Present

I am an escapist.  The past month I've spent a great deal of time in 17th century Japan in the company of Gensei, a Buddhist monk-poet, and in Victorian England in the company of Christina Rossetti.  From what world am I fleeing?  I suspect you know.

"I have not yet looked at the newspaper.  Generally I leave it till I come back tired from my walk; it amuses me then to see what the noisy world is doing, what new self-torments men have discovered, what new forms of vain toil, what new occasions of peril and of strife.  I grudge to give the first freshness of the morning mind to things so sad and foolish."

George Gissing, The Private Papers of Henry Ryecroft (Archibald Constable & Co. 1903), page 7.

Unlike Henry Ryecroft, I am not amused by what appears in the newspapers (or in their modern electronic successors).  Hence, I am content to leave news out of my life entirely.  "Where, to me, is the loss/Of the scenes they saw -- of the sounds they heard."  (Mary Coleridge, "No Newspapers.")  Of course, in this day and age snippets inevitably seep through -- insidious, noisome.  Our life is now akin to being forever stranded in an airport departure lounge, forced to listen to the ever-present cable news presenters dissembling from an unasked-for television screen hovering in the air somewhere above us.  Ah, welladay!

But we have it within us to live a seemlier life, a life of peace and quiet, of small things.

Trailing my stick I go down to the garden edge,

call to a monk to go out the pine gate.

A cup of tea with my mother,

looking at each other, enjoying our tea together.

In the deep lanes, few people in sight;

the dog barks when anyone comes or goes.

Fall floods have washed away the planks of the bridge;

shouldering our sandals, we wade the narrow stream.

By the roadside, a small pavilion

where there used to be a little hill:

it helps out our hermit mood;

country poems pile one sheet on another.

I dabble in the flow, delighted by the shallowness of the stream,

gaze at the flagging, admiring how firm the stones are.

The point in life is to know what's enough --

why envy those otherworld immortals?

With the happiness held in one inch-square heart

you can fill the whole space between heaven and earth.

Gensei (1623-1668) (translated by Burton Watson), in Burton Watson, Grass Hill: Poems and Prose by the Japanese Monk Gensei (Columbia University Press 1983), page 70.  The poem is untitled.

"The point in life is to know what's enough."  Exactly. "September 1 -- the beards of Thistle & dandelions flying above the lonely mountains like life, & I saw them thro' the Trees skimming the lake like Swallows."  Samuel Taylor Coleridge, in Kathleen Coburn (editor), The Notebooks of Samuel Taylor Coleridge, Volume 1: 1794-1804 (Pantheon Books 1957), Notebook Entry 799 (September, 1800).

James McIntosh Patrick (1907-1998), "Glamis Village in April"

On his walk, Gensei misses nothing.  "In the deep lanes, few people in sight;/the dog barks when anyone comes or goes."  A mere commonplace?  But perhaps Gensei is echoing a line in a poem written in China twelve centuries earlier by T'ao Ch'ien (who was revered by Japanese poets): "A dog barks somewhere in the deep lanes."  ("Returning to the Fields" (line 15) (translated by Arthur Waley), in Arthur Waley, One Hundred and Seventy Chinese Poems (Constable 1918), page 78.)  Or perhaps he is simply (and not so simply) paying attention to the World.  Never underestimate the commonplace, the quotidian.  These terms are not pejorative.

               Lark Descending

A singing firework; the sun's darling;

     Hark how creation pleads!

Then silence: see, a small gray bird

     That runs among the weeds.

Edmund Blunden, Poems, 1930-1940 (Macmillan 1940).

While out walking yesterday afternoon I heard no larks singing in the cloudless sky.  But I did hear an unseen woodpecker far off in the woods, hammering.  A small thing.  "There have been times when looking up beneath the sheltring [sic] Trees, I could Invest every leaf with Awe."  Samuel Taylor Coleridge, in Kathleen Coburn (editor), The Notebooks of Samuel Taylor Coleridge, Volume 1: 1794-1804, Notebook Entry 1510 (September, 1803).

James McIntosh Patrick, "Springtime in Eskdale" (1935)

An aside, in closing.  I am ever in search of those who have found serenity and equanimity.  This is why I have long been fond of Gensei, and of his poetry.  Thus, I was delighted when, a few weeks ago, I unexpectedly came upon this, which was previously unknown to me.

     Homage to Gensei

Last night I lay awake

From some sound in the night

And pictured I could take

(Knowing that I could not)

The firm and quiet way

Of the gentle monk Gensei,

Who watched from his Grass Hill

(Three hundred years away)

Beneath a favorite tree,

Or from his leaky hut,

Travels of crow, cloud, sail;

With some food and wine

Welcomed the always rare

Visit from old friends; wrote

His poems, though unwell

Much of the time; read; gave

Lessons, again while sick,

Kept clear of pedantry

(And all he wrote of it

Rings true of it today),

With his goose-foot walking stick

To keep him company

Took walks, kept his mind free

And agile as the air,

Transcending tragedy,

Under his bent old pine

With writing brush in hand

Quiet at close of day

Saw out the evening sun

Across the shadowy land.

     *        *        *        *        *   

Slight rustlings in a tree

And a slow car going by

Returned me to what's mine,

What it had all come to,

What I still had to do

With my own dwindling days.

Alan Stephens, Collected Poems, 1958-1998 (Dowitcher Press 2012).  The ellipses are in the original text.

James McIntosh Patrick, "Glamis Village" (1939)

Poetry

As I have noted here before, a poem that has moved us remains with us, and can return at any time, unexpectedly and unaccountably. Last night, this floated up:

             Out There

Do they ever meet out there,

The dolphins I counted,

The otter I wait for?

I should have spent my life

Listening to the waves.

Michael Longley, The Ghost Orchid (Jonathan Cape 1995).

