To be modern is to accept that the past is of a lesser state of development than how we are living in modern times, and that the current paradigm of contemporary society is a clear and present progressivist as stated by the article Redefining the Modern World 2013 ‘We define "n...
Later Jewish resistance to foreign rule was expressed in the series of fierce guerrilla operations against the Romans in the 1st century AD; led by the Zealot sect, this revolt was climaxed by the seizure of Masada and the massacre of the Roman garriso...
What is interesting about the Western poems is that their subjects are not as readily identifiable as the flying pope, so the reader is always in an unknowable strangeness. For example, in the first seven suns verse the reader is unsure if this is one solar system of seven suns or for whatever reason only seven stars are noticed in a larger spacescape. The second haiku suggests a planet with seven suns, although they could also be seven dewdrops on the sycamore leaf. The word “buddha” in Welch’s neon buddha series is itself vague. The Buddha (capital B) or a buddha? If a buddha, which one? What color neon? McDonald’s poems are similarly confusing. And in Gordon’s case, not having seen Chinese astronauts the reader is unsure how to define them: in modern space suits or retro 1960s suits? And how many are there? Two, ten? This definitional risk is not present in the flying pope series. The pope image is constant.
As more and more modern Japanese haiku arrive at our shore, it is worthwhile to look closer at some of them before fully stamping their passports. This paper will focus on Ban’ya Natsuishi’s flying pope series. These poems were chosen because in many ways they seem to represent much of what goes on in modern Japanese haiku. The series has been looked at previously, in particular in the collection of essays edited by Santosh Kumar, The Poetic Achievement of Ban’ya Natsuishi (Cyberwit, 2009)—not at any great depth however and in one case in a completely wrong-headed way. I will address both those issues. In addition, some Western poets are exploring similar terrain as Ban’ya’s pope in editions of the online journal Roadrunner (IX:2 and IX:3).
This complete text of Essays, Second Series by Ralph Waldo Emerson is in the public domain.
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What shall we say of this omnipresent appearanceof that first projectile impulse, of this flatteryand balking of so many well-meaning creatures? Mustwe not suppose somewhere in the universe a slighttreachery and derision? Are we not engaged to aserious resentment of this use that is made of us?Are we tickled trout, and fools of nature? One lookat the face of heaven and earth lays all petulanceat rest, and soothes us to wiser convictions. To theintelligent, nature converts itself into a vastpromise, and will not be rashly explained. Her secretis untold. Many and many an Oedipus arrives; he hasthe whole mystery teeming in his brain. Alas! thesame sorcery has spoiled his skill; no syllable canhe shape on his lips. Her mighty orbit vaults likethe fresh rainbow into the deep, but no archangel’swing was yet strong enough to follow it and reportof the return of the curve. But it also appears thatour actions are seconded and disposed to greaterconclusions than we designed. We are escorted onevery hand through life by spiritual agents, and abeneficent purpose lies in wait for us. We cannotbandy words with Nature, or deal with her as we dealwith persons. If we measure our individual forcesagainst hers we may easily feel as if we were thesport of an insuperable destiny. But if, instead ofidentifying ourselves with the work, we feel that thesoul of the workman streams through us, we shall findthe peace of the morning dwelling first in our hearts,and the fathomless powers of gravity and chemistry,and, over them, of life, preexisting within us intheir highest form.