Quotes of All Topics . Occasions . Authors
Zen is poetry; poetry is Zen.
Nothing divides one so much as thought.
Zen is the unsymbolization of the world.
Mud is the most poetical thing in the world.
Things have done their part; it is for us to do ours.
The importance and unimportance of the self cannot be exaggerated.
I myself think that to have a cat is more important than to have a Bible.
There is no greater difference between men than between grateful and ungrateful people.
We that change, hate change. And we that pass, love what abides. Ashes, darkness, dust.
Zen is the game of insight, the game of discovering who you are beneath the social masks.
A thief running away like mad from a ferocious watch-dog may be a splendid example of Zen.
Regarding R. H. Blyth: For translations, the best books are still those by R. H. Blyth. . . .
A haiku is the expression of a temporary enlightenment, in which we see into the life of things.
Perfect does not mean perfect actions in a perfect world, bur appropriate actions in an imperfect one.
If all men lead mechanical, unpoetical lives, this is the real nihilism, the real undoing of the world.
What is essential is not the answer but the questions; the answers indeed are the death of the life that is in the questions.
Regarding R. H. Blyth: Two men who may be called pillars of the Western haiku movement, Harold G. Henderson and R. H. Blyth. . . .
What is Zen? Zen is looking at things with the eye of God, that is, becoming the thing's eyes so that it looks at itself with our eyes.
The love of nature is religion, and that religion is poetry; these three things are one thing. This is the unspoken creed of haiku poets.
Any enlightenment which requires to be authenticated, certified, recognized, congratulated, is (as yet) a false, or at least incomplete one.
The object of our lives is to look at, listen to, touch, taste things. Without them, - these sticks, stones, feathers, shells, - there is no Deity.
Regarding R. H. Blyth: Blyth is sometimes perilous, naturally, since he's a high-handed old poem himself, but he's also sublime - and who goes to poetry for safety anyway.
There is nothing intrinsically more beautiful or poetical about the moon than about a dunghill; if anything, the contrary, for the latter is full of life and warmth and energy.
Think of Zen, of the Void, of Good and Evil and you are bound hand and foot. Think only and entirely and completely of what you are doing at the moment and you are free as a bird.
Zen is mind-less activity, that is, Mind-ful activity, and it may often be advisable to emphasize the mind, and say, Take care of the thoughts and the actions will take care of themselves.
Thus we see that the all important thing is not killing or giving life, drinking or not drinking, living in the town or the country, being unlucky or lucky, winning or losing. It is how we win, how we lose, how we live or die, finally, how we choose.
These are some of the characteristics of the state of mind which the creation and appreciation of haiku demand: Selflessness, Loneliness, Grateful Acceptance, Wordlessness, Non-intellectuality, Contradictoriness, Humor, Freedom, Non-morality, Simplicity, Materiality, Love, and Courage.
The sun shines, snow falls, mountains rise and valleys sink, night deepens and pales into day, but it is only very seldom that we attend to such things. . . . When we are grasping the inexpressible meaning of these things, this is life, this is living. To do this twenty-four hours a day is the Way of Haiku. It is having life more abundantly.
Or, to express this in another way, suggested to me by Professor Suzuki, in connection with seeing into our own nature, poetry is the something that we see, but the seeing and the something are one; without the seeing there is no something, no something, no seeing. There is neither discovery nor creation: only the perfect, indivisible experience.
Regarding R. H. Blyth: The first book in English based on the saijiki is R. H. Blyth's Haiku, published in four volumes from 1949 to 1952. After the first, background volume, the remaining three consist of a collection of Japanese haiku with translations, all organized by season, and within the seasons by traditional categories and about three hundred seasonal topics.
Regarding R. H. Blyth: Blyth's four volume Haiku became especially popular at this time [1950's] because his translations were based on the assumption that the haiku was the poetic expression of Zen. Not surprisingly, his books attracted the attention of the Beat school, most notably writers such as Allen Ginsberg, Gary Snyder and Jack Kerouac, all of whom had a prior interest in Zen.
The establishment of inner harmony is to be attained neither in the past nor in the future, but where the past and future meet, which is the now. When you have attained that point, neither future nor past, neither birth nor death, neither time nor space exist. It is that NOW which is liberation, which is perfect harmony, to which the men of the past and the men of the future must come.
We walk, and our religion is shown even to the dullest and most insensitive person in how we walk. Or to put it more accurately, living in this world means choosing, choosing to walk, and the way we choose to walk is infallibly and perfectly expressed in the walk itself. Nothing can disguise it. The walk of an ordinary man and of an enlightened man are as different as that of a snake and a giraffe.
There is a Hindu myth about the Self or God of the universe who sees life as a form of play. But since the Self is what there is and all that there is and thus has no one separate to play with, he plays the cosmic game of hide-and-seek with himself. He takes on the roles and masks of individual people such as you and I and thus becomes involved in exciting and terrifying adventures, all the time forgetting who he really is.
It is not merely the brevity by which the haiku isolates a particular group of phenomena from all the rest; nor its suggestiveness, through which it reveals a whole world of experience. It is not only in its remarkable use of the season word, by which it gives us a feeling of a quarter of the year; nor its faint all-pervading humour. Its peculiar quality is its self-effacing, self-annihilative nature, by which it enables us, more than any other form of literature, to grasp the thing-in-itself.