I have no idea why this arrived when it did.  But I was delighted.  It was with me as I fell asleep, and it greeted me when I awoke this morning.

James McIntosh Patrick (1907-1998), "A City Garden" (1940)

Poems live on inside you.  They accumulate.  Over time, they establish ever-changing connections with you and with each other. One poem leads to another: they travel outward, then circle back again.  This never stops.  They become stepping stones as you make your way through the World.  Yes, life is life, poetry is poetry, the World is the World.  But these small daily journeys -- many-pathed, never the same -- all add up.

Like today, for instance.  Five bright red tulips, the first of the year. Further on, an azalea bush, covered with white flowers that were not there a week ago.  And, all around, unceasing birdsong, pink-white magnolia blossoms in the blue sky.

     Simply trust:

Do not also the petals flutter down,

     Just like that?

Issa (1763-1828) (translated by R. H. Blyth), in R. H. Blyth, Haiku, Volume 2: Spring (Hokuseido Press 1950), page 363.

Stanley Spencer (1891-1959), "Scarecrow, Cookham" (1934)

Today I discovered that this is my thousandth post.  Imagine that.  All of these poems, paintings, and stray thoughts sent out into the ether for eleven years.  To what end?  The beautiful particulars of the World noted in passing, and with gratitude.  And, speaking of gratitude: thank you, dear readers.

To a mountain village

   at nightfall on a spring day

      I came and saw this:

blossoms scattering on echoes

   from the vespers bell.

Nōin (988-1050) (translated by Steven Carter), in Steven Carter, Traditional Japanese Poetry: An Anthology (Stanford University Press 1991), page 134.

Harold Jones (1904-1992), "The Black Door" (1935)

Fragments

Recently I've been spending time with The Oxford Book of Greek Verse in Translation.  Published in 1938, and edited by T. F. Higham and C. M. Bowra, it contains short lyric poems and epigrams, as well as excerpts from epics, long poems, and plays.  Whenever I visit the Greek world I am reminded that human nature has never changed, and never will.  Our capacities for good and evil, nobility and folly, and everything in between, remain constant. 

Another anthology of Greek verse to which I often return is F. L. Lucas' Greek Poetry for Everyman.  The epigraph of the volume consists of an untitled poem by Lucas:

Where lowlands stretch for ever,

Rank pasture, mud-banked river,

And bullocks flick and browse,

     And flies carouse;

Or the city's smoke-pall thickens

And the sullied sunlight sickens --

There the heart cries "How far

     The mountains are!"

Till, on some windless even,

Vast cloud-peaks rampart Heaven,

And sunset hues with rose

     Their timeless snows;

Above this age's shuffle,

Its buzz, and rush, and scuffle,

So towers, far off, at peace,

     The world of Greece.

F. L. Lucas (editor and translator), Greek Poetry for Everyman (J. M. Dent 1951), page vii.

By returning to the verse of ancient Greece (and of the Hellenistic world) am I abandoning the modern world, while romanticizing -- or imagining -- a world of golden light that may have never existed?  But of course.  Why not?

Leopold Rothaug (1868-1959), "Classical Landscape" (1939)

Beauty and Truth present themselves to us in fragments, not all at once in a seamless web.  If such a seamless web exists, it is beyond our ken in this World.  Now and then we glimpse scattered threads, or what might be emerging patterns.  To use a phrase from William James which I quoted in my most recent post: "higher energies filter in."  (William James, The Varieties of Religious Experience: A Study in Human Nature (Longmans, Green, and Co. 1902), page 519.)  Still, fragmentary Beauty and Truth are enough to keep one occupied for a lifetime.

Such is the case with Greek verse, a great deal of which survives only in fragments: the lovely, beguiling, affecting remnants of otherwise lost poems and plays.  In returning to The Oxford Book of Greek Verse in Translation this time around, I have been reading fragments of plays, known only by their titles (if that) and a few surviving scattered lines.  The lines quoted hereafter all come from these vanished works.  Unavoidably out of context, but, in their isolation, gemlike.

Last peaks of the world, beyond all seas,

Wellsprings of night, and gleams of opened heaven,

The old garden of the sun.

Sophocles (translated by Gilbert Murray), in T. F. Higham and C. M. Bowra, The Oxford Book of Greek Verse in Translation (Oxford University Press 1938), page 385.

Yes, of course: the golden light, wine-dark sea, and star-filled sky of Greece.  The eternal Hesperian gardens we all long for.  But there is a simpler, more down-to-earth side to this Paradise as well:

                                        Ah, what joy

Can out-joy this -- to reach the land -- and then

Safe lodged, with happy drowsing sense to hear

The raindrops pattering on the roof outside!

Sophocles (translated by Walter Headlam), Ibid, page 383.

The rainy evening described by Sophocles is part of the World of lovely commonplaces that one comes across so often in these fragments, and also, for instance, in the epigrams of The Greek Anthology.  A reminder that one of the things that enchants us about the Greek world is its day-to-day intertwining of life and art.

There is no comfort in adversity

More sweet than Art affords.  The studious mind

Poising in meditation, there is fixed,

And sails beyond its troubles unperceiving.

Amphis (4th century B.C.) (translated by T. F. Higham), Ibid, page 526.

But another thread winds in and out of the beautiful fragments as well, never out of sight or mind.

Alas, how right the ancient saying is:

We, who are old, are nothing else but noise

And shape.  Like mimicries of dreams we go,

And have no wits, although we think us wise.

Euripides (translated by C. M. Bowra), Ibid, page 455.

Hugo Darnaut (1851-1937), "Sunken Splendor" (1900)

"Mimicries of dreams."  Even an idealized Greece would not be Greece without an abiding and pervasive awareness of our evanescence.

But my fate, on some throbbing wheel of God,

Always must rise and fall, and change its being:

As the moon's image never two nights long

May in one station rest: out of the dark

The young face grows, still lovelier, still more perfect,

Then at the noblest of her shining, back 

She melts and comes again to nothingness.

