Five Wise Lines from Fireflies by Rabindranath Tagore

In the drowsy dark caves of the mind / dreams build their nest with fragments / dropped from day’s caravan.

From the solemn gloom of the temple / children run out to sit in the dust, / God watches them play / and forgets the priest.

The wind tries to take the flame by storm / only to blow it out.

The same sun is newly born in new lands / in a ring of endless dawns.

When death comes and whispers to me, / “Thy days are ended.” / let me say to him, “I have lived in love / and not in mere time.” / He will ask, “Will thy songs remain?” / I shall say, “I know not, but this I know / that often when I sang I found my eternity.

Fireflies by Rabindranath Tagore is in the public domain and can be read at sites such as:

Fireflies is available at PoetryVerse

Rickety Gibberish [Free Verse]

A long time ago,
 I listened to the audiobook of
    Kerouac's "On the Road."

In that format, 
   I became aware of how often
     Kerouac used the word
       "rickety." 

Almost as aware as I became
   of how often Twain uses
      the N-word in Huck Finn
      when I unwisely listened to 
      that audiobook while driving
      through downtown Atlanta
      with my windows rolled down. 

I'm now reading Hunter Thompson's
   "Kingdom of Fear," and I've become
      aware that Thompson had a love
      of the word "gibberish" almost on par
      with Kerouac's love of "rickety."

And I think about how much beautiful
   rickety gibberish I've read from those
      authors, and what a fine 
      thing it is if one can write 
      rickety gibberish that stands up 
      under its own weight. 

Five Wise Lines from The Book of Thel by William Blake

Can Wisdom be put in a silver rod? / Or Love in a golden bowl?

from Thel’s Motto

I am a watery weed, / And I am very small and love to dwell in lowly vales: / So weak the gilded butterfly scarce perches on my head. / Yet I am visited from heaven and he that smiles on all / Walks in the valley.

from Part I

Then if thou art the food of worms, O virgin of the skies, / How great thy use, how great thy blessing

from Part II

every thing that lives. / Lives not alone nor for itself

from Part II

Why cannot the Ear be closed to its own destruction? / Or the glistening Eye to the poison of a smile!

from Part IV

Five Wise Lines from Macbeth

Macbeth & Banquo Encounter the Witches
by Theodore Chasseriau

“There’s no art to find the mind’s construction in the face.”

Duncan in Act I, Scene 4

“Bloody instructions, which, being taught, return to plague the inventor.”

Macbeth in Act I, Scene 7

“when our actions do not, our fears do make us traitors”

Wife of Macduff in Act IV, Scene 2

“Then the liars and swearers are fools, for there are liars and swearers enough to beat up the honest men and hang them up.”

Son of Macduff in Act IV, Scene 2

“Life ‘s but a walking shadow, a poor player, that struts and frets his hour upon the stage and then is heard no more. It is a tale told by an idiot, full of sound and fury signifying nothing.

Macbeth in Act V, Scene 5

Five Wise Lines from Tsurezuregusa by Kenkō

Yoshida Kenkō by Kikuchi Yosai [Date Unknown]

There is much to admire, though, in a dedicated recluse.

Kenkō Yoshida, Essays in Idleness (No. 1)

Going on a journey, whatever the destination, makes you feel suddenly awake and alive to everything.

Kenkō Yoshida, Essays in IdleNess (No. 15)

You can find solace for all things by looking at the moon.

Kenkō Yoshida, Essays in Idleness (no. 21)

Something left not quite finished is very appealing, a gesture toward the future.

Kenkō Yoshida, Essays in Idleness (No. 82)

It’s in easy places that mistakes will always occur.

Kenkō Yoshida, Essays in Idleness (No. 109)

CITATION: Kenkō Yoshida & Kamo no Chōmei. 2013. Kenkō and Chōmei: Essays in Idleness and Hōjōki. London: Penguin. 206pp.

Five Wise Lines from Shakespeare’s Hamlet

We fat all creatures else to fat us and we fat ourselves for maggots… a king may go a progress through the guts of a beggar.”

HamLet to Claudius in Act IV, Sc. 3

One may smile, and smile, and be a villain.

