falls apart in the perfume

THE LEMON TREES

Hear me a moment. Laureate poets
seem to wander among plants
no one knows: boxwood, acanthus,
where nothing is alive to touch.

I prefer small streets that falter
into grassy ditches where a boy,
searching in the sinking puddles,
might capture a struggling eel.

The little path that winds down
along the slope plunges
through cane-tufts
and opens suddenly
into the orchard
among the moss-green trunks
of the lemon trees.

Perhaps it is better
if the jubilee of small birds
dies down, swallowed in the sky,
yet more real to one who listens,
the murmur of tender leaves
in a breathless, unmoving air.

The senses are graced with an odor
filled with the earth.
It is like rain in a troubled breast,
sweet as an air that arrives
too suddenly and vanishes.

A miracle is hushed; all passions
are swept aside. Even the poor
know that richness,
the fragrance of the lemon trees.

You realize that in silences
things yield and almost betray
their ultimate secrets.

At times, one half expects
to discover an error in Nature,
the still point of reality,
the missing link
that will not hold,
the thread we cannot untangle
in order to get at the truth.

You look around. Your mind seeks,
makes harmonies, falls apart
in the perfume, expands
when the day wearies away.
There are silences in which one watches
in every fading human shadow
something divine let go.

The illusion wanes,
and in time we return
to our noisy cities where the blue
appears only in fragments
high up
among the towering shapes.
Then rain leaching the earth.
Tedious,
winter burdens the roofs,
and light is a miser, the soul bitter.

Yet, one day
through an open gate,
among the green luxuriance
of a yard,
the yellow lemons fire
and the heart melts,
and golden songs pour
into the breast
from the raised cornets of the sun.

Eugenio Montale

translated by Lee Gerlach

Copyright © 2002, 2004 Harry Thomas, Handsel Books (an imprint of Other Press LLC).

the new math

we've already looked at dow's moment of epiphany, the realization that what he had been looking for was the book of hokusai prints right there in his hands. let's look a little closer:

dow has now met ernest fenollosa, and is studying with him at any possibility.

"In May, Fenollosa, with a certain flair he had for the dramatic, opened a door and showed Dow two magnificent screens by Okio. Dow looked at them in silence for a space and then exclaimed, 'Why can't I do that?' (The subject was a pine covered with snow.)

To this question Fenollosa replied, 'You can do it if you dare, but you don't dare.'

Dow instantly replied, 'I will dare!'

This pleased the Orientalist and he exclaimed, 'You will, you will, and I dare you to do it.'"

clearly, this was a moment of discovery for dow, of synthesis and excitement. he began seeing in a new way, one that, from his own perspective, returned to the basics in art, what all cultures had at some time done, the essential line, with everything extraneous removed.

the clarity of his vision was such that he went on to formulate, and to develop ways of teaching these insights to others, work that some say became more important than making art itself. he is credited for having changed the way art is regarded and taught in this country radically, and his methods were the staple of american art education for many years.

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okay -- so we have a moment of person discovery, life-altering, piercing and pervasive. so.... um.... -- what about all these other guys??! was it worldwide epiphany-itis?

i went to the jung pages and apparently the descriptive phrase i wanted to use, 'collective unconscious,' doesn't actually mean what i have always taken it to mean, so that won't work, unless i am allowed to redefine (or expand its definitions) the concept to what i always thought it meant and what fits in rather well here, namely that there is some mysterious (until science figures it out) connection of every human's mind that rises and falls with the tide and explains how one idea can occur in many places at the same time.

spontaneous combustion?

wasn't this the stuff of impressionism, anyway? the release of detail in pursuit of truth?

artists throughout the west were paring down, simplifying, following ideas they had imbibed from the japanese prints; did each and every one of them feel themselves to be a solitary traveler?

it's such an interesting phenomenon-- i wish i knew the name for it.

when things change, we each want to name it, to own it, and to think we know the reason why.

i wear purple too

today is the second anniversary of my first japonisme post!!

i have learned so much, and met so many fascin- ating people!

thank you all for the many treasures you've added to this blog.

it's also the 16th anniversary of beginning my 12-variety iris garden!

dead my old fine hopes
and dry my dreams
but still...
iris, blue each spring

shushiri 1

1794

.垣津旗よりあの虹は起りけん
kakitsubata yori ano niji wa okoriken

irises--
where that rainbow
starts from

Issa imagines that the rainbow has arisen from blooming irises--the intense, showy colors of the flowers continuing in bold streks upward, into the sky, forming the rainbow. It's interesting that "iris" derives from the Greek word for "rainbow." Issa could not have known this, but he intuits the same connection that exists in many Western languages. The rainbow is a flower in the sky; irises are rainbows on earth.

