I left my locked mouth hanging on the wall

Some more of Muso Soseki in W.S. Merwin and Soiku Shigematsu’s translation Sun at Midnight.  

[I’ve discovered that this site reformats my line spacing – indentation on the second and double indentation on the third of every three-line verse – but I haven’t the energy to look into ways of overriding this]

17
[Untitled]

All on my own I’m happy
in the unmapped landscape
inside the bottle
my only friend
is this
wisteria cane
Last night
we stayed up talking
so late
that I’m afraid
I was overheard
by the empty sky

72
No-Word Hut

I left my locked mouth
hanging
on the wall
With the brushwood
door shut tight
I delight in my own freedom
Inside
my secret talk resounds
like thunder
Even the bare
posts and the lamps
can’t pretend they don’t hear

129
Hut in Harmony

When the master
without a word
raises his eyebrows
the posts and rafters
the cross-beams and roof-tree
begin to smile
There is another place
for conversing
heart to heart
The full moon
and the breeze
at the half-open window

He explains that the very old trees have forgotten what it is to be a tree

Seen in an exhibition today – Cabbages in an Orchard by Charles Rennie Mackintosh

20793253725

From the exhibition’s notes:

Mackintosh wrote a four-page explanatory essay to accompany this work for The Magazine, an unpublished, handmade album of essays and drawings.  Mackintosh’s handwritten text, meant “to satisfy the ordinary ignorant reader,” gives us a rare glimpse into his quirky and surreal sense of humor.  He explains that the very old trees have forgotten what it is to be a tree, and so they have become like the cabbages they gaze upon in their orchard.

To read a book at such a time is simply depraved!

From Nietzsche’s Ecce Homo, Why I Am so Clever:

I have seen this with my own eyes: gifted natures with a generous and free disposition, ‘read to ruin’ in their thirties – merely matches that one has to strike to make them emit sparks – ‘thoughts.’  Early in the morning, when day breaks, when all is fresh, in the dawn of one’s strength – to read a book at such a time is simply depraved!”

Yeah, well, you know, that’s just, like, your opinion, man.

La paresse, toute languissante qu’elle est, ne laisse pas d’en être souvent la maîtresse

Some thoughts of La Rochefoucauld on laziness (paresse):

266

C’est se tromper que de croire qu’il n’y ait que les violentes passions, comme l’ambition et l’amour, qui puissent triompher des autres. La paresse, toute languissante qu’elle est, ne laisse pas d’en être souvent la maîtresse; elle usurpe sur tous les desseins et sur toutes les actions de la vie; elle y détruit et y consume insensiblement les passions et les vertus.

We deceive ourselves if we believe that there are violent passions like ambition and love that can triumph over others. Idleness, languishing as she is, does not often fail in being mistress; she usurps authority over all the plans and actions of life; imperceptibly consuming and destroying both passions and virtues.

398

De tous nos défauts, celui dont nous demeurons le plus aisément d’accord, c’est de la paresse; nous nous persuadons qu’elle tient à toutes les vertus paisibles et que, sans détruire entièrement les autres, elle en suspend seulement les fonctions.

Of all our faults that which we most readily admit is idleness: we believe that it makes all virtues ineffectual, and that without utterly destroying, it at least suspends their operation.

482

L’esprit s’attache par paresse et par constance à ce qui lui est facile ou agréable; cette habitude met toujours des bornes à nos connaissances, et jamais personne ne s’est donné la peine d’étendre et de conduire son esprit aussi loin qu’il pourrait aller.

The mind attaches itself by idleness and habit to whatever is easy or pleasant. This habit always places bounds to our knowledge, and no one has ever yet taken the pains to enlarge and expand his mind to the full extent of its capacities.

54

De toutes les passions celle qui est plus inconnue à nous-mêmes, c’est la paresse; elle est la plus ardente et la plus maligne de toutes, quoique sa violence soit insensible, et que les dommages qu’elle cause soient très cachés; si nous considérons attentivement son pouvoir, nous verrons qu’elle se rend en toutes rencontres maîtresse de nos sentiments, de nos intérêts et de nos plaisirs; c’est la rémore qui a la force d’arrêter les plus grands vaisseaux, c’est une bonace plus dangereuse aux plus importantes affaires que les écueils, et que les plus grandes tempêtes; le repos de la paresse est un charme secret de l’âme qui suspend soudainement les plus ardentes poursuites et les plus opiniâtres résolutions; pour donner enfin la véritable idée de cette passion, il faut dire que la paresse est comme une béatitude de l’âme, qui la console de toutes ses pertes, et qui lui tient lieu de tous les biens.

Of all passions that which is least known to us is idleness; she is the most ardent and evil of all, although her violence may be insensible, and the evils she causes concealed; if we consider her power attentively we shall find that in all encounters she makes herself mistress of our sentiments, our interests, and our pleasures; like the Remora, she can stop the greatest vessels, she is a hidden rock, more dangerous in the most important matters than sudden squalls and the most violent tempests. The repose of idleness is a magic charm of the soul which suddenly suspends the most ardent pursuits and the most obstinate resolutions. In fact to give a true notion of this passion we must add that idleness, like a beatitude of the soul, consoles us for all losses and fills the vacancy of all our wants.

A mysterious carriage of the body to cover the defects of the mind

Number 257 of La Rochefoucauld’s Réflexions morales

La gravité est un mystère du corps inventé pour cacher les défauts de l’esprit.

Gravity is a mystery of the body invented in order to hide the defects of the mind.

Which Laurence Sterne cites in his perfect portrait of Yorick’s sensibilities regarding – because it comes to mind in my own struggle with this – what I’ll call ‘professionalism.’

For, to speak the truth, Yorick had an invincible dislike and opposition in his nature to gravity;—not to gravity as such;—for where gravity was wanted, he would be the most grave or serious of mortal men for days and weeks together;—but he was an enemy to the affectation of it, and declared open war against it, only as it appeared a cloak for ignorance, or for folly: and then, whenever it fell in his way, however sheltered and protected, he seldom gave it much quarter.

Sometimes, in his wild way of talking, he would say, that Gravity was an errant scoundrel, and he would add,—of the most dangerous kind too,—because a sly one; and that he verily believed, more honest, well-meaning people were bubbled out of their goods and money by it in one twelve-month, than by pocket-picking and shop-lifting in seven. In the naked temper which a merry heart discovered, he would say there was no danger,—but to itself:—whereas the very essence of gravity was design, and consequently deceit;—’twas a taught trick to gain credit of the world for more sense and knowledge than a man was worth; and that, with all its pretensions,—it was no better, but often worse, than what a French wit had long ago defined it,—viz. ‘A mysterious carriage of the body to cover the defects of the mind;’—which definition of gravity, Yorick, with great imprudence, would say, deserved to be wrote in letters of gold.

I think I knew – or could have guessed – the source but I hadn’t realized the similar connection with the reflexion immediately proceeding, number 256:

Dans toutes les professions chacun affecte une mine et un extérieur pour paraître ce qu’il veut qu’on le croie. Ainsi on peut dire que le monde n’est composé que de mines.

In all professions each person puts on an expression and an exterior in order to appear as what he wishes to be taken for.  Accordingly you could say that the world is composed only of appearances.