On the Number 60

60 in Philosophy & Religion
218) Hymn 60 in Book 6 of the Rig Veda is an invocation to Indra & Agni:
7. Indra and Agni, these our songs of praise have sounded forth to you:
Ye who bring blessings! drink the juice...
14. Indra and Agni, we invoke you both, the Gods,
as Friends for friendship, bringing bliss.
15. Indra and Agni, hear his call who worships. with libations poured.
Come and enjoy the offerings, drink the sweetly-flavoured Soma juice.
Rig Veda, Book 6, 60.7, 14-15 (circa 1500 B.C.)
219) Hymn 60 in Book 7 of the Rig Veda is a song of praise to Mitra-Varuna:
1. When thou, O Sun, this day, arising sinless, shalt speak the truth to Varuna and Mitra,
O Aditi, may all the Deities love us, and thou, O Aryaman, while we are singing.
2 Looking on man, O Varuna and Mitra, this Sun ascendeth up by both the pathways,
Guardian of all things fixt, of all that moveth, beholding good and evil acts of mortals.
7 They ever vigilant, with eyes that close not, caring for heaven and earth, lead on the thoughtless.
Even in the river's bed there is a shallow. across this broad expanse may they conduct us.
11 He who wins favour for his prayer by worship, that he may gain him strength and highest riches,
That good man's mind the Mighty Ones will follow: they have brought comfort to his spacious dwelling.
12 This priestly task, Gods! Varuna and Mitra! hath been performed for you at sacrifices.
Convey us safely over every peril. Preserve us evermore, ye Gods, with blessings.
Rig Veda, Book 7, 60.1-2, 7, 11-12 (circa 1500 B.C.)
220) 60th Hexagram of the I Ching (circa 1000 B.C.)
Chieh / Limitation
Galling limitation
must not be persevered in.
Water over lake: the image of LIMITATION.
Thus the superior man
Creates number and measure,
And examines the nature of virtue
and correct conduct.
Lao Tzu (604-517 BC), Tao Te Ching, Verse 60:
Ruling a great state
is like cooking a small fish
when you govern the world with the Tao
spirits display no powers
not that they display no powers
their powers do people no harm
not that their powers do people no harm
the sages does people no harm
and neither harms the other
for both rely on Virtue
(translated by Red Pine, Taoteching,
Mercury House, San Francisco, 1996, p. 120)
222) Lao Tzu (604-517 BC), Hua Hu Ching, Verse 60:
The mystical techniques for achieving immortality are revealed only to those
who have dissolved all ties to the gross worldly realm of duality, conflict,
and dogma. As long as your shallow worldly ambitions exist, the door will not open.
Devote yourself to living a virtuous, integrated, selfless life. Refine your energy
from gross and heavy to subtle and light. Use the practices of the Integral Way to
transform your superficial worldly personality into a profound, divine presence.
By going through each stage of development along the Integral Way, you learn
to value what is important today in the subtle realm rather than what appears
desirable tomorrow in the worldly realm. Then the mystical door will open, and
you can join the unruling rulers and uncreating creators of the vast universe.
(translated by Brian Walker,
Hua Hu Ching: The Unknown Teachings of Lao Tzu, 60
Harper SanFrancisco 1992)
223) Verse 60 of Pythagoras's Golden Verses:
They ought not to provoke this, but yield and so escape.

Pythagoras (580-500 B.C.), Golden Verses, Verse 60
(translated by A.E.A., Collectanea Hermetica, Vol. V, 1894)
reprinted in Percy Bullock, The Dream of Scipio, Aquarian Press,
Wellingborough, Northamptonshire, UK, 1983, p. 56
224) Aphorism 60 of Symbols of Pythagoras:
Sepiam ne edito. — Dacier
Eat not the cuttle fish.

This animal when attacked is able to eject a black fluid which discolours
the water around it, in which obscurity, the fish that attack lose its
whereabouts. Have no concerns with those who revile when displeased.
Pythagoras (580-500 B.C.), Symbols of Pythagoras
(translated by Sapere Aude, Collectanea Hermetica, Vol. V, 1894)
reprinted in Percy Bullock, The Dream of Scipio, Aquarian Press,
Wellingborough, Northamptonshire, UK, 1983, p. 82
225) Section 60 of Plato's Phaedo— Socrates to Cebes on cultivation of the arts:
In the course of my life, I have often had the same dream, appearing in
different forms at different times, but always saying the same thing,
'Socrates, practice and cultivate the arts.' In the past I used to think
that it was impelling and exhorting me to do what I was actually doing;
I mean that the dream, like a spectator encouraging a runner in a race,
was urging me on to do what I was doing already, that is, practicing the
arts, because philosophy is the greatest of the arts, and I was practicing it.

Plato (428-348 BC), Phaedo 60e (360 BC)
(trans. Hugh Tredennick), Edited by Edith Hamilton & Huntington Cairns,
Plato: The Collected Dialogues, Bollingen Series LXXI,
Princeton University Press, 1961, p. 43
226) Section 60 of Plato's Philebus— Socrates to Protarchus on pleasure & the good:
Philebus maintains that pleasure is the proper quest of all living creatures,
and that all ought to aim at it; in fact he says that the good for all is
pleasure and nothing else, these two terms, pleasure and good, being properly
applied to one thing, one single existent. Socrates on the other hand maintains
that they are not one thing, but two, in fact as in name; 'good' and 'pleasant'
are different from one another, and intelligence has more claim to be ranked as
good than pleasure... One who possesses the good permanently, completely, and
absolutely, has never any need of anything else; its satisfaction is perfect.

Plato (428-348 BC), Philebus 60b-60c (360 BC)
(trans. R. Hackforth), Edited by Edith Hamilton & Huntington Cairns,
Plato: The Collected Dialogues, Bollingen Series LXXI,
Princeton University Press, 1961, p. 1142
227) Section 60 of Plato's Timaeus— Timaeus to Socrates on the four elements: water, earth, air, fire:
As to the kinds of earth, that which is filtered through water passes into stone,
in the following manner. The water which mixes with the earth and is broken up in
the process changes into air, and taking this form mounts into its own place...
But when all the watery part of earth is suddenly drawn out by fire, a more brittle
substance is formed to which we give the name of pottery... The compounds of earth
and water are not soluble by water, but by fire only, and for this reason. Neither
fire nor air melts masses of earth, for their particles, being smaller than the
interstices in its structure, have plenty of room to move without forcing their
way, and so hey leave the earth unmelted and undissolved, but particles of water,
which are larger, force a passage and dissolve and melt the earth.

Plato (428-348 BC), Timaeus 60b-60e (360 BC)
(trans. Benjamin Jowett), Edited by Edith Hamilton & Huntington Cairns,
Plato: The Collected Dialogues, Bollingen Series LXXI,
Princeton University Press, 1961, pp. 1185-1186
228) 60th Verse of Buddha's Dhammapada: The Fool
Long is the night to a sleepless person;
long is the distance of a league to a tired person;
long is the circle of rebirths to a fool who does not know the true Law.

Buddha, Dhammapada Verse 60 (240 B.C.)
(translated by Harischandra Kaviratna, Dhammapada: Wisdom of the Buddha 1971)
229) 60th Verse of the Bhagavad Gita
(Krishna's lecture to Arjuna on karma yoga):
As the Spirit of our mortal body wanders on in childhood,
and youth and old age, the Spirit wanders on to a new body:
of this the sage has no doubts.
Bhagavad Gita Chapter 2, Verse 13 [note: 47 verses in Ch. 1]
(Translated by Juan Mascaro, Penguin Books, 1962, p. 49)
230) 60th Verse in Chapter 18 of Astavakra Gita
(Sage Astavakra's dialogue with King Janaka):
He who has spontaneous realization of self-conscious is not even in
distress like ordinary people while acting in vast lake like heart.
Surely he shines as devoid of agitation and devoid of sorrows.

Astavakra Gita Chapter 18, Verse 60 (circa 400 B.C.)
(also translated by Radhakamal Mukerjee, Motilal Banarsidass Publishers, Delhi, 1971, p. 153)
231) Aphroism 60 Patanjali's Yoga Sutra:
Flowing on by its own potency, established all
the same even in the wise, is Love of Life.

Vyasa: In all living beings exists the self-benediciton, 'would that I were
never to cease. May I live on.' And this self-benediction cannot exist in him who have not
experienced the nature of death. And by this the experience of a former life is inferred.
This is the affliction of Love of Life, which flows by its own potency.
Patanjali (circa 200 B.C.), Yoga Sutra II.9: Aphroism 60 (circa 200 B.C.)
translated by Rama Prasada, Munshiram Manoharlal Publishers, New Delhi, 1995, p. 101
232) 60th Tetragram of the T'ai Hsüan Ching: Accumulation / Chi
September 13 (pm) - September 17:
Correlates with Human's Mystery:
Yin is about to largely close things.
Yang is still slightly opening things.
Mountains, valleys, wetlands, and marshes,
to them the myriad things return.

Yang Hsiung (53 BC-18 AD),
Canon of Supreme Mystery ( T'ai Hsüan Ching)
(translated by Michael Nylan, 1993, p. 351)
233) Book VII, Section 60 of Meditations by Marcus Aurelius (121-180 AD):
Whether standing or reclining, control the body's posture by not slouching
or sprawling. Just as you can read a person's intelligence and character in
his face, you can see them in the way he holds his body. But these appearances
should be preserved without conscious effort.
New translation of the Meditations by C. Scot Hicks & David V. Hicks
Marcus Aurelius, The Emperor's Handbook, Scribner, NY, 2002, p. 87,
234) Stanza 60 of Nagarjuna's Seventy Stanzas on Emptiness:
A pleasing object does not exist inherently because some persons develop
attachments towards it, others develop hatred towards it, and still others
develop closed-mindedness towards it. Therefore such qualities of the object
are merely created by preconceptions, and these preconceptions also do not
exist inherently because they develop from superimposition.
Nagarjuna (circa 150-250 A.D.), Seventy Stanzas on Emptiness
(translated by David Ross Komito, Snow Lion Publications, Ithaca, NY, 1987, p. 93)
235) 60th Trigraph of the Ling Ch'i Ching: Ta T'ung / Great Unification
The image of penetrating and expanding
Three yang destroy yin
K'an (water) * True north

The Milky Way level and smooth, extending in five directions,
penetrating to six, I travel in its midst,
mounting the clouds and riding dragons.

The clouds disperse, the moon hangs in emptiness,
Right on the cusp of Aries and Taurus.
A stretched bow just aimed at its target,
An arrow decides future success.

His position honored, his Virtue flourishing,
The four barbarians all submit.
When the perfected bring order to chaos,
The petty are then unfortunate.

Tung-fang Shuo,
Ling Ch'i Ching (circa 222-419)
(trans. Ralph D. Sawyer & Mei-Chün Lee Sawyer, 1995, pp. 150-151)
236) Text 60 of On Prayer: 153 Texts
of Evagrios the Solitary (345-399 AD)
He who prays in spirit and in truth is no longer dependent on created things
when honorouring the Creator, but praises Him for and in Himself.