Hamlet to Queen Gertrude in Act I, Sc. 5

I could be bounded in a nutshell and count myself a king of infinite space, were it not that I have bad dreams.

Hamlet to rosencrantz & Guildenstern in Act I, sc. 2

Brevity is the soul of wit.

Polonius to claudius & gertrude in act II, sc. 2

A knavish speech sleeps in a foolish ear.

hamlet to rosencrantz in act IV, Sc. 2

Five Wise Lines from Chōmei’s Hōjōki

drawing by Kikuchi Yōsai

On flows the river ceaselessly, nor does its water ever stay the same.

 Kamo no Chōmei, Hōjōki

No one owns a splendid view, so nothing prevents the heart’s delight in it.

Kamo no Chōmei, Hōjōki

Knowing what the world holds and its ways, I desire nothing from it, nor chase after its prizes. My one craving is to be at peace; my one pleasure is to live free from troubles.

Kamo no Chōmei, Hōjōki

These days, I divide myself into two uses — these hands are my servants, these feet my transport.

Kamo no Chōmei, Hōjōki

When I chance to go down to the capital, I am ashamed of my lowly beggar status, but once back here again I pity those who chase after the sordid rewards of the world.

Kamo no Chōmei, Hōjōki

Reference: Saigyō Hōshi, Kamo no Chōmei, Yoshida Kenkō. 2021. Three Japanese Buddhist Monks. New York: Penguin Books. 112pp.

Available Here

PROMPT: Three Books

Daily writing prompt
List three books that have had an impact on you. Why?
Leaves of Grass by Walt Whitman

This poetry collection teaches that most challenging of human skills: how to be insanely confident that you can do anything without being a jerk about it. (Also, how to see beauty beyond the societal consensus of what’s beautiful.)

Zhuangzi by Zhuangzi

The virtues of a carefree, spontaneous, minimalist, and down-to-earth approach to living explained through tiny stories.

The Tragedies of William Shakespeare by William Shakespeare

A master class in things that can turn a life into a tragedy.

Titus Andronicus: Live by the sword = tragedy (An eye for an eye, and everyone dies.)

Romeo & Juliet: Grudges (+ Lust) = tragedy

Julius Caesar: handing your adversary the mic (/ the fickleness of crowds) = tragedy

Hamlet: indecisiveness = tragedy (i.e. On or off the crazy-bus.)

Othello: jealousy = tragedy

Macbeth: excessive ambition = tragedy

King Lear: needing gratuitous signs of affection = tragedy

Timon of Athens: expectations of reciprocity = tragedy

Anthony & Cleopatra: mixing one’s love and work lives = tragedy

Coriolanus: a crotchety old warrior in peace time = tragedy

Ikkyū’s Poetry: The John Steven’s Wild Ways Selection / Translation

Wild Ways: Zen Poems of IkkyuWild Ways: Zen Poems of Ikkyu by Ikkyu
My rating: 5 of 5 stars

This is the John Stevens selection and translation of poetry from Ikkyū’s Crazy Cloud Anthology. Ikkyū was what might be called a mad sage of the Rinzai sect of Zen Buddhism. He once showed up at a temple in his vagabond rags and was turned away, when he came back the next day in the ceremonial robes that revealed him as a preeminent monk and was subsequently treated like royalty, he took the robes off and told the abbot that it was apparently the robes that were honored and deserving of a meal. Ikkyū was known not only for his rejection of dogmatic and highfalutin approaches to Buddhism, but also for his love of sex, brothels, meat eating, and poetry. Much of the poetry touches on those two subjects (disdain for dogma and pretension and love of pleasure,) though there are also poems that explore nature and the kind of imagery one might be more likely to expect in Japanese poetry.

Ikkyū mostly wrote in quatrains, using a Chinese style of verse. Though Ikkyū was no more dogmatic about following poetic protocols than he was following monastic precepts, and often went with the flow.

I read the Stephen Berg translation, Crow with No Mouth several years ago. I would put this one on par with that one. There are actually several translated selections from the Crazy Cloud Anthology poems that are available. If you are interested in Ikkyū’s poetry, this is as good a place to start as any. It should be noted that while some of the poetry is around sexuality, it’s not particularly graphic but more suggestive.

