PUIs- Japanese poets under the influence

[green_message] On Something Observed
Kokan Shiren

Torn remains of a cobweb,
one strand dangling down—
a stray petal fluttering by
has been tangled, caught in its skein,
all day to dance and turn,
never once resting—
elsewhere in my garden,
no breeze stirs. .


Hut: Thinking of a Friend. My friend had not come to see me for a long time, and because 3 was ill I couldn’t go to pay a visit. In longing, I wrote this poem
Priest Kensei

I waited for you in my hut, I did silent,
silent, feeling little joy,
but today again the sun is setting.

I waited for you by the gate, I did—
silent, silent, not speaking a word,
but today again twilight’s coming on.

I waited for you along the road, I did—
silent, silent, walking alone,
but today again the darkness begins to fall.


Strolling in a Nearby ‘Vil!age

Tani Rokkoku

Water flushed into paddies,
water flooding the ditches;
by edges of the ditch stream
water-striders drift.
Water-striders drift and skim –
just like me
skating back and forth how many times.
bow many times stopping to rest?

Impressions of the Countryside
Ito Togai

Low hedgcs bcnt by the wind, festooned in  morning glories;
old roofs steamy with rain, sprouting fungus ears–
at door on door, bright lamps hurry the evening chores;
in village after village, noisy drums give thanks
for autumn bounty.


The Shih Ching , usually translated as either The Book of Songs or the Classic of Poetry, is the first great collection of Chinese poetry. Tradition says that it was edited into its present form by the Sage of Sages, Confucius himself. In fact the book was assembled before, during, and after the life of Confucius. Its more than three hundred poems include fragments of works as old as the Shang Dynasty (traditional; dates 1766-1154 BCE) as well as “contemporary” poems from the Chou feudal states written or spoken by both aristocratic court figures and just plain “folks”. A great deal has been said about the origin of many, if not the majority of the poems as oral “folk” art, but it is clear from the artistry of the written language in which they have been handed down that, like the scribes who improved upon the originally oral poetry attributed to “Homer” in the West to create the Iliad and the Odyssey, the people who converted Chou folk songs and court verses into poetry in written Chinese characters clearly thought of themselves as (and were) artists. So the characters used to render simple and direct lyrical utterances of the illiterate peasant folk often honor them with carefully chosen written vocabulary: the heart and soul of folk art remains clearly present, but literary subtleties are introduced. The scribes who created the Shih Ching were poets, not tape recorders. They chose the best of what existed, and they honored it with their own art.

In its present form, the Shih Ching consists of three major sections, the Kuo Feng, or Odes of the States, comprising 160 of the 300 are generally but not always folk songs. The Ya (Elegant Verses) subdivided with no obvious criteria into greater and lesser, include poems 161-265, and the Sung or Temple Odes high ritual songs and bits of dynastic myth, include poems 266-305. The present selection is comes, all but a single longer poem on drinking and its positive and negative consequences from the “Lesser Elegants”, all come from the Kuo Feng Sections.

Knowledge of the Shih Ching poems was a necessity of diplomatic practice around the time of Confucius, when it was a common practice to deliver or at least support the delivery of diplomatic messages among the feudal domains (the “States or Guo of the Guo Feng) by oral presentation of relevant lines from the Classic. From the Han on many of the poems where imbued with very specific allegorical interpretations, but it is clear that later poets, who memorized the book word for word, used it as allusive material in their own poems at least as often for its plain “folk” messages as for its orthodoxly approved allegorical ones.