The Philokalia (4th-15th century AD),
translated by F.E.H. Palmer, Philip Sherrard, & Kallistos Ware,
Faber & Faber, London, 1979, p. 62)
237) Text 60 of On the Spiritual Law: 200 Texts
of Saint Mark the Ascetic (early 5th century AD)
Do good when you remember, and what you forget will be revealed to you;
and do not surrender your mind to blind forgetfulness.

The Philokalia (4th-15th century AD),
translated by F.E.H. Palmer, Philip Sherrard, & Kallistos Ware,
Faber & Faber, London, 1979, p. 114)
238) Text 60 of On Watchfulness and Holiness
of Saint Hesychios the Priest (8th or 9th century AD)
He who does not know the truth cannot truly have faith;
for by nature knowledge precedes faith. What is said in Scripture
is said not solely for us to understand, but also for us to act upon.

The Philokalia (4th-15th century AD),
translated by F.E.H. Palmer, Philip Sherrard, & Kallistos Ware,
Faber & Faber, London, 1979, p. 172)
239) Text 60 of On Spiritual Knowledge and Discrimination: 100 Texts
of Saint Diadochos of Photiki (400-486 AD)
Initiatory joy is one thing, the joy of perfection is another.
The first is not exempt from fantasy, while the second has the strength
of humility. Between the two joys comes a 'godly sorrow' and active tears;
'For in much wisdom is much knowledge; and he that increases knowledge increases
sorrow'...the soul is tested by divine rebuke as in a furnace, and through fervent
remembrance of God it actively experiences the joy exempt from fantasy.

The Philokalia (4th-15th century AD),
translated by F.E.H. Palmer, Philip Sherrard, & Kallistos Ware,
Faber & Faber, London, 1979, p. 271)
240) Text 60 of For the Encouragement of the Monks in India who had Written to Him: 100 Texts
of Saint John of Karpathos (circa 680 AD)
The Psalm says of those who are tempted by thoughts of pleasure, anger, love
of praise and the like, that the sun burns them by day and the moon by night.
Pray, then, to be sheltered by the cool and refreshing cloud of God's grace,
so that you may escape the scorching heat of the enemy.

The Philokalia (4th-15th century AD),
translated by F.E.H. Palmer, Philip Sherrard, & Kallistos Ware,
Faber & Faber, London, 1979, p. 312)
241) 60th Verse of Sagathakam in Lankavatara Sutra:
Neither an ego, nor a being, nor a person exists in the Skandhas;
[there is birth when] the Vijñana is born,
and [cessation when] the Vijñana ceases.
Last chapter of The Lankavatara Sutra (before 443 AD)
(translated from the Sanskrit by D. T. Suzuki, 1932, p. 231)
242) In the 99 Names of Allah, the 60th Name is Al-Mûeed:
The Reproducer, The One who brings back the creatures after death.
["Al-Karim, the Munificent, who is not only rich but generous"
was listed as the 60th Name of Allah
in Arthur Jeffrey, Islam: Muhammad and His Religion (1958), pp. 93-98].
243) Chapter 60 of Mohammed's Holy Koran is titled "The Examined One"
O you who believe! do not take My enemy and your enemy for friends:
would you offer them love while they deny what has come to you of the truth,... (60.1)
Our Lord! do not make us a trial for those who disbelieve,
and forgive us, our Lord! surely Thou art the Mighty, the Wise. (60.5)
... surely Allah is the Self-sufficient, the Praised. (60.6)
... Allah is Powerful; and Allah is Forgiving, Merciful. (60.7)
... surely Allah loves the doers of justice. (60.8)
... ask forgiveness for them from Allah; surely Allah is Forgiving, Merciful.
Mohammed, Holy Koran Chapter 60 (7th century AD)
(translated from by M.H. Shakir, Koran: The Examined One, 1983)
244) 60th Verse of Chapter 7 in Santideva's Bodhicaryavatara:
In the midst of a multitude of passions (klesa)
one should e a thousand times more fierce
and as hard to be conquered by the hosts
of passion as the lion by herds of antelopes.

Santideva's Bodhicaryavatara: Entering the Path of Enlightenment
VII.60 (Perfection of Strength) (circa 700 AD)
(translated by Marion L. Matics, Macmillan, London, 1970, p. 191); Bodhisattva Path
245) Section 60 of Recorded Sayings of Zen Master Joshu:
A monk asked, "What is your intention?"
The master said, "There is no method to it."
Chao Chou (778-897),
The Recorded Sayings of Zen Master Joshu
translated by James Green, AltaMira Press, Walnut Creek, CA, 1998, p. 30
246) Section 60 of Record of the Chan Master "Gate of the Clouds":
Someone asked Yunmen, "What is it like when all powers are exhausted?"
The Master said, "Bring me the Buddha Hall; then I'll discuss this with you."
The questioner asked, "Isn't that some different matter?"
The Master shouted, "Bah! Windbag!"
Master Yunmen (864-949),
Record of the Chan Master "Gate of the Clouds"
translated by Urs App, Kodansha International, NY & Tokyo, 1994, p. 116
247) 60th Teaching of Teachings of Quetzalcoatl:
[Ce Acatl told them:] "Even more, enjoy the wealth of the one who torments you,
the one who makes you pure. For he has placed in you his water of an intense blue,
his water of jades, and his cup of turquoise to wash your soul and your life
so you will deserve your own existence."

Quetzalcoatl Ce Acatl (b. 947 A.D.),
Gospel of the Toltecs: The Life & Teachings of Quetzalcoatl, XI.60
by Frank Díaz, Bear & Company, Rochester, VT, 2002, p. 152
248) Case 60 of Hekiganroku: Ummon's Staff Becomes a Dragon
Main Subject: Ummon held out his staff and said to the assembled monks,
"The staff has transformed itself into a dragon and swallowed up the universe!
Where are the mountains, the rivers, and the great world?

Setcho's Verse:
The staff has swallowed up the universe.
Don't say peach blossoms float on the waters.
The fish that gets its tail singed
May fail to grasp the mist and clouds.
The ones that lie with gills exposed
Need not lose heart.
My verse is done.
But do you really hear me?
Only be carefree! Stand unwavering!
Why so bewildered?
Seventy-two blows are not enoughm
I want to give you a hundred and fifty.
Setcho (980-1052), Hekiganroku, 60 (Blue Cliff Records)
(translated by Katsuki Sekida, Two Zen Classics, 1977, pp. 311-312)
249) Chang Tsai (1020-1077), Correcting Youthful Ignorance, Section 60:
The Buddhists do not understand destiny decreed by Heaven and think that the
production and annihilation of the universe are due to the elements of existence
(dharmas) created by the mind. They regard the small (human consciousness) as the
cause of the great (reality), and the secondary as the cause of the fundamental.
Whatever they cannot understand thoroughly, they regard as illusion or error.
They are indeed [summer insects] which doubt the existence of ice.

(Wing-Tsit Chan, A Source Book in Chinese Philosophy, 1963, p. 515)
250) Ch'eng Hao (1032-1085), Selected Sayings, Section 60:
Loyalty and faithfulness are spoken of with reference to man.
Essentially, they are concrete principles.

(Wing-Tsit Chan, A Source Book in Chinese Philosophy, 1963, p. 540)
251) Ch'eng I (1033-1107), Selected Sayings, Section 60:
Question: Since man's nature is originally clear, why is there obscuration?
Answer: This must be investigated and understood. Mencius was correct in saying
that man's nature is good. Even Hsün Tzu and Yang Hsiung failed to understand
man's nature. Mencius was superior to other Confucianists because he understood
mans nature. There is no nature that is not good. Evil is due to capacity. Man's
nature is the same as principle, and principle is the same from the sage-emperors
Yao and Shun to the common man in the street. Capacity is an endowment from material
force. Material force may be clear or turbid. Men endowed with clear material force
are wise, while those endowed with turbid material force are stupid.

Further question: Can stupidity be changed?
Answer: Yes. Confucius said, "The most intelligent and the most stupid do not change."
But in principle they can. Only those who ruin themselves and cast themselves away
do not change... If they are willing to learn, in principle they can change.

(Wing-Tsit Chan, A Source Book in Chinese Philosophy, 1963, pp. 567-568)
252) Chapter 60: The Evidence of Accomplishment
from Mila Grubum or The Hundred Thousand Songs of Milarepa:
At one time when Milarepa was staying at the Sky Castle on Red Rock Mountain Peak,
some sheep-owners came from Drin to visit him. They said, "Please give us some
instructions that will help our minds." Milarepa replied, "If you want to receive
the Dharma, you had better follow my example and first renounce the things that
are against it." They asked, "But what are they?". In answer, Milarepa sang:

Hearken to me, friends and patrons!
An act that has no meaning,
Unnatural pretense, and fearless empty talk,
are three things against the Dharma
Which I have renounced. 'Tis good
For you to do the same.

The place that inflates one, the group
That stirs up quarrels, the status
By hypocrisy maintained...

The Guru with little knowledge,
The disciple with small faith,
The brother who keeps little discipline...

The wife who always complains,
The sons who e'er need punishment,
The servant who ever swaggers,
Are three things against the Dharma
Which I have renounced. 'Tis good
For you to do the same.

One day a Tantric yogi from Weu came to visit Milarepa and asked,
"With what simile would you describe the mind's nature?"
In answer, Milarepa sang:

This non-arising Mind-Essence cannot
Be described by metaphors or signs;
This Mind-Essence that cannot
Be extinguished is of-described
By fools, but those who realize
It, explain it by itself.
Devoid of "symbolized" and "symbolizer",
It is a realm beyond all words and thought.
How wondrous is the blessing of my Lineage!

Hearing this song, the yogi was awakened from his previous misconceptions,
and was confirmed with an irrevocable faith toward Milarepa, who accepted him
as a servant-disciple and initiated him with the Instructions. Through practice
he eventually became an outstanding & enlightened yogi.

Milarepa (1040-1123), The Hundred Thousand Songs of Milarepa, Ch. 60
(translated by Garma C. C. Chang, Shambhala, Boston, 1999, pp. 658-661)
253) Aphroism 60 of Guigo's Meditations:
It is snare you eat, drink, wear, sleep. All things are a snare.
Guiges de Chastel (1083-1137), Meditations of Guigo, Prior of the Charterhouse
translated by John J. Jolin, Marquette University Press, Milwaukee, 1951, p. 14
254) Section 60 of Tai Hui's Swampland Flowers— How to Teach:
Now that you've obtained outside support, you're thinking that you can put
aside human affairs and do Buddhist things all the time with patchrobed monks.
Over a long time, as you become especially excellent, you can expect furthermore
to conduct detailed examinations with them in your room. You must not tolerate
human feelings, or fall into the weeds with them. Instruct them directly with
your own provisions, and teach them to awaken and attain for themselves: only
then will it be the way venerable adepts help others. If you see them lingering
in doubt without comprehending, and so you add footnotes for them, not only do
you blind their eyes, but also you lose the proper method of your own family.

