PAG逸悉
THE WRW CANAD lA?^
4-
Tuまy, March (
Kowobota •
m«期"nUd of the wolたdoes not .the wind si irk ;nto you, does not tie «now, are.you .not coW? I choose the jxjem as a'poem oi .:wann, d呻,'deli"!e''compass ion' a poem that has'in it the deeo qt1iet9]f tikis Japanese spirit. Dr. Yaahiro Yukio, intemationaUy 'linown m a..achol歡r 0f,Ei^tticelU, a' man of greatleぉning in the Art of pMt幼d the present' of the East and the West, h,i; summed ttp.one:or.the spedal.charaeteristics'of Japanese art in a ,inglepibetic sentence: "The tie of the snows, of the moon, o〗 ■the bTo咖nia — then more than ever we think of our comrades, Wh«n we '鹏'the beauty of the -—snow, when 、ve see the beauty of theィullmoon, vi^hwi we see^the beauty of the cherries:in bloom, when :in.short we brush against' a,nd are a、vakei)t?d by'the beauty of the 'four seasons, it 'is then'that w'e think most of those close 'to us, and want 'them to share the pleasure.. The excitement.of beauty caUi» forth 'strongィellow feelings, yearnings for com— p ani on ship, and! the word "comr;ule"—can .be ta"iito mean "human, being."iftie snow, the moon, the:もloss.oms, words e-xpressiveカf the.s幼柳s as they, move one into' another, include in the .Japanほ tradition .the beauty of mountains and rivers and grasses amレtrees, of'allthe rr?yriad manifestations of nature, o〖'human feeJings as well.
That spirit, that feeling'for one's comrades''in the, s110、v' Uk' mo d nlight, under the'., blossoms, is also basie to the tea' c erein 011y. A'tぉa ceremony is a coming to jjet her jn'feeling", a meeting; of good comwwfes in a good .season. I may say in passing, that to.see rrにv. no V el.Thou»and Cranes as an evocation of .the fon"ala.nd spiritual beauty of the tea ceretmm.v Ls a n】isreatlingr. It is a negative work, an expression of 'doリbt: aらouぃami 、vaminpr against tfie vulgarity into which.the tea ceremony has fallen.
"In the spring, cherry b;.,ssonijv in'the summer the cuckoo: In autumn the fullmoon, in winter ihe si、otv', clear, cold."
One can, if one chooses, j;('e 'iひDo gen's 'poem about the beauty, of .the'four seasons no more〖hat飞'a co m'entional'■ ordinary, me-' (!iocre stringing together, iii:t n、ost a:wk、、'ard form of. 'representative images from' tlie four seaso')s. One can see it. as a poem thaL is not really a ooeiiiュt aU. And vet verv similar is the deathbed poem of the priest K.vokan (1758:1831).、
…"What shall be''.my .legacy.? The. WoRsoms of spring. The cuckoo in the hills, theleaves of autumn."
In this poem, a;? in Do gen's, 'the commonest of figures ai"1
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the commonest of words are strung together without hesitation-' no, to particular effect, rather—and so they traiwmit the yery essence of J a pan. And it is Ryokan's Last poem that I havequot"
"A UmjT, misけday in spring:
I sa"' it to a cbse, playing tali trith the children," ■'The .brPTze fresh' the 'moon ■ is clear. Together 'let朋dance the:night away, in what isleft of old a豕e," "H .is not that I wish to'have none of the霄orゅ ■If iR that I an I beUer at the pleasure enjoyed alone, '
Ryokan,' who shook the modern vulgarはy 'of hft day, .wh0 was imn、t、rs'ed 'in the elegance'of earlier centリries, 'and .whose poetry am】calligraphy are. much admired in J a pat1to^, ay—he ■lived in the spirit of these poems, a wanderer down country paths, a grass hut fひr shelter, rags -for clothes, farmers to talk to. The profundity .of rdi g ion. and:—literature 、vas not, for him, in the. abstruse. He rather pursuedliterature and belief 'in 'the benign' ■spir^ i summarized in the' 'Buddhist ..phrase "a smiling faゃe and gentle words." In his. last poem he offered nothing, as a lagacy. He but hoped that after his death nature would re訓in beautiful. That could be his. bequest. One —feels .in. the poem the emotions of old Japan, and 'the heart of a religious faith as well.
"I wondered and wondered when sh* would c9me: And p-ow we are together. What thpughts ne«d.lhave?"
■Rytikan.. wrote' b、'e poetry too. This is 'an example'of which I am fond. .An old. man. of'si x"'-nine '(I migぉt point, out that at the same a.ge I am the recipient 'of the NobelPrize), Ryokan-.mef a t、venty - nine-year old 'mm named.Teishin, and, was blessed w池 love. The.poem can be. seen'as one of' ha.ppiness.at having met the ageless 、voman, 'of happiness at having, met the one for whom the wait was solong,.Thelastline :is simplicity itseば.'
R y ok an'died'at'the .age of.seventy-three. He'ノ、v,as boniin the pro"IKe. of Echigo,..the.1)resent Niigata Prefecture'arteTthe setting of niy novelSnow Country,'a'northerly々egion on what is,kno、vn as the' reverse' side .of'Japan, .where cold wincis'.C-ome down across the'J a pan Sea froni.Sil?eria.',H'Hve<rhis、vho—lelife'in the:sno、v, country''and to his "eyes, in theirlast'extremity", 、vhen'he wasでW画 and tir.ed and .knew that death 、vas'.neatv and had attained 'eniight-enment,. the snow.cou!itry, as we see in his:last poeni,was yet more, beautiful,I should imagine. I havearv.essay 、vith:the 'title "ぉyes irvthei.r Last Extremity." .
The', .title comes from the'.suicide .note of the shortstorvヽvrはer AkutagawaRy翻suke (1892-1927). " is the phrase th'at pulls at'me with'the greatest.streng:th.ノAkuiagawa said that heさeenie(t to be graduallylosing 'the animalsomething, known as the strength to—live,. and continue(l:
"I anレ!i、.ing in a.、vorld.of "〕orbid. n6rves,. clear, and cold .as ■ ice…• I do not.kiio、v 、vhen I. willsummon'up the'resolve to.ki)l myself. But nature is for me more beautぱui than it has ever beもn before. I have no cJoubt that you willlaugh atゅe contradiction, for here I'love'nature'even 、vhen'I:.am contempWt'mg suicide. But nature,iんbcauUfulbecause it, comes to my''eyes in theirlast, extremity." •
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