Two more from Kenko’s Tsurezuregusa, these both being among the common anthology choices – or at least that’s my sense given that I discovered Kenko several years ago through two readers on Japanese aesthetics that both featured these pieces. The translation is again the Meredith McKinney. I’d really like to give Donald Keene’s as well but I’m in the country on my phone and transcribing is much harder than normal.
When someone complained that it was a great shame the way fine silk covers151 are so soon damaged, Ton’a replied, ‘It is only after the top and bottom edges of the silk have frayed, or when the mother-of-pearl has peeled off the roller, that a scroll is truly impressive’ – an astonishingly fine remark, I felt. Similarly, an unmatched set of bound books can be considered unattractive, but Bishop Kōyū impressed me deeply by saying that only a boring man will always want things to match; real quality lies in irregularity – another excellent remark.
In all things, perfect regularity is tasteless. Something left not quite finished is very appealing, a gesture towards the future. Someone told me that even in the construction of the imperial palace, some part is always left uncompleted.
In the Buddhist scriptures and other works written by the great men of old there are also a number of missing sections.
Should we look at the spring blossoms only in full flower, or the moon only when cloudless and clear? To long for the moon with the rain before you, or to lie curtained in your room while the spring passes unseen, is yet more poignant and deeply moving. A branch of blossoms on the verge of opening, a garden strewn with fading petals, have more to please the eye. Could poems on the themes of ‘Going to view the blossoms to find them already fallen’ or ‘Written when I was prevented from going to see the flowers’ be deemed inferior to ‘On seeing the blossoms’? It is natural human feeling to yearn over the falling blossoms and the setting moon – yet some, it seems, are so insensitive that they will declare that since this branch and that have already shed their flowers, there is nothing worth seeing any longer.
In all things, the beginning and end are the most engaging. Does the love of man and woman suggest only their embraces? No, the sorrow of lovers parted before they met, laments over promises betrayed, long lonely nights spent sleepless until dawn, pining thoughts for one in some far place, a woman left sighing over past love in her tumbledown abode – it is these, surely, that embody the romance of love.
Rather than gazing on a clear full moon that shines over a thousand leagues, it is infinitely more moving to see the moon near dawn and after long anticipation, tinged with most beautiful palest blue, a moon glimpsed among cedar branches deep in the mountains, its light now hidden again by the gathering clouds of an autumn shower. The moist glint of moonlight on the glossy leaves of the forest shii oak or the white oak pierces the heart, and makes you yearn for the distant capital and a friend of true sensibility to share the moment with you.
Are blossoms and the moon merely things to be gazed at with the eye? No, it brings more contentment and delight to stay inside the house in spring and, there in your bedroom, let your heart go out to the unseen moonlit night.
The man of quality never appears entranced by anything; he savours things with a casual air. Country bumpkins, however, take flamboyant pleasure in everything. They will wriggle their way in through the crowd and stand there endlessly gaping up at the blossoms, sit about under the trees drinking sake and indulging in linked verse-making together and, finally, oafishly break off great branches of blossom to carry away. They will dip their hands and feet into clear spring water, get down to stand in unsullied snow and leave their footprints everywhere, and in short throw themselves into everything with uninhibited glee.
I have observed such people behaving quite astonishingly when they came to see the Kamo festival. Declaring that the procession was horribly late so there was no point in hanging around on the viewing stand, a group retired to a house behind the stands and settled down to eat, drink and play go and sugoroku, leaving one of their number back on the stand to keep watch. ‘It’s coming by!’ he shouted, whereupon they all leaped frantically to their feet and dashed back, elbowing each other out of the way as they scrambled up, nearly tumbling off in their eagerness to thrust aside the blinds for a better look, jostling for position and craning to miss nothing, and commenting volubly on everything they saw. Then, when that section of the procession had passed, off they went again, declaring they’d be back for the next one. They were clearly only there to see the spectacle.
The upper echelons from the capital, on the other hand, will sit there dozing without so much as a glance at the scene. Young gentlemen of lesser rank are constantly rising to wait on their superiors, while those seated in the back rows never rudely lean forward, and no one goes out of his way to watch as the procession passes.On the day of the festival everything is elegantly strewn with the emblematic aoi leaves, and even before dawn the carriages quietly begin to arrive to secure a good viewing position, everyone intrigued about which carriage is whose, sometimes identifying them by an accompanying servant or ox-boy they recognize. It is endlessly fascinating to watch the carriages come and go, some charming, others more showy. By the time evening draws in, all those rows of carriages and the people who were crammed into the stands have disappeared, and hardly a soul is left. Once the chaos of departing carriages is over, the blinds and matting are taken down from the stands as you watch, and the place is left bare and forlorn, moving you to a poignant sense of the brevity of worldly things. It is this that is the real point of seeing the festival.
Among the people coming and going in front of the stands there are many you recognize, making you realize there are not really so many people in this world. Even if you were destined to die after all these others, clearly your own death cannot be far away. When a large vessel filled with water is pierced with a tiny hole, though each drop is small it will go on relentlessly leaking until soon the vessel is empty. The city is filled with people, but not a day would go by without someone dying. And is it only one or two a day? There are times when the corpses on the pyres of Toribe, Funaoka and elsewhere further afield are piled high, but no day passes without a funeral. And so the coffin sellers no sooner make one than it is sold. Be they young, be they strong, the time of death comes upon all unawares. It is an extraordinary miracle that we have escaped it until now. Can we ever, even briefly, have peace of mind in this world?
It is like the game of mamakodate, played with sugoroku pieces, in which no one knows which in the line of pieces will be removed next – when the count is made and a piece is taken, the rest seem to have escaped, but the count goes on and more are picked off in turn, so that no piece is finally spared. Soldiers going into battle, aware of the closeness of death, forget their home and their own safety. And it is sheer folly for a man who lives secluded from the world in his lowly hut, spending his days in idle delight in his garden, to pass off such matters as irrelevant to himself. Do you imagine that the enemy Impermanence will not come forcing its way into your peaceful mountain retreat? The recluse faces death as surely as the soldier setting forth to battle.