Tai Hui (1088-1163),
Swampland Flowers (Letters and Lectures of Zen Master Ta Hui)
Letter to Master Kuei
translated by Christopher Cleary, Grove Press, New York, 1977, p. 110
255) Arthur's falcon flies away to the forest
in Line 60 of Chapter 6 in Eschenbach's Parzival:
Their finest falcon there they lost.
Sudden it left them, flying
And to the forest hieing.
That was because 'twas overfed
And from their bait it simply fled.
All night with Parzival it stood,
Since neither of them knew the wood
And with the cold they nearly froze.
Wolfram von Eschenbach (1165-1217) Parzival (1195)
Book VI: "Parzival at King Arthur's Court", Lines 56-63
(translated by Edwin H. Zeydel & Bayard Quincy Morgan,
University of North Carolina, Chapel Hill, 1951, p. 144)
256) Section 60 in Chapter II:
"The Essentials of Learning" of Chu Hsi's Chin-ssu lu (1175):
Question: In order always to be doing something, should we exercise seriousness?
Answer: Seriousness is one item in moral cultivation. In order always to be doing
something, we must accumulate righteousness. Merely to exercise seriousness
without accumulating righteousness amounts to having done nothing.
Further Question: Does righteousness not mean to be in accord with principle?
Answer: Being in accord with principle has to do with things and affairs.
Righteousness has to do with the mind. In moral cultivation, one must exercise
seriousness. In handling affairs, one must accumulate righteousness.

Chu Hsi (1130-1200), Reflections on Things at Hand (Chin-ssu lu)
translated by Wing-Tsit Chan
Columbia University Press, NY, 1967, p. 66
257) Section 60 of William of Auvergne's The Trinity, or the First Principle:
Therefore, wisdom is not present to him subsequent to the will itself.
But it would be present to him subsequently, if it was acquired by him and
was not his by essence. Hence, wisdom will be in him essentially. But if
his will is acquired, it is necessary that it came to him from his essence
or from the outside from another. It is not possible that his will came
to him from his essence... Moreover, when the things themselves were not,
the maker of them chose that they be rather than not be; then their being
(esse) was necessarily apprehended and known and chosen and willed. They
themselves were utterly not, and a non-being can in no sense be the cause
of what is. Therefore, they cannot be the cause of the cognition and choice
concerning them. Hence, cognition and choice were not acquired through them,
nor were they acquired by teh first maker through his essence; therefore,
they are not acquired by him. Hence, they are essential to him.

William of Auvergne (1180-1249), The Trinity, or the First Principle, Ch. IX
(translated by Roland J. Teske & Francis C. Wade,
Marquette University Press, Milwaukee, 1989, pp. 101-102)
258) Chapter 60 of Rumi's Discourses (Fihi ma fihi):
Abu-Bakr was not given preference because of much praying, fasting, and alms-giving.
He was revered because of what was in his heart... So the principal thing is love.
Now, when you see love in yourself, make it increase and grow more. When you see
in yourself "capital", which is the urge to seek, increase it by seeking, as is said,
"Blessing is in work." If you don't increase your capital, you will lose it.
You are no less than the earth which is altered by working it and turning it over
with a spade so that it will yield crops, but if left alone it will turn hard.
So when you see the urge to seek within yourslelf, get busy and don't ask what
the use of this coming and going is. Just keep going: the use of a man's going
to a shop is to say what he needs. God gives no bread to those who idles at home.
    God created the universe, heavens and earth, the sun and moon and
planets, as well as good and evil to remember Him, serve Him and glorify Him.
Jelaluddin Rumi (1207-1273)
Signs of the Unseen: Discourses of Rumi, Chapter 60
(Translated by W. M. Thackston, Jr., Threshold Books, Putney, VT, 1994, pp. 224-226)
259) Letter 60 of The Letters of Marsilio Ficino:
Exhortatio ad modestiam et studia literum:
An encouragement to modesty and the study of literature
Marsilio Ficino to the magnanimous Giuliano de' Medici: greetings.
Even if my love for you is such that I cannot be a perfect judge in your affairs,
or rather mine, yet Giuliano, since you ask, I shall say what I think first then,
I praise your prudence, because you do not trust your own ability, but consult an
older man. For you know how high an opinion everyone holds of himself, through his
own self love. Then I praise a natural sweetness in your letter; with only a pen you
seem to me to have expressed, like some painters can, the beauty of your eyes and
the charm of your mouth, just as you always do with your look and your tongue.
    So press on, Giuliano, sweetest of all. Press on, I beseech you.
Cultivate the Tusculan gardens lovingly, as you have already begun. For if you
practise picking the Tullian flowers for a year, you will one day strike the
divine honey. If I may commend your own to you, may I especially commend
Andrea Cambini. Farewell.

Marsilio Ficino (1433-1499), Letter to Francesco Marescalchi of Ferrara (6th September, 1474)
The Letters of Marsilio Ficino, Vol. I, Shepheard-Walwyn, London, 1975, p. 107
260) Section 60 of Lo Ch'in-shun's Knowledge Painfully Acquired:
The successful deployment of troops requires first of all an understanding
of circumstances. There are the circumstances of the empire, the circumstances
of a given area, and the circumstances of a given battle. Understanding them
will lead to success, while failure to understand them leads to defeat, and
the benefit and harm involved in success and defeat are incalculable.

Lo Ch'in-shun (1465-1547), Knowledge Painfully Acquired or K'un-chih chi
translated by Irene Bloom, Columbia University Press, NY, 1987, p. 96
261) Section 60 of Wang Yang Ming's Instructions for Practical Living:
The Teacher said: “In trying to master oneself, every selfish thought
must be thoroughly and completely wiped out without leaving even an iota.
If an iota remains, many evils will come one leading the other.”

Wang Yang Ming (1472-1529),
Instructions for Practical Living or Ch'uan-hsi lu (1518), I.60
(translated by Wing-tsit Chan, Columbia University Press, NY, 1963, p. 44)
262) Verse 60 in Book II of Angelus Silesius The Cherubinic Wanderer (1657):
Vom lieben.

Mensch wilst und liebstu nichts
so wilst und Liebstu wol:
Wer gleich liebt was er wil
liebt doch nicht was er sol.
Of Love

He wills and loves right
who wills and loves naught:
Who loves what he wills,
loves not what he ought.
Angelus Silesius (1624-1677), The Cherubinic Wanderer II.60
translated by J. E. Crawford Flitch (#249),
Angelus Silesius' Cherubinischer Wandersmann
George allen & Unwin, London, 1932, p. 106 (German version, IV.38)
263) Section 60 of Swedenborg's Worlds in Space (1758):
When the spirits of Jupiter saw the horses of this world, these looked to me
smaller than usual, although they were quite strong and tall. This was due to
the idea those spirits had of their own horses. they said that theirs were similar,
but much bigger; they run wild in the forests and terrify them when they are sighted,
though they do no harm. They also said they feel a naturally ingrained fear of them.
This made me think about the cause of their fear. A horse in the spiritual sense
means the intellectual faculty formed from factual knowledge; and since they are
afraid of developing this faculty by means of knowledge acquired from the world,
this makes them afraid. as will be seen in what follows, they are not interested
in the factual knowledge which constitutes human learning.

Emanuel Swedenborg (1688-1772), The Worlds in Space, 60
(translated from Latin by John Chadwick, Swedenborg Society, London, 1997, p. 39-40)
264) Section 60 of Sage Ninomiya's Evening Talks: The Spirit of Independence
In the Analects of Confucius, there is a passage which says that when the ruler
is sincere, the ruled trust him. A child puts what it prizes most in charge of its
mother never doubting it will be safeguarded. This it does because the child is
conscious of the sincerity of its mother... When you consider yourself as having
descended from heaven all alone upon undeveloped land at the beginning of the world,
you feel refreshed and invigorated as if you had cleaned your body with running water.
In every thing once you have made up your mind in this way, you will have have no
spirit of dependance, no mean, cowardly mind, will not feel envious of anything and
as your mind is clean and pure, you are certain to achieve whatever object you have
in view. This frame of mind is at the root of success and is the secret of my teaching.
Once you have it, it is very easy to restore prosperity to a dilapidated village or to
resuscitate a ruined family. It is only this spirit that counts in accomplishing such tasks.

Sontoku Ninomiya (1787-1856),
Sage Ninomiya's Evening Talks, Section 60
translated by Isoh Yamagata from Ninomiya-Ô Yawa,
Tokuno Kyokai, Tokyo, 1937, pp. 118-119)
265) "The Symbol of the Fourth Dimension" is the title of Chapter 60 in Franklin Merell-Wolff's
Pathways through to Space (1936)
Here the fourth dimension represents the Higher Consciousness, by whatever name we may know It, such as Cosmic Consciousness, Specialism, Christ Consciousness, Transcendental Consciousness, Nirvana, etc. We may call this dimension "Profundity". Now, the actuality of Profundity can be realized only by Awakening in the direciton of this Fourth Dimension. It may be 'projected' downward into the three-dimensional field of sensation-affection-cognition, but this projection is not any more the actuality of Profundity than the descriptive plan of a bridge is the bridge itself... The important point is that the lesser Awakening which separates or distinguishes a God-Man from the ordinary man involves the arousing of an entirely new capacity. Degree of development in terms of the new capacity is a matter of evolution on a higher level, but that which distinguishes an animal, a man, and a God-Man is not a question of degree, but of awakening to a new dimension of consciousness... the greater portion of the best in religion, morals, art, philosophy, and science has come from the hands or lips of those Men who have had this Higher Awakening in at least some degree. Here is an effect that the man limited to three dimensions of consciousness can in some measure evaluate and appreciate, even though the Key Power is as yet beyond his understanding. In fact, two of the earmarks of the Illumined Man are afforded by an increase, amounting sometimes almost to a revolution, in the intellectual and affectional functions or dimensions.
Franklin Merrell-Wolff
Franklin Merrell-Wolff (1887-1985), Pathways through to Space,
Chapter LX: The Nameless (September 14, 1936)
(2nd Edition, Julian Press, NY, 1973, pp. 148-154)
Verse 60 in Jack Kerouac's Sutra,
Scripture of the Golden Eternity (1960):

Up in heaven you wont remember all these tricks of yours. You wont even sigh "Why?" Whether as atomic dust or as great cities, what's the difference in all this stuff. A tree is still only a rootdrinker. The puma's twisted face continues to look at the blue sky with sightless eyes, Ah sweet divine and indescribable verdurous paradise planted in mid-air! Caitanya, it's only consciousness. Not with thoughts of your mind, but in the believing sweetness of your heart, you snap the link and open the golden door and disappear into the bright room, the everlasting ecstasy, eternal Now. Soldier, follow me!— there never was a war. Arjuna, dont fight!— why fight over nothing? Bless and sit down.
Jack Kerouac (1922-1969)
The Scripture of the Golden Eternity
Totem/Corinth Book, NY, 1970, pp. 41-42
267) Chapter 60 of Wei Wu Wei's Ask the Awakened (1963) is "Testamentary":
The ultimate teaching of the Buddha— the Prajnaparamita— tells us quite definitely if not clearly what is required of us. Either this message cannot be or should not be imparted simply and directly. This teaching seems to be that no kind of reality exists or could exist, that it is only an idea and that it constitutes an impassable barrier around us... In pure negation there is no object, and without an object there can be no subject: one is no longer. It is just that which we have to understand— that we are not.
    Once that is understood, perhaps then it will be possible once more to see mountains as mountains and rivers as rivers, but in a perspective that was not available before. How is that? At the limit of our present comprehension there seems to be pure consciousness, called the One-Mind or No-Mind in Buddhism, and the Self or Atma in Vedanta. As we have seen, this is void— 'the' Void if you must make an entity of it. But this 'empty' consciousness manifests, and this manifestation is the objectivisation of subjectivity which consciousness inevitably is...
    On the path to enlightenment we perceive: (1) the world— referred
to as 'mountains and rivers'— as real; (2) later, we perceive them as consciousness
itself, manifesting as 'mountains and rivers', that is to say as heretofore but with
difference of perspective. But this third perception is not a perception of reality:
it is still phenomenal, a conceptualised perception.
    But knowing ourselves as this still conceptual pure consciousness
is already to know ourselves as void— because it is void; it is nevertheless
to know ourselves as not being anything that is 'positive', 'real', or 'personal'.
    There could not be any 'we' in pure consciousness that is void.
Pure consciousness is not anything but a way of indicating that into which
all ideas of separate selfdom must necessarily dissolve. It is the solvent,
the catalyser of our conceptual notion of being— for once 'we'
know ourselves to be that, 'we' are not any longer.
Wei Wu Wei (1895-1986), Ask the Awakened (1963), pp. 190-191

