A flash of lightning

It’s November and it has been raining now for three days, day and night, night and day. Constantly raining. Occasionally, flashes of lightning illuminate the both the black nights and gray days. A poem or a book gives me comfort.

In this world
Even when it is raining
Sogi gives me shelter
(Sogi’s poems give me comfort)

世に降るも更にそうぎの宿りかな
Yoni furu mo sarani Sōgi no yadori kana

Yoni (in this world) furu mo (when it’s raining) sarani (even then) Sōgi (Sogi, a Japanese poet) no yadori (shelter) kana (I wonder). The addition of “kana” at the end of the haiku is suggestive of a question. Were Basho outside in the cold rain of November, sitting under an umbrella, would reading a poem, or writing a poem, or running the words through his mind, be much comfort?

I wonder.

Sōgi (宗祇, 1421–1502), was a Japanese poet, who like Basho, came from a humble family. He was a Buddhist monk in the Shōkoku-ji temple in Kyoto. Like Basho, he studied and wrote poetry, both waka and renga.

Sogi’s poem:

In the world, even when it is raining, there is shelter.

世にふるも更に時雨のやどりかな
Yoni furu mo sarani shigure no yadori ka na

How many times have you had a sudden inspiration, looked around for a piece of paper to write it down, not finding a scrap or a pencil, repeated it, and thought you knew it by heart. Then, getting home forgot?

Basho gave us this advice which is sometimes translated as “I caught a glimpse of something in the light.” The idea being, I suppose, to write down our impressions in the light that let’s us see. And seeing is not seeing, but understanding. The Dao tells us so.

To see a thing
On must see it
In the light

物の見えたるひかり
Mono no mietaru hikari
— Matsuo Basho

Getting back,
to random thoughts and rain drops,
that never seem to stop:

A lightning flash,
I thought …
Why not pen a poem?
.
Outside, I hear the rain,
Thudding on the ground
I’m glad to be inside
.
I shiver at the thought
Of the rain, and my cat
Caught outside somewhere
.
A familiar refrain,
Rain, rain, go away
Come again another day

Longfellow’s Rainy Day poem (minus punctuation) begins like this:

The day is cold and dark and dreary,
it rains and
the wind is never weary …
— Henry David Longfellow

Sogi, as drawn by Tsukioka Yoshitoshi, detail from a Wikipedia page

On Death

Let us set the stage with the death poem of Toyotomi Hideyoshi (1536-1598), who brought order to a warring Japan:

like dew dropping down,
like dew, then disappearing
could that be me — maybe
all that I’ve done in Osaka,
a dream within a dream
— Tototomi Hideyoshi 豊臣 秀頼, 1598

露と落ち     露と消えにし    
我が身かな      
難波のことは     
夢のまた夢
tsuyu to ochi / tsuyu to kienishi /
waga mi kana / naniwa no koto wa /
yume no mata yume
— 豊臣 秀頼, 1598

Then, Tokugawa Ieyasu 徳川 家康 (1543-1616), who brought peace for a very long time.

Happy I am
To wake up again
And want to sleep some more

To dream of a floating world
And the sky at dawn
— Tokugawa Ieyasu (1616)

嬉しやと 
二度覚めて
一眠り   
うき世の夢は 
暁の空

Ureshi ya to/
Futatabi same te/
Hito-nemuri/
Ukiyo no yume ha/
Akatsuki no sora
— 徳川 家康, 1616

Then, too, we have our beloved Matsuo Basho 松尾 芭蕉, who died on the road.

sick on my journey,
dreams on a withered field
go wandering

旅に病んで 
夢は枯野を 
かけ廻る
tabi ni yande/
yume wa kareno wo/
kakemeguru
— Matsuo Basho, Death Haiku, 1694

Or, if you like,

sick on my journey
dreams lost in a barren field
running, round and round

On Death

What got me thinking of death today?

Was it Shakespeare who gave the doomed King Richard II this speech?

Let’s talk of graves, of worms, and epitaphs;
Make dust our paper and with rainy eyes
Write sorrow on the bosom of the earth,

Let’s choose executors and talk of wills:
And yet not so, for what can we bequeath
Save our deposed bodies to the ground?

— William Shakespeare, King Richard II

Was it the fact it has been too hot for late September. That last night it stormed and rained, and this morning the clouds remain?

