Course Hero. "Zen and the Art of Motorcycle Maintenance Study Guide." Course Hero. 20 Sep. 2017. Web. 26 May 2018. <https://www.coursehero.com/lit/Zen-and-the-Art-of-Motorcycle-Maintenance/>.
Course Hero. (2017, September 20). Zen and the Art of Motorcycle Maintenance Study Guide. In Course Hero. Retrieved May 26, 2018, from https://www.coursehero.com/lit/Zen-and-the-Art-of-Motorcycle-Maintenance/
(Course Hero, 2017)
Course Hero. "Zen and the Art of Motorcycle Maintenance Study Guide." September 20, 2017. Accessed May 26, 2018. https://www.coursehero.com/lit/Zen-and-the-Art-of-Motorcycle-Maintenance/.
Course Hero, "Zen and the Art of Motorcycle Maintenance Study Guide," September 20, 2017, accessed May 26, 2018, https://www.coursehero.com/lit/Zen-and-the-Art-of-Motorcycle-Maintenance/.
In this chapter, the narrator leads readers through a "mindful" motorcycle repair because the art of motorcycle maintenance is "really a miniature study of the art of rationality itself." The narrator explains that rational understanding of a motorcycle requires understanding of what's inside the engine. The owner must interpret the symptoms before they can fix them. For this, precision measuring instruments are essential: "The enormous forces of heat and explosive pressure inside this engine can only be controlled through the kind of precision these instruments give." It's impossible for a motorcycle to work perfectly, but using and respecting precision instruments takes the rider as close as possible to perfection and to a performance that "would be called magic if it were not so completely rational in every way."
The narrator explains that the motorcycle is a "set of concepts worked out in steel," a set of interrelated structures functioning as a unit. Motorcycle owners need to understand that their machines are not complicated, confusing contraptions filled with mysterious steel gadgets and parts. Rather, they represent human ideas and creative labor.
The group is in a happy mood as they gather for a restaurant lunch. John mentions that the governor of Montana was once said to have a list of 50 dangerously radical college professors. The narrator answers that if the list is that long, it must contain his own name.
As the group leaves the restaurant and heads for home, they pass a city park—and the narrator is suddenly visited by a memory. Phaedrus once slept on that bench on his way to the college in Bozeman.
The narrator's exposition of a "completely rational process"—motorcycle maintenance—is given more space than his more dramatic memory of Phaedrus sleeping on a park bench. In this section, the association between motorcycle maintenance and rationality is highlighted. It is not, of course, the only philosophical association between the two, but it is a point of significant note: "A motorcycle functions entirely in accordance with the laws of reason, and a study of the art of motorcycle maintenance is really a miniature study of the art of rationality itself." This is now Part 2 of the text, and as the reader enters Part 2, the focus begins to shift from occasional allusions to philosophical ideas to a more overt focus on them.
The reader may find it helpful to consider that the initial section of the book has functioned to establish that the narrator is not "insane"; therefore, his philosophical ideas are not without merit. The structure of the book is such that the reader has now had ample time to form a connection to the narrator, to see him as truthful, insightful, and experienced. These traits allow for the deeper, more intensive inquiries that are about to dominate the text in the chapters to follow.
Here, for example, Pirsig utilizes a visual chart to demonstrate his point that he is "working on concepts." The inclusion of a visual chart is a departure from the writing style in prior chapters. Moreover, after he has branched into this approach, he points to a further alignment of his book-length use of the motorcycle and its associated aspects (maintenance, parts, and relationship to landscape and rider) with philosophical inquiry. The narrator notes that the very stuff of the machine—steel—has no shape. "Steel has no more shape than this old pile of dirt on the engine here. These shapes are all out of someone's mind." Much like concepts, the stuff that makes up the machine has no form until it is given form, meaning, and shape by man.
The connection between Phaedrus's insanity and philosophy is addressed in brief as part of this discussion. The narrator states, "That's what Phaedrus was talking about when he said it's all in the mind." The reader is invited to question the idea that Phaedrus was insane. Pirsig has just demonstrated to the reader that these are sound ideas: concepts have been subdivided into hierarchies, and the similarity between man giving raw steel shape and man giving concepts shape has been outlined clearly. Apparently, these are the things Phaedrus was saying when he was declared insane.