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Monday, May 25, 2015

The Poetics of Saigyō in Eight Poems Plus One

When I was about to flee the world, I sent this message to the house of an acquaintance:

I have completely

Turned my back upon the world.

I'll leave this word,

Even if there be none

To understand it.

If I can find

no place fit to live,

let me live "no place" —

in this hut of sticks

flimsy as the world itself.

If I no longer think

of reality

as reality,

what reason would I have

to think of dreams as dreams?

At the time that the priest Jakunen invited others to contribute to a hundred-poem collection, I declined to take part. But then on the road where I was making a pilgrimage to Kumano, I had a dream. In it appeared Tankai, the administrator of Kumano, and [the poet] Shunzei. Tankai said to Shunzei: “Although all things in this world undergo change, the Way of Poetry extends unaltered even to the last age.” I opened my eyes and understood. Then I quickly wrote a verse and sent it off to Jakunen. This is what I composed there in the heart of the mountains:

`Even in an age

gone bad the lyric's Way

stays straight' -

Not seeing this in a dream,

I'd have been deaf to truth.

Hearing that the Lord Steward of the City Left, Shunzei, was collecting poems and sending my uta with the accompaning poem:

Although my poems be

Mere leaves of words

Still may you find in them

A charm and coloration of

their own.

Deep in the mountains

now the moon of the mind

shines clearly,

I can see enlightenment everywhere

in the mirror of my mind.

I cannot be moved to pity

reflecting on my detestable life

that I have spent

by composing verses

on the moon.

I have spent my life

more than sixty years,

seeking consolation

in cherry blossoms

spring after spring.

This is my prayer:

To die beneath the blossoms

In the spring

In the month of kisaragi

When the moon is full.

~Saigyō

(tr. Burton Watson: 1,2)

(tr. William R. LaFleur: 3)

(tr. Manabu Watanabe: 5,6,7)

(tr. Takagi Kiyoko: 0,8,4)

Saturday, May 23, 2015

The Poetics of Ryōkan in Eight Poems

Shaving my head, becoming a monk

I spent years on the road

pushing aside wild grasses

peering hard into the wind

Now, everywhere I go

people just hand me paper and brush:

“Do some calligraphy!” “Write me a poem!”

Who says my poems are poems?

My poems are not poems.

When you know that my poems are not poems,

Then we can speak of poetry!

How pitiful, those virtuous fellows!

Moving into the recesses, they immerse

themselves in composing poetry

For Ancient Style, their models

are the poems of Han and Wei

For Recent Form,

the T'ang poets are their guide

With gaudy words their lines are formed

And further adorned by

novel and curious phrases

Yet if they fail to express

what's in their own minds

What's the use, no matter

how many poems they compose!

Even if you consume as many books

As the sands of the Ganges

It is not as good as really catching

One verse of Zen.

If you want the secret of Buddhism,

Here it is: Everything is in the Heart!

I sat facing you for hours but you didn't speak;

Then I finally understood the unspoken meaning.

Removed from their covers, books lay scattered about;

Outside the bamboo screen, rain beats against the plum tree.

Weaving the countless

Varying tinges of texture

Are the forty-eight phonetic letters

Weaving them with their voices

And echoes the warp and woof

Who was it said, "names are the guests of reality"?

These words have come down to us from ancient times

But even if people know that names aren't real

They don't see that reality itself has no root

Name, reality—both are beside the point

Just naturally find joy in the ever-changing flow!

My legacy --

What will it be?

Flowers in spring,

The cuckoo in summer,

And the crimson maples

Of autumn...

~Ryōkan (tr. Ryuichi Abe & Peter Haskel: 1,6,7); (tr. John Stevens: 2,3,4,5,8)

The Realizational Poetics of Mujū Dōkyō

When we consider waka as a means to religious realization, we see that it has the virtue of serenity and peace, of putting a stop to the distractions and undisciplined movements of the mind. With a few words, it encompasses its sentiment. This is the very nature of mystic verses, or dharani.

The gods of Japan are Manifest Traces, the unexcelled Transformation Bodis of buddhas and bodhisattvas. The god Susa-no-o initiated composition in thirty-one syllables with the "many-layered fence at Izumo." Japanese poems do not differ from the words of the Buddha. The dharani of India are simply the words used by the people of that country which the Buddha took and interpreted as mystic formula.

……………………………………………………

Now we refer to the poetry of "wild words and specious phrases" as "defiled poetry," because it lures us to attachment, imbues us with vain sensuality, and decks us out with empty words. But poetry may express the principles of the Holy Teaching, accompany a sense of impermanence, weaken our worldly ties and profane thoughts, and cause us to forget fame and profit. If, on seeing the leaves scattered by the wind, we come to know the vanity of the world; and if, on composing a verse on the moon hidden in the clouds, we become aware of the unsullied Principle within our hearts, then poetry mediates our entry upon the path of Buddha and becomes a reliable tool for understanding the Law. Accordingly, men of old practiced the Law of Buddha without rejecting the Way of Poetry. . . . Although anything can be a cause for religious awakening, waka is ideal.

~ Mujū Dōkyō (tr. Robert Morrell)

Friday, May 22, 2015

A Poetics of Kukai (Kōbō Daishi)

The basis of the teachings of the Great Hermit (i.e., the Buddha) is to benefit sentient beings by the teaching of names. For the benefit of the world, writing and composition have their origin in the times of virtuous people. Consequently, in the midst of emptiness and in the midst of rubbish there was the appearance of written characters. On the turtle shell and the dragon back, natural writing is disclosed. The transformation from the age of the sages of ancient times over many revolutions of celestial bodies is reflected in the educational training of the people of all the countries on earth. Like the sound of all sorts of musical instruments, laypersons were governed by the brilliance of writing. Elegant! Lustrous! In the internal worlds and the external worlds (the world Buddhists and non-Buddhists), who remembers this? As an old sūtra says, the non-backsliding bodhisattvas surely were the first to understand writing and composition.

