summer night-- the moon

.夏の夜や河辺の月も今三日

natsu no yo ya kawabe
no tsuki mo ima mikka

summer night--
the moon by the river
just a sliver

This is an early haiku written in the 1790s. The rhyme in my translation is accidental--so I decided to allow it. The moon is a "three-day moon"...just a sliver.

WARM SUMMER SUN

Warm summer sun,
Shine kindly here,
Warm southern wind,
Blow softly here.
Green sod above,
Lie light, lie light.
Good night, dear heart,
Good night, good night.

Mark Twain

1792
.寝せ付て外へは出たり夏の月
nese-tsukete soto e wa detari natsu no tsuki

it's bedtime
but out I go...
summer moon

SUMMER SONG


Wanderer moon
smiling a
faintly ironical smile
at this
brilliant, dew-moistened
summer morning,—
a detached
sleepily indifferent
smile, a
wanderer's smile,—
if I should
buy a shirt
your color and
put on a necktie
sky-blue
where would they carry me?

William Carlos Williams

1817
.短夜や草はついついついと咲
mijika yo ya kusa wa tsui-tsui-tsui to saku

short summer night--
the grasses bloom
swish, swish, swish!

MY KIND

My kind? I don’t know my kind.
I see the sunlight speaking
in the windy leaves — a clear,
cold, early summer day that says
whatever is lost will come down
the daylight to meet you.

Forget it. There’s never anyone.
And I find myself wanting
to invent a new language. My
country’s the scratch of rain on
glass, these straight miles of
crucified wire — empty as a rose.

Remember the night skies? Navy.
A silk drawn slowly from the
breast pocket for the last deep
trick of the stars: the splash,
the scraps of silver tinselling
down in the flooding white light.

Robert Dana



(all haiku by issa, translated by david g. lanou, here.)

waltz, tango, quickstep, rumba, cha-cha, mambo, samba, swing

...The only change in the creative process I've seen with the dance poems comes with the luxury of writing within a framework -- each dance has a distinct feel, an embedded cadence that will suggest a certain shape or silhouette on the page.... "Fox Trot Fridays" was the first in the group; it wrote itself rather quickly.

After that felicitous birth, I imagined writing a poem about each type of ballroom dance -- waltz, tango, quickstep, rumba, cha-cha, mambo, samba, swing, even paso doble. And then, of course, I couldn't write a word, because I was trying to write about dance, not get inside the dance.

When I began to appreciate the technical intricacies of each style -- not just the pattern "quick- quick with a / heel-ball-toe" but the rise upon tiptoe that occurs between the slow count and the first quick in fox-trot, for example, or the gradual lowering from tiptoe that one executes in the second half of the third beat in the waltz -- only then did "American Smooth" [her most recent book] start to shimmer into being.

My scaffolding was to provide a humble description of the dance technique -- what each part of the body should be doing, measured out precisely, without emotion -- in the hopes of finding the poem's true desire, to achieve flight of consciousness, a lifting of the spirit as well as of the human form. 1

THE MUSICIAN TALKS
ABOUT "PROCESS"

(after Anthony 'Spoons' Plough)

I learned the spoons from
my grandfather, who was blind.

Every day he'd go into the woods
'cause that was his thing.
He met all kinds of creatures,
birds and squirrels,
and while he was feeding them
he'd play the spoons,
and after they finished
they'd stay and listen.

When I go into Philly
on a Saturday night,
I don't need nothing but
my spoons and the music.
Laid out on my knees
they look so quiet,
but when I pick them up
I can play to anything:
a dripping faucet,
a tambourine,
fish shining in a creek.

A funny thing:
When my grandfather died,
every creature sang.
And when the men went out
to get him, they kept singing.
They sung for two days,
all the birds, all the animals.
That's when I left the South.

Rita Dove

© 1999 Rita Dove from On the Bus With Rosa Parks pub Norton

also see more combs!

the blossom flies

we have spoken earlier of the echoing, in the birth of japonisme, of nature's related forms. of course this recognition didn't start in the west:

in around 1400, moritake arakida wrote:

The fallen blossom
flies back to its branch:
A butterfly. 1

in 1820, issa wrote:

.遠山が目玉にうつるとんぼ哉
tôyama ga medama ni utsuru tombo kana

the distant mountain
reflected in his eyes...
dragonfly

david lanoue writes: Issa sees a vast mountain (or mountains) miniaturized in the tiny bubble-eyes of the dragonfly.

Just as his English contemporary, William Blake, glimpsed a universe in a grain of sand, Issa perceives the great in the small: a mountain in the twin mirrors of an insect's mirror eyes.

The power of this image cannot be fully explained; with it, the poet coaxes the reader into a deep contemplation of the nature, and interconnectedness, of all things.

also from 1820 is issa's:

.蜻蛉も紅葉の真ねや竜田川
tombô mo momiji no mane ya tatsuta-gawa

a dragonfly copies
the red leaves...
Tatsuta River 2

more recently, in 1919, amy lowell wrote:

Is it a dragonfly or a maple leaf
That settles softly down upon the water?

one western artist was known to take most deeply to heart the teachings of the japanese. his name was lucien gaillard. as was written about him during his lifetime, "Lucien Gaillard is ever on the look-out for that which is fresh and novel. As gold-worker and jeweller he has been fore- most among the most resolute supporters of the modern decorative art.

At first the jewels he produced were somewhat complicated and distorted, but now he has attained to greater wisdom and greater simplicity, this evolution being the result of serious and patient study of the Japanese masters.

He has been at great pains also to recover the secret of the marvellous oxidations on the bronzes of the Far East, and he has succeeded therein. He has lately shown some hair-pins and small-combs thoroughly characteristic of his present manner." 3

in her book on gems and jewelry, marilena mosco says, "Lucien Gaillard, who exhibited for the first time in 1902, was the most "Japanese" of the Parisian jewelers.

"Monsieur Lucien Gaillard has always been seduced by the art of the Japanese and is highly interested in the mystery of their work. One of his merits is the instantaneous legibility: clear, sharp and the pureness, of his designs.

Copying faithfully the shapes and lines of Nature, synthesizing them but not falsifying them, he achieves in his creations a sober simplicity." 4

bliss

I WANDERED LONELY AS A CLOUD

I WANDERED lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.

Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.

The waves beside them danced; but they
Out-did the sparkling waves in glee:
A poet could not but be gay,
In such a jocund company:
I gazed -- and gazed -- but little thought
What wealth the show to me had brought:

For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.

Wordsworth 1804

clay

sometimes i'm just overwhelmed by the beauty of this stuff. does it appear that way to you too?

after a day of research, i'd say the most i've learned is that the clay in your location is very very important, and that many nooks, crannies & villages have distinctive styles of the porcelain/pottery that come from their town.


but i am so grateful that more every day is available online, that others seem to find this important as well, and that one can come across articles like this one. it's not precisely on topic with these particular illustrations, but it's not exactly not, either. it reveals more of the complexity of the incoming japonisme, and some of the importance of ceramics as cultural artifact.

and besides, it's by gabriel weisberg.

JAPANESE ART ON A PLATE

At the Paris World’s Fair of 1867 there was immense interest in a ceramic service decorated by Félix Bracquemond for Eugène Rousseau. It was considered to be revolutionary in the evolution of dinner-service decoration, as it was not only the first in France in which Japanese motifs were used, it was also the first to break from traditional schemes of plate decoration.

It at once became the touchstone by which other decorators using Japanese motifs were judged, and remained successful for decades. Other versions were produced after Rousseau (1827-1891), its primary promoter, sold his business in 1885 to Ernest Leveillé. He in turn sold it to Harant et Guignard, known as ‘Maison Toy’, in 1902. Louis Harant of Maison Toy continued to edit the service until 1938.

The Bracquemond- Rousseau service demonstrates that there was a commercial market for ceramic decoration in this style. However, while it may have been the first of its kind, and eminently successful, it was not the only early table service influenced by Japanese art.

In 1873-74 another service was shown at the exhibition of the Union Centrale des Arts Décoratifs in Paris.

Commis- sioned by the jeweller Frédéric Boucheron, designed and painted by Henri Lambert, and produced for Eugène Rousseau at Creil- Montereau, it is possibly as large as the Bracquemond-Rousseau service. Although comparable in quality to the earlier service, it appears to exist only as one set in a private collection in Paris, together with a few pieces in the Musée National Adrien Dubouché, Limoges, and there is no evidence that it was commercially manufactured.

As a result, it has remained almost entirely unknown, and is published here for the first time. Its story makes clear how ceramic decoration became the way in which Japonisme was introduced to a public that had the financial means to purchase such table services for their homes. (read the rest of the article here)