Sophocles (translated by Gilbert Murray), Ibid, page 384.

It ought not to take a year of plague to remind us of our mortality.  Any good poet has death on his or her mind.  "The paradise of Flowers' and Butterflies' Spirits."  (Samuel Taylor Coleridge, in Kathleen Coburn (editor), The Notebooks of Samuel Taylor Coleridge, Volume 1: 1794-1804 (Pantheon Books 1957), Notebook Entry 1736 (December 1803).)  "A rainbow balanced on an empty house in a verdant combe."  (Philippe Jaccottet, The Second Seedtime: Notebooks, 1980-1994 (translated by Tess Lewis) (Seagull Books 2017), page 150.)  In this World, how could it be otherwise?  Why would we want it to be otherwise?

Mourning your dearest friends, be wise in grief,

They are not dead, but on that single road

Which all are bound to travel, gone before.

We too, in after days, shall overtake them;

One road-house shall receive us, entered in

To lodge together for the rest of time.

Antiphanes (4th century B.C.) (translated by T. F. Higham), Ibid, page 518.

There is no turning away.  Greek verse is full of touching laments and epitaphs for the departed.  And there is no shortage of contemplations upon the dark, endless silence of death, where all are shorn of memories.  "Emptily from here to Hades floats the echo,/Hushed among the dead.  My voice goes down the night."  (Erinna (4th century B.C.) (translated by C. M. Bowra), Ibid, page 522.)  The poets, in all times and in all places, tell us there can be no turning away.  "And yet we all in the end live, do we not, in a phantom dwelling?  But enough of that -- I'm off to bed."  (Bashō (1644-1694), "Record of the Hut of the Phantom Dwelling," in Burton Watson (translator), Four Huts: Asian Writings on the Simple Life (Shambhala 2002), page 95.)

No mortal is born free from suffering: --

He buries children, and begets him new,

And also dies himself.  And yet men grieve

At bringing earth to earth!  It is Fate's will

To reap Life's harvest like the fruited ear,

That one should be, one not.  Where is there cause

For grief, when only 'tis the path of Nature?

Nothing is dread that Fate makes necessary.

Euripides (translated by Walter Headlam), Ibid, page 461.

Leopold Rothaug, "Far Away" (1945)

Enchanted Or Disenchanted, Part Seven: Arrival

Last week the first crocuses appeared: two clumps of light purple, dark purple, and white flowers in the muddy far corner of a neighbor's front yard, next to the sidewalk.  This week they have arrived in earnest, blooming everywhere, increasing in number by the day.  More tentatively, a few daffodils with small yellow flowers have emerged here and there.  The tulips still bide their time.

All of this can be explained perfectly well by science, of course.  Or perhaps not.

            The Year's Awakening

How do you know that the pilgrim track

Along the belting zodiac

Swept by the sun in his seeming rounds

Is traced by now to the Fishes' bounds

And into the Ram, when weeks of cloud

Have wrapt the sky in a clammy shroud,

And never as yet a tinct of spring

Has shown in the Earth's apparelling;

        O vespering bird, how do you know,

                How do you know?

How do you know, deep underground,

Hid in your bed from sight and sound,

Without a turn in temperature,

With weather life can scarce endure,

That light has won a fraction's strength,

And day put on some moments' length,

Whereof in merest rote will come,

Weeks hence, mild airs that do not numb;

        O crocus root, how do you know,

                How do you know?

Thomas Hardy, Satires of Circumstance, Lyrics and Reveries, with Miscellaneous Pieces (Macmillan 1914).

In The Varieties of Religious Experience, William James is coy.  One senses that he has a certain sympathy with mysticism (which, for me, is the heart of the book), but he generally remains circumspect with respect to his own feelings until he reaches his "Conclusions."  Then, in the final paragraph, he writes:

"The whole drift of my education goes to persuade me that the world of our present consciousness is only one out of many worlds of consciousness that exist, and that those other worlds must contain experiences which have a meaning for our life also; and that although in the main their experiences and those of this world keep discrete, yet the two become continuous at certain points, and higher energies filter in.  By being faithful in my poor measure to this over-belief, I seem to myself to keep more sane and true."

William James, The Varieties of Religious Experience: A Study in Human Nature (Longmans, Green, and Co. 1902), page 519.

There are those who will think that James does not go far enough. Others will think that he goes too far.  I am simply grateful for this thoughtful articulation of a reasonable way to look at, and live in, the World.  I might quibble with "consciousness" as being too intellectual, abstract, or psychological.  On the other hand, James' philosophy and writings are grounded in psychology (or so it seems to me), so I can understand why he would use the word.  I would lean more toward the presence of "other worlds" of "existence" or "being," rather than "consciousness."  Using either of those words brings immanence into consideration.  But I am far out of my depth at this point.  To wit: please don't ask me what "existence," "being," or "immanence" mean.  I will have no answer.  I have only inarticulable inklings about these things.

Edward Salter (1835-1934), "Dolerw House and Gardens" (1876)

There is one fine phrase of James' that I have no quibble with whatsoever: "higher energies filter in."  As a Wordsworthian pantheist, I find this thought to be wholly congenial, and true.  For instance: spring is here, regardless of the date on the calendar. Higher energies filter in, bearing messages.  We only need to step out the door to receive them.

          A Contemplation upon Flowers

Brave flowers -- that I could gallant it like you,

          And be as little vain!

You come abroad, and make a harmless shew,

          And to your beds of earth again.

You are not proud:  you know your birth:

For your embroidered garments are from earth.

You do obey your months and times, but I

          Would have it ever spring:

My fate would know no winter, never die,

          Nor think of such a thing.

Oh, that I could my bed of earth but view

And smile, and look as cheerfully as you!

Oh, teach me to see death and not to fear,

          But rather to take truce!

