NARROW
ROADS TO INNER LANDS -SCENE EIGHT
In
this scene the discussion on the nature of the haiku is based
largely on Bashō's own comments. Here , for instance, is a version
of part of them-
Go
to the pine if you want to learn about the pine, or to the bamboo if
you want to learn about the bamboo. And in doing so, you must leave
your subjective preoccupation with yourself. Otherwise you impose
yourself on the object and do not learn. Your poetry issues of its
own accord when you and the object have become one - when you have
plunged deep enough into the object to see something like a hidden
glimmering there.
SCENE
EIGHT
Day
at Takekuma. A twin-trunked pine tree. This may be invisible off
stage or painted in vigorous Zen style. Enter Bashō and Sora.
BASHŌ
There
is the pine of Takekuma, Sora,
That
we so wished to visit and to view.
SORA
Just
look - its root trunk breaks into two arms,
As
it was said to do in ancient days.
BASHŌ
And
now I can reply to Kyohaku,
Who
wished me well upon my journeying,
At
that spring-greeting time when cherry blossoms
Is
first in southern viewing with this verse:
Late
cherry blossoms
Of
the north, present to him
Takekuma
pine.
And
so I shall reply with my own verse.
Since
cherry blossom
Longed
to look on twin-trunked pine
For
three moons' passing.
SORA
And
I shall write it down at once for you.
(Sora
does so)
BASHŌ
Indeed
it's not a disappointment, Sora,
For
truly its twin trunk is shaped as songs
That
ancient poets wrote. I recollect
That
Noin, a priest, on visiting this place
A
second time, was very grieved to find
This
famous tree new-felled without a thought
And
forced into the wide Natori river
As
bridge piles by the governor. I'm glad
To
see it so regrown, as tall as once
It
stood - after a lapse of centuries,
Perhaps.
No hand of man can make a tree,
And
even that deep craft that flows in nature
Most
rarely shapes such perfect, living form.
(Bashō
and Sora stand in contemplation.)
SORA
(musingly)
How
should a traveller approach to writing
On
such as he may see upon the way?
BASHŌ
Go
to the pine tree if you wish to learn
About
the pine; the bamboo for the bamboo.
Then
when you do then you must cleanse yourself
Of
your preoccupation with your person.
Be
rid of all chance personal reactions,
And
silence all the chatter of the mind.
All
these obscure clear and real awareness,
Like
some thin, brightly-painted silk held up
Between
your eyes and object of your seeing;
Like
some concealed, high-chirruping night cricket
Between
your ears and object of their hearing.
When
you do this then you impose yourself
Upon
the object and you do not learn.
Your
poetry comes forth, with its own power,
Forth
in right forming, tinged with truth,
When
you and object grow as one; when you
Plunge
deep enough to sense a something like
An
arcane glimmering within its life.
SORA
What
more advice would you give us when we
Attempt
this silent and alert creation?
BASHŌ
The
haiku's brief, not pondered endlessly,
But
like an arrow shot… an instant's seeing.
Or
like a random pebble tossed upon
A
lake's smooth surface - sending ripples outward.
It
is a moment livingly aware-
A
lambent silence, soft-enlightening,
A
child of stillness and clear seeing,
A
little like my now-famed tiny frog.
An
old pond stillness.
A
sudden frog jumps in - plop!
Water-deep,
deep sound.
(Bashō
pauses, then smiles)
Enough
of my didactic role - you know
I
have a small but unapologetic,
Reformist
wish to raise the haiku form
From
merely superficial cleverness
To
brief honed words - awareness in awakening.
(Bashō
claps his hands)
]
But
we must be upon the road once more.
We've
far to go to reach the far-famed islands
Of
Matsushima - seeing their display
Is
one of our good reasons, I would say,
For
our long-walking, patient northward way.
(Bashō
and Sora exit. Lights fade.)
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