Paul Brunton (1898-1981),
Notebooks of Paul Brunton,
XV, Paras #60
from various chapters
Volume 15:
Advanced Contemplation
& The Peace Within You
Larson Publications,
Burdett, NY, 1988,
Part I: pp. 11, 74, 136, 222;
Part II: pp. 22, 45, 85

Para #60 from Volume 15 of Paul Brunton's
Notebooks: "Advanced Contemplation"—
The Short Path offers the quickest way to the blessings
of spiritual joy, truth, and strength. For since these things
are present in the Overself, and since the Overself is present
in all of us, each of us may claim them as his own by the direct
declaration of his true identity. This simple act requires him to
turn around, desert the dependence on personal self, and look to
the original Source whence flows his real life and being, his true
providence and happiness. Disregarding all contrary ideas that the
world outside thrusts upon him, disdaining the ego's emotions and
desires concerning them, he "prays without ceasing" to that Source.
That is, he keeps himself concentrated within upon it until he can
feel its liberating qualities and expand in its sunny glories.
The secrets which the stillness has to tell him are not to be
discovered through any activity of the fussy and pretentious personal ego.
It cannot bring to him even to one of them, so it had better stop all its
activities for truth-getting on the Long Path and take to the Short Path.
The practice of extending love towards all living creatures
brings on ecstatic states of cosmic joy.
It is an experience which comes of itself, not constructed by the ego
and not following the intake of a hallucinogenic drug. It leads into
a consciousness where there are no objects, no activities,
and no others.It is a zero, a nothing, yet simultaneously
an utter intensity, clarity, and purity of consciousness.
Para #60 from Volume 15 of Paul Brunton's
Notebooks: "The Peace Within You"—
He must find and keep a centre within himself which he is
determined to keep inviolate against the changes, alarms, and
disturbances of the outside world. Human life being what it is,
he knows that troubles may come but he is resolved that they shall
not invade this inner sanctuary and shall be kept at a mental distance.
This is an art, indeed, to live alone in the midst of the multitude. (3.60)
The feeling of oneness with others will not last if he is carried
farther by this indrawing force. They seem removed from him,
receding, and then vanishing. (4.60)
269) "The Pendulum Of Emotion" is Lesson 60
of Subramuniyaswami's Merging with Siva (1999):
    Man, awareness, seeks happiness, and when he finds happiness, he often finds fault with it, and then he becomes aware in unhappy areas of the mind. This gives him the power to seek happiness again. Man finds fault with happiness and begins to look for something better. In looking for something better, he becomes selfish, greedy, unhappy, and finally he attains what he thinks will make him happy. He finds that it does not, and this makes him again unhappy, and he goes on through life like this. That is the cycle of awareness traveling through the instinctive-intellectual areas of the mind. Therefore, when you are unhappy, don't feel unhappy about it! And when you become happy, know that the pendulum of awareness will eventually swing to its counter side. This is the natural and the normal cycle of awareness.
    When you are feeling unhappy and you feel unhappy because you are unhappy, and you feel rather ill all over, sit down and breathe deeply. Try to control your individual awareness and become aware of an area of the mind that is always buoyant and happy. Be gentle with your awareness. Realize that you are not the unhappy area of the mind that you are aware of. Whatever was the cause of your unhappiness doesn't really matter, because the powerful radiance within the lotus of the heart knows nothing of this unhappy area of the mind. You will be surprised at how quickly your awareness will move from the unhappy area of the mind, seemingly rejuvenate itself and become joyous again at the very thought of the Self God within the lotus of your heart.

Satguru Sivaya Subramuniyaswami (1927-2001)
Merging with Siva: Hinduism's Contemporary Metaphysics
Himalayan Academy, Kapaa, Hawaii, 1999
270) Chapter 60 of Zen Master Seung Sahn's
Dropping Ashes on the Buddha is titled "What Nature Is Saying to You":
Soen-sa said, "What is this thing that you call the self? When you understand what it is,
you will have returned to an intuitive oneness with nature, that nature is the Buddha,
who is preaching to us at every moment. I hope that all of you will be able to hear
what nature is saying to you."...
A student asked, "Why do some see and others not?"
Soen-sa said, "In the past, you have sown certain seeds that now result in your
encountering Buddhism. Not only that— some people come here only once, while
others stay and practice very earnestly. When you practice Zen earnestly, you are
burning up the karma that binds you to ignorance. In Japanese the word for 'earnest'
means 'to heat up the heart'. If you heat up your heart, this karma, which is like
a block of ice, melts and becomes liquid. And if you keep up heating it, it becomes
steam and evaporates into space. Those people who practice come to melt their hindrances
and attachments. Why do they practice? Because it is their karma to practice, just as it
is other people's karma not to practice. Man's discriminating thoughts build up a great
thought-mass in his mind, and that is what he mistakenly regards as his real self. In fact,
it is a mental construction based on ignorance. The purpose of Zen meditation is to dissolve
this thought-mass. What is finally left is the real self. You enter into the world of the
selfless. And if you don't stop there, if you don't think about this realm or cling to it,
you will continue in your practice until you become one with the Absolute.
    The first student said, "What do you mean by the Absolute?"
Soen-sa said, "Where does that question come from?"
The student was silent.
Soen-sa said, "That is the Absolute."
"I don't understand."
"No matter how much I talk about it, you won't understand. The Absolute is precisely something
you can't understand. If it could be understood, it wouldn't be the Absolute."
"Then why do you talk about it?"
"It is because I talk about it that you ask questions.
That is how I teach, and how you learn."
Seung Sahn (born 1927),
Dropping Ashes on the Buddha:
The Teaching of Zen Master Seung Sahn
Edited by Stephen Mitchell, Grove Press, New York, 1976, pp. 132-134
271) Koan 60 of Zen Master Seung Sahn—
The True Meaning of the Cypress Tree in the Garden:

A long time ago in China, someone asked Zen Master Joju,
"Why did Bodhidharma come to China?"
"The cypress tree in the garden," he replied.
Years later, Zen Master Song Sang commented:
  "Fish moving, water becomes cloudy.
    Birds flies, a feather falls."
Many Zen Masters have offered commentaries on Song Sang's verse.
Zen Master Hae Am commented:
  "Self-nature is already clear.
    Mind moving is already a big mistake."
  1. Joju said, "The cypress tree in the garden."
      What does this mean?
  2. Song Sang said, "Fish moving, water becomes cloudy.
      Birds flies, a feather falls."
      Where is his mistake? Where is there not a mistake?
  3. "Self-nature is already clear.
      Mind moving is already a big mistake."
      That is only an explanation. What is the true meaning?
Zen Masters Hae Am and Song Sang are wrestling with each other.
They hit and kick each other. Blood is flowing; their faces are broken
and bruised. But they still don't understand whey they are wrestling.
The cypress tree is clearly in front of you in the garden.
So why are they wrestling together? They have no eyes and
no consciousness. In the clear mirror, red comes— red is reflected;
white comes— white. Don't make anything. Just see it, just do it.
This is better than opening your mouth. Watch your step!

Seung Sahn (born 1927),
The Whole World Is A Single Flower
365 Kong-ans for Everyday Life
Tuttle, Boston, 1992, pp. 50-51

60 in Poetry & Literature
272) Apollo shooting arrows of death onto the beach in Line 60 from Book I of Homer's Iliad
He [Achilles] settled near the ships and let loose an arrow
Reverberation from his silver bow hung in the air.
He picked off the pack animals first, and the lean hounds,
But then aimed his needle-tipped arrows at the men
And shot until the death-fires crowded the beach.

Homer, The Iliad, I.56-60 (circa 800 BC)
(translated by Stanley Lombardo)
Hackett Publishing Co., Indianapolis, IN, 1997, p. 3
273) "Pillars that keep earth and heaven apart" [Atlas]
in Line 60 from Book 1 of Homer's Odyssey
A wooded isle [Ogygia] that is home to a goddess,
The daughter [Calypso] of Atlas, whose dread mind knows
All the depths of the sea and who supports
The tall pillars that keep earth and heaven apart.
His daughter detains the poor man [Odysseus] in his grief,
Sweet-talking him constantly, trying to charm him
Into forgetting Ithaca [for 7 years], But Odysseus..."

Homer, The Odyssey, I.57-63 (circa 800 BC)
(translated by Stanley Lombardo)
Hackett Publishing Co., Indianapolis, IN, 2000, p. 3
274) Han-shan's Poem 60 of Collected Songs of Cold Mountain:
farmers with lots of mulbery groves
buffalo calves filling stables and ruts
willing to believe in cause and effect
the numbskulls crack sooner or later
their eyes see it all used up
then everyone on their own
paper pants and tiles for shorts
frozen and starved in the end
Han-shan (fl. 627-649), Collected Songs of Cold Mountain,
Poem 60 (translated by Red Pine, 1990)
( Robert G. Henricks translation, 1990; Burton Watson translation, 1962)
275) Poem 60 of The Poetry of Wang Wei:
A Meal for the Monks of Mt. Fufu

Late did I know the clean and pure doctrine,
Daily more removed from the crowd of men.
Now awaiting the distant mountain's monks,
Ahead of time I sweep my poor thatched hut.
And truly from within cloudy peaks
They come to my humble home of weeds.
On grass mats we dine on pine nuts,
Burn incense, and read books of the Tao.
Light the lamp: daylight's almost gone.
Ring stone chimes: night has just begun.
I have already realized solitude is a joy;
This life is more than serene.
Why think seriously of return?
A lifetime is like the empty void.
Wang Wei (701-761), The Poetry of Wang Wei, Poem 60
translated by Pauline Yu,
Indiana University Press, Bloomington, IN, 1980, p. 141
276) Poem 60 from The Manyoshu:
Composed when Prince Hozumi was despatched by imperial
command to a mountain temple of Shiga in Omi.

Rather than stay behind to languish,
I will come and overtake you—
Tie at each turn of your road
A guide-knot, my lord!