How often have I seen you at a bier,

          And there look fresh and spruce!

You fragrant flowers, then teach me, that my breath

Like yours may sweeten and perfume my death.

Henry King (1592-1669), in Norman Ault (editor), Seventeenth Century Lyrics from the Original Texts (William Sloane 1950).

William James continues the paragraph quoted above as follows:

"I can, of course, put myself into the sectarian scientist's attitude, and imagine vividly that the world of sensations and of scientific laws and objects may be all.  But whenever I do this, I hear that inward monitor of which W. K. Clifford once wrote, whispering the word 'bosh!'  Humbug is humbug, even though it bear the scientific name, and the total expression of human experience, as I view it objectively, invincibly urges me beyond the narrow 'scientific' bounds.  Assuredly, the real world is of a different temperament, -- more intricately built than physical science allows."

William James, The Varieties of Religious Experience: A Study in Human Nature, page 519 (italics in original text).

John Knight (1842-1908), "English Landscape"

James ends the final paragraph of his "Conclusions" with these words (which immediately follow the quotation above):

"So my objective and my subjective conscience both hold me to the over-belief which I express.  Who knows whether the faithfulness of individuals here below to their own poor over-beliefs may not actually help God in turn to be more effectively faithful to his own greater tasks?"

William James, The Varieties of Religious Experience: A Study in Human Nature, p. 519.

The last sentence is absolutely wonderful.  It is revealing (and moving) to see James speak of "faithfulness" in the context of the intellectually distancing term "over-belief."  And the sudden appearance of "God" is startling.  The sentence is beautiful, extraordinary. 

                              In the Fields

Lord, when I look at lovely things which pass,

     Under old trees the shadows of young leaves

Dancing to please the wind along the grass,

     Or the gold stillness of the August sun on the August sheaves,

Can I believe there is a heavenlier world than this?

     And if there is

Will the strange heart of any everlasting thing

     Bring me these dreams that take my breath away?

They come at evening with the home-flying rooks and the scent of hay,

     Over the fields.  They come in Spring.

Charlotte Mew, Complete Poems (edited by John Newton) (Penguin 2000).

Alfred East (1844-1913), "A Bend in the River"

Noted In Passing

The Saturday before last was a changeable day.  Lines of dark rain squalls moved from the southwest to the northeast across Puget Sound, followed by intervals of open skies and sunlight.  Lovely.  Not unusual in this part of the world at this time of year.  Ah, but then came the denouement.

At around 4:50 (I looked at my watch), the sun emerged from beneath the last line of white (no longer grey-hearted) clouds over the waters of the Sound.  I happened to be out on my walk, so I stopped beneath a tall, leafless maple to watch the sunset.  However, it was the sky, not the sun, that caught my eye.  Pale blue-yellow at the horizon (just above the Olympic Mountains), it proceeded upward through changing shades of blue.  I followed the deepening progression: powder blue, cornflower blue, azure.  But, at the zenith  -- my head tilted back, the tangled lattice of empty branches overhead set against the depth of the sky -- the names of colors no longer held any meaning.  The eloquent blueness of that patch of sky was beyond the reach of words.  At such times, the only appropriate response is to pay attention, to not turn away.  There is nothing to be said.

A thought by Philippe Jaccottet which appeared in my last post comes to mind: "A thing is beautiful to the extent that it does not let itself be caught."  (Philippe Jaccottet (translated by John Taylor), from "Blazon in Green and White," in Philippe Jaccottet, And, Nonetheless: Selected Prose and Poetry 1990-2009 (Chelsea Editions 2011), page 53.)  A thought by Ludwig Wittgenstein which has appeared here on numerous occasions comes to mind as well: "What we cannot speak about we must pass over in silence."  (Ludwig Wittgenstein, Tractatus Logico-Philosophicus, Proposition 7 (1921) (translated by David Pears and Brian McGuinness).)  An alternative translation: "Whereof one cannot speak, thereof one must be silent." (Translated by C. K. Ogden.)  Yet, here I am, dear readers, providing you with a ten-day old, useless weather report, ending with an inadequate paean to the blue sky.  

Perhaps it is best to approach the beautiful particulars of the World aslant, lest we betray them.

                      The Nest

Four blue stones in this thrush's nest

I leave, content to make the best

Of turquoise, lapis lazuli

Or for that matter of the whole blue sky.

Andrew Young, Collected Poems (Jonathan Cape 1936).

James Craig (1877-1944), "The Kerry Coast" (c. 1928)

"There is a glass bowl with ten goldfish in it on my desk.  I am gazing at it from my bed, as the pain assaults me.  I feel the pain and see the beauty."  Masaoka Shiki (1867-1902) wrote this journal entry on April 15, 1901.  It appears in A Drop of Ink, a journal he wrote from January 24 through May 21, 1901.  His entries over this period were published in the Tokyo daily newspaper Nihon as he wrote them. (Janine Beichman-Yamamoto, "Masaoka Shiki's A Drop of Ink," Monumenta Nipponica, Volume 30, Number 3 (1975), pages 291-315.)  Shiki had been suffering from tuberculosis since 1889, and had been essentially bedridden since 1897.  He died on September 19, 1902, at the age of 34 -- one year and five months after writing this entry.

The poets remind us again and again: Pay attention.  Do not turn away.

               A Dead Mole

Strong-shouldered mole,

That so much lived below the ground,

Dug, fought and loved, hunted and fed,

For you to raise a mound

Was as for us to make a hole;

What wonder now that being dead

Your body lies here stout and square

Buried within the blue vault of the air?

Andrew Young, Collected Poems.

Where would we be without the blue sky, come what may?

"A certain hermit once said, 'There is one thing that even I, who have no worldly entanglements, would be sorry to give up, the beauty of the sky.'  I can understand why he should have felt that way."