1814

.我庵や花のちいさいかきつばた
waga io ya hana no chiisai kakitsubata

at my hut
an iris with the tiniest
blossoms

Issa bends down low to acknolwedge and appreciate a small flower. There is a world of meaning in this simple act of paying reverent attention to things that other people ignore. The tiny-petaled iris is as precious as the big, bold chrysanthemum. Issa's approach to the living universe is democratic.

1824

.鶺鴒は神の使かかきつばた
sekirei wa kami no tsukai ka kakitsubata

running messages, wagtail
for the shrine's god?
irises

The wagtail (sekirei) is a bird with long, wagging tail feathers. Though he doesn't say so explicitly, Issa implies that the setting of the haiku is a Shinto shrine. 2

my secret name

TIGER LILY: ugg-a-wugg
ugg-a-wugg
ugg-a-wugg
ugg-a-wugg wa

PETER PAN: ugg-a-wugg
ugg-a-wugg
ugg-a-wugg
ugg-a-wugg wa

BOTH: gugg-a-bluck
gugg-a-bluck
gugg-a-bluck
gugg-a-bluck wa-hoo
ugg-a-wugg
ugg-a-wugg
ugg-a-wugg
ugg-a-wugg
ubble wubble
when we get in trouble
ugg-a-woo
there's just one thing to do

PETER PAN: I'll just send for Tiger Lily

TIGER LILY: I'll send for Peter Pan

BOTH: we'll be coming willy, nilly, Lily

TIGER LILY: Beat on a drum
and I will come

PETER PAN: and I will come and
save the brave noble red skin

ALL: boom boom
ugg-a-wugg
ugg-a-wugg
ugg-a-wugg
ugg-a-wugg wa
ugg-a-wugg
ugg-a-wugg
ugg-a-wugg
ugg-a-wugg wa
puff-a-wuff
puff-a-wuff
puff-a-wuff
puff-a-wuff
pow wow
ugg-a-wugg
ugg-a-wugg
ugg-a-wugg
ugg-a-wugg
ubble wubble when you get in trouble
and you're took away by Captin Hook

PETER PAN: I'll just send for Tiger Lily

TIGER LILY: I'll send for Peter Pan

ALL: We'll be coming willy, nilly, Lily



PETER PAN: Send up a flare

TIGER LILY: and I'll be there

ALL: and you know you got a friend (a friend) we'll be true blood brothers till the end, the end, we're brothers till the end! **

song

SONG

You are as gold
as the half-ripe grain
that merges to gold again,
as white as

the white rain
that beats through
the half-opened flowers
of the great flower tufts
thick on the black limbs
of an Illyrian apple bough.

Can honey distill such fragrance
As your bright hair--
For your face is as fair as rain,
yet as rain that lies clear
on white honey-comb,
lends radiance to the white wax,
so your hair on your brow
casts light for a shadow.

h. d.

the bleed of culture, the stain. the blossom

Hannah Borger Overbeck was one of the four Overbeck sisters who founded the Overbeck Pottery studio in Cambridge City, Indiana in 1911. She is credited as being the chief designer for several decades until her death in 1931, an influence that led to large decorated pieces with highly colored patterns, uncluttered, and incised lines based on nature.1

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Otto Heintz was born into a family of manufacturing jewelers in Buffalo , NY . By about 1902 he had purchased a small company, renamed it the Art Crafts Shop, and began design and manufacture of copper items with colored enamel decoration. He was granted three patents. By 1906 he changed the name to Heintz Art Metal Shop, and shifted to bronze as the base material and sterling silver as ornamentation. The Art Crafts Shop hammered “look” was replaced by a series of machine-shaped bodies with sophisticated patinas. The definitive patent for applying sterling silver to bronze without solder was granted August 27, 1912 .

Heintz’ line consisted of vases and bowls, candlesticks, smoking accessories, trophies, lamps, desk accessories, picture frames, bookends and jewelry. From a circa 1916 trade catalog: “Heintz wares have won an enviable reputation among buyers of art goods, because of originality and beauty of design, and unusual quality of attractiveness. The articles are of bronze, and are decorated with sterling silver designs, permanently applied by our patented process. Beautiful colored finishes have been produced after much thought and experiment...”2

(ohara koson; hannah borger overbeck; heinz art metal; hiroshige)