikael Wood of Los Angeles Times praised the "tunes that take up his evolving reputation with surprising candor" as well as the fact that "he's using that voice to confront the awkward aging-in-public process head-on." He also called the album "a come-to-Jesus moment that has nothing to do with Christmas."[18] Jim Farber of New York Daily News noted that Journals "has a cohesion nowhere evident on the Bieb’s three previous studio CDs," while also praising the album for "find[ing] an energy in Bieber’s deepening personality" and the music that "finds him more fully engaged."[19] Aimee Cliff wrote for Fact that the album is "a resounding achievement" and "trumps at every turn with its secret weapon: subtlety,"[15] while Brandon Soderberg of Spin called it "a cohesive, well-paced collection of narcotic R&B," claiming that the album's "elegance is conveyed via denser production choices and our host’s artful crooning."[12] Ben Rayner of Toronto Star applauded Bieber's voice, calling it "sufficiently well suited to the material that he can almost sell his new persona." Rayner also acknowledged that " tunes are often surprisingly interesting from a production standpoint," however he pointed out that "there’s too much of the same."[17]
Niko John of Absolute Punk went on to write that "'Journals' is undoubtedly his greatest work to date and shows a more mature, sexual side to the Canadian pop-star. However, it is an experiment that at times works and at others feels like Bieber is trying way too hard to discard his boy image."[37] Sandeep Singh of Verdens Gang wrote that Journals is "neither a profound diary or a studio album it could have been [...] But this is undoubtedly the best Bieber has bubbled up to now."[42] The Washington Post's Alison Stewart offered a negative outlook on the project, writing that "Justin Bieber ends a bad year with a bad album."[41] In his review written for the Milwaukee Journal Sentinel, Piet Levy wrote that Bieber is "less an eager child than a confident adult, although when Bieber's flat come-ons are juxtaposed with seasoned R&B star R. Kelly on "PYD," it's clear that as a performer, he still has a lot of growing up to do."[39]
Track listing[edit]
Journals
No.
Title
Writer(s)
Producer(s)
Length
1. "Heartbreaker"
Justin Bieber
Brandon Green
Tony Scales
Xavier Smith
Tyler Williams
T-Minus
Maejor Ali
Bieber
Chef Tone
4:21
2. "All That Matters"
Bieber
Andre Harris
Jason Boyd
Donovan Knight
Harris
Bieber
D.K. the Punisher[a]
3:08
3. "Hold Tight"
Bieber
Dominic Jordan
James Giannos
Boyd
Jamal "Mally Mall" Rashid
The Audibles
Poo Bear[a]
Rashid[a]
4:15
4. "Recovery"
Bieber
Jordan
Giannos
Boyd
Rashid
Craig David
Mark Hill
The Audibles
Poo Bear[a]
Rashid[a]
3:00
5. "Bad Day"
Jordan
Giannos
Boyd
Rashid
Ernest Isley
Marvin Isley
O'Kelly Isley Jr.
Ronald Isley
Rudolph Isley
Christopher Jasper
The Audibles
Poo Bear[a]
Rashid[a]
2:26
6. "All Bad"
Harris
Ryan Toby
Boyd
Bieber
Harris
Bieber
Poo Bear
3:01
7. "PYD" (featuring R. Kelly)
Jordan
Giannos
Bieber
Sasha Siri ta
Boyd
Robert Kelly
Rashid
The Audibles
Sirota
Poo Bear[a]
Rashid[a]
5:17
8. "Roller Coaster"
Rodney "Darkchild" Jerkins
Bieber
Julian Swirsky
Josh Gudwin
Jerkins
Julkeyz
3:20
9. "Change Me"
Bieber
Harris
Boyd
Harris
Bieber
2:43
10. "Confident" (featuring Chance the Rapper)
Bieber
Kenneth Coby
Maurice Simmonds
Chancelor Bennett
Soundz 4:07
11. "One Life"
Bieber
Green
Scales
Ali
Tone
4:02
12. "Backpack" (featuring Lil Wayne)
Bieber
Nasri Atweh
Adam Messinger
Adrian Eccleston
Dwayne Carter
Messinger
Nasri
Nolan Lambroza
Kuk Harrell[b]
4:11
13. "What's Hatnin'" (featuring Future)
Bieber
Coby
Nayvadius Wilburn
Soundz 3:28
14. "Swap It Out"
Bieber
Jordan
Giannos
Boyd
The Audibles
Poo Bear
4:01
15. "Memphis" (featuring Big Sean)
Bieber
Thomas Wesley Pentz
Green
Sean Anderson
Friedrich Moritz
Diplo
Ali[a]
3:43
Total length: 55:03
[show]Journals — Amazon Music edition (bonus video)
No.