Kenkō (1283-1350), Tsurezuregusa, Chapter 20, in Donald Keene (translator), Essays in Idleness: The Tsurezuregusa of Kenkō (Columbia University Press 1967), page 22.

John William Inchbold (1830-1888)

"A Study, in March" (c. 1855)

Between Thursday evening and Saturday afternoon eight or so inches of snow fell.  A warming spell began on Sunday, and on Monday the back garden was alive with birds.  Robins and sparrows, of course. But I also saw a dove beside a bare rose bush, pecking the snowy ground, and a woodpecker atop a post, watching the activity.  They may have been surprised into shelter and silence by the snow, but now -- darting back and forth in brief flight, chattering -- they had no air of winter about them.

Think you, 'mid all this mighty sum

Of things for ever speaking,

That nothing of itself will come,

But we must still be seeking?

William Wordsworth, seventh stanza of "Expostulation and Reply," in Ernest de Selincourt and Helen Darbishire (editors), The Poetical Works of William Wordsworth, Volume Four (Oxford University Press 1947).

And so we make our way through the World.  Beneath an ever-changing sky, blue at times.

     Butterflies a-flutter,

The lullaby changes again and again

     As she walks along.

Masaoka Shiki (translated by R. H. Blyth), in R. H. Blyth, A History of Haiku, Volume Two (Hokuseido Press 1964), page 88.

David Murray (1849-1933), "The Tithe Barns" (1905)

Significance

A distant, recurring sound on an autumn night.  A human sound, redolent, mysterious, evanescent.

             In Early Autumn, Alone at Night

The leaves of the paulownia move in the cool breeze;

The neighbour's fulling mallet sends out the voice of autumn.

I turn and sleep beneath the eaves;

Waking, the moonlight is half across my couch.  

Po Chü-i (772-846) (translated by R. H. Blyth), in R. H. Blyth, Haiku, Volume 4: Autumn-Winter (Hokuseido Press 1952), page 179.

Another translation of the poem:

            Early Autumn, Alone at Night

Parasol tree by the well, cold leaves stirring;

nearby fulling mallets that speak an autumn sound:

I sleep alone facing the eaves,

wake to find moonlight over half the bed.

Po Chü-i (translated by Burton Watson), in Po Chü-i, Selected Poems (edited and translated by Burton Watson) (Columbia University Press 2000), page 7.

The sound of fulling mallets (or, as they are also called, "fulling blocks") in the night signifies autumn in traditional Chinese poems. "It was customary in the autumn to pound cloth in the process known as fulling to make it suitable for use in winter clothes."  (Burton Watson, The Columbia Book of Chinese Poetry: From Early Times to the Thirteenth Century (Columbia University Press 1984), page 176.) Often, the sound is made by women who are preparing cloth for use in the winter clothes of their lovers or husbands, who are away in the army, anticipating a winter campaign.

A small thing?  Perhaps.  But it gives one pause.  "A thing is beautiful to the extent that it does not let itself be caught."  (Philippe Jaccottet (translated by John Taylor), from "Blazon in Green and White," in Philippe Jaccottet, And, Nonetheless: Selected Prose and Poetry 1990-2009 (Chelsea Editions 2011), page 53.)

Claude Hayes (1852-1922), "Evensong" (1903)

Given the considerable influence of Chinese poetry (particularly the poetry of the T'ang dynasty) on Japanese poetry, fulling blocks are also a common presence in Japanese poems (both waka and haiku) of autumn.  (In Japan, Po Chü-i was the most popular T'ang dynasty poet.  Thus, it is likely that the poem which appears above was well known to Japanese poets.)  The Japanese word for fulling blocks is kinuta. "Kinuta, a wooden mallet and block used to full cloth in the autumn. In poetry, the sound of fulling was associated with the loneliness of a woman left waiting for a traveling husband." (Steven Carter, Traditional Japanese Poetry: An Anthology (Stanford University Press 1991), page 136.)

          Fulling Block

When the wind passes

     in the pines, autumn already

          seems lonely enough —

and then a fulling block echoes

     through Tamakawa Village.

Minamoto no Toshiyori (1055-1129) (translated by Steven Carter), Ibid, page 136.

The poem above is a waka, but the theme appears in haiku as well. For instance:

     Walking along the narrow path,

Listening to the far-off

     Fulling block.

Buson (1716-1784) (translated by R. H. Blyth), in R. H. Blyth, Haiku, Volume 4: Winter-Autumn, page 32.

Buson is chronologically the second of the four traditional great haiku poets: he follows Bashō, and precedes Issa.  The fourth of the greats is Shiki, who wrote this:

     In one house,

A voice of weeping,

     The sound of the fulling block.

Shiki (1867-1902) (translated by R. H. Blyth), Ibid, page 34.

A disembodied sound from somewhere out in the night.  Yet there is a slender human thread.  One pays attention.

     Unheard, these two days,

The fulling block

     Of my neighbour.

Buson (translated by R. H. Blyth), in R. H. Blyth, Haiku, Volume 3: Summer-Autumn (Hokuseido Press 1952), page 336.

George Clausen (1852-1944), "The Village Green at Night"

The World consists of slender threads, doesn't it?  Earlier this week, I saw two sparrows bathing in a puddle, in the morning sun.  I couldn't help but feel they were the first sign of Spring.  Yesterday I noticed that buds have appeared on a row of pear trees in front of a nearby house.  The blue herons have returned to their nests high in the tall pines beside the Ship Canal.  And soon the crocuses will begin to emerge.  "From now on, listening only to the flowers' counsel, antecedent to all knowledge . . ."  (Philippe Jaccottet (translated by Tess Lewis), notebook entry in September, 1983 (ellipses in the original text), in Philippe Jaccottet, The Second Seedtime: Notebooks 1980-1994 (Seagull Books 2017), page 57.)

Why should little things be blamed?

Little things for grace are famed;

Love, the winged and the wild,

Love is but a little child.