Whatever it was,
let’s leave it at that, …
And live!
— Bashō no yōna, Fall, 2024

Late in October

Basho, age 46-47,

The 4th year of Genroku, 1691,
Hikone, on Lake Biwa

For me, it is late in October. I am heading east, driving alone, rushing to get home for Halloween after a trip to Bend, Oregon with my family. Returning home to Wichita, a long five-day trip through eastern Oregon, Idaho, Utah, Colorado, and western Kansas.

For Matsuo Basho, in 1691 (the 4th year of Genroku), it was late in September (or possibly the first of October). Heading east, heading home, stopping at the Meishoji Temple in Hikone, on the eastern shore of Lake Biwa. There he spoke with the head priest, Kono Riyu, in the temple garden. During Kono’s lifetime, he was known as Four Plum Trees because there were four colorful plum trees in the temple garden.

Tears of adoration —
falling leaves,
in Autumn colors
.
尊がる涙や染めて散る紅葉
Tōto garu namida ya somete chiru kōyō

The spectacular show of color in Fall is brief. By late October in Bend most of the Aspen leaves have fallen and turned brown. By the time, I am high in the mountains, returning home, the Aspen trees are stripped bare of leaves.

falling leaves in Autumn colors,
now brown on the ground,
late in October
.
the leaves now fallen,
the Aspen trees,
stand bare and naked
— Bashō no yōna, October, 2024

Kono Riku 河野 李由 (Kōno Riyukari, 1662-1705), the 14th head priest of the Hikone Myosho-ji Temple. (source Japanese Wikipedia). In the summer of 1691, Kono Riyu visited Basho in Kyoto at Rakushisha, the Hut of the Fallen Persimmon, where Basho worked on the Saga Diary (嵯峨日記, Saga Nikki).

Bashō no yōna is the pen name of the author of this blog. It roughly translates as Basho Wanabe (want to be), or not quite.

On Translation

Tōto garu namida, is it — “precious tears, tears of respect or tears of adoration.” One imagines that Basho was impressed not only by the sight of the beautiful fall colors, but also quite happy in seeing a dear friend. Kono was some twenty years younger. He was reportedly a disciple of Basho’s. It is said that after Basho’s death in 1694, Kono was given one of Basho’s hats as a memento.

How We Think

lightning in the dark sky

Genroku 3, Autumn of 1690,
Basho’s letter, sent to Suganuma
Kyokusui 曲水宛書簡, from Osaka

Autumn turns into winter, when one grows older, weaker but no wiser.

In his letter, Matsuo Basho writes: “I drag along my walking stick, regretting my pointless travel and useless walking… Each night I suffer from the cold, my fever has gradually become a chronic illness. As winter approaches, I am heading to Ise.” (Basho’s birthplace, Ueno, Iga province, is on the way. Like salmon returning to the stream where they were born, one wonders.)

looking at lightning
people not seeing
how precious
(is life)

稲妻にさとらぬ人の貴さよ
inazuma ni satoranu hito no tattosa yo

Matsuo Basho,

稲妻 . に . さとらぬ . 人 . の . 貴さ . よ

inazuma (lightning)
ni (not) satoranu (understanding), in a Buddhist sense.
hito (people)
no (of, for)
tattosa (precious), the addition of sa converts the adjective tatto into a noun. Tattosa meaning precious or valuable.
yo (!) implying both certainty and emphasis.

Leap of Faith

The point of Basho’s haiku is not that one can look at a flash of lightening in the night sky and conclude that life passes like that. Rather, it is that the great mass of humanity has little or no understanding of what it means to be alive.

All religion, one supposes, and Zen Buddhism in particular, involves a leap of faith, taking one thought and interpreting it in an entirely new light. An aha moment. I get it, or at least I think I do.

One sleepless night, listening to Chamath Palihapitiya on a Joe Rogan podcast (it’s almost three hours long).

Like a stone thrown in a pond, the conversation between Joe and Chamath expands. Topics include the impact of social media and artificial intelligence on how we think. Today, Chamath is best known as the Founder and CEO of Social Capital, a venture capital firm focused on health, financial service, and education, but his background includes forays in Facebook and an assortment of digital and social media ventures. Despite his success in the field of social media, he recognizes that his own children need to disconnect from digital platforms to learn how to communicate and connect with other human beings. At several points in the interview, Chamath stops to consider the impact of human inventions on psychological and physical health.