The Manyoshu, Poem 28 (circa 750 AD)
(The Nippon Gakujutsu Shinkokai translation of One Thousand Poems
Foreword by Donald Keene, Columbia University Press, NY, 1965, p. 22) Japanese text
277) Poem 60 of Selected Poems of Po Chü-I:
I wondered why the covers felt so cold,
then I saw how bright my window was.
Night far gone, I know the snow must de deep—
from time to time I hear the bamboos crackinng.
Po Chü-I (772-846), Selected Poems, Poem 60
translated by Burton Watson,
Columbia University Press, New York, 2000, p. 76
(translated by David Hinton)
278) Poem 60 of Su Tung-p'o (1036-1101)
is titled "Eastern Slope" (1083):
Rain has washed Eastern Slope, the moon shines clear;
Where townsmen walked earlier, farmers pass.
Why mind jagged stones on the hillside path?
I like the ringing sound my stick makes when it strikes.

translated by Burton Watson,
Su Tung-P'o: Selections from a Sung Dynasty Poet,
Columbia University Press, New York, 1965, p. 98
279) Verse 60 of Rubáiyát, of Omar Khayyam (1048-1122):
The mighty Mahmud, Allah-breathing Lord
That all the misbelieving and black Horde
Of Fears and Sorrows that infest the Soul
Scatters before him with his whirlwind Sword.
(translated by Edward Fitzgerald, London, 1st edition 1859, 2nd edition 1868)
280) Verse 60 of Saigyo's Mirror for the Moon:
In the portrait
Emerging on the moon I spied
Your face... so clearly,
The cause of tears which then
Quickly cast the moon in clouds again.

Saigyo (1118-1190), Mirror for the Moon,
(translated by William R. LaFleur, New Directions, NY, 1978, p. 32)
281) Verse 60 of Kenreimon-in Ukyo no Daibu's The Poetic Memoirs of Lady Daibu:
That your heart may be compared
To this tiny boat
Pushing through the reeds
The depth of scarlet in your words
Tells to me full well.

Kenreimon-in Ukyo no Daibu (1151-1232), The Poetic Memoirs of Lady Daibu,
(translated by Phillip Tudor Harries, Stanford University Press, 1980, p. 111)
282) Verse 60 of Dogen (1200-1253):
A firefly's
soft glimmer,
As the mountain ridge
Faintly appear under the
Dim glow of the moon.

(translated by Steven Heine,
Zen Poetry of Dogen,
Tuttle, Boston, 1997, p. 118)
283) Verse 60 of Rumi Daylight:
Know that a word suddenly shot from the tongue
is like an arrow shot from the bow.
Son, that arrow won't turn back on its way;
you must damn a torrent at the source.

Jelaluddin Rumi (1207-1273), Mathnawi, I.2195-8
Rumi Daylight, Verse 60
(Edited by Camille & Kabir Helminski, 1994, p. 45)
284) The 60th Canto of Dante's Commedia is Canto 26 of Purgatorio
where Dante is in the 7th Cornice, the Rein of Lust.
Here he meets the souls of Guido Guinizelli & Arnaut Daniel.
In line 60, Dante refers to Beatrice guiding him higher:
Quinci sù vo per non esser più cieco;
donna è di sopra che m'acquista grazia,
per che 'l mortal per vostro mondo reco.
I go to be no longer blind. Above
there is a lady wins us grace, and I
still mortal, cross your world led by her love.
Purgatorio XXVI.58-60 (John Ciardi translation, Norton, NY, 1977, p. 342)
285) Dante pushed back into the sunless wood by the She-Wolf
in the 60th line of the Inferno:
tal mi fece la bestia sanza pace,
che, venendomi 'ncontro, a poco a poco
mi ripigneva là dove 'l sol tace.
I wavered back; and still the beast pursued,
forcing herself against me bit by bit
till I slid back into the sunless wood.
Inferno I.58-60 (John Ciardi translation, Norton, NY, 1977, p. 4)
286) 60th word in Dante's Paradiso is memoria (memory)
perché appressando sé al suo disire,
nostro intelletto si profonda tanto,
che dietro la memoria non può ire.
not speak; for nearing its desired end,
our intellect sinks into an abyss
so deep that memory fails to follow it.
  Paradiso I.7-9 (Allen Mandelbaum translation, 1980)
287) In the 60th line of Paradiso, Dante felt like iron out of the fire after gazing at the sun:
Io nol soffersi molto, né sì poco,
ch'io nol vedessi sfavillar dintorno,
com'ferro che bogliente esce del foco;
I did not bear it long, but not so briefly
as not to see it sparkling round about,
like molten iron emerging from the fire;
  Paradiso I.58-60 (Allen Mandelbaum translation, 1980)
288) Poem 60 of The Zen Works of Stonehouse:
Reasoning comes to an end
a thought breaks in the middle
all day nothing but time
the whole year undisturbed
on a pristine mountain clouds float free
in a clear sky the moon is a lonesome o
even if physical discipline worked
it wouldn't match knowing Zen

Ch'ing-hung (1272-1352), The Zen Works of Stonehouse, Poem 60
translated by Red Pine (Bill Porter),
Mercury House, San Francisco, p. 31 (Zen Poems)
289) Verse 60 of Hafiz: The Tongue of the Hidden:
Has man the Phoenix ever made his prey?
Its name is known, and more no man can say;
    The substance lacks— so immortality:
Draw in the nets, they snare but wind and spray.

Hafiz (1320-1389), Hafiz: The Tongue of the Hidden, Verse 60
adaptation by Clarence K. Streit, Viking Press, NY, 1928
(Author on Time cover, March 27, 1950)
290) Verse 60 of The Divan of Hafez:
My heart is the harem of his love, and
My eye a mirror held before his face.
You and the Tuba, I and the beloved's stature;
Each person's thought is as great as his effort.
The kingdom of love and the treasure of delight,
Whatever I have is thanks to the auspices of his wealth.
Do not look at Hafez's outward poverty.
His breast is the treasury of the love of his.

Hafiz (1320-1389), The Divan of Hafez, Verse 60
translated from the Persian by Reza Saberi,
University Press of American, Lanham, MD, 2002, p. 73
291) "Precious pearl" in Line 60 of the Pearl Poet's The Pearl:
I slode upon a slepyng-slaghte
On that precios perle wythouten spot
Fro spot my spyryt ther sprang in space;
My body on balke ther bod in sweven.
My gost is gon in Godes grace
In aventure ther mervayles meven.
I slid into a deep sleep
on that spotless precious pearl.
From that place my spirit sprang into space
my body stayed there asleep on the mound.
In sleep, through God's grace,
my spirit went to places where marvels occur.
The Pearl (c. 1370-1400), Lines 59-64
(Ed. Malcolm Andrew & Ronald Waldron, 1987, p. 57)
(Other Pearl translations: by Bill Stanton, by Vernon Eller)
292) Line 60 from the Pearl Poet's Sir Gawain and the Green Knight: "a marvel to behold"
Wyle Nw Yer was so yep that hit was nwe cummen,
That day doubble on the dece was the douth serve.
While New Year was so new that it was only just arrived,
That day the company on the dais was served with double portions.
Sir Gawain and the Green Knight (c. 1375-1400) Lines 60-61
(Verse translation by J. J. Anderson, J.M. Dent, London, 1996, p. 169)
293) Verse 60 of Songs of Kabir:
The savour of wandering in the ocean of deathless life
    has rid me of all my asking:
As the tree is in the seed, so all diseases
    are in this asking.
Kabir (1398-1448), Songs of Kabir, Verse LX
(Translated by Rabindranath Tagore, Macmillan, NY, 1916, pp. 104-105)
294) Song 60 of Kabir's Raga Gauri-Purabi:
Dirty water,
white earth:
From these
a puppet was formed.
I am nothing. Nothing is mine.
Body, wealth, life, O Gobind, are Yours.
Breath was blended
with this earth;
the puppet began to walk,
infused with false delusion.
Many saved and amassed
hundreds of thousands—
but in the end
the clay-pot shattered.
Kabir, say, "The sole foundation
that you laid
was destroyed in a minute,
O proud one."
Kabir (c. 1398-1518)
Songs of Kabir from the Adi Granth (translated by Nirmal Dass)
State University of New York Press, Albany, 1991, p. 90
295) Sloka 60 of Kabir's Slokas of Kabir:
I have neither shed nor hut,
neither a house nor a village.
Hari, don't ask who I am:
I have neither caste nor name.
Kabir (c. 1398-1518)
Songs of Kabir from the Adi Granth (translated by Nirmal Dass)
State University of New York Press, Albany, 1991, p. 270
296) Chapter 60 of Wu Ch'eng-en The Journey to the West:
The Bull Demon King stops fighting to attend a lavish feast;
Pilgrim Sun seeks for the second time the palm-leaf fan.

In less than half an hour Pilgrim came upon a tall mountain. He lowered his cloud
and stood on the peak to look all around. It was indeed a fine mountain:
    Though not too tall,
    Its top touches the blue sky;
    Though not too deep,
    Its roots reach the yellow spring.
    Before the mountain the sun's warm;
    Behind the mountain the wind's cold;...
    The dragon lagoon's joined by an overflowing brook;
    Flowers bloom early by the cliff's tiger lair.
    Water flows like countless strands of flying jade,
    And flowers bloom like bunches of brocade.
    Sinuous trees twist round the sinuous peak;
    Craggy pines grow beyond the craggy rocks.
    Truly we have
    The mountain that's tall,
    The cliff that's sheer,
    The stream that's deep,
    The flower that's fragrant,
    The fruit that's pretty,
    The wisteria that's red,
    The pine that's blue,
    The willow that's jade-green—
    Their features in all climes remain the same;
    Their colour stay vibrant in ten thousand years...

After they went through the pine forest, the entrance of the Cloud-Touching Cave
immediately came into view. The girl dashed inside and slammed the door shut.
Only then did the Great Sage put away his golden-hooped rod and pause to glance about.
    Lovely place!
    Luxuriant forest;
    Precipitous cliffs;
    The broken shades of wisteria;
    The sweet, pure scent of orchids.
    A flowing stream, gurgling jade, cuts through old bamboos;
    Cunning rocks are enhanced by fallen blooms.
    Mist enshrouds distant hills;
    The sun and moon shine through cloud-screens.
    Dragons chant and tigers roar;
    Cranes cry and orioles sing.
    A loveable spot of pure serenity
    Where jade flowers and grass are ever bright—
    No less divine than a T'ien-t'ai cave,
    It surpasses e'en P'êng-Ying of the seas.
Wu Ch'eng-en (1500-1582),
The Journey to the West or Hsi-yu chi (1518), Volume 3, Chapter 60
(translated by Anthony C. Yu, University of Chicago Press, 1980, pp. 151-167)
297) 60 occurs six times in Miguel de Cervantes's Don Quixote:
"The very devil would be in it in that case," said Sancho; and letting off thirty "ohs,"
and sixty sighs, and a hundred and twenty maledictions and execrations
Chapter XV Don Quixote When He Fell Out with Certain Heartless Yanguesans
we should be observed from the town of Shershel, which lies on that coast,
not more than sixty miles from Algiers.

Chapter XLI: The Captive Still Continues His Adventures
Sancho counted more than sixty wine skins of over six gallons each,
and all filled, as it proved afterwards, with generous wines.

Part II, Chapter XX: Wedding of Camacho the Rich & the Incident of Basilio the Poor
"This cannot be Melisendra, but must be one of the damsels that waited on her;
so if I'm given sixty maravedis for her, I'll be content and sufficiently paid."