Anonymous (translated by Thomas Percival Rogers), in Henry Wellesley (editor), Anthologia Polyglotta: A Selection of Versions in Various Languages, Chiefly from The Greek Anthology (John Murray 1849), page 259.

Slender threads.  Little things.  They all add up.

     The clear voice 

Of the fulling block echoes up

     To the Northern Stars.

Bashō (1644-1694) (translated by R. H. Blyth), in R. H. Blyth, Haiku, Volume 4: Autumn-Winter, p. 31.

Thomas Train (1890-1978), "Headlights"

Presence

As I have remarked here in the past, the feeling that the world is going to Hell in a hand-basket is a timeless feature of human nature. The world has always been, and will always be, going to Hell in a hand-basket.  Still, one pauses: after all, there was someone living an ordinary life in Rome when it was sacked by the barbarians.  It's a matter of timing.  You never know what you're in for.

                                 To Posterity

When books have all seized up like the books in graveyards

And reading and even speaking have been replaced

By other, less difficult, media, we wonder if you

Will find in flowers and fruit the same colour and taste

They held for us for whom they were framed in words,

And will your grass be green, your sky be blue,

Or will your birds be always wingless birds?

Louis MacNeice, Visitations (Faber and Faber 1957).

Thus wrote MacNeice sixty-four years ago.  He was not wrong. Moreover, as I have noted here on several occasions, Wordsworth was not wrong in his preface to the 1802 edition of Lyrical Ballads:

"[A] multitude of causes, unknown to former times, are now acting with a combined force to blunt the discriminating powers of the mind, and, unfitting it for all voluntary exertion, to reduce it to a state of almost savage torpor.  The most effective of these causes are the great national events which are daily taking place, and the increasing accumulation of men in cities, where the uniformity of their occupations produces a craving for extraordinary incident, which the rapid communication of intelligence hourly gratifies."  

Hence, the theme is not new.  Only the technology changes.  So here we are again.  But all is not lost.  Some of us continue to love, and attempt to preserve, what Wordsworth and MacNeice loved (and feared for).  Yet at times one does think of the Roman living contentedly, going about his or her daily business, seeing dust on the horizon, having never heard of Visigoths, Ostrogoths, and Vandals.

William Rothenstein (1872-1945)

"Oakridge Farm, Late Summer" (c. 1925)

I try to keep things in perspective, but since 1968 (the year of the White Album, a memorable World Series between the Tigers and the Cardinals, and nothing else good) I have been of the opinion that the world (as distinguished from the World) is indeed going to Hell in a hand-basket.  However, don't mind me: I suspect I had the same feeling as I emerged bawling from the womb, gasping for air, during the first term of the Eisenhower administration.  Withal, come what may, I have remained quite cheerful.  I simply step outside and take a look around at the World and its beautiful particulars.  How can one be anything but astonished and grateful?

   On Looking Up by Chance at the Constellations

You'll wait a long, long time for anything much

To happen in heaven beyond the floats of cloud

And the Northern Lights that run like tingling nerves.

The sun and moon get crossed, but they never touch,

Nor strike out fire from each other, nor crash out loud.

The planets seem to interfere in their curves,

But nothing ever happens, no harm is done.

We may as well go patiently on with our life,

And look elsewhere than to stars and moon and sun

For the shocks and changes we need to keep us sane.

It is true the longest drouth will end in rain,

The longest peace in China will end in strife.

Still it wouldn't reward the watcher to stay awake

In hopes of seeing the calm of heaven break

On his particular time and personal sight.

That calm seems certainly safe to last tonight.

Robert Frost, West-Running Brook (Henry Holt and Company 1928).

William Rothenstein, "St Martin's Summer"

Nevertheless, one cannot help but take notice of certain things.  Of things that have permanently vanished.  Of irreplaceable things, now broken, that appear to be irreparable.  There's no help for it.  One does notice.  Is this merely a product of growing older, of feeling that it is time to leave the stage, an outdated relic?  Perhaps.  But that denizen of Rome haunts me.

Suddenly, another Roman arrives to remind me:

"If, I say, you separate from the governing principle within you those things which are, as it were, appended to it by its vehement passions, and the times past and future, you make yourself like the firm World of Empedocles, A sphere rejoicing 'midst the circling eddy.  Be solicitous only to live well for the present; and you may go on till death, to spend what remains of life, with tranquillity, with true dignity, and complacence with the divinity within you."

Marcus Aurelius, Meditations, Book XII, Section 3, in Francis Hutcheson and James Moor (translators), The Meditations of the Emperor Marcus Aurelius Antoninus (1742).

Life is ever a matter of attention and gratitude, don't you think?

   On Something Observed

Torn remains of a cobweb,

     one strand dangling down --

a stray petal fluttering by

     has been tangled, caught in its skein,

all day to dance and turn,

     never once resting --

elsewhere in my garden,

     no breeze stirs.

Kokan Shiren (1278-1346) (translated by Burton Watson), in Burton Watson, Japanese Literature in Chinese, Volume 2 (Columbia University Press  1976), page 27.

William Rothenstein, "Oakridge Farm, Late Summer" (1933)

A Choice

Toward the end of November, the robins begin to gather in small flocks for the winter.  One hears the sound of constant twittering in a distant tree.  This seems unusual, since bird-sounds mostly vanish as autumn deepens.  But then one sees them: robins hopping from branch to branch, in conversation, debating their next step.  Once a plan of action has been agreed upon, they leave the tree one by one or in small groups, continuing their daily round.  Our winter companions.  A comforting sight.

                         Time Out

It took that pause to make him realize

The mountain he was climbing had the slant

As of a book held up before his eyes

(And was a text albeit done in plant).

Dwarf cornel, gold-thread, and maianthemum,

He followingly fingered as he read,

The flowers fading on the seed to come;

But the thing was the slope it gave his head:

The same for reading as it was for thought,

So different from the hard and level stare

Of enemies defied and battles fought.

