The first multimedia digital book on Shodo, the way of calligraphy, with pictures and video lessons of Nagayama Norio Sensei.
More than 100 photos, illustrations and haiku; 70 videos-exercises in kanji, kaisho, the seals, the rules spelling of the kanji, the sayings of the Masters.
A manual to understand and learn the Japanese writing.
This new form of interactive books allows to overcome the major limitation of traditional books: the lack of a direct relationship with the teacher, to observe the rhythm and learn intuition and gesture.
This book is an introduction to the practice of calligraphy as a way of life, but can also serve those who are interested in writing our language and understand the technique of our art.
Nagayama Norio Sensei
Although the consciousness of death is, in most cultures, very much a part of life, this is perhaps nowhere more true than in Japan, where the approach of death has given rise to a centuries-old tradition of writing jisei, or the "death poem." Such a poem is often written in the very last moments of the poet's life.
Hundreds of Japanese death poems, many with a commentary describing the circumstances of the poet's death, have been translated into English here, the vast majority of them for the first time. Yoel Hoffmann explores the attitudes and customs surrounding death in historical and present-day Japan and gives examples of how these have been reflected in the nation's literature in general. The development of writing jisei is then examined—from the longing poems of the early nobility and the more "masculine" verses of the samurai to the satirical death poems of later centuries.
Zen Buddhist ideas about death are also described as a preface to the collection of Chinese death poems by Zen monks that are also included. Finally, the last section contains three hundred twenty haiku, some of which have never been assembled before, in English translation and romanized in Japanese.
* Beautifully illustrated with images relating to Confucius and the Chinese Classics
* Concise introductions to the texts
* Features James Legge's seminal translations
* All Four Books and Five Classics of Confucianism
* Includes multiple translations of the ANALECTS, including a special dual text
* Excellent formatting of the texts
* Includes the legendary I CHING divination text
* Features three biographies - discover Confucius’ ancient world
* Scholarly ordering of texts into literary genres
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The Four Books
DOCTRINE OF THE MEAN
The Five Classics
CLASSIC OF POETRY
BOOK OF DOCUMENTS
BOOK OF RITES
SPRING AND AUTUMN ANNALS
THE LIFE AND TEACHINGS OF CONFUCIUS by James Legge
THE LIFE, LABOURS AND DOCTRINES OF CONFUCIUS by Edward Harper Parker
BRIEF BIOGRAPHY: CONFUCIUS
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In 1972, Press-22 issued a beautiful edition of these poems written out by hand in italic by Michael McPherson. We are doing a new augments edition based on the old, with a new design, a preface by Lu Ch'iu-yin, and an afterword by Mr. Snyder where he discusses how he came to this work and what it meant to his development as a writer and Buddhist.
On May 11, 2012, for the Stronach Memorial Lecture at The University of California, more than fifty years after his days there as a student, Snyder offered a public lecture reflecting on Chinese poetry, Han Shan, and his continuing work as a poet and Translated by. This remarkable occasion was recorded and we are including a CD of it in our edition, making this the most definitive edition of Cold Mountain Poems ever published.
Stephen Berg is the Editor and founder of American Poetry Review.
Also available by Stephen Berg
PB $16.00, 1-55659-075-X • CUSA
New & Selected Poems
PB $12.00, 1-55659-043-1 • CUSA
It also offers an introduction to related Japanese poetic forms including: Senryu—commentaries on human nature that are often humorous or ironicHaibun—short, autobiographical narratives accompanied by a haikuTanka—imaginative poems full of highly personal, emotional expressionsHaiga—drawings accompanied by commentary in haiku formRenga—a collaborative form featuring linked sequences of poetryHow to Haiku is a wonderful resource for anyone who wants to try their hand at this precise and poetic form of expression.
People around the world value the mind-cleansing, spiritually uplifting benefit to be gained through the practice of Cha'an (Zen) Buddhism. Central to Zen is the enigmatic koan (kung-an), a kind of riddle used by masters to shock their students into greater awareness. In this timeless collection from Chinese masters, translations of 100 of these question-and-answer riddles are presented. Each koan is followed by the author's commentary, which provides fascinating insight into the background and deeper meanings of the koans.
Pointing at the Moon contains zen koeans from the following four treatises of the Zen tradition: A Selection From the Five Books of the Zen Masters' Sayings The Light of the Zen Sayings Recorded in the Year if Developing Virtue The Zen Sayings Recorded During the Moonlit Meditation An Anthology if Zen SayingsEnhanced by the 85 beautifully sketched Chinese brush paintings, Pointing at the Moon is a text certain to stimulate and challenge anyone interested in learning more about Zen and its tradition of spiritual enlightenment.
One such anthology, written entirely in Chinese, was translated by noted Zen priest and scholar Soiku Shigematsu as A Zen Forest: Sayings of the Masters. Equally important is a Japanese collection, the Zenrin Segoshu, which Mr. Shigematsu now translates from the Japanese, including nearly eight hundred poems in sparkling English versions that retain the Zen implications of the verse.
