Wild Abandon

June, 1687

It is June 21. Summer has arrived and everything has changed, or has it? Matsuo Basho is out for a walk, alone, with paper and pen, composing, on a warm day, when suddenly he is startled by a frog jumping into an old familiar pond.

“Poems are never completed — they are abandoned.”

Paul Valery, La Nouvelle Revue Française, 1933

That is close to the truth of what Valery said, but not exactly. Exactly said, it is this: “Aux yeux de ces amateurs d’inquiétude et de perfection, un ouvrage n’est jamais achevé, – mot qui pour eux n’a aucun sens, – mais abandonné.”

In English, it becomes: “In the eyes of these lovers of restlessness and perfection, a work is never finished – a word which for them has no meaning – but abandoned.” As Valery was discussing his poem The Cemetery by the Sea, work becomes “poems”.

Even that, dear friends, is not exact, for Valery goes on to add other words by way of explanation. That is, he adds context. Context is the setting, time, mood, age, feeling, something that clarifies its meaning.

Let us take Matsuo Basho’s well known frog haiku:

Furu ike ya
kawazu tobikomu
mizu no oto

古池や蛙飛こむ水のおと

Old pond — frogs jumps in — sound of water

Matsuo Basho, Jōkyō 3, 1687, age 43

Does it matter if the pond is large or small, covered in lily pads or algae, the frog is startled, that the frog was croaking, that Basho is startled, that he was walking or sitting, thinking, talking, the sound is splash or kerplunk?

The frog disappears. Is this a spiritual transformation? kawasu — 換える, 替える, 代える, are verbs meaning “exchange” or “substitute”. Suddenly, we are on a metaphysical plain.

What if we think or the haiku as a question: What is the sound of water? Of course, it is many things, the sound of waves on the shore, or a mountain stream that flows upon the rocks. What if we ask a small child?

To a frog, she thunk — “kerplunk.”

Thus, to the enlightend Buddhist monk and the delighted little girl, Basho’s haiku is this:

An old pond, the frog that jumps becomes, the sound of water.

Matsuo Basho, revised haiku

Let us write with wild abandon, get lost in thought, never done.

Basho no yona, Summer 2023
An old pond, a frog jumps, the sound of water. To a little girl, she thunk — kerplunk.

Few Words

A man of few words

Will learn

A lot more

Basho no yona, June 2023

Maybe it is not elegant. Doesn’t conform to rules, but then in poetry, as in life, rules are made to be broken.

Our guide along this journey into the wonders of haiku is Matsuo Basho, who said, don’t split the melon, don’t be like me.

Perhaps be like the frog, go jump in a pond.

The Ant

Birds for sure, fish, of course, a famous frog, and crickets, insects galore, but no ants for the Japanese haiku poet Matsuo Basho. Was it their work ethic that kept him from writing about them? Who knows, but surely they followed him on his many journeys. To demonstrate Hiaku Lives, I have written a few verses, renga style about the tiny ant.

The Ant

I stepped on an ant today
But I don’t think he knew …
What was about to hit him

I suppose he thought
If he thought
Why can’t he mind his own business

There are plenty of us,
the other ants weighed in,
And only one of him

in the end,
we’ll win,
and crawl all over him

Bashō no yōna, March 2023
アリ, 蟻, ari, ant

Knotweed and Chili Pepper

Needs to simmer on the stove a little longer …

Otsu, Lake Biwa, Autumn 1690. Open the grass door to my hut, enjoy a simple vegetarian meal.

Open the door of my grass hut
Recognize flowering knotweed
and chili pepper

草の戸を知れや穂蓼に唐辛子
kusa no to o shire ya hotade ni togarashi

Matsuo Basho, Otsu, Autumn 1690

Basho often complained of stomach ailments. Therefore, he ate sparingly.

Notes. kusa no to (grass, of, door, i.e. door made of grass. A short hand was of saying the roof of the simple hut is made of thatched grass) o shire (know, see) ya (emphasis) hotade (flowering smartweed, or knotweed, the flower buds may be pink to red, ducks eat it. Compare the similar sounding hotate scallops, a fancier fare. Hotade has some medicinal value.) ni togarashi (red chili pepper).

草の戸を知れや穂蓼に唐辛子

My Treat

When a guest arrives, Matsuo Basho has only tiny mosquitos to offer for a feast.

わが宿は蚊の小さきを馳走かな

waga yado wa / ka no chiisaki o / chisō kana

In my hut
the tiny mosquitos,
are my treat!

Matsuo Basho, at Genju-an, Summer 1690

My Treat

Matsuo Basho was staying at the Genju-an (Phantom Dwelling) in Otsu on Lake Biwa, which explains the presence of mosquitos. His guest, Akinobo, was a Japanese monk about whom little is known. Akinobo lived as a hermit in complete simplicity and poverty, begging for some rice to eat in summer and a little charcoal in winter to keep warm. So, it may be that Basho was visiting Akinobo and not the other way around.

waga わが my and yado wa 宿は, inn or hermitage

ka 蚊, mosquito; chiisaki 小さきを, a small thing

chiso 馳走, treat, banquet, feast

By the Sea at Suma

cuckoo bird

Suma, Japan, Jokyo 5, Genroku 1
Summer 1688, age 45

Poetry — like an arrow, let loose, following its own path.