Part II, Chapter XXVI: The Puppet-Showman, Together with Other Things in Truth Right Good
"Very far," said Don Quixote, "for of the three hundred and sixty degrees that this
terraqueous globe contains, as computed by Ptolemy, the greatest cosmographer known,
we shall have travelled one-half when we come to the line I spoke of."

Part II, Chapter XXIX: Of the Famous Adventure of the Enchanted Bark
Roque asked the pilgrims the same questions he had put to the captains, and was answered that
they were going to take ship for Rome, and that between them they might have about sixty reals."

Part II, Chapter LX: Don Quixote on His Way to Barcelona
Miguel de Cervantes (1549-1617),
Don Quixote de La Mancha
298) Book II, Chapter 60 of Miguel de Cervantes's Don Quixote
is titled "Of What Happened to Don Quixote on His Way to Barcelona":
It was a fresh morning giving promise of a cool day as Don Quixote quitted the inn,
first of all taking care to ascertain the most direct road to Barcelona without touching
upon Saragossa;... Don Quixote said in reply, "Senor Roque, the beginning of health lies
in knowing the disease and in the sick man's willingness to take the medicines which
the physician prescribes; you are sick, you know what ails you, and heaven, or more
properly speaking God, who is our physician, will administer medicines that will cure you,
and cure gradually, and not of a sudden or by a miracle; besides, sinners of discernment
are nearer amendment than those who are fools; and as your worship has shown good sense
in your remarks, all you have to do is to keep up a good heart and trust that the weakness
of your conscience will be strengthened. And if you have any desire to shorten the journey
and put yourself easily in the way of salvation, come with me, and I will show you how to
become a knight-errant, a calling wherein so many hardships and mishaps are encountered
that if they be taken as penances they will lodge you in heaven in a trice."

Part II, Chapter LX: Don Quixote on His Way to Barcelona
Miguel de Cervantes (1549-1617),
Don Quixote de La Mancha
299) 60 occurs 4 times in the works of William Shakespeare:
sixty and nine, that wore / Their crownets regal, (Troilus and Cressida, Prologue, Line 5)
Cleopatra: I have sixty sails, Caesar none better. (Antony and Cleopatra, III.7.49)
With all their sixty, fly and turn the rudder (Antony and Cleopatra, III.10.3)
Have skipp'd from sixteen years of age to sixty, (Cymbeline, IV.2.199)
William Shakespeare (1564-1616), Maurice Spevack, Harvard Concordance to Shakespeare,
Belknap Press of Harvard University Press, Cambridge, MA, 1973, p. 1162
300) Time & Death in 60th Sonnet of William Shakespeare:
Like as the waves make towards the pebbled shore,
So do our minutes hasten to their end;
Each changing place with that which goes before,
In sequent toil all forwards do contend.
Nativity, once in the main of light,
Crawls to maturity, wherewith being crowned,
Crooked eclipses 'gainst his glory fight,
And Time that gave doth now his gift confound.
Time doth transfix the flourish set on youth
And delves the parallels in beauty's brow,
Feeds on the rarities of nature's truth,
And nothing stands but for his scythe to mow:
And yet to times in hope, my verse shall stand
Praising thy worth, despite his cruel hand.

William Shakespeare (1564-1616), Sonnets LX, Commentary
301) Haiku 60 of Basho's Haiku (1678):
Now I am well dressed
In a fine gauze garment
Like a cicada's wing.
Matsuo Basho (1644-1694), Basho's Haiku, Vol. 1, Haiku 83
(translated by Toshiharu Oseko, Maruzen, Tokyo, 1990, p. 60)
302) "All movement of my life impedes?"
in Line 60 of Goethe's Faust:
Und fragst du noch, warum dein Herz
Sich bang in deinem Busen klemmt?
Warum ein unerklärter Schmerz
Dir alle Lebensregung hemmt?
Statt der lebendigen Natur,
Da Gott die Menschen schuf hinein,
Umgibt in Rauch und Moder nur
Dich Tiergeripp und Totenbein.
And do I ask, wherefore my heart
Falters, oppressed with unknown needs?
Why some inexplicable smart
All movement of my life impedes?
Alas! in living Nature's stead,
Where God His human creature set,
In smoke and mould the fleshless dead
And bones of beasts surround me yet!
Johann Wolfgang von Goethe (1749-1832),
Faust, Scene I: Night (Faust monologue)
Verse translation by Bayard Taylor (1870), Lines 57-64
Modern Library, New York, 1950, p. 16 (German, English)
303) Poem 60 of Goethe, the Lyrist: 100 Poems
"Römische Elegien VII":
O wie fühl ich in Rom mich so froh! Gedenck ich der Zeiten;
    Da mich ein graulicher Tag hinten im Norden umfing,
Trübe der Himmel und schwer auf meinen Scheitel sich neigte,
   Farb' und gestaltlos die Welt um den Ermatteten lag;
Und ich über mein Ich, des unbefriedigten Geistes
   Düstere Wege zu spähn, still in Betrachtung versank.
Nun umleuchtet der Glanz des hellen Aethers die Stirne,
   Phöbus rufet, der Gott, Formen und Farben hervor.
Sternenhelle glänzet die Nacht, sie klingt von Gesängen
   Und mir leuchtet der Mond heller als ehmals der Tag.
Welche Seligkeit ward mir Sterblichen? Träum ich? Empfänget
   Dein ambrosisches Haus, Jupiter Vater, den Gast?
Ach! hier lieg ich und strecke nach deinen Knien die Hände
   Flehend aus. O! vernimm Jupiter Xenius mich!
Wie ich hereingekommen ich kann's nicht sagen, es fasste
   Hebe den Wandrer und zog mich in die Hallen heran.
Hast du ihr einen Heroen herauf zu führen geboten?
   Irrte die Schoene? Vergieb! Lass mir des Irrthums Gewinn.
Deine Tochter Fortuna sie auch! die herrlichsten Gaben
   Theilet sie mädchenhaft aus, wie es die Laune gebeut.
Bist du der wirthliche Gott? o so verstosse den Gastfreund
   Nicht von deinem Olymp wieder zur Erde hinab.
"Dichter! wo versteigst du dich hin?"— Vergieb mir, der hohe
   Capitolinische Berg ist dir ein zweiter Olymp.
Dulde mich Jupiter hier und Hermes führe mich später
   Cestius Denkmal vorbey leise zum Orcus hinab.
O how happy I feel in Rome recalling the hours
   When a grey, chilly day held me confined in the North,
Cloudy the skies and heavy that lowered their darkness upon me,
   Colorless, formless the world round my weariness lay,
And I quietly fell to contemplating my ego,
   Wishing to find dark ways taken by sad discontent.
Now my brow is enveloped by ether that's radiantly brighter;
   Phoebus Apollo, the god, calls forth colors and forms.
Star-lit sparkles the night, it rings with soft-throated singing,
   Clear is the moon for me, lighter than day in the North.
O what bliss for a mortal like me! Am I dreaming? O father,
   Has thy ambrosial house, Jupiter, welcomed the guest?
Here I lie and seek thy knees with hands that implore thee.
   O give ear to my plea, Jupiter enius, hear!
How I entered I cannot say; there came to the wanderer
   Hebe and held me tight, drew me into the halls.
Hast thou sent her commands to bring to thy precincts a hero?
   Could fair Hebe have erred? Pardon! Let me have the gain!
She too, Fortune, thy daughter, dispenses the loveliest bounties,
   Taking the form of a girl, guided by a caprice.
Hospitable art thou? O then reject not the guest-friend
   On thy Olympus, and turn me not earthward again!
"Poet, you're soaring too high in the clouds!" Forgive me, the lofty
   Capitoline, it too is an Olympus for thee.
Jupiter, bear with me here, and, Hermes, later escort me,
   Passing Cestius' tomb, gently to Orcus' domain.
Johann Wolfgang von Goethe (1749-1832), "Römische Elegien VII"
Goethe, the Lyrist: 100 Poems, (translated by Edwin H. Zeydel
University of North Carolina Press, Chapel Hill, NC, 1955, pp. 130-131)
304) Poem 60 of The Zen Poems of Ryokan:
This morning, the shrine gate has a pile of silver snow.
All the trees on the holy ground shine, as with flowers.
Who may it be, I keep thinking, the boy out in the cold,
Throwing snowballs, as if the world existed all for him.
Ryokan (1758-1831), The Zen Poems of Ryokan, Poem 60
translated by Nobuyuki Yuasa,
Princeton University Press, 1981, p. 59
(Poet-Seers, Zen Poems)
305) Haiku 60 of Issa's Haiku:
Cherry time:
coop-birds, eyes shut,
sing together.
Kobayashi Issa (1763-1827),
The Dumpling Field: Poems of Issa, Haiku 60
(translated by Lucien Stryk, Swallow Press, Athens, Ohio, 1991, p. 19)
306) Poem 60 of Thomas Cole:
This day hath closed another of my years
And the red current that doth turn the wheel
Of mortal life, of its appointed task
This much hath well performed; to be renewed
No more. I know the years of my life has known
I know that there has mingled in their tide
The light, the dark, the painful and the glad;
but when I gaze into the Future's depths
And strive to learn what yet remains of life
Whether of years or hours or seconds, Ah!
'Tis blank, mysterious and mortal ken
Is lost in gloom. Am I disconsolate
That all is dark? Oh god forbid! For though
Not yet is granted prescience to man
Immortal hope is given him to sustain.
Who gave this being knows the time to take.

That time Oh God! I wait! Grant that the hour
Whene'er it come may find me trusting thee.