It was the obstinately gentle air

That may be clamored at by cause and sect

But it will have its moment to reflect.

Robert Frost, A Witness Tree (Henry Holt 1942).

Alfred Parsons (1847-1920), "Meadows by the Avon"

Yesterday, near twilight, I walked beside a long puddle filled with intricate, innumerable bare branches, pink-tinged white sunset clouds, and darkening blue sky.  The reflected world seemed to be another world entirely -- beautiful, but out of reach.  A few moments later, still walking, the brilliant puddle now behind me, I realized how completely wrong I had been: what I had seen was the World.  How could it be otherwise?  Do you sometimes find it hard to believe that the World is as beautiful as it is?  It is good to be reminded of one's ignorance.  I receive this reminder every day.  But the World never gives up on me.

"Attachment to the self renders life more opaque.  One moment of complete forgetting and all the screens, one behind the other, become transparent so that you can perceive clarity to its very depths, as far as the eye can see; and at the same time everything becomes weightless.  Thus does the soul truly become a bird."

Philippe Jaccottet (translated by Tess Lewis), notebook entry (May, 1954), in Philippe Jaccottet, Seedtime: Notebooks 1954-1979 (Seagull Books 2013), page 1.

Alfred Parsons, "Poplars in the Thames Valley"

Cloudy winter days sometimes end in a thin band of yellow sky at the edge of the horizon, along the blue-black silhouette of the peaks of the Olympic Mountains, beyond the waters of Puget Sound.  That narrow strip of brightness has a beckoning aspect to it.  A promise of sorts before a long winter night.

Reflections

of stars, on the riverbank?

Plum blossoms.

Sugiwara Sōi (1418-1485) (translated by Steven Carter), in Steven Carter, Haiku Before Haiku: From the Renga Masters to Bashō (Columbia University Press 2011), page 56.

Alfred Parsons,  "On the Cotswolds"

Companion

As autumn departs, a thought: 

All Night Long Regretting

      the End of Autumn

Regret as I may,

even the bell

has a different sound now,

and soon frost will fall

in place of morning dew.

Saigyō (1118-1190) (translated by Burton Watson), in Burton Watson, Saigyō: Poems of a Mountain Home (Columbia University Press 1991), page 84.

I shall never quarrel with my beloved Saigyō, and his thought strikes home.  He and Marcus Aurelius are in agreement: "The world is a continual change."  (Marcus Aurelius, Meditations, Book IV, Section 3, in Francis Hutcheson and James Moor (translators), The Meditations of the Emperor Marcus Aurelius Antoninus (1742).)

And yet.  Last evening I saw a lovely crescent moon high in the southwestern sky over Puget Sound.  Constancy in the midst of change.  Apart from new meteor craters, cosmic debris, and human detritus scattered in a few places, has the moon altered over the millennia for those of us here on the ground, looking upward?  Hasn't it always been our unchanged, unchangeable, reliable companion?

  

     Autumn's bright moon,

However far I walked, still afar off

     In an unknown sky.

Chiyo-ni (1701-1775) (translated by R. H. Blyth), in R. H. Blyth, Haiku, Volume 3: Summer-Autumn (Hokuseido Press 1952), page 388.

Of Chiyo-ni's haiku, Blyth writes: "There is a feeling of separateness here which is not to be denied.  The poetess realizes that she and the moon are two different entities, in a different sky, in a different world."  (Ibid, page 388.)  He then provides a waka which, as Blyth puts it, "expresses that other side of truth":

     Down from the mountain,

The moon

     Accompanied me,

And when I opened the gate,

The moon too entered.

Kotomichi (1798-1868) (translated by R. H. Blyth), Ibid, page 388.

One need not make a choice.  Both are beautiful.  Both are true.

John Aldridge (1905-1983), "Autumn" (1946)

Perhaps Chiyo-ni's view and Kotomichi's view are merged and reconciled in William Wordsworth's lunar encounter in the winter of 1798:

                    A Night-Piece

                            The sky is overspread

With a close veil of one continuous cloud

All whitened by the moon, that just appears,

A dim-seen orb, yet chequers not the ground

With any shadow -- plant, or tower, or tree.

At last a pleasant instantaneous light

Startles the musing man whose eyes are bent

To earth.  He looks around, the clouds are split

Asunder, and above his head he views

The clear moon and the glory of the heavens.

There in a black-blue vault she sails along

Followed by multitudes of stars, that small,

And bright, and sharp along the gloomy vault

Drive as she drives.  How fast they wheel away!

Yet vanish not!  The wind is in the trees;

But they are silent.  Still they roll along

Immeasurably distant, and the vault

Built round by those white clouds, enormous clouds,

Still deepens its interminable depth.

At length the vision closes, and the mind

Not undisturbed by the deep joy it feels,

Which slowly settles into peaceful calm,

Is left to muse upon the solemn scene.

William Wordsworth, 1798 manuscript, in Beth Darlington, "Two Early Texts: A Night-Piece and The Discharged Soldier," in Jonathan Wordsworth (editor), Bicentenary Wordsworth Studies in Memory of John Alban Finch (Cornell University Press 1970), page 431.

1798: that charmed year for William and Dorothy Wordsworth (and for Samuel Taylor Coleridge as well).  Commentators on the poem have noted that it has its origin in a journal entry made by Dorothy on January 25, 1798.  (See, for example: Lucy Newlyn, William and Dorothy Wordsworth: 'All in Each Other' (Oxford University Press 2013), pages 57-59; Kenneth Johnston, The Hidden Wordsworth: Poet, Lover, Rebel, Spy (W. W. Norton 1998), pages 552-553.)  The thought is that William and Dorothy witnessed the scene together while out walking.

