Forty-one years on, I retain very little from my three years of law school. Memories of friendships. And of a love. Alas, lost. As for "The Law" itself, only a few scattered phrases remain from all those books and lectures. For instance: "frolic and detour." The concept comes from the law of torts: an employer is not liable for the actions of an employee who engages in activity which is beyond the scope of his or her duties. I have never had occasion to address frolic and detour in the "practice" of law. On the other hand, I habitually engage in frolic and detour when it comes to the reading of poetry.
Recently, I have been spending time in the company of Bashō and Walter de la Mare. As my decades with them have passed, their companionship has become more and more comforting. And essential. Where would I be without them?
Hototogisu --
through a vast bamboo forest
moonlight seeping
Bashō (1644-1694) (translated by Makoto Ueda), in Ueda, Bashō and His Interpreters: Selected Hokku with Commentary (Stanford University Press 1991), page 314.
A hototogisu "is a bird that looks like an English cuckoo, but is smaller and has a sharp, piercing cry." Ibid, page 198. R. H. Blyth describes it as follows: "The hototogisu corresponds more or less to the English cuckoo. The breast of the male is blackish, with white blotches. The breast of the female is white, the inside of the mouth red; it has a crest of hair on the head. . . . From early summer, it sings day and night, and ceases in autumn." R. H. Blyth, Haiku, Volume 3: Summer-Autumn (Hokuseido Press 1952), page 161.
Blyth provides this translation of Bashō's haiku:
Moonlight slants through
The vast bamboo grove:
A hototogisu cries.
Ibid, page 161. The Romanized version ("Romaji," to use the Japanese term) of the haiku is: hototogisu/ōtakeyabu wo/moru tsukiyo. Ibid, page 161. Hototogisu means "cuckoo"; ōtakeyabu means "large bamboo grove;" wo is a particle which identifies ōtakeyabu as the object of moru tsukiyo; moru means "to seep;" tsuki means "moon" and yo means "night" (hence, the compound word tsukiyo can mean either "moonlight" or "moonlit night").
A distinctive difference between the two translations of the haiku is that Ueda translates the Japanese word moru as "seeping," whereas Blyth opts for "slants through." As a matter of beauty, I prefer Blyth's "moonlight slants through" to Ueda's "moonlight seeping," but Ueda's translation of moru is arguably more accurate. A second difference is that Blyth states that the hototogisu "cries," whereas Ueda does not. Again, Ueda's translation is arguably more accurate: Bashō gives us only the word hototogisu to commence the haiku, with no accompanying verb. Haiku poets, in stating the name of a particular bird, will quite often leave it up to the reader to infer whether the bird is singing (or chirping, warbling, or silent). (But I should be careful not to overstep my bounds: given my limited experience with Japanese, I am an amateur, with no right to quibble with, much less express opinions on, translations. But it is interesting to consider the choices that different translators make.) In any case, whichever of the two translations one prefers, Bashō's haiku is lovely, affecting, and haunting.
James McIntosh Patrick (1907-1998)
"Midsummer, East Fife" (1936)
Thus began a day or so of frolic and detour. Soon after reading Bashō's haiku, I happened upon this:
An echo, perhaps?
From the valley, then the peak --
a cuckoo's call.
Gusai (died 1376) (translated by Steven Carter), in Carter, Traditional Japanese Poetry: An Anthology (Stanford University Press 1991), page 281.
With Walter de la Mare on my mind, Gusai's echoing call of the cuckoo/hototogisu took me further afield (and happily so):
Echo
Seven sweet notes
In the moonlight pale
Warbled a leaf-hidden
Nightingale:
And Echo in hiding
By an old green wall
Under the willows
Sighed back them all.
Walter de la Mare, The Complete Poems of Walter de la Mare (Faber and Faber 1969), page 415. "Echo" was originally published in Bells and Grass: A Book of Rhymes (Faber and Faber 1941). Bells and Grass: A Book of Rhymes is ostensibly a book of children's verse. However, as all those who love Walter de la Mare's poetry know, one should bear in mind the subtitle to de la Mare's Come Hither, his wonderful anthology of poetry (published in 1923): "A Collection of Rhymes and Poems for the Young of All Ages."
In 1942, de la Mare's volume of Collected Poems was published, consisting of poems for adults. In 1944, his volume of Collected Rhymes and Verses was published, consisting of poems for children. In the preface to the latter volume, de la Mare writes: "To what degree and in what precise respect the contents of this volume differ from the contents of Collected Poems are little problems which I will not attempt to explore. Somewhere the two streams divide -- and may re-intermingle. Both, whatever the quality of the water, and of what it holds in solution, sprang from the same source. And here, concerning that -- nor will I even venture on an Alas -- silence is best."
A lovely and enlightening statement by de la Mare. Over the years, I have come to make no distinction between his "adult poems" and his "children's verse and rhymes." They indeed "sprang from the same source," and ultimately arrive at the same place: Beauty and Truth.
James McIntosh Patrick, "Boreland Mill, Kirkmichael" (1950)
A hototogisu. Followed by a nightingale. And now the goddess Echo had appeared, drawing me further on:
High up the mountain-meadow, Echo with never a tongue
Sings back to each bird in answer the song each bird hath sung.
Satyrus (1st Century B.C. -- 1st Century A.D.) (translated by F. L. Lucas), in Lucas, Greek Poetry for Everyman (J. M. Dent & Sons 1951), page 358.
A bit later on my wanderings, this came to mind:
Nought to the far-off Hades but an empty echo cries.
There, mid the dead, is silence. My voice in the darkness dies.
Erinna (mid-4th Century B.C.) (translated by F. Lucas). Ibid, page 279. Erinna is "said to have died at nineteen, but ranked with Sappho by some ancient judgments, though little of her work survives. Her chief poem was a lament, The Distaff, for her dead girl-friend Baucis." Ibid, page 279.
James McIntosh Patrick, "City Garden" (1979)
Finally, my frolic and detour came to an end when the following poem arrived, unaccountably, from somewhere. (Although there is a connection with Walter de la Mare.)
At Common Dawn
At common dawn there is a voice of bird
So sweet, 'tis kin to pain;
For love of earthly life it needs be heard,
And lets not sleep again.
This bird I did one time at midnight hear
In wet November wood
Say to himself his lyric faint and clear
As one at daybreak should.
He ceased; the covert breathed no other sound,
Nor moody answer made;
But all the world at beauty's worship found,
Was waking in the glade.
Vivian Locke Ellis (1878-1950), in Walter de la Mare (editor), Come Hither: A Collection of Rhymes and Poems for the Young of All Ages (Constable & Co. 1923), page 360.
[Postscript. Please accept my apologies for the long absence, dear readers. Writing this post, I realized how much I have missed being here. Thank you for your patience.]
James McIntosh Patrick, "A Castle in Scotland"