Title
Length
16. "All That Matters" 3:40
Total length: 58:43
[show]Journals — iTunes Store edition (bonus videos)
No.
Title
Length
16. "All That Matters" 3:40
17. "Believe" 2:23
18. "Guatemala Pencils of Promise Journal" 3:02
Total length: 64:08
Notes
^a signifies a co-producer
^b signifies a vocal producer
"Recovery" contains interpolations of "Fill Me In", written by Craig David and Mark Hill.
"Bad Day" contains interpolations of "Footsteps in the Dark", written by Ernest Isley, Marvin Isley, O'Kelly Isley Jr., Ronald Isley, Rudolph Isley and Christopher Jasper.
"Memphis" contains interpolations of "Nights Off", written by Friedrich Moritz.
Graphic Design by Cooper Sebastian
Charts[edit]
Weekly charts[edit]
{{albumchart|Australiab
Chart (2013)
Peak
position
Finnish Albums (Suomen virallinen lista)[43]
33
French Albums (SNEP)[44]
174
Irish Albums (IRMA)[45]
64
Italian Albums (FIMI)[46]
38
Norwegian Albums (VG-lista)[47]
2
UK Albums (OCC)[48]
46
UK R&B Albums (OCC)[49]
3
Year-end charts[edit]
Chart (2013)
Position
Danish Albums (Hitlisten)[50]
78
Certifications[edit]
Region
Certification
Certified units/Sales
Denmark (IFPI Denmark)[51]
Gold 10,000^
^shipments figures based on certification alone
Release history[edit]
Country
Date
Format
Label
Ref.
Canada
December 23, 2013 Digital download The Island Def Jam Music Group [52]
United States
[53]
United States
February 12, 2016 LP Universal Music Enterprises [3]
Canada
February 26, 2016 [54]
Germany
March 25, 2016 [55]
France
[56]
Italy
[57]
United Kingdom
[58]
Spain
April 1, 2016 [59]
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Jump up ^ "Journals". Amazon.fr. 31 August 2016. Retrieved 4 October 2017.
Jump up ^ "Journals". Amazon.it. 8 April 2017. Retrieved 4 October 2017.
Jump up ^ "Journals". Amazon.co.uk. 25 March 2016. Retrieved 4 October 2017.
Jump up ^ "Journals". Amazon.es. 1 April 2016. Retrieved 4 October 2017.
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Middle Way
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The Middle Way or Middle Path (Pali: Majjhimāpaṭipadā; Sanskrit: Madhyamāpratipad[1][a]; Tibetan: དབུ་མའི་ལམ།, THL: Umélam; Chinese: 中道; Vietnamese: Trung đạo; Thai: มัชฌิมาปฏิปทา) is the term that Gautama Buddha used to describe the character of the Noble Eightfold Path he discovered that leads to liberation.
Contents
[hide]
1 Theravada Buddhism and the Pali canon
1.1 Dhammacakkappavattana Sutta
1.2 Dependent Origination
1.3 Anatta
1.4 Rebirth
2 Mahayana
2.1 Madhyamaka
2.2 East Asian conceptions
2.2.1 Tendai
2.2.2 Chan Buddhism
3 See also
4 Notes
5 References
6 Sources
Theravada Buddhism and the Pali canon[edit]
Dhammacakkappavattana Sutta[edit]
In the Pāli Canon of Theravada Buddhism, the term "Middle Way" was used in the Dhammacakkappavattana Sutta, which the Buddhist tradition regards to be the first teaching that the Buddha delivered after his awakening.[b] In this sutta, the Buddha describes the Noble Eightfold Path as the middle way of moderation, between the extremes of sensual indulgence and self-mortification:[2]
Monks, these two extremes ought not to be practiced by one who has gone forth from the household life. (What are the two?) There is addiction to indulgence of sense-pleasures, which is low, coarse, the way of ordinary people, unworthy, and unprofitable; and there is addiction to self-mortification, which is painful, unworthy, and unprofitable.
