The poems, the poets, the words.

Qian Xuan Early Autumn detail 13th c ink&colors paper

 Early Autumn (detail) by Qian Xuan (13th C., ink and colors on paper)



“Thus moved, he will spread his paper and poise his brush
To express what he can in writing.” ~ Lu chi (261-303),
from The Motive for Poetry

I have spent too many days dwelling on life—my life, my role in this life, my thoughts about living life with someone you love but with whom you disagree at times (it’s called marriage). It’s all so complicated, and then, not really. As a result of my meditations, I wrote two poems, one of which I did not post. More on my poem(s) in a moment.

Today, I did not really want to write about mysef. I need a break from myself. Do you ever feel like that, like you would like to send that part of yourself that is in pain or is being a pain to another room, lock the door, and say don’t come out until it’s over? Of course, not possible in the physical realm of things, but I do know of individuals who can compartmentalize themselves to such an extent that they can move between the different parts of themselves, their different faces, if you will. They move seamlessly between their personae so that no one ever really gets to know them, the real them because there is no real them.

I’m not talking about multiple personality disorder here. I mean something much more ethereal, less tangible. Having dealt extensively with an individual who falls into this category, I can tell you that it is incredibly taxing. Me? I’m pretty much an open book about most things: I’ll tell you how I feel whether you want it or not. And as we all know, this is not necessarily a good thing. And self-censorship is something at which I have never been very capable. If part of me is in pain emotionally, then all of me is experiencing that pain; hence, my wish that it were not so.

Anyway, today’s post really isn’t about me. It’s about writing. Poems. Poets. Words.

“Perpetual thought itself gropes in time and space;

Then, the spirit at full gallop reaches the eight limits of the cosmos,

And the mind, self-buoyant, will ever soar to new insurmountable heights.” 

~ Lu Chi, from Meditation Before Writing


"White Egrets on a Bank of Snow-Covered Willows," Huang Shen (Chinese, 1767)

In reading my comments and blogrolls today, I came upon the following poem by Chinese poet Po Chü-i (Tang Dynasty) posted by healnow of The Madder Hatter. I love Chinese poetry: Often it creates images with an enviable sparsity of words. Ancient Chinese poets were often involved in politics in some manner, and because of this, the poets would use metaphors to criticize the rulers of the time.

As with Japanese poetry, ancient Chinese poetry predominantly employs images in nature. I have tried Japanese Haiku as an exercise to use an economy of words. It is incredibly hard to write a poem that contains only 17 syllables (three lines of 5, 7, and 5 syllables respectively). Of all of the Haiku that I have written, there is perhaps only one that I like, that I feels comes closest to the spirit of the form.

But as usual, I digress. “Night on the West River” employs only 64 words to create the same atmosphere that I was trying to evoke with “October Rain.” Granted, I really wasn’t thinking as much about form as I was more concerned with the emotion. But Po Chü-i’s lines, “Cold comfort,” “Water flowing grayly,” say what I was feeling but with much more perspective.

I usually don’t post any of my poems until I have worked and reworked them. I strayed from my own advice and posted purely out of emotion. I’m not sorry that I did. Don’t misunderstand. It was a pressing need, and I embraced that need with the post. Rather, what I am saying, is that it was an unfinished poem, and in comparison to “Night on the West River,” the deficiencies of my own “October Rain” are made all the more apparent.

It’s a good writing lesson, and it’s good to still be able to learn lessons. And of course, the masters are those from whom we can learn the best lessons.

Night on the West River

No moon
To light my way upon the stair,
Cold comfort
In the wine I drink alone.
Black clouds,
The hurried flight of birds,
Water flowing grayly
In the dusk.
A rising storm,
Boats tugging at their mooring ropes.
Or sails full-spread
To take advantage of the wind.
A moving point of fire
In the dark,
The distant lantern
Of a passing boat.

(Translated by Henry Hart)

This poem and many others can be found on a website called Humanist Texts, which includes writings by Aeschylus, Cervantes, Khayyam, the Buddha, Lao Tzu, and many others. According to the home page, the purpose of the website is to show “how people around the world gradually develop an understanding of what it is to be human. Multicultural extracts portray the wit, wisdom, and poetry of individuals as they reflect on ethics, philosophy, knowledge, and human relationships.” It’s a great site, and many thanks to The Madder Hatter for turning me on to it.

The following poem by Lu chi has more of a modern sensibility, but very often, translating from Chinese or Japanese—which is an arduous task—can be made harder as no precise English word exists for words in those vocabularies.

Unfortunately for Lu chi, his creative sensibilities were compelled into military service as he was born into a wealthy military family. Much of Lu chi’s work was dedicated to writing about the craft of writing.

The Joy of Writing 

Writing is in itself a joy,

Yet saints and sages have long since held it in awe.

For it is being, created by tasking the great void;

And it is sound rung out of profound silence.

In a sheet of paper is contained the infinite,

And, evolved from an inch-sized heart, an endless panorama.

The words, as they expand, become all-evocative,

The thought, still further pursued, will run the deeper,

Till flowers in full blossom exhale all-pervading fragrance,

And tender boughs, their saps running, grow to a whole jungle of splendor.

Bright winds spread luminous wings, quick breezes soar from the earth,

And, nimbus-like amidst all these, rises the glory of the literary world.


“All objects visible under the sun or moon will the poet in experiment strike aglow,

All that can give out a sound he will ring to test their resonance.”

~ Lu Chi from The Working Process


Ogata Korin Red and White FLowers in Bloom by a Flowing Stream 18th C 2panel screen ink color gold silver onpap
"Red and White Flowers in Bloom by a Flowing Stream," Ogata Korin (18th C. Japanese, screen)


I love the line, “The words, as they expand, become all-evocative.” Exactement! That is what I seek when I write: to allow my words to come from a void and to expand until they fill the space for which they were intended. Lofty goal? Not really. Reduced to its simplest form, it merely means sifting through all of the possible words and finding the exact right word to convey the thought.


I’ll leave you now with just one more, a selection from a poem by Medieval Japanese poet Hitomaro. I love the allusions to fall.


On the Death of his Wife (I)



I would gladly follow

the wandering spirit of my love

through precipitous ways

hidden by autumn’s red leaves,

but cannot tread those unknown mountain trails

That lie beyond my ken.


In autumn’s fall of scarlet forest leaves

I see the message coming for me

and think of one day of love

that never more shall be.


To continue my theme of rain (may be a bit quiet) . . .




More later. Peace.