"The sky spread over with one continuous cloud, whitened by the light of the moon, which, though her dim shape was seen, did not throw forth so strong a light as to chequer the earth with shadows.  At once the clouds seemed to cleave asunder, and left her in the centre of a black-blue vault.  She sailed along, followed by multitudes of stars, small, and bright, and sharp."

Dorothy Wordsworth, The Grasmere and Alfoxden Journals (Oxford University Press 2002), page 142.

The "vision" recounted by Wordsworth brings to mind one of the fragments of blank verse in his Alfoxden notebook, which he kept during the first three months of 1798:

Of unknown modes of being which on earth,

Or in the heavens, or in the heavens and earth

Exist by mighty combinations, bound

Together by a link, and with a soul

Which makes all one.

William Wordsworth, fragment from the Alfoxden notebook, in Ernest de Selincourt and Helen Darbishire (editors), The Poetical Works of William Wordsworth, Volume 5 (Oxford University Press 1949), pages 340-341.

John Aldridge, "First Frost"

The moon is constant.  But, ah, dear readers, what of us?  

                    The Limit

The silent friendship of the moon

(I misquote Virgil) has kept you company

since that one night or evening

now lost in time, when your restless

eyes first made her out for always

in a patio or a garden since gone to dust.

For always?  I know that someday someone

will find a way of telling you this truth:

"You'll never see the moon aglow again.

You've now attained the limit set for you

by destiny.  No use opening every window

throughout the world.  Too late.  You'll never find her."

Our life is spent discovering and forgetting

that gentle habit of the night.

Take a good look.  It could be the last.

Jorge Luis Borges (translated by Alan Trueblood), in Jorge Luis Borges, Selected Poems (edited by Alexander Coleman) (Viking 1999).

This is no cause for gloom, or melancholy.  Our quickly passing interval of "silent friendship" with the moon, with all the beautiful particulars of the World, is no small thing.  And the thought that the World will go on without us, the moon and the seasons forever coming and going, can be a source of comfort and serenity.

But Saigyō -- wonderful Saigyō -- takes us in another direction altogether:

Were we sure of seeing

a moon like this

in existences to come,

who would be sorry

to leave this life?

Saigyō (translated by Burton Watson), in Burton Watson, Saigyō: Poems of a Mountain Home, page 158.

John Aldridge, "Beslyn's Pond, Great Bardfield"

Late

I often walk past a long, stately row of thirty tall cottonwoods.  (Yes, once upon a time I counted them.)  They always seem to be the last to lose their leaves.  On a sunny, breezy afternoon, as the season begins to depart, the noble old-timers take on the look of young aspens. Their remaining yellow leaves — high up in swaying boughs — flicker, tremble, and shine in the blue sky, in the honey sunlight.  But now, as December begins, they are nearly empty, and the path beside them is littered in gold.

     Fallen leaves

Come flying from elsewhere:

     Autumn is ending.

Masaoka Shiki (1867-1902) (translated by R. H. Blyth), in R. H. Blyth, Haiku, Volume 3: Summer-Autumn (Hokuseido Press 1952), page 355.

Yet no "Alas!" is called for.  Unannounced and unexpected, gifts are always arriving "from elsewhere," be it autumn, winter, spring, or summer.  Nothing is to be regretted or mourned.  "Earth never grieves!"

Onto the rain porch

     from somewhere outside it comes —

a fallen petal.

Takahama Kyoshi (1874-1959) (translated by Steven Carter), in Steven Carter, Traditional Japanese Poetry: An Anthology (Stanford University Press 1991), page 443.

Edward Waite (1854-1924)

"The Mellow Year Is Hastening To Its Close" (1896)

As the solstice approaches, my afternoon walks have become twilight walks.  All is quiet and dark within the groves of pine trees, save for occasional twitters, or brief songs, from far off in the shadows.  Now and then a solitary crow flies overhead, sometimes silent, sometimes cawing.  The immemorial solitary crow of autumn.

     An autumn evening;

Without a cry,

     A crow passes.

Kishū (1743-1802) (translated by R. H. Blyth) in R. H. Blyth, Haiku, Volume 3: Summer-Autumn, page 345.

At some point in the season, one feels the melancholy pull of decline. The bittersweet wistfulness and wistful bittersweetness of early autumn and high autumn are long gone, irrecoverable.  Funereal but tempting, the late autumn emptiness and darkness beckon.

     Dirge in Woods

A wind sways the pines,

        And below

Not a breath of wild air;

Still as the mosses that glow

On the flooring and over the lines

Of the roots here and there.

The pine-tree drops its dead;

They are quiet, as under the sea.

Overhead, overhead

Rushes life in a race,

As the clouds the clouds chase;

        And we go,

And we drop like the fruits of the tree,

        Even we,

        Even so.

George Meredith,  A Reading of Earth (Macmillan 1888).

Edward Waite, "Autumn Colouring" (1894)

But there shall be no dirges as autumn fades.  As ever in the World of beautiful particulars, departures are followed by arrivals, there is no loss without an attendant gain.  One afternoon this week it seemed for a moment that the long tree shadows laid across the bright green grass of a meadow were the essence of loss and sorrow.  Until one saw the trunks and empty branches of the trees, which had suddenly turned gold in the angled sunlight -- each and every twig glittering, aflame.

               The Last Leaf

I saw how rows of white raindrops

   From bare boughs shone,

And how the storm had stript the leaves

   Forgetting none

Save one left high on a top twig

   Swinging alone;

Then that too bursting into song

   Fled and was gone.

Andrew Young, in Edward Lowbury and Alison Young (editors), The Poetical Works of Andrew Young (Secker & Warburg 1985).

Yes, gifts never cease to arrive from elsewhere.

     Leaning against the tree,

Branches and leaves are few:

     A night of stars.

Masaoka Shiki (translated by R. H. Blyth), in R. H. Blyth, Haiku, Volume 3: Summer-Autumn, page 365.

Edward Waite, "Fall of the Year"