Avoiding both these extremes, the Tathagata (the Perfect One) has realized the Middle Path; it gives vision, gives knowledge, and leads to calm, to insight, to enlightenment and to Nibbana. And what is that Middle Path realized by the Tathagata...? It is the Noble Eightfold path, and nothing else, namely: right understanding, right thought, right speech, right action, right livelihood, right effort, right mindfulness and right concentration.[3]
According to the scriptural account, when the Buddha delivered the Dhammacakkappavattana Sutta, he was addressing five ascetics with whom he had previously practiced severe austerities.[c] Thus, it is this personal context as well as the broader context of Indian shramanic practices that gives particular relevancy to the caveat against the extreme (Pali: antā) of self-mortification (Pali attakilamatha).
Later Pali literature has also used the phrase Middle Way to refer to the Buddha's teaching of dependent origination as a view between the extremes[2] of eternalism and annihilationism.
Dependent Origination[edit]
Main article: Pratītyasamutpāda
Pratītyasamutpāda, or "dependent origination", describes the existence of objects and phenomena as the result of causes. When one of these causes changes or disappears, the resulting object or phenomena will also change or disappear, as will the objects or phenomena depending on the changing object or phenomena. Thus, there is nothing with an eternal self or atman, only mutually dependent origination and existence. However, the absence of an eternal atman does not mean there is nothing at all. Early Buddhism adheres to a realistic approach which does not deny existence as such, but denies the existence of eternal and independent substances. This view is the Middle Way between eternalism and annihilationism:
The understanding that sees a "person" as subsisting in the causal connectedness of dependent arising is often presented in Buddhist thought as "the middle" (madhyama/majjhima) between the views of "eternalism" (śaśvata-/sassata-vāda) and "annihilationism" (uccheda-vāda).[4][d]
Anatta[edit]
Dependent origination views human persons too as devoid of a personal essence or atman. In Theravadin literature, this usage of the term "Middle Way" can be found in 5th century CE Pali commentaries:
The Tathāgata teaches the Dhamma by the middle without veering to either of these extremes – eternalism or annihilationism – having abandoned them without reservation. He teaches while being established in the middle way. What is that Dhamma? By the formula of dependent origination, the effect is shown to occur through the cause and to cease with the cessation of the cause, but no agent or experiencer [...] is described.[5]
In the Visuddhimagga, the following is found :
"Dependent origination" (paticca-samuppada) represents the middle way, which rejects the doctrines, 'He who acts is he who reaps' and 'One acts while another reaps' (S.ii.20) ..."[6]
In the Pali Canon itself, this view is not explicitly called the "Middle Way" but is literally referred to as "teaching by the middle" (majjhena dhamma).
Rebirth[edit]
Paticcasamuppāda "dependent origination" also gives a rationale for rebirth:
Conditioned Arising is [...] a 'Middle Way' which avoids the extremes of 'eternalism' and 'annihilationism': the survival of an eternal self, or the total annihilation of a person at death.[7]
In Theravadin soteriology, the principle of anattā means there is neither a permanent self nor complete annihilation of the person at death; there is only the arising and ceasing of causally related phenomena.[e] Paticcasamuppāda also describes the Twelve Nidānas of dukkha "suffering" that lead to rebirth, from avijjā "ignorance" to jarāmaraṇa "aging and death", and the parallel reverse-order interdependent cessation of these factors.
In Theravada Buddhism, only nibbana is unconditioned; nonetheless, even the arahant or tathāgata, upon passing, neither exists nor non-exists according to the Pāli Canon.
Mahayana[edit]
In Mahayana Buddhism, the Middle Way refers to the insight into śūnyatā "emptiness" that transcends the extremes of existence and non-existence, the two truths doctrine. According to Kalupahana,
Two aspects of the Buddha's teachings, the philosophical and the practical, which are mutually dependent, are clearly enunciated in two discourses, the Kaccāyanagotta-sutta and the Dhammacakkappavattana-sutta, both of which are held in high esteem by almost all schools of Buddhism in spite of their sectarian rivalries. The Kaccāyanagotta-sutta, quoted by almost all the major schools of Buddhism, deals with the philosophical "middle path", placed against the backdrop of two absolutistic theories in Indian philosophy, namely, permanent existence (atthitaa) propounded in the early Upanishads and nihilistic non-existence (natthitā) suggested by the Materialists.[8]
Madhyamaka[edit]
In Mahayana Buddhism, the Madhyamaka ("Middle Way") school portrays a "middle way" position between metaphysical claims that things ultimately either exist or do not exist.[9] Nagarjuna's influential Mūlamadhyamakakārikā deconstructs the usage of terms describing reality, leading to the insight into śūnyatā "emptiness". It contains only one reference to a sutta, the Kaccāyanagotta Sutta from the Samyutta Nikaya:
"Everything exists": That is one extreme.