Confucius had these sayings, “My children, why do you not study the Book of Odes? The Odes serve to stimulate the mind. They may be used for purposes of self-contemplation. They teach the art of sociability. They show how to regulate feelings of resentment. From them you learn the immediate duty of serving one's father, and the remoter one of serving one's prince;” and, “The man who has not studied the Chau-nan and the Shao-nan is like one who stands with his face right against a wall.” Thus, the meaning of writing and composition is wide! It is far reaching!

Through writing, the five sounds are captured and the significance of five colors is grasped. Through composition, reason shines. The meaning of writing is not obscure. The cause of writing is explained by name. In intonation, the meaning is grasped. The name explains clearly, those not yet awakened become aware. The three teachings (Buddhism, Confucianism and Daoism) share in this. The five vehicles share the same wheel track. Why do strangeness and difficulties enter the sūtras? The Laozi has profound and solitary harmony. Confucius stated immediately and directly. Ziyu and Zixia grasped his words. Qu and Song wrote brilliant poems. Those of the two Han periods were the ancestors of our words. The writers of the three countries were our older brothers. The essence of rhyme was transmitted by mind. Meter was transmitted orally. The successors of Shen Yue and the Liushan; the predecessors of Wang, Jiao, Cui and Rui. The theses on the four tones developed. The taboos of literary production were debated. Yellowed scrolls over flowed writing boxes. Carts were filled. On the path there are the poor yet cheerful, those who have abandoned the circles of copying, the child and the one who loves the pursuit of knowledge, making decisions without cause.

The mendicant (I), under the guidance of my maternal uncle, studied literature, studying abroad in Changan China and listening to other theses. Even though my strong motivation was quiet meditation, I did not waste this opportunity.

Selection from the Thesis on The Mysterious District of the Mirror of Writing in Kōbō daishi zenshō (Complete Works of Kōbō Daishi) translated by Ron Green ( http://ww2.coastal.edu/rgreen/kukaipoetry.htm )

New Clothes

the emperor

is clothed

in guilt.

the sage

is naked

in love.

o to be

an honest

stripper!

Thursday, May 21, 2015

Shunzei on the Way of Depth in Poetry

While the Law that was taught by the Buddha himself has profound meaning, poetry, by contrast, may seem to be mere playing at "empty words and ornate speech.” Because poetry, too, reveals the deeper significance of things, however, it can also communicate the Buddha's Way. Moreover, scripture tell us that "even the very desires and attachments themselves are enlightenment," and the Lotus Sutra that "even secular works and actions intended to promote life are all in accord with the True Law of the Buddha." The …Sutra of Meditation on the Bodhisattva of Universal Wisdom further explains that while we may say that "this is sinful" or "this is good," in fact both "sin" and "good" are unreal, for the heart itself is Void. In this sense, we may speak of the Way of "depth" in poetry, too, in the light of the …Dialectic of Void, Provisional Reality, and Mediated Reality, for it also communicates the Way of the Buddha's Law.

… … … … … … … … … … … … … … … … … … … … … … … … … … … … … …

…if as time passes I can come to an understanding of the limitless profundity of the Buddha's Law through an understanding of the profundity of Japanese poetry, I will thereby create the effect of being reborn in paradise and will be able to realize the Bodhisattva's vow to save all living beings. Then, in fact, I will have turned my words of poetry to praise of the Buddha that can travel far and wide to those countries that have heard the Buddha's law and lead the beings of this world to enlightenment.

~Shunzei (tr. David Pollack)

Monday, May 18, 2015

Rashomon: a live-tweet viewing diary

rashomon

first, not understood. there was an accident on the way. no, the wind is the cause!

using the passage of silent time as the dialogue between the characters.

with kurosawa, it's not so much an influence of silent films as it is the understanding of silence. and the significance of action.

talkies were so fascinated with voice, it became all noise!

clint eastwood owes his existence to kurosawa's understanding. curious name there too when you don't think about it.

the secret to the code of rashomon. everything bad is forgotten. everything good is remembered. everything forgotten is remembered as good.

but what is no recollection?

how great is it when she begins to laugh maniacally? you go girl!

is rashomon actually a radically feminist film?

as a sidenote, well aware of the vagaries of all translations, i'm always suspect of the accuracy of subtitles in foreign films.

when her laughter stops, it gets real.

the dream is driven by fear and not anything else.

maybe the best interpretation of a swordfight ever!

"The best lack all conviction, while the worst

Are full of passionate intensity.

Surely some revelation is at hand"

is the bystander really innocent?

aka. the witness.

"i don't want this place to be hell"

kurosawa must have been like an adult among children who thought they were adults

ah, now comes the pearl of the story!

god i love seeing long unafraid silence in a movie as if the director is so confident in one's inspiration, we can't wait. but we must.

now comes the monk's story. hmmm.

so. the entire story is that of the monk. very interesting. and so. either completely true or false. your call.

the ending which appears to be a beginning?

great movie deserving of reputation. nothing is revealed. side note, interesting that some of the tics of mifune character appear in yojimbo

end rashomon. or is it?

it's all about what you believe. which is why ultimately it's all about having no belief about belief.