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Machine translation is useful for getting a rough overview of what documents written in another language are saying, but the results are seldom perfect.

This is particularly true of so-called pro-drop languages like Japanese, where words are often omitted from sentences when they can be understood from the context.

Another problem is that the Japanese language includes many levels of honorific speech, which means that the same sentence can be said in a number of different ways depending on the relative status of the person being addressed. source →

RESOURCE IN PROGRESS

From The Knapsack Notebook (source):

"Within this temporal body composed of a hundred bones and nine holes there resides a spirit which, for lack of an adequate name, I think of as windblown. Like delicate drapery, it may be torn away and blown off by the least breeze. It brought me to writing poetry many years ago, initially for its own gratification, but eventually as a way of life. True, frustration and rejection were almost enough to bring this spirit to silence, and sometimes pride brought it to the brink of vanity. From the writing of the very first line, it has found no contentment as it was torn by one doubt after another. This windblown spirit considered the security of court life at one point; at another, it considered risking a display of its ignorance by becoming a scholar. But its passion for poetry would not permit either. Since it knows no other way than the way of poetry, it has clung to it tenaciously."

THE QUOTE WE STUDY (below) FOLLOWS ON FROM THAT PRECURSOR (above)

"Saigyo in poetry, Sogi in linked verse, Sesshu in painting, Rikkyu in the tea ceremony—the spirit that moves them is one spirit. Achieving artistic excellence, each holds one attribute in common: each remains attuned to nature throughout the four seasons. Whatever is seen by such a heart and mind is a flower, whatever is dreamed is a moon. Only a barbarian mind could fail to see the flower; only an animal mind could fail to dream a moon. The first task for each artist is to overcome the barbarian or animal heart and mind, to become one with nature."

- Sam Hamill (source)

In his essay in Basho’s Poetic Spaces (33), Barnhill quotes the Knapsack Notebook:

"Saigyo’s waka, Sogi’s renga, Sesshu’s painting, Rikyu’s tea ceremony – one thread runs through the artistic Ways. And this artistic [aesthetic?] spirit is to follow zoka, to be a companion to the turning of the four seasons. Nothing one sees is not a flower, nothing one imagines is not the moon. If what is seen is not a flower, one is like a barbarian; if what is imagined is not a flower, one is like a beast. Depart from the barbarian, break away from the beast, follow zoka, return to zoka."

Barnhill’s footnote to “the Creative” (151): “An important and complex idea in Basho’s view of nature derived from the Zhuangzi and later Chinese philosophic and aesthetic traditions. The term refers not to nature in our normal sense of the world, but to nature’s skillful creativity that beautifully transforms the natural world.”

Also see: Interviews with David Landis Barnhill, Simply Haiku 2005 / 2011 (zoka quote) / PDF 2011

Peipei Qui, author of Basho and the Dao: The Zhuangazi and the Transformation of Haikai:

"In the waka of Saigyo, the renga of Sogi, the painting of Sesshu, and the tea of Rikyu, the fundamental principal is the same. Those who pursue art follow zoka and have the four seasons as their companion. Nothing they see is not a flower and nothing they imagine is not the moon. If one sees no flower, he is the same as a barbarian; if one has no moon in mind, he is no different from the birds and the beasts. Go beyond the barbarians and depart from animals; follow zoka and return to zoka."

Simply Haiku , An Interview with Professor Peipei Qiu:

"In the waka of Saigyo, the renga of Sogi, the paintings of Sesshu and the tea ceremony of Rikyu, one fundamental principle runs through all arts: those who pursue art follow zoka, and have the four seasons as their companion. Everything they see is like a flower and everything they imagine is like the moon. If one sees no flower, he is the same as a barbarian; if one has no moon in mind, he is no different from the birds and the beasts. Go beyond the barbarians and depart from the animals; follow zoka and return to zoka."