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Of Samurai & Cats: Issai Chozan’s Neko no Myōjutsu

Cat & Lantern (1877) by Kiyochika Kobayashi

BACKGROUND: Issai Chozan’s Neko no Myōjutsu (“Eerie skills of the Cat”) was published in the book Inaka Sōji in 1727. It’s an example of dangibon, a light-hearted form of instructional short story, a form for which Issai Chozan is said to have been one of the originators. On the surface a story of rat-catching cats, in reality it’s a lesson in strategy and philosophy of combat.

SYNOPSIS: I’ll include citations and links below, so you can read the story in its entirety, should you choose to do so. But for now, a brief synopsis: A samurai, Shoken, has a rat in his house, and it’s driving him crazy. Shoken’s housecat is terrorized by the rat. The samurai brings in the best rat-catching cats from the neighborhood, and each is soundly defeated by the rat. Shoken decides to take matters into his own hands, chasing after the rat with a wooden sword (bokken,) but the rat evades each attempted strike and, ultimately, bites the samurai on the face. Finally, Shoken brings in a legendary elder cat from across the city, a cat who doesn’t look like much, but who effortlessly evicts the rat from Shoken’s house. The balance of the story is a conversation between the successful old cat and three of the skillful younger cats who’d failed to catch the rat (as well as with Shoken.) Each of the three explains its approach to achieving victory, and in turn the master cat explains the limitations of each one’s approach. The old master goes on to explain how when he was younger, he’d met a tomcat who slept all day, and yet no rat would come within miles of it. He asked how the tomcat achieved this, but the tomcat was unable to explain it.

THE LESSON: The first cat, a young black cat, explained that it was a master of technique. The black cat was agile and strong in movement of all kinds and practiced diligently to streamline and perfect all of its techniques. The old cat pointed out that focus on technique still left the black cat with too active a mind, thinking too much about how it would defeat its opponent. The master went on to say that there is value in technique, but it can’t be allowed to be the extent of one’s abilities. He emphasized that one’s clever actions must be in accord with the Way.

The second cat, a tabby, proudly proclaimed that all of its effort went into building its energy or spirit (ki, also called chi,) and that it could defeat most rats with a gaze (though not the one in question.) The old master explained that spirit is a fine thing but being too conscious of it hurt the second cat’s ability. The master went on to say that one can never be sure that the opponent won’t have more spirit than one, and so complete reliance on ki can lead one to a defeat.

The third cat, a gray one, said that its philosophy relied on yielding and never forcing a fight. The old master explained that this was a misunderstanding of the principle of harmony, and that this kind of yielding was a man-made contrivance that was not in accord with nature and often led to muddiness of the mind. While the old cat goes on to say that none of these elements (technique, ki energy, or yielding) is without value, it’s clear as he continues that the answer isn’t as simple as being a combination of them, but rather requires a completely new way of being, of experiencing and perceiving the world.

To Shoken, the old cat explained the importance of not thinking of swordsmanship as a means to defeat an enemy but, rather, a means of understanding life and death. The old cat went on to discuss mushin (i.e. “no mind,”) a serene state of mind that allows one to be flexible to whatever comes along. The old cat emphasized the importance of eliminating distinctions of object and subject through a process of self-realization and explained that the process of seeing into one’s being one can trigger satori (sudden enlightenment.)

CITATIONS:

Matheson Trust for Comparative Religion translation, available online at: https://terebess.hu/zen/neko.pdf

Ozawa, Hiroshi. 2005. The Cat’s Eerie Skill. Essence of Training in Japanese Culture: Technique Acquirement and Secret of Kendo. Online at: https://tenproxy.typepad.jp/recent_engagement/files/essence_of_training_in_japanese_culturee.pdf

Suzuki, D.T. 1959. The Swordsman and the Cat. Zen and Japanese Culture. New York: Pantheon Books. pp. 428-435

Wilson, William Scott. 2006. The Mysterious Technique of the Cat. The Demon’s Sermon on the Martial Arts. Tokyo: Kodansha International