[Chamath has his own podcast with three other friends called All-In.]

“I’ll tell you what I think.”

“I am a disruptor.”

The essence of thinking is how we interpret data, as computers don’t infer, yet, that, and judgment is all that is left.

One has to listen,
Like water on rock,
Slowly we change.
.
Looking at lightening,
Blinded at first,
Slowly, the world comes into focus

— Bashō no yōna, October, 2024

稲妻 . にさとらぬ人の貴さよ
inazuma ni satoranu hito no tattosa yo

Note. Suganuma Kyokusui 曲水宛書簡, lent Basho the use of a hut on Lake Biwa. Basho called it the Hut of the Phantom Dwelling. Basho stayed there after his and Sora’s five month trip in 1689 that would become known as Oku no Hosomichi.

Basho added this haiku to his chorus on the transitory nature of life.

Soon I will die,
And the scene will disappear,
As the cicadas continue their cry

やがてしぬ けしきはみえず 蝉の声
yagate shinu keshiki wa miezu semi no koe

— Matsuo Basho, Autumn 1690

For what it is worth, I add Puck’s epilogue to a A Midsummer Night’s Dream, by Shakespeare.

Think but this, and all is mended,
That you have but slumber’d here
While these visions did appear.
And this weak and idle theme,
No more yielding but a dream, …
— William Shakespeare, A Midsummer Night’s Dream, 1596

Birthdays

Happy Birthday,
7th year of Kabun, 1667
Age 23-24

Gazing at the moon,
An Indian summer evening,
One feels the New Year coming.

月の鏡小春にみるや目正月
tsuki no kagami / koharu ni miru ya / me shōgatsu
Munefusa, who would one day become Matsuo Basho, Autumn 1667

An Indian summer, and autumn signals the passing year. Is that then a birthday?

Kyoto, 1667

One year since Tōdō Yoshitada, his master, died. One year since he left his home in Ueno. One year in Kyoto. One year composing poems. One year passing.

What would the New Year bring?

As the poet would later write in his introduction to Oku no Hosomichi: “The months and days travel throughout eternity. Like voyagers, the years come and go.” Basho was not yet Basho. He was still forming, still becoming, the journey just beginning.

Birthdays?

Matsuo Basho’s birthday is unknown.

In the good old days before greeting cards, balloons, and birthday cakes, Japan had one day, the same day of the year that was dedicated to the celebration of one’s birthday — New Year’s Day. Making sense because then, according to ancient beliefs, that was the day everyone got older.

So, should you wish to wish him Happy Birthday, do it on Shōgatsu (正月), the Japanese festival of the New Year.

Or perhaps, one evening in October, when the moon is full, and the weather’s warm.

For then,

When the moon is full,
you’ll see, clearly in the mirror,
you’re getting older.
— Bashō no yōna, getting older, 2024

Chrysanthemum DAy

October 9, 1694,
from Oi Nikki
, the Backpack Diaries,
Near the End

The scent of chrysanthemums,
In Nara,
Ancient Buddhas
菊の香や奈良には古き仏たち
kiku no kaya . Nara ni wa . furuki hotoketachi

Matsuo Basho, October 9, 1694

[kiku no kaya (the smell of chrysanthemums) . Nara ni wa (in Nara) . furuki hotoke tachi (ancient Buddhas)]

Nara was the 8th century capital of Japan. Today it is known as the home to the Todai-ji Temple and the statue of the Great Buddha (Daibutsu-sama).

In China, as well as Japan, the chrysanthemum is a symbol of autumn, flower of the ninth moon, symbol of longevity. Chrysanthemum throne is the name given to the Imperial throne and symbol of the emperor. Chrysanthemum Day is the ninth day of the ninth moon. A chrysanthemum petal placed in a glass of wine was thought to prolong life.

Matsuo Basho was nearing his end. He died in Osaka on November of 1694.

菊の香や, original image from the Library of Congress

Jasmine

The smell of jasmine

So distinctly sweet,

To man and moth, one wonders?

Naxos, Greece

The Greek islands are dry and arid. But from Mykonos to Paris to Naxos the landscape became progressively greener. Although the islands are surrounded by the Aegean Sea, it rarely rains in Summer and Autumn.

It was in mid-October, only on Naxos, that the moths, the bees, and I came across the delicate Jasmine, whose Persian name, Yasmin, means Gift of God.