"Everything doesn't exist": That is a second extreme.
Avoiding these two extremes,
The Tathagata teaches the Dhamma via the middle.[10]
East Asian conceptions[edit]
Tendai[edit]
In the Tendai school, the Middle Way refers to the synthesis of the thesis that all things are śūnyatā and the antithesis that all things have phenomenal existence.[11]
Chan Buddhism[edit]
In Chan Buddhism, the Middle Way describes the realization of being free of the one-sidedness of perspective that takes the extremes of any polarity as objective reality. In chapter ten of the Platform Sutra, Huineng gives instructions for the teaching of the Dharma. Huineng enumerates 36 basic oppositions of consciousness and explains how the Way is free from both extremes:
If one asks about the worldly, use the paired opposite of the saintly; if asking about the saintly use the paired opposite of the worldly. The mutual causation of the Way of dualities, gives birth to the meaning of the Middle Way. So, for a single question, a single pair of opposites, and for other questions the single [pair] that accords with this fashion, then you do not lose the principle.[12][f]
See also[edit]
Wikisource has original text related to this article:
Saṃyukta Āgama 301: Kātyāyana Gotra Sūtra
moderation
Argument to moderation
Dhammacakkappavattana Sutta
Golden Mean
Sirat al-Mustaqim, Straight Path or Middle Way in Islam
Undue burden standard - "a 'middle way' forward" in Constitutional law
Via media ‘Middle Road’
Notes[edit]
Jump up ^ Also see the Pali version of the Dhammacakkappavattana Sutta (available on-line at SLTP, n.d.-b, sutta 12.2.1) where the phrase majjhimā patipadā is repeatedly used.
Jump up ^ Samyutta Nikaya, 56:11. See [1]
Jump up ^ See, for instance, the Mahasaccaka Sutta ("The Longer Discourse to Saccaka," MN 36 Thanissaro, 1998).
Jump up ^ Gethin's endnote (p. 290, n. 22) then references SN 12.17. See Thanissaro 2005)
Jump up ^ See, e.g., Bodhi (2005), p. 315: "Several suttas hold up dependent origination as a 'teaching by the middle' (majjhena tathāgato dhammaṃ deseti). It is a 'teaching by the middle' because it transcends two extreme views that polarize philosophical reflection on the human condition. One extreme, the metaphysical thesis of eternalism (sassatavāda), asserts that the core of human identity is an indestructible and eternal self, whether individual or universal [...] The other extreme, annihilationism (ucchedavāda), holds that at death the person is utterly annihilated.... Dependent origination offers a radically different perspective that transcends the two extremes. It shows that individual existence is constituted by a current of conditioned phenomena devoid of a metaphysical self yet continuing on from birth to birth as long as the causes that sustain it remain effective.
Jump up ^ For example: "Suppose there is a person who asks, ‘What is taken for and called darkness?’ Reply and say, ‘Light is the proximate cause and darkness is the contributory cause. When light is ended, then there is darkness. By the means of light, darkness manifests; by the means of darkness, light manifests. [Their] coming and going are mutually proximate causes and become the meaning of the Middle Way.[citation needed]
References[edit]
Jump up ^ Kohn (1991), p. 143.
^ Jump up to: a b "Dhammacakkappavattana Sutta: Setting the Wheel of Dhamma in Motion". www.accesstoinsight.org. Retrieved 2015-12-30.
Jump up ^ Piyadassi (1999).
Jump up ^ Gethin (1998),p. 145
Jump up ^ Bodhi (2000), p. 739 note 41, quoting from the Samyutta Nikaya Commentary (SN-a or Spk.) in regards to SN 12.17 (S ii.20)
Jump up ^ Buddhaghosa & Ñāṇamoli (1999), Visuddhimagga XVII, 24, p. 531
Jump up ^ Harvey (2007), p. 58.