January 31, 1841
Thomas Cole (1801-1848), Thomas Cole's Poetry, Poem 60
(Compiled & Edited by Marshall B. Tymn, 1972, p. 130)

Thomas Cole, Self-Portrait (1836)
307) The whale-line is discussed in Chapter 60 of Melville's Moby-Dick (1851):
With reference to the whaling scene shortly to be described, as well as for the better understanding of all similar scenes elsewhere presented, I have here to speak of the magical, sometimes horrible whale-line... The whale-line is only two thirds of an inch in thickness. At first sight, you would not think it so strong as it really is. By experiment its one and fifty yarns will each suspend a weight of one hundred and twenty pounds; so that the whole rope will bear a strain nearly equal to three tons. In length, the common sperm whale-line measures something over two hundred fathoms... Thus the whale-line folds the whole boat in its complicated coils, twisting and writhing around it in almost every direction. All the oarsmen are involved in its perilous contortions; so that to the timid eye of the landsman, they seem as Indian jugglers, with the deadliest snakes sportively festooning their limbs... For, when the line is darting out, to be seated then in the boat, is like being seated in the midst of the manifold whizzings of a steam-engine in full play, when every flying beam, and shaft, and wheel, is grazing you. It is worse; for you cannot sit motionless in the heart of these perils, because the boat is rocking like a cradle, and you are pitched one way and the other, without the slightest warning;... But why say more? All men live enveloped in whale-lines. All are born with halters round their necks; but it is only when caught in the swift, sudden turn of death, that mortals realize the silent, subtle, everpresent perils of life. And if you be a philosopher, though seated in the whale-boat, you would not at heart feel one whit more of terror, than though seated before your evening fire with a poker, and not a harpoon, by your side.
Herman Melville (1819-1891), Moby-Dick, Chapter 60: The Line
308) Weather report in Letter 60 of Emily Dickinson:
Dear Austin.
    Something seems to whisper "he is thinking of home this evening," perhaps because it rains—
perhaps because it's evening and the orchestra of winds perform their strange, sad music.
I wouldn't wonder if home were thinking of him, and it seems so natural for one to think
of the other— perhaps it is no superstition or omen of this evening— no omen "at all— at all"...
    I waked up this morning thinking for all the world I had had a letter from you— just as
the seal was breaking, father rapped at my door. I was sadly disappointed not to go on and read,
but when the four black horses came trotting into town, and their load was none the heavier
by a tiding for me— I was not disappointed then— it was harder to me than had I been
disappointed... Dont you wish you were here tonight?— Oh I know I wish so, and all the rest
of them too. I find I miss you more "when the lamps are lighted," and when the winds blow high
and the great angry raindrops clamor against the window... The weather has been unpleasant ever
since you went away. Monday morning we waked up in the midst of a furious snow storm—
the snow was the depth of an inch— oh it looked so wintry— bye and bye the sun came out,
but the wind blew violently and it grew so cold that we gathered all the quinces— put up
the stove in the sitting room, and bade the world Good bye. Kind clouds came on at evening,
still the sinking thermometer gave terrible signs of what would be on the morning— at last
the morning came laden with mild south winds, and the winds have brought the rain— so here
we are. I hope your eyes are better... Your very hasty letter just at your return rejoiced us—
that you were "better— happier— heartier"— what made you think of such beautiful words to tell
us how you were, and how cheerful you were feeling? It did us a world of good— how little
the scribe thinks of the value of his line— how many eager eyes will search its every meaning—
how much swifter the strokes of "the little mystic clock, no human eye hath seen, which ticketh
on and ticketh on, from morning untl e'en." If it were not that I could write you— you could
not go away, therefore——— pen and ink are very excellent things!
    We had new brown bread for tea— when it came smoking on and we sat around
the table, how I did wish a slice could be reserved for you... This suggests Thanksgiving—
you will soon be here— then I can't help thinking of how when we rejoice— so many hearts
are breaking, next Thanksgiving day... Now Austin, mark me, in four weeks from today
we are all happy again!
    Your aff Emily

Emily Dickinson (1830-1886)
Letter 60 (to her brother Austin Dickinson, 30 October 1851)
The Letters of Emily Dickinson, Volume I (Biography)
(edited by Thomas H. Johnson, Harvard University Press, 1955, pp. 151-153)
309) 60th Poem of Emily Dickinson:
Like her the Saints retire,
In their Chapeaux of fire,
Martial as she!

Like her the Evenings steal
Purple and Cochineal
After the Day!

"Departed"— both— they say!
i.e. gathered away,
Not found,

Argues the Aster still—
Reasons the Daffodil

Emily Dickinson (1830-1886)
Complete Poems of Emily Dickinson
(edited by Thomas H. Johnson, 1955)
310) 60th New Poem of Emily Dickinson:
Landscapes reverence the Frost,
though it's gripe be past.

Emily Dickinson (Letter 351)
New Poems of Emily Dickinson
(edited by William H. Shurr, University of North Carolin Press, 1993, p. 24)
346) There are 84 lines in Walt Whitman's poem Faces (1855).
Line 60 tells about tall window cracks making signs:
Spots or cracks at the windows do not disturb me,
Tall and sufficient stand behind and make signs to me,
I read the promise and patiently wait.
Walt Whitman (1819-1892), Faces, Lines 59-61
A Textual Variorum of the Printed Poems, Vol. I, Poems, 1855-1856
(Edited by Sculley Bradley, Harold W. Blodgett, Arthur Golden, William White
New York University Press, 1980, p. 136)
311) Line 60 of Walt Whitman's Passage to India (1871):
I see the clear waters of Lake Tahoe— I see forests of majestic pines,
Or, crossing the great desert, the alkaline plains, I behold enchanting
    mirages of waters and meadows;
Marking through these, and after all, in duplicate slender lines,
Bridging the three or four thousand miles of land travel,
Tying the Eastern to the Western sea,
The road between Europe and Asia.

Walt Whitman (1819-1892)
Passage to India Section 5, Lines 60-67
A Textual Variorum of the Printed Poems, Vol. III, Poems, 1870-1891
(Edited by Sculley Bradley, Harold W. Blodgett, Arthur Golden, William White
New York University Press, 1980, p. 568)
60th Verse in Tagore's Gitanjali:

On the seashore of endless worlds children meet. The infinite sky is motionless overhead and the restless water is boisterous. On the seashore of endless worlds the children meet with shouts and dances.

They build their houses with sand and they play with empty shells. With withered leaves they weave their boats and smilingly float them on the vast deep. Children have their play on the seashore of worlds.

They know not how to swim, they know not how to cast nets.
Pearl fishers dive for pearls, merchants sail in their ships,
while children gather pebbles and scatter them again. They seek
not for hidden treasures, they know not how to cast nets.

The sea surges up with laughter and pale gleams the smile of the sea beach.
Death-dealing waves sing meaningless ballads to the children, even like
a mother while rocking her baby's cradle. The sea plays with children,
and pale gleams the smile of the sea beach.

On the seashore of endless worlds children meet. Tempest roams in the patess sky,
ships get wrecked in the trackless water, death is abroad and children play.
On the seashore of endless worlds is the great meeting of children.

Rabindranath Tagore (1861-1941)
Gitanjali: Song Offerings (1912), Verse 60

313) Page 60 in A. E.'s Song and its Fountains:
I was surprised by a sudden fiery rushing out of words from within me,
and I took paper and pencil and wrote as rapidly as fingers could move
the words which came to me; and I was aware from the first that all was
complete, and the verses altogether seemed to float about the brain like
a swarm of bees trying to enter a hive. It may be that they did not all
find entry. I did not know that idea was in the poem until it was written
down. It seemed to be a wild dialogue between the shadowy self and some
immortal consciousness which was making vast and vague promises to the lower
if it would but surrender itself to the guidance of that heavenly shepherd.

"What art thou, O glory,
In flame from the deep,
Where stars chant their story,
Why trouble my sleep?
I hardly had rested,
My dreams wither now,
Why comest thou crested
And gemmed on thy brow?"

A. E. (George William Russell) (1867-1935)
Song and its Fountains, Macmillan, New York (1932), p. 60
(New Edition, Larson Publications, 1991)
[Note: Typesetting on page 60 is from the 1932 edition.
Poem cited is "Glory and Shadow" from Collected Poems by A.E., 1913]
314) Poem 60 of Rilke's New Poems [1907]
is titled "Roman Fountain" Borghese ("Römische Fontäne"):
Zwei Becken, eins das andre übersteigend
aus einem alten runden Marmorrand,
und aus dem oberen Wasser leis sich neigend
zum Wasser, welches unten wartend stand,

dem leise redenden entgegenschweigend
und heimlich, gleichsam in der hohlen Hand,
ihm Himmel hinter Grün und Dunkel zeigend
wie einen unbekannten Gegenstand;

sich selber ruhig in der schönen Schale
verbreitend ohne Heimweh, Kreis aus Kreis,
nur manchmal träumerisch und tropfenweis

sich niederlassend an den Moosbehängen
zum letzten Spiegel, der sein Becken leis
von unten lächeln macht mit Übergängen.

Two basins, one rising from the other
in the circle of an old marble pool,
and from the one above, water gently bending
down to water, which stands waiting below,

meeting the gentle whisper with its silence,
and secretly, as in the hollow of a hand,
showing it sky behind darkness and green
like some unfamiliar object; while it

spreads out peacefully in its lovely shell
without homesickness, circle after circle,
just sometimes dreamily letting itself down

in trickles on the mossy hangings
to the last mirror, which makes its basin
gently smile from underneath with nuances.
Rainer Maria Rilke (1875-1926), "The Sundial"
(translated by Edward Snow, New Poems (1907), Poem 60
North Point Press, San Francisco, 1984, pp. 140-141)
315) Line 60 of Rilke's Duino Elegies IV [1923]
on "our seasons take their place":

War es nicht Wunder? O staune, Engel, denn wir sinds.
wir, o du Grosser, erzähls, dass wir solches vermochten, mein Atem
reicht für die Rühmung nicht aus. So haben wir dennoch
nich di R äme versäumt, diese gewährenden, diese
unseren R äme. (Was müssen sie fürchterlich gross sein,
da sie Jahrtausende nicht unseres Fühlns überfülln.)

Then there unites what we by our existence
continually cause to disunite.
Then at last our seasons take their place
within the change with which we live. Above us,
then, the Angel plays. Behold the dying:
ought not they to sense how full of pretext
is all that we accomplish here? All things
are other than themselves. O hours in childhood,
when puppets stood for more than just the past
and we were still unconscious of the future.

Rainer Maria Rilke (1875-1926),
Duino Elegies, IV.58-67
(translated by Patrick Bridgwater)
Menard Press, London, 1999, p. 33)
(Other translations: Edward Snow; Robert Hunter)

316) 60th Page selected lines in James Joyce's Ulysses,:
Thank you, sir. Another time.
A speck of eager fire from foxeyes thanked him. He withdrew his
gaze after an instant. No: better not: another time.
Good morning, he said, moving away.
Good morning, sir...
eucalyptus trees. Excellent for shade, fuel and construction. Orangegroves
and immense melonfields north of Jaffa. You pay eighty marks and they
plant a dunam of land for you with olives, oranges, almonds or citrons...
Watering cart. To provoke the rain. On earth as it is in heaven.
(60.6-10, 14-18, 42)
James Joyce (1882-1941), Ulysses, (1st edition, 1922)
Random House, New York (1946), p. 60
317) 60th Page lines in James Joyce's Finnegans Wake, (2 samples):
so long as Sankya Moondy played his mango tricks under the (60.19)
mysttetry, with shady apsaras sheltering in his leaves' licence and (60.20)
James Joyce (1882-1941), Finnegans Wake, (1939), page 60.
318) "Perceived in a final atmosphere" in Line 60
of Wallace Stevens's, The Man with the Blue Guitar (1937):

A tune beyond us as we are,
Yet nothing changed by the blue guitar;

Ourselves in the tune as if in space,
Yet nothing changed, except the place

Of things as they are and only the place
As you play them, on the blue guitar,

Placed, so, beyond the compass of change,
Perceived in a final atmosphere;

For a moment final, in the way
The thinking of art seems final when

The thinking of god is smoky dew.
The tune is space. The blue guitar

Becomes the place of things as they are,
A composing of senses of the guitar.