Far away, one hears the frightful call of all our war. One wonders.

Seek

Dear Kyoruku

Don’t follow me.

古人の跡をもと めず、古人の求たる所をもとめよ
Kojin no ato o motomezu, kojin no motomeshi tokoro o motomeyo
Seek not the way of the ancients, seek what they sought.
(Follow not the the footsteps of the ancients, seek what they sought.)

Matsuo Basho quoting Kūkai (空海, 774 – 835), a Japanese Buddhist

Basho, quoting Kukai (Kobo Daishi), spoke these words to his student, the samurai, Morikawa Kyoroku. The characters 古人, kojin means an ancient (great) person of the past.

Kūkai promoted the Indian philosophy of Dharma, behavior in harmony with life.

Kyoroku was skilled in the six arts of swordsmanship, horsemanship, spear throwing, calligraphy, painting, and haiku, but especially in painting. Basho considered Kouroku his master in this art. “Isn’t it admirable that there are many things to learn, but the result of that learning is only one?”

“Seek and ye shall find,” says Matthew (7:7-8), meaning God is kind, eager to give good gifts to those who believe in Christ. Basho (Kyoruku), however, is not seeking religion but the “inner self.” No John Denver, “follow me in what I do where I go what I do, …” Blaze your own trail, as Laozi suggests in the Tao de Ching.

Basho later added, “Don’t copy me, like two halves of a melon.”

Finally, Oscar Wilde’s witticism, “Be yourself because everybody else is taken.”

Kojin (Gǔrén, Chinese for the ancient wise men) no ato (and their tracks, footsteps, i.e. the Way)

求める motomeru — to seek
求たる motometeru — to be seeking
もと めず motomezu — not seek
もとめよ motomeyo — seek, said in a way you are trying to change someone’s understanding


Morikawa Kyoroku following Matsuo Basho? (sketch by Kyoroku)

Crested Butte

Five Days in Crested Butte, Colorado

It was mid-September in Crested Butte.

The mornings were cool and crisp. The kids were back in school. The guests were mostly gone.

Not me.

On Elk Street, in front of restaurants and bars and coffe shops, past art galleries and clothing shops, couples promenaded hand in hand. Or singly, with a dog. Twice, I spotted a blind man, his white cane tapping the rough pavement, a woman on his arm.

Even a blind man,
Finds the sound of Aspen leaves,
Lovely as can be.

It was not peak Aspen season. (Full foliage is mid-October.) But here and there on the mountainside, the leaves were turning golden yellow and red. Just as lovely, is the sound of the leaves fluttering in the breeze. Amazing to think, an Aspen grove is one biomass.

One day we rented E-bikes and road to the tiny town of Gothic. It was silver town, played out, now the center for the Rocky Mountain Biological Laboratory. A coffee shop, usually closed, a museum and gift shop, usually open, a great place to stop and chat.

Especially while it rains.

In the pouring rain,
E-bikes on the road to Gothic,
Then a moose — Wow!

— Bashō no yōna, October 2024

Deer and elk, we take for granted. A fox not often. A bear let’s hope not. Moose, should you be lucky enough to spot one, are pretty docile unless they’re cornered. It’s best to wait before you pedal onward.

Road to Gothic

Change

As I have said before, Confucius was not a Confucian scholar. He dabbled in Buddhism, visited Shinto shrines, but steered clear of the ritualistic thoughts of Confucius.

Nevertheless, by reverse engineering one can turn Confucius into a haiku master.

Man makes his Way Great!
Not the Way that makes the man,
— Great was Confucius!

子曰:「人能弘道,非道弘人。」
Zǐ yuē:  “Rén néng hóngdào, fēi dàohóng rén.”

Confucius, The Analects, Book 15, Chapter 29

To live and not change,
is one hell of a mistake,
— Confucius makes sense

子曰:「過而不改,是謂過矣。」
Zǐ yuē: ”Guò ér bù gǎi, shì wèiguò yǐ.”

Confucius, The Analects, Book 15, Chapter 30

The first quote reminds me of the popular history question: Does the man make history or does history make the man? To which there is not one answer.

The second quote reminds me of Einstein’s often retold quote: “Insanity is doing the same thing over and over and expecting different results.” There comes a time when one has to move on.

Matsuo Basho was constantly changing, composing, rewriting, revising, often moving, always thinking.

Maybe that makes him Confucian to the core.