Writing is joy -- so saints and scholars all pursue it.
A writer makes new life in the void, knocks on silence to make a sound, binds space and time on a sheet of silk and pours out a river from an inch-sized heart.
As words give birth to words and thoughts arouse deeper thoughts, they smell like flowers giving off scent, spread like green leaves in spring; a long wind comes, whirls into a tornado of ideas, and clouds rise from the writing-brush forest.
Translation by Tony Barnstone and Chou Ping in The Art of Writing (1996) Boston: Shambhala.
I know what my heart is like Since your love died: It is like a hollow ledge Holding a little pool Left there by the tide, A little tepid pool, Drying inward from the edge.
Available online at Project Gutenberg
As the title suggests, this is all the published poetry of Paul Laurence Dunbar. With a career pre-dating the Harlem Renaissance, during which lyric poetry ruled the roost, Dunbar may not be as well-known today as several of the African American poets who came later, but it’s not for being any less masterful.
The collection includes a wide variety of lyric forms from simple quatrains to intermediate length poems of several pages. The content and tones also vary, and there is often a sense of whimsy in the poems that goes beyond just being lyrical in form. Dunbar wrote both in dialect and in standard English. He was a big fan of James Whitcomb Riley’s dialectal work, as a poem in Riley’s honor attests. The dialect poems are easy enough to follow and are a pleasure to read. Dunbar was by no means limited to dialectal writing; he also wrote in Standard English cleverly, and the juxtaposition of his very “proper” poems and the dialectal ones shows a great range.
I’d highly recommend this collection for poetry readers, particularly those who enjoy lyric and dialectal poems.
Without desire everything is sufficient. With seeking myriad things are impoverished. Plain vegetables can soothe hunger. A patched robe is enough to cover this bent old body. Alone I hike with a deer. Cheerfully I sing with village children. The stream under the cliff cleanses my ears. The pine on the mountain top fits my heart.
Translation by Kazuaki Tanahashi and Daniel Leighton in Essential Zen (1994) HarperSanFrancisco.
Everyday at an appointed hour the Swamp Deer takes an anti-shower. It hooks its antlers into the muck, and with a twist and shake mud is chucked upward, where it rains down on the beast. It's stinky and slimy, but it's cool, at least.
Passage O soul to India! Eclaircise the myths Asiatic, the primitive fables.
Not you alone, proud truths of the world, Nor you alone, ye facts of modern science, But myths and fables of eld, Asia's, Africa's fables, The far-darting beams of the spirit, the unloos'd dreams, The deep diving bibles and legends, The daring plots of the poets, the elder religions; O you temples fairer than lilies, pour'd over by the rising sun! O you fables, spurning the known, eluding the hold of the known, mounting to heaven! You lofty and dazzling towers, pinnacled, red as roses, burnish'd with gold! Towers of fables immortal, fashion'd from mortal dreams! You too I welcome, and fully, the same as the rest! You too with joy I sing.
Passage to India! Lo, soul! seest thou not God's purpose from the first? The earth to be spann'd, connected by network, The races, neighbors, to marry and be given in marriage, The oceans to be cross'd, the distant brought near, The lands to be welded together.
A worship new I sing, You captains, voyagers, explorers, yours, You engineers, you architects, machinists, yours, You, not for trade or transportation only, But in God's name, and for thy sake, O soul.