Wallace Stevens (1879-1955),
The Man with the Blue Guitar, Lines 53-66 (Section VI)
Collected Poetry and Prose, Library of America, NY, 1997, p. 137

319) Chapter 60 of Ezra Pound's Cantos (selections):
So the Jesuits brought in astronomy
    (Galileo's, an heretic's)
    music and physics from Europe,...
    as in legend the horses of Taouen land, the
Tien ma, or horses of heaven...
Dogs bark only at strangers...
That there had been nine red boats into Macao...
I have knocked around at sea for some years

Ezra Pound (1885-1972), The Cantos (1-95), LX
New Directions, NY, 1956, pp. 74-79
320) Poem 60 in e.e. cummings' Xaipe (1950)
(nothing whichful about

thick big this
himself of
a boulder)nothing

mean in tenderly

of sizeless a
silence by noises
called people called


(elsewhere flat the mechanical
sickness of mind sprawls)

a livingly free mysterious

dreamsoul floatstands
oak by birch by maple
by hemlock spruce by


nothing pampered puny
and nothing

)everywhere wonder

e. e. cummings
Poem 60, Xaipe
Liveright, NY, 1979, p. 60
321) Honeysuckle in Line 60 in William Carlos Williams' "Asphodel, That Greenery Flower" (1955):

    A sweetest odor!
        Honeysuckle! And now
there comes the buzzing of a bee!
    and a whole flood
        of sister memories!

William Carlos Williams (1883-1963), Journey to Love, "Asphodel, That Greenery Flower", Lines 59-63
Random House, NY, 1955, p. 45

322) There are 79 poems in Charles Reznikoff's Jerusalem the Golden (1934)
Poem 60
Though our thoughts often, we ourselves
are seldom together.
We have told each other
all that has happened; it seems to me—
for want of a better word— that we are both unlucky.
Even our meetings have been so brief
we should call them partings, and of our words
I remember most "good-by".
Charles Reznikoff (1894-1976),
Poems 1918-1975: The Complete Poems of Charles Reznikoff,
Black Sparrow Press, Santa Barbara, 1989, p. 119
323) Sonnet 60 in Pablo Neruda's 100 Love Sonnets (1960)
Those who wanted to wound me wounded you,
and the dose of secret poison meant for me
like a net passes through my work— but leaves
its smear of rust and sleeplessness on you.

I don't want the hate that sabotaged me, Love,
to shadow your forehead's flowering moon;
I don't want some stupid random rancor
to drop its crown of knives onto your dream.

Bitter footsteps follow me;
a hideous grimace mocks my smile; envy spits
a curse, guffaws, gnashes its teeth where I sing.

And that, Love, is the shadow life has given me:
an empty suit of clothes that chases me,
limping, like a scarecrow with a bloody grin.

Pablo Neruda
Love Sonnet LX, Cien Sonetos de Amor [100 Love Sonnets]
Editorial Losada, Buenos Aires, 1960 (trans. Stephen Tapscott, 1986, p. 129)
324) Poem 60 in Louis Zukofsky's 80 Flowers (1978) is
"60 Narcissus":
On no mat appear echoer
paperwhite waterfall lorn knar kisses
wilderness rock mother Sleyd-silk climing
sorrow Elements below voice cuckoo-brake
scaped taciturn shade strumpet hose-in-hose
yellow joss-flower iris-rapiers pheasant's eye
chime red-crown spread limb whitest solitary
sun-roundelays paper-thin throat poet narcissus
Louis Zukofsky (1904-1978)
80 Flowers, "60 Narcissus"
The Stinehour Press, Lunenburg, Vermont, 1978
[Stanford: PS3549.U47.E36.1978F "facsimile pirated copy"]
325) There are 82 lines in Section XVII of Kenneth Rexroth's
"The Silver Swan" from The Morning Star (1979).
Line 60: "Infinitely away burns" (lines 60-73):
Infinitely away burns
A minute red point to which
I move or which moves to me.
Time fades away. Motion is
Not motion. Space becomes Void.
A ruby fire fills all being.
It opens, not like a gate,
Like hands in prayer that unclasp
And close around me.
Then nothing. All senses ceased.
No awareness, nothing,
Only another kind of knowing
Of an all encompassing
Love that has consumed all being.

Kenneth Rexroth (1905-1982)
The Complete Poems of Kenneth Rexroth
"The Silver Swan" XVII.60-73
Edited by Sam Hamill & Bradford Morrow
Copper Canyon Press, Port Townsend, WA, 2003, p. 738
326) Lawrence Ferlinghetti's What is Poetry? (2000) contains 64 images of poetry.
Image 60:
It speaks the unspeakable
It utters the inutterable
sigh of the heart

Lawrence Ferlinghetti (b. March 24, 1919),
What Is Poetry?
Creative Arts Book Co., Berkeley, CA, 2000, p. 60
327) Allen Ginsberg's HOWL (1956) contains 112 lines.
Line 1:
I saw the best minds of my generation destroyed by madness, starving hysterical naked,
Line 60:
who drove crosscountry seventy-two hours to find out
      if I had a vision or you had a vision or he had
      a vision to find out Eternity,

Allen Ginsberg (1926-1997),
Howl and Other Poems, City Lights Books, 1956, p. 17
Page 60 in Jack Kerouac's
Atop an Underwood: Early Stories and Other Writings (1941):
hallucinations and youthful ambition, and these are deathless
elements that remain within you forever.
    This Home that I speak of, madmen, may be anywhere on earth.
It is the soul of Man, I think, and it is a component, a mixture, a swarming
vat-like concoction of all the ideals of Man, embodied upon one portion
of the Earth's crusty integument, and thrust upwards in a gesture
of terrible finality and beauty that shall forever beckon.

Jack Kerouac (1922-1969), "Where the Road Begins"
Atop an Underwood: Early Stories and Other Writings, Viking, NY, 1999, p. 60
329) There are 71 poems in W. S. Merwin's The Compass Flower
Poem 60 is titled "Junction":
Far north a crossroad in mud
new cement curbs a few yards each way
rain all day
two men in rubber boots
hurry along under one plastic
carrying loud radio playing music
pass tin shack surrounded by
broken windshields
paintings of north places
only hotel
has no name
no light to its sign
river from bridge long misted mirror
far houses and red boats float
above themselves in gray sky
martins were hunting
in the morning
over log jams by another shore
cold suppertime
tinking of hares in boggy woods
and footprints of clear water

W. S. Merwin (born September 30, 1927),
The Compass Flower, Atheneum, NY, 1977, p. 83
330) There are 60 poems in Kathleen Raine's The Presence (Poems 1984-87):
Poem 60 is titled PURIFY:

Purify my sorrow,
Weeping rain,
Clouds that blow
Away over countries where none know
From whose heart world's tears flow.

My sorrow, bright beams
Of the sun's light that travels for ever away
From here and now, where I lie.

Heart's sorrow in the dust, in the grave
And furrow where the corn is sown,
End and beginning.

Purifier I cry
With the breath of the living,
Loud as despair, or low
As a sigh, voice
Of the air, of the winds
That sound for ever in the harmony of the stars.

Kathleen Raine (1908-2003),
The Presence (Poems 1984-87), Poem 60
Golgonooza Press, Ipswich, UK, 2000, p. 79
New York Times Obituary, July 10, 2003
331) Poem 60 in Thomas Merton's Cables to the Ace (1968):
Oh, said the discontented check, you will indeed win like
it says in the papers, but first you have to pay.
The bridges burn their builders behind them.
The colored weepers try their luck with strings.
Thomas Merton (1915-1968)
Cables to the Ace
New Directions, NY, 1968, p. 40
332) Poem 60 of The Crane's Bill:
This cold night bamboos stir,
Their sound— now harsh, now soft—
Sweeps through the lattice window.
Though ear's no match for mind,
What need, by lamplight,
Of a single Scripture leaf?

— Kido, 1185-1269
Zen Poems of China and Japan: The Crane's Bill
(translated by Lucien Stryk & Takashi Ikemoto, Anchor Books, NY, 1973, p. 35)
333) Line 60 in Kenneth Koch's "The First Step": "Sight of me"
I have never
Seen such streets
Such had never
Sight of me

Kenneth Koch (1925-2002), "The First Step" (1979), Lines 57-60
from One Train: Poems, Random House, NY, 1994, p. 32
Interview by Anne Waldman; Interview by David Kennedy; NY Times Obituary (7-7-2002)
334) "This is the world" in Line 60
of Mary Oliver's's poem "Work" (Lines 55-60):
The vine of the honeysuckle
perks upward—
the fine-hold of its design
did not need to be so wonderful, did it?
but is.

This is the world.
Mary Oliver (born 1935), The Leaf and the Cloud, "Work", Section 2
Da Capo Press, 2000, p. 11
335) There are 87 aphorisms in Charles Simic's "Assembly Required" (pp. 90-98)
from his Orphan Factory: Essays and Memoirs (1997):
Aphorism 60:
Here's my contribution to the politics of nostalgia: The servants of the rich
(our politicians and journalists) should wear doorman's uniforms. Let flunkies
be instantly recognized from the distance, as in the old days.

Charles Simic (born May 9, 1938),
Orphan Factory: Essays and Memoirs, University of Michigan Press, Ann Arbor, 1997, p. 96)
336) There are 70 poems in Joyce Carol Oates' The Time Traveler: Poems (1989)
Poem 60 is titled "Mud Elegy" — in memory of Bill Goyen:
Late summer. And the pond is mud.
Rivulets of mud, fleshy mud, a curiform alphabet of mud.
The dragonflies glitter like needles,
the waps' angry drone has it logic,
and the frogs (leaping frantic, eyes bulging like gems)
if they could blame us would blame us...
All's mud; nor are we out of it.

The long months of your dying
I wandered the pond's weedy edge,
no words,
nothing to say,
no spell to cast.
The pond shrank slowly to mud,
the heat haze smelled of rot...
Pockets of shallow water teemed with life
even as it disappeared.

The mud elegy is loss and grief
but mainly helplessness,
the stupor of bloated frog bellies,
the film easing over an eye...

The mud elegy has its dignity
though it is mainly mud.

Small deaths do not matter
except to what is small.

    This heat haze is stale as air already breathed,
but we won't stop breathing it for that reason.
The mud elegy is obliged to make that point.

We don't have our pride.

Joyce Carol Oates (born June 16, 1938),
The Time Traveler: Poems, E.P. Dutton, NY, 1989, p. 106-107)

337) There are 69 poems in Stephen Mitchell's Parables and Portraits (1992).
Poem 60 is titled "The Halo That Would Not Light":
He had tried everything: new batteries, new bulb, a new off-and-on switch.
    Not even a flicker.
    It was uncomfortable wearing defective merchandise.
He would have loved to file it away in some drawer and forget about it.
But that too was impossible. It had apparently been installed as a permanent
feature of his physiognomy. There it remained, an inescapable memorandum,
six inches above his head and slightly tilted to one side, at the rakish
angle at which a gentleman might wear a boater.
Stephen Mitchell (born 1943),
Parables and Portraits, Harper & Row, NY, 1992, p. 73)
338) Chapter 60 in Dan Brown's The Da Vinci Code (2003).
Sangreal... Sang Real... San Greal... Royal Blood... Holy Grail.
It was all intertwined.
The Holy Grail is Mary Magdalene... the mother of the royal bloodline of Jesus Christ...
"Leonardo is not the only one who has been trying to tell the world the truth about
the Holy Grail. The royal bloodline of Jesus Christ has been chronicled in exhaustive
detail by scores of historians." He ran a finger down a row of several dozen books.
Sophie tilted her head and scanned the list of titles:
THE TEMPLAR REVELATION: Secret Guardians of the True Identity of Christ