There is a Mountain: Issa's Sunday Service, #167

Mt. Fuji by Fg2

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I could have sworn a dozen times over that "There is a Mountain" by Donovan had previously been on the Sunday Service but it seems not. This is a lovely little song, based on a Zen aphorism, with added lyrics that have a imagistic/haiku feel.

The song's origins go way down the alley. Wikipedia nails it, so here's the details: 

The lyrics refer to a Buddhist saying originally formulated by Qingyuan Weixin, later translated by D.T. Suzuki in his Essays in Zen Buddhism, one of the first books to popularize Buddhism in Europe and the US. Qingyuan writes

Before I had studied Chan (Zen) for thirty years, I saw mountains as mountains, and rivers as rivers. When I arrived at a more intimate knowledge, I came to the point where I saw that mountains are not mountains, and rivers are not rivers. But now that I have got its very substance I am at rest. For it's just that I see mountains once again as mountains, and rivers once again as rivers. 

There are lots of versions (the best of all the Donovan versions is Live at the Hollywood Bowl, the one you are can listen to above) - long jams by the Allman Brothers and quoted by the Grateful Dead in their song "Alligator" (or the Allman Brothers and Grateful Dead together), Kenny Loggins, a duet of Donovan and Bobbie Gentry, but the strangest of all is the following:





"There Is A Mountain"

The lock upon my garden gate's a snail, that's what it is
The lock upon my garden gate's a snail, that's what it is
First there is a mountain, then there is no mountain, then there is
First there is a mountain, then there is no mountain, then there is

The caterpillar sheds his skin to find a butterfly within
Caterpillar sheds his skin to find a butterfly within
First there is a mountain, then there is no mountain, then there is
First there is a mountain, then there is no mountain

Oh Juanita, oh Juanita, oh Juanita, I call your name Ah Oh,
The snow will be a blinding sight to see, as it lies on yonder hillside.

The lock upon my garden gate's a snail, that's what it is
The lock upon my garden gate's a snail, that's what it is
Caterpillar sheds his skin to find a butterfly within
Caterpillar sheds his skin to find a butterfly within

First there is a mountain, then there is no mountain, then there is
First there is a mountain, then there is no mountain, then there is
First there is a mountain, then there is no mountain, then there is
First there is a mountain, then there is no mountain, then there is
First there is a mountain 


----------------

Fuji san by Maki_C30D

making mountains rise
in the clouds...
cawing crow

Issa
translated by David G. Lanoue

best,

Don   

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R. H. Blyth and D. H. Lawrence: Flower and Fade

Last Saturday, I wrote a little about R. H. Blyth, his philosophy and style, and his approach to haiku.  A little further along in volume 1 of the 4 volume masterwork, Haiku, that I was discussing, under the section entitled "No, Ikebana, Cha no Yu," is the following:

It should be noted once for all, that art and poetry and drama, learning and religion, architecture and music, are far closer to one another in the East than in the West. In this sense, the East is easy to understand; if you know one properly, you know all,-but an understanding of western architecture  is no guarantee of an appreciation of Bach, nor that of Kantian metaphysics.  The multifarious incoherence of the various forms of Western culture gives them a kind of vitality and indeterminate direction of development which makes Eastern culture seem a little monotonous, a little lifeless in comparison. The truth is that that the East knows how to live, but does not do it; the West does not know how.  As D. H. Lawrence said,

Life and love are life and love, a bunch of violets is a bunch of violets, and to drag in the idea of a point is to ruin everything.  Live and let live, love and let love, flower and fade, and follow the natural curve, which flows on, pointless.

Often Blyth makes gross generalizations, some spot-on, others marginally off, and others to make the point at hand and simply move on. Many of the seeming contradictions in his work stem from this approach. At times, it seems that perhaps his writing style itself might best be described as Zen.

For some folks, there is lots to disagree with here.  What really is the point he is trying to make, and does the DHL quote make it for him, or is that something else altogether?

When thinking on Eastern thought, nf the Tao and Zen, we must realize that it isn't one of the other when it comes to duality: it is both, it is all.

As Whitman sang:

Do I contradict myself?
Very well then I contradict myself,
(I am large, I contain multitudes.)

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Bruce Springsteen's Rocky Ground

We don't often think of the art of the music video, that it can, in fact, be film, engaging and creative, same as the music it attempts to capture. Above is the perfect dovetailing of two art forms. Quite a video, quite a song.

solitude--
whichever way I turn...
violets!

    Issa
    translated by David G. Lanoue

best,
Don

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R. H. Blyth: The Aim of Haiku

Original brass dies for 1860 version

Sometimes, it seems that R. H. Blyth is to modern American haiku as Sigmund Freud is to modern psychology: a bit of a dotty old granddad, overdressed in a woolen suit on a hot, humid day, crumbs of this and that all down his front, with a glint in his eye of philosophical shenanigans none too pleasing to the parents in attendance.

Of course, all the grand kids are jumping up and down in his lap like there's no tomorrow.

Perhaps the comparison to Freud seems a stretch, though for many, I suspect, it is spot on.  Tracing the root of all things to infantile sexuality and the heart of haiku to Zen is quaint, indeed, for many, but consider, at least in the case of Freud: we are all, famous, infamous, and other, products of our time.  Could there have been any other time in history aside from the later part of the 19th and early part of the 20th century (think: Victorian England, for example) when all might be traced back to our murderous instincts for ma and pa?

