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Spring, the
Metro, and the
East
The Influence of China and
Japan on Modernist Poetry
Chan Buddhism
 “A devout Buddhist… d[oes] not view
nature from an outside perspective;
rather, he [is] himself a part of nature.”
Chan/Zen Buddhism
 shunya ("void")
 “As space is to substance, so is silence to
speech”
 "Anything you can omit that you know
you still have in the writing and its quality
will show. When a writer omits things he
does not know, they show like holes in his
writing"
Chan Buddhism con.
 “Writing… is a wrestling with
inarticulacy, with the void.”
 “the connection between Zen and the
way of the warrior as fearlessness in the
face of death”
Wang Wei (699-759 Tang Dynasty)
 “He served in various official
posts, reportedly attempted suicide when
he was imprisoned during the An Lu-shan
Rebellion, and only a poem written to his
friend Pei Di from Bodhi Temple saved him
from being charged as a collaborator
during the aftermath of the rebellion.”
“YOU ASKED ABOUT MY LIFE. I
SEND YOU, PEI DI, THESE LINES”
A wide icy river floats to far uncertainty.
The autumn rain is eternal in the mist.
You ask me about Deep South Mountain.
My heart knows it is beyond white clouds.
Zhaoming Qian on Spring and All
 The technical “fusions that give Spring
and All the Modernist appearance have
origins in the Chinese poetic heritage”
“Fusion of Prose and Poetry”
 Called “fu”
 Dates back to Tao Quian (365-427).
Spring and All
“Time does not move. Only ignorance and
stupidity move. Intelligence (force, power)
stands still with time and forces change
about itself – sifting the world for
permanence, in the drift of nonentity” (69).
Gudrun M. Grabher
 “the image of the haiku represents a
moment in time that is the eternal. It
dwells in timelessness; it is anti-temporal or
trans-temporal. The concrete image that
is captured in time is being zoomed out of
its temporal existence and cast into an
image frozen in timelessness, as it is meant
to give insight into truth that lies beyond
time as well as space.”
Red Wheelbarrow
so much depends
upon
a red wheel
barrow
glazed with rain
water
beside the white
chickens.
The Zen of Haiku
 “Shasei”
 “in writing, do not let a hair's breadth
separate your self from the subject. Speak
your mind directly; go to it without
wandering thoughts”
 “Direct treatment of the thing”
IN A STATION OF THE METRO
The apparition of these faces in the crowd;
Petals on a wet, black bough.
Spring, the metro, and the east

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Spring, the metro, and the east

  • 1. Spring, the Metro, and the East The Influence of China and Japan on Modernist Poetry
  • 2. Chan Buddhism  “A devout Buddhist… d[oes] not view nature from an outside perspective; rather, he [is] himself a part of nature.”
  • 3. Chan/Zen Buddhism  shunya ("void")  “As space is to substance, so is silence to speech”  "Anything you can omit that you know you still have in the writing and its quality will show. When a writer omits things he does not know, they show like holes in his writing"
  • 4. Chan Buddhism con.  “Writing… is a wrestling with inarticulacy, with the void.”  “the connection between Zen and the way of the warrior as fearlessness in the face of death”
  • 5. Wang Wei (699-759 Tang Dynasty)  “He served in various official posts, reportedly attempted suicide when he was imprisoned during the An Lu-shan Rebellion, and only a poem written to his friend Pei Di from Bodhi Temple saved him from being charged as a collaborator during the aftermath of the rebellion.”
  • 6. “YOU ASKED ABOUT MY LIFE. I SEND YOU, PEI DI, THESE LINES” A wide icy river floats to far uncertainty. The autumn rain is eternal in the mist. You ask me about Deep South Mountain. My heart knows it is beyond white clouds.
  • 7. Zhaoming Qian on Spring and All  The technical “fusions that give Spring and All the Modernist appearance have origins in the Chinese poetic heritage”
  • 8. “Fusion of Prose and Poetry”  Called “fu”  Dates back to Tao Quian (365-427).
  • 9. Spring and All “Time does not move. Only ignorance and stupidity move. Intelligence (force, power) stands still with time and forces change about itself – sifting the world for permanence, in the drift of nonentity” (69).
  • 10. Gudrun M. Grabher  “the image of the haiku represents a moment in time that is the eternal. It dwells in timelessness; it is anti-temporal or trans-temporal. The concrete image that is captured in time is being zoomed out of its temporal existence and cast into an image frozen in timelessness, as it is meant to give insight into truth that lies beyond time as well as space.”
  • 11. Red Wheelbarrow so much depends upon a red wheel barrow glazed with rain water beside the white chickens.
  • 12. The Zen of Haiku  “Shasei”  “in writing, do not let a hair's breadth separate your self from the subject. Speak your mind directly; go to it without wandering thoughts”  “Direct treatment of the thing”
  • 13. IN A STATION OF THE METRO The apparition of these faces in the crowd; Petals on a wet, black bough.

Editor's Notes

  1. -“Wang Wei and Saigyo: Two Buddhist Mountain Poets”Page 45“equality among all living things”The self and the scene mergeLike Robinson Jeffer’stranshumanism
  2. “Some Versions of Nothing” Pg.11 “the technique of omission” Ibid. Page 12 (this refers first to painting, the use of space. Silence is to speech in poetry and in Noh drama)Ibid. Page 12 (the author quotes from Hemingway)
  3. Ibid. Pg. 13Ibid. Pg. 14In Sanskrit it is called sunyata, or emptinessThe poet must be fearless in the face of the ineffable, the indescribable.It’s that great poetic struggle of whether or not language can truly represent reality
  4. Sam Hamill’s “Wang Wei and Saigyo: Two Buddhist Mountain Poets”“a devout Buddhist with a notable Taoist influence“
  5. White clouds represent “Buddhist barriers between the poet and Nirvana”Cloud signifies a cloud but it also pertains to a Buddhist idea. The clouds keep the poet in the cycle of samsaraThe poetry is “effortless and selfless” (Sam Hamill’s “Wang Wei and Saigyo: Two Buddhist Mountain Poets” pg 45)It is wuwei, a Daoist term for effortless, thoughtless, intuitive action.
  6. Orientalism and Modernism pg. 144
  7. -Orientalism and Modernism pg. 144
  8. Chan Buddhism would call this the Inner-Buddha Nature that is in every person.
  9. -Ibid. Pg 9That’s the idealIt’s about capturing an exact moment in time with the exact feeling. The communication of the feeling in the moment. If the poem is successful, that instant becomes timeless.
  10. Shasei means “to depict the exterior world such as it is, without adding ornaments”-“In Search of Words for 'Moon-Viewing': The Japanese Haiku and the Skepticism towards Language in Modernist American Poetry” Pg. 6 -Ibid. (quoted from Basho, 17th century Japanese Haiku poet, considered the greatest)-Ibid. (quoted from Pound)
  11. A poem consisting of “title and two lines” (Sam Hamill’s “On the Making of Ezra Pound’s Cathay” page 44).
  12. Jo Davidson. "Gertrude Stein." Bronze. Paris, 1923