In a radically new translation and interpretation of the I Ching, David Hinton strips this ancient Chinese masterwork of the usual apparatus and discovers a deeply poetic and philosophical text. Teasing out an elegant vision of the cosmos as ever-changing yet harmonious, Hinton reveals the seed from which Chinese philosophy, poetry, and painting grew. Although it was and is widely used for divination, the I Ching is also a book of poetic philosophy, deeply valued by artists and intellectuals, and Hinton's translation restores it to its original lyrical form.
Previous translations have rendered the I Ching as a divination text full of arcane language and extensive commentary. Though informative, these versions rarely hint at the work's philosophical heart, let alone its literary beauty. Here, Hinton translates only the original strata of the text, revealing a fully formed work of literature in its own right. The result is full of wild imagery, fables, aphorisms, and stories. Acclaimed for the eloquence of his many translations of ancient Chinese poetry and philosophy, Hinton has reinvented the I Ching as an exciting contemporary text at once primal and postmodern.
First to articulate the meditation method known to contemporary Zen practitioners as shikantaza ("just sitting") Chinese Zen master Hongzhi is one of the most influential poets in all of Zen literature. This translation of Hongzhi's poetry, the only such volume available in English, treats readers to his profound wisdom and beautiful literary gift. In addition to dozens of Hongshi's religious poems, translator Daniel Leighton offers an extended introduction, placing the master's work in its historical context , as well as lineage charts and other information about the Chinese influence on Japanese Soto Zen.
Both spiritual literature and meditation instruction, Cultivating the Empty Field is sure to inspire and delight.
First published in 1608 as Ise–monogatori, the work is a product of court life in which the romantic assignations, intrigues, and social standards of aristocratic society in ancient Japan are vividly revealed. Each of the 125 episodes in the book consists of a story plus poetry in the uta form (five lines totaling thirty–one syllables) following the life of a nameless hero, who embodies the social ideals of the era, from his "coming of age" to his death.
Arihara no Narihira, a ninth–century cavalier poet known for his individualism and elegance, is considered to be the author of a third of the poems, and it has been suggested that The Tales of Ise developed from his journal. The text is accompanied by an introduction by the translator, explanations of the cultural, literary, and historical material relevant to each episode, and several diagrams of the capital city and the Imperial Palace. The book is further enhanced by sixteen black and white woodblock prints by an unknown artist of the Tosa school.
The earliest preserved folk songs of the peasantry; the major works of the "Golden Age" of Chinese philosophy; the "prose-songs" and the later skillful poems of the T'ang dynasty ; the short stories and plays; the novels; and the poems and stories of men who have made modern China - all these are represented in this anthology, in complete works or in excerpts.
Editor William McNaughton presents Chinese literature as an organic development, so that the student as well as the general reader can see how genre evolved into genre and form developed into form. He has based this presentationon work by Chinese critics and scholars that, until recently, has not been available outside China.
In addition to classical writings, the poems and stories by twentieth-century writers, most of which have been newly translated into English, give new insights into modern Chinese society and individuals, and make this the most complete one-volume anthology ever published.
Abigail Friedman was an American diplomat in Tokyo, not a writer. A chance encounter leads her to a haiku group, where she discovers poetry that anyone can enjoy writing. Her teacher and fellow haiku group members instruct her in seasonal flora and fauna, and gradually she learns to describe the world in plain words, becoming one of the millions in Japan who lead a haiku life. This is the author’s story of her literary and cultural voyage, and more: it is an invitation to readers to form their own neighborhood haiku groups and, like her, learn to see the world anew.
"...A deft and seamless merging of genres: at once memoir, travel literature, and an unpretentious guide onto the terrain of Japanese poetry. It will appeal not just to poetry lovers, but to all readers who are curious about the world beyond their own borders." -- Foreword Magazine
"Friedman is an appealing guide through an alternate Japan where modern people make poems about teacups and temples but also about skyscrapers and kidney surgery." -- East Bay Express
"The book is not designed to make the reader a poet, but it does, perhaps, help us to pay more attention to our poetical eye." -- BiblioBuffet
"The Haiku Apprentice gives the reader an original, thoughtful and personal glimpse of one expat’s productive encounter with Japan." -- Metropolis
"...Notable for its frankness and enthusiasm...Friedman has made a lively narrative out of the things she learned..." -- The Japan Times
Ryokan's zen poems are celebration of the joys and sadness of everyday life. His spare, direct style is remarkable for its immediacy and intimacy.
This bilingual collection contains more than 150 of his finest poems in Japanese and Chinese, including his famous lyrical correspondence with the nun Teishin, who befriended him in his later years. It also includes a biographical essay on Ryokan, and useful notes on the poems themselves.
The Haiku is a brief poetic form expressing a moment of insight. No foreign form since the sonnet has so fascinated and challenged the