Though this all seems very antiquated, it got me to thinking about what Joseph Campbell observed concerning fundamentalists of all religious denominations.  He noted that all the trouble starts (i.e. the purges, the wars, the torturing, and the deaths) when the metaphoric scripture of any particular sect (he was thinking predominately of the 'desert religions') was taken literally.  Literally, there was a Virgin Birth, literally an ascent to Heaven, literally a parting of the seas etc.

If one turned to the dottering grandfather and didn't mistake the metaphor for the reality, one might recognize a little something other in that glint.

Mr. Blyth beats the drum loud and long for Zen and haiku and, to my ears, at least, it is a most pleasing sound.  One can no more divorce spirituality from the origin of haiku than one can from life itself.  Notice the particular use of the "S" word, as opposed to the "R" word.

Participating, as I have recently in a weekly book discussion group concerning volume one of Blyth's four volume work Haiku, all this was underscored for me emphatically.  What exasperated the group, some of whom were coming to haiku study for the first time, was the myriad contradictions one encounters from page to page and from chapter to chapter throughout.

Delightfully, exasperation transmuted into something like a humorous acceptance: it would seem the teacher was also a practitioner.  This was most definitely a case of do what I do, as well as what I say.  So, throughout, one encounters many, many definitions of haiku, as well as poetry in general, and Zen, and philosophy itself, some complementary, many contradictory, all informative, and some even enlightening. 

In the complementary area, comes the following two quotes, within 10 pages of each other, working toward defining the "aim of haiku."

Coming now to the general differences between waka and haiku, we may say once more that waka aim at beauty, a somewhat superficial beauty sometimes, that excludes all ugly things. The aim of haiku is not beauty; it is something much deeper and wider.  It is significance, a poetical significance, "a shock of mild surprises", that the poet receives when the haiku is born, and the reader when it is reborn in his mind.  (pages 113-114)

In his second take on the aim of haiku, Blyth takes off from a quote from Master Bashō:

Haikai has for its object the setting to rights of common parlance and ordinary language.

Blyth comments:

This is one of those profound sayings which can and should be interpreted in a variety of ways. Bashō wanted our daily prose turned into poetry, the realization that the commonest events and actions of life may be done significantly, the deeper use of all language, written and spoken.  Our lives are slovenly, imitative. We live, as Lawrence said, like the illustrated covers of magazines.  Comfort is our aim, and dissatisfaction is all we achieve.  The aim of haiku is to live twenty four hours a day, that is, to put meaning into every moment, a meaning that may be intense or diffuse, but never ceases.  (page 119)

Significant, indeed; never mind that, for clarity, we might slip in 'reality TV' for 'the illustrated covers of magazines' for relevance.  For me, what is most important here is what Blyth specifically does not say, and in how he universalizes his point.  His first statement, re: significance above, is about process and, I believe, it goes right to the heart of the form that is haiku.  The second has a little more of that glint in his eye, also alluded to above. As such I find it magnanimously inclusive and not a bit exclusive at all.

Just a little further on, in another 'definition' of the haiku form, we get a bit of a hint at the fact that Blyth's own approach to his subject is analogous to how he perceives the form itself:

Waka began as literature, haiku as a kind of sporting with words.  Bashō made it literature, and yet something beyond and above literature, a process of discovery rather than creation, using words as means, not ends, as a chisel that removes the rock hiding the statue beneath. (page 121) 

Again that certain something is not said and, so, to, for me:

'Nuff said.

         People are few
Leaves also fall
        Now and then

          Issa
          trans. R. H. Blyth

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into the sunken hearth
they're swept...
red leaves

Issa
translated by David G. Lanoue

Photo by earl53

best,
Don

PS. Get 2 free issues. Get 2 more free issues

Lillie poem archive

Send a single haiku for the Wednesday Haiku feature. Here's how.

Go to the LitRock web site for a list of all 129 songs

Buddha Beat: Snyder, Kerouac, and the End of the Beginning of the End

Two Beat items of interest: 1) the reemergence of the Beatnik Questionnaire and 2) a short but very deep interview with Gary Snyder, entitled The Koan Ranger. I first saw item 1 in a posting by the glorious Bookslut and then had it forwarded by a friend giving me a gentle nudge, the second comes courtesy of the Poetry Foundation.

The Snyder interview is more Buddha than Beat: no, wait, that's the same thing or maybe not.

No, wait, that's Zen: is that Buddha and Beat or Buddha or Beat or Buddha or Beat or what?

Yeah, or what.

Ok, so there is a third Beat related item: one of my favorite sites since forever is Lit Kicks, which has morphed over the years and is now the Literary Kicks blog. It is always at least interesting and frequently much more. Check it out.

Yes, as you probably already suspected, there is a fourth thing Beat: since it ain't a poetry blog if there ain't no poems, here are a couple of haikus from one of the Near Perfect Books of Poetry. I decided to open Kerouac's Book of Haikus at random and here are three of the eight haikus on facing pages (now I lost the page and can't find it again to let you know - can you beat that?):


------------------------------------------------------------------------

Just woke up
-----afternoon pines
Playing the wind

Ah the birds
--at dawn,
my mother and father

You paid yr homage
--to the moon,
And she sank

------------------------------------------------------------------------

Right, four Buddha related items, three Buddha related poems. Not too shabby, and that's Beat thing number five.


best,
Don

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PS pp. 146-147 ... I found it.