Jump up ^ Nāgārjuna (1986). Kalupahana, David, ed. The philosophy of the middle way = Mūlamadhyamakakārikā. Albany, N.Y.: State University of New York Press. p. 1. ISBN 978-0887061486.
Jump up ^ Kohn (1991), pp. 131, 143.
Jump up ^ Thanissaro (1997), Translation of Kaccayanagotta Sutta, SN 12.15 Archived 2013-03-29 at the Wayback Machine.
Jump up ^ Kohn (1991), pp. 143-144.
Jump up ^ [citation needed]
Sources[edit]
Bodhi, Bhikkhu (trans.) (2000). The Connected Discourses of the Buddha: A Translation of the Saṃyutta Nikāya. Boston: Wisdom Publications. ISBN 0-86171-331-1.
Bodhi, Bhikkhu (ed., trans.) (2005). In the Buddha's Words: An Anthology of Discourses from the Pāli Canon. Somerville: Wisdom Publications. ISBN 0-86171-491-1.
Buddhaghosa, Bhadantācariya & Bhikkhu Ñāṇamoli (trans.) (1999). The Path of Purification: Visuddhimagga. Seattle, WA: BPS Pariyatti Editions. ISBN 1-928706-00-2.
Dhamma, Rewata (1997). The First Discourse of the Buddha: Turning the wheel of Dhamma. Somerville, MA: Wisdom Publications. ISBN 0-86171-104-1.
Gethin, Rupert (1998). The Foundations of Buddhism. Oxford: Oxford University Press. ISBN 0-19-289223-1.
Harvey, Peter (2007). An Introduction to Buddhism: Teachings, History and Practices. Cambridge: Cambridge University Press. ISBN 0-521-31333-3.
Kohn, Michael H. (trans.) (1991). The Shambhala Dictionary of Buddhism and Zen. Boston: Shambhala. ISBN 0-87773-520-4.
Piyadassi Thera (trans.) (1999). Dhammacakkappavattana Sutta: Setting in Motion the Wheel of Truth (SN 56.11). Retrieved 2008-01-03 from "Access to Insight" at http://www.accesstoinsight.org/tipitaka/sn/sn56/sn56.011.piya.html.
Rhys Davids, T.W. & William Stede (eds.) (1921-5). The Pali Text Society’s Pali–English Dictionary (PED). Chipstead: Pali Text Society. A general on-line search engine for the PED is available at http://dsal.uchicago.edu/dictionaries/pali/. Retrieved 2008-01-03, the entry for "pabbajita" is available at http://dsal.uchicago.edu/cgi-bin/philologic/getobject.pl?c.2:1:1639.pali.
Sri Lanka Buddha Jayanti Tipitaka Series [SLTP] (n.d.-a). Ahara vaggo (SN 12.2) [in Pali]. Retrieved 2008-01-03 from "MettaNet - Lanka" at http://www.metta.lk/tipitaka/2Sutta-Pitaka/3Samyutta-Nikaya/Samyutta2/12-Abhisamaya-Samyutta/02-Aharavaggo-p.html.
Sri Lanka Buddha Jayanti Tipitaka Series [SLTP] (n.d.-b). Dhammacakkappavattana vaggo (SN 55.2) [in Pali]. Retrieved 2008-01-03 from "MettaNet - Lanka" at http://www.metta.lk/tipitaka/2Sutta-Pitaka/3Samyutta-Nikaya/Samyutta5/55-Sacca-Samyutta/02-Dhammacakkappavattanavaggo-p.html.
Thanissaro Bhikkhu (trans.) (1997). Kaccayanagotta Sutta: To Kaccayana Gotta (on Right View) (SN 12.15). Retrieved 2008-01-03 from "Access to Insight" at https://web.archive.org/web/20130329025311/http://www.accesstoinsight.org/tipitaka/sn/sn12/sn12.015.than.html.
Thanissaro Bhikkhu (trans.) (1998). Maha-Saccaka Sutta: The Longer Discourse to Saccaka (excerpt) (MN 36). Retrieved 2008-01-03 from "Access to Insight" at http://www.accesstoinsight.org/tipitaka/mn/mn.036x.than.html.
Thanissaro Bhikkhu (trans.) (2005). Acela Sutta: To the Clothless Ascetic (SN 12.17). Retrieved 2008-01-03 from "Access to Insight" at http://www.accesstoinsight.org/tipitaka/sn/sn12/sn12.017.than.html.
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