East Asian Cultural and Historical Perspectives: Histories and Society, by Steven Tötösy de Zepetnek, Jennifer W. Jay, University of Alberta. Research Institute for Comparative Literature and Cross-Cultural Studies (source):

MORE TO COME

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Basho on the Poetics of Travel Writing

From The Knapsack Notebook

(in Narrow Road to the Interior and Other Writings, translated by Sam Hamill, Shambhala, 2000)

Within this temporal body composed of a hundred bones and nine holes there resides a spirit which, for lack of an adequate name, I think of as windblown. Like delicate drapery, it may be torn away and blown off by the least breeze. It brought me to writing poetry many years ago, initially for its own gratification, but eventually as a way of life. True, frustration and rejection were almost enough to bring this spirit to silence, and sometimes pride brought it to the brink of vanity. From the writing of the very first line, it has found no contentment as it was torn by one doubt after another. This windblown spirit considered the security of court life at one point; at another, it considered risking a display of its ignorance by becoming a scholar. But its passion for poetry would not permit either. Since it knows no other way than the way of poetry, it has clung to it tenaciously.

Saigyo in poetry, Sogi in linked verse, Sesshu in painting, Rikkyu in the tea ceremony—the spirit that moves them is one spirit. Achieving artistic excellence, each holds one attribute in common: each remains attuned to nature throughout the four seasons. Whatever is seen by such a heart and mind is a flower, whatever is dreamed is a moon. Only a barbarian mind could fail to see the flower; only an animal mind could fail to dream a moon. The first task for each artist is to overcome the barbarian or animal heart and mind, to become one with nature. (pp. 55-56)

• • •

From my earliest times, the art of the travel journal has been appreciated by readers. The great Ki-no-Tsurayuki wrote the famous Tosa Journal, and Kamo-no-Chomei recorded life in a ten-foot-square hut. The nun Abutsu perfected the genre. My brush, lacking both wisdom and inspiration, strives vainly to be their equal.

How easy it is to note that a morning began with rain only to become sunny in the afternoon; that a pine tree stood at a particular place, or to note the name of a river bend. This is what people write in their journals. Nothing's worth noting that is not seen with fresh eyes. You will find in my notebook random observations from along the road, experiences and images that linger in heart and mind—a secluded house in the mountains, a lonely inn on a moor.

I write in my notebook with the intention of stimulating good conversation, hoping that it will also be of use to some fellow traveler. But perhaps my notes are mere drunken chatter, the incoherent babbling of a dreamer. If so, read them as such. (p. 57)

• • •

Throughout my three days in Yoshino, I enjoyed the opportunity to study cherry blossoms at various hours, predawn to dusk and past midnight when the moon was growing pale. I was too moved to write even one poem, especially when my melancholy heart remembered famous poems by Saigyo and other ancient poets. All my lofty pretenses and ambitions aside, my journey produced no poetry. pp. 67-68)

• • •

I was moved [. . .] by the beauty of the natural world, rarely seen natural vistas and coastlines. I visited temporary hermitages of ancient sages. Even better, I met people who had given over their whole lives to the search for truth in art. With no real home of my own, I wasn't interested in accumulating treasures. And since I traveled empty-handed, I didn't worry much about robbers.

I walked at a leisurely pace, preferring my walk even to riding a palanquin, eating my fill of coarse vegetables while refusing meat. My way turned on a whim since I had no set route to follow. My only concerns were whether I'd find suitable shelter for the night or how well straw sandals fit my feet. Eacj twist in the road brought new sights, each dawn renewed my inspiration. Wherever I met another person with even the least appreciation for artistic excellence, I was overcome with joy. Even those I'd expected to be stubbornly old-fashioned often proved to be good companions. People often say that the greatest pleasures of traveling are finding a sage hidden behind weeds or treasures hidden in trash, gold among discarded pottery. Whenever I encountered someone of genius, I wrote about it in order to tell my friends. (p. 69)

• • •

"Basho was struggling to achieve a resonance between the fleeting moment and the eternal, between the instant of awareness and the vast emptiness of Zen." —Sam Hamill

source