From the fall of 1687 to the late summer of 1688, Matsuo Basho travelled from Edo to Iga, to the Grand Ise Shrine, on to Nagoya, Osaka, Kyoto and Otsu, and finally to Suma. The poems he wrote along the way became the musings in the book, Oi no Kobumi (笈の小文), Notes from My Knapsack.

at Suma’s seaside
shoot an arrow,
at the cry of a cuckoo

須磨の海士の矢先に鳴くか郭公
Suma no ama no / yasaki ni naku ka / hototogisu (kakkō)

Matsuo Basho, Oi no kobumi, Summer 1688

Notes on Translation

This haiku is best understood if one is familiar with The Tale of the Genji. Genji lived at Suma. One of the tales concerns the 12th century poet and archer Minamoto Yorimasa (源 頼政), who shot a monstrous bird whose nightly call annoyed the emperor. As the Minister of Right was about to give Yorimasa an award for silencing the bird, he said:

Hototogisu na omo kuomi ni aguru kana
A cuckoo raising its head to the clouds in the heavens calls its name

To which, Yarimasa replied:

Yumihari-zuki no iru ni makasete
I only bent my bow and the arrow shot itself

(Source: Warrior Ghost Plays from Noh Theater, Chifumi Shimazaki. See also, One Hundred Aspects of the Moon: no. 58, Minamoto Yorimasa, by Tsukioka Yoshitoshi)

Suma (Suma, home of Genji, a beach near Kobe) no ama (sea, seaside) no / yasaki (an arrowhead) ni naku (cry) ka / hototogisu (kakkō, cuckoo bird)

cuckoo bird

くか郭公, Nakuka hototogisu, the cry of the cuckoo

Summertime

To a traveler,
Shii flowers,
like the heart of a traveler
(like the thoughts of a traveler)

旅人の 心にも似よ 椎の花
tabibito no / kokoro ni mo niyo / shii no hana

Matsuo Basho, Summer, 1693

May 6, Genroku 6,
50 years old, 1693

Through the summer of 1693, Basho continued to teach and attend haiku parties (renga). Presumably, at one such party, he composed this haiku, a farewell poem to Morikawa Kyoroku (1656―1715), who was headed to the mountains.

Notes on Translations

Shii is a general term for an evergreen tree of the Birch family. Sometimes called the Japanese Chinquapin, it can be found in the southern US, as well as Japan. In June, it bears separate male and female fuzzy spikes that emit a strong odor that some liken to a cross between honeysuckle and rancid meat. It hosts mushrooms (shiitake), hence the name.

Kokoru, 心 meaning ‘heart’ (Chinese pinyin: xīn). The character looks like the “heart” of a person. The ancients believed that the heart is the organ of thinking, so thoughts and feelings may be substituted.

Morikawa Kyoroku was a samurai of the Hikone Domain, artist and haiku poet. He drew a picture of Basho and another individual, possibly Kyoriku himself.

Sketch of Matsuo Basho by Morikawa Kyoriku, calligraphy by Basho:
かれ朶に烏のとまりけり秋の暮, kareeda ni / karasu no tomari keri / aki no kure (autumn, 1680)

Zion

Holy Cow

A heavenly site

— Zion

Southern Utah has five National Parks and Zion ranks as the best. Towering cliffs of red and white Navaho Sandstone, box canyons the are a hikers delight, winding roads with scenic views draw travelers from around the world.

Ironic that Las Vegas is nearby. Sin City and the Holy Place.

The Fragrant Plum

Ume ga ka

The plum (ume 寒) and its fragrance (ume ga ka 寒さか) was a familiar subject for Matsuo Basho, one he wrote about no less than eleven times. Spring’s beauty is fleeting, the plum blossoms briefly, it’s smell prolonged by the cold, or does the coldness recall the smell? I wonder.

I wonder, is the fragrance of the plum
brought back
by the coldness

Ah, the fragrant plum!
Brought back 
By cold weather

梅が香に 追いもどさるる 寒さかな

ume ga ka ni oi modosa ruru samusa kana

Matsuo Basho, Spring, 1684-1694

April 2023

Here in Middle America, we are halfway through April. It rained last night, it’s cold.

Notes on Translation

ume (plum) ga (indicating the thing, the plum) ka (fragrant) ni (exclamatory marker) oi (recalls) modosa (and returns) ruru (continuously) samu (cold) sa (suffix indicating the state of being cold) kana (I wonder)

Old Plum, Kano Sansetsu Japanese, 1646
right two panels of four, The Met

, rig

By Night or Day

Haikus are a different way of seeing things, a microcosm of a larger idea, of an emotion or feeling, a postage stamp or a postcard that takes us on a journey by night or day.

We are not leaving Matsuo Basho for good, we are merely taking a sojourn to a hillside in England where the poet William Wordsworth wandered over the hills of Grasmere with his fellow poet, Samuel Coleridge. I have restructured Wordsworth’s famous poem in set of three lines similar to a haiku renga.

From Odes on Intimations of Immortality:

By night or day,
The things which I have seen
I now can see no more…

Our birth is but a sleep and a forgetting;
The Soul that rises with us,
our life’s Star, …

Doth the same tale repeat:
Whither is fled the visionary gleam?
Where is it now, the glory and the dream?

Not in entire forgetfulness,
          And not in utter nakedness,
But trailing clouds of glory do we come …

Shades of the prison-house
begin to close
    Upon the growing Boy,

But he beholds the light,
and whence it flows,
  He sees it in his joy …

William Wordsworth, Odes on Intimations of Immortality from Recollections of Early Childhood, 1804

It was a customary practice of Japanese monks, Samurai, and poets to write a poem at the moment of their death. In late fall of 1694, Basho suffered his final illness. Although he did not use the word “dying,” I have included it as this is considered his death poem. Tabi ni yume wa, literally, on a trip, and falling ill. A dream, an incorporeal body, wandering a withered field is a reference to the Noh plays popular in Edo when Basho arrived there as a young man.

旅に病んで 夢は枯野を かけ廻る
tabi ni yande yume wa kareno wo kakemeguru

Sick and dying on my journey
my dreams ever wandering
on this withered field

Matsuo Basho, Death Haiku, 1694