Let's talk about haiku, a short poem of 5-7-5 syllables developed in Japan. I avoid for reasons of space technology, I do not consider the relationship (fundamental) with nature, seasonal references.
party rather than from the texts, textual experience. Let the text speak and act. So here
Basho, the greatest writer of haiku, monaco Buddhist lived in the seventeenth century:
If I look carefully I see the flower in nazunia
by the hedge! This is rather
Alfred Tennyson, one of the most famous English poets (1809-1892):
Fiore emerging from the wall cracked
I will I take from the slot -
hold you here, root and all, into my hand,
little flower - but if I can
understand what you are, root and all, and everything in all
'll know what I am God and man.
Beautiful and big difference right? Basho does not touch the flower, we only look "carefully". For him and for the authors of haiku about the flower is to become the flower, see more in the nature of things still to watch, guard.
Tennyson instead? Captures the flower, the tears, must have "root and all." And the flower becomes a small instrument of its own self-centeredness, a victim of the assertion of their individuality. The end result is not the object (without dead roots) but understand the anxiety of the courts, penetrate, not learning, stay the proceedings, much less seeing, simply being present.
difficult to understand and accept, for us Westerners and non-poets, a haiku: " comes from silence, it shines for a moment and then returns to his silence."
difficult to understand (and above all try to practice) the first rule of writing a haiku that is: " the subject to grasp and accept the genuineness of the event it is empty of any intentionality both intellectual and emotional, to the point of giving effect to the event. "
An example? Here is the most famous haiku by Basho:
Old pond.
splash of a frog
sound of water.
The writer is not there, as there is no entry that describes an event or worse comments. There's just as empty and all the absence of a subject. The poet merely to record what he saw in this and uses his mind like a clear mirror, like a blank surface.
Before talking about how to understand correctly the word "void", let us ask ourselves: what è il centro della poesia, quale dei tre soggetti descritti è predominante? Nessuno, non c’è soggetto “forte”, ciascuno non ha senso senza l’altro, ciò che conta è il loro rapporto di interdipendenza.
Allora, il vuoto. Un haiku nasce grazie al vuoto, meglio dal vuoto, ma anche apre al vuoto, ovverosia alla libertà di molte “finitezze”, al dispiegarsi di molte determinazioni. Il vuoto, nella filosofia buddista e in particolare nella pratica degli haiku, va inteso come condizione delle infinite possibilità di altre parole . (Giangiorgio Pasqualotto, “Estetica del vuoto”, Marsilio, 1992)
Semplice? Assolutamente no, tremendously difficult and complicated. To understand and above all to practice. Hillman then came to explain the difference between sensory perception and resulting accidentally vulgata English empiricism and sensory perception of the Greeks. The feeling is in greek
aisthesis whose root refers to "introject" and "breathe", hold your breath in wonder which is the primary aesthetic response.
And then "accept" means to take to heart, breathe in the world. "Not only am I confess that I pour out my soul, but I hear that, in the things that they talk, the confession of the soul mundi."
Return the soul the world is to know things established with them an intimate, sensual. Beginning with the revolution adjectival, avoiding the description of her own life, their feelings, on notions concerning our ego bigger and engulfing.
" To see the value of things should return to things as the so-called secondary colors, flavors, quality tattali. The stop to notice each event would limit our hunger for events and this would result in the slowdown in consumer spending ". (Hillman," The soul of the world and the thought of the heart ", Adelphi, 2002)
I slow down and I will stop here!
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