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Haiku - Basho, pg. 25 Lips too Chilled

 

Cherry Blossoms –

lights

of years past.



Pg. 25, Lips to Chilled



Interpretation 1:

Are the cherry blossoms metaphorically “lights of years past”, each petal containing the refraction of light caught in that moment in time, absorbing and retaining a snippet movie of fossilized existence? Is this an ancient Chinese multi-verse theory?

One person (man or woman, who knows?) is reflecting on their life, using this tree as a mental tool for visualizing their past years, perhaps also incorporation of a routined life and living in the same home town all his life. Ex: The cherry blossoms, the spectator has seen for years and years each year, continuously. Maybe this implies a scene of an old person reminiscing at the end of their lives, we get a feeling of nostalgia and the insight to a full life of a singular person.

There is a feeling of life and its memories as brief as the bloom of the cherry blossoms. The very Japanese lament of life’s transience.



Interpretation 2:

Is this more literally just a scene depiction of a Spring Time Japanese Festival, and the poem should be read as, “Cherry blossoms, AND lights of years past”? The focus on tradition, festivities, spring time aura. To be noted, this implies the setting is at NIGHT TIME. Lights are lit, probably paper lanterns, and the cherry blossom trees fray and swoah to a soft breeze. Perhaps there is a subtle innocent touch of romance.

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Haiku - Basho, pg. 37 Lips too Chilled

Poor boy – leaves

moon-viewing

for rice-grinding.



Pg. 37, Lips too Chilled



Interpretation 1:

“Poor boy” a youngster who is poverty stricken and given the arduous task of grinding rice. He is burdened with such duty late at night, “moon-viewing”. He is likely in tattered clothing. “Leaves”, the scene takes place in Autumn and attention is drawn to rust colored crinkly folliage; “moon-viewing” could very well be an Autumn activity. With little leaves remaining on trees and low humidity in the sky, the moon is perfectly available for gazing in the Fall.

Yet no matter the boys rugged placement in the world, he finds relief and joy in the moon-viewing. “Moon-viewing for rice-grinding”. Though he labors he is witness to a majestic show of nature and Tao itself.

He is likely a boy who although is in poverty, he finds pleasure from more simple things in life. He is grateful, did he learn these mannerisms from his family who are also likely impoverished but abundant with inner wealth: love, warmth, and appreciation?

Overall, the scene is endearing, bitter sweet maybe.



Interpretation 2:

“Poor boy” as if spoken by an upper class elderly woman. Not a comment on his wealth statue, rather he is pitied. Entire poem read as,

“Poor boy, he has to leave the moon-viewing part to attend to his rice-grinding. What a shame.”

Contrary to the previous interpretation, this reading could imply the opposite class status on the boy. He is a regal young gentleman out enjoying a royal moon-viewing. But he has to “leave” it, exit the party, to start his chores of grinding the rice.

This kind of scene implies the boy’s dismay at having to work, while some other party viewing boy, probably much older, views his upsettance as a growing pain.





Side Notes:

*I think rice grinding is a process that traditionally happened in the Autumn since it happened after the rice was harvested, which tended to be end of summer. (If my Sakuna memory serves me). This is when they pound the rice with the pestle and mortar?

*Would an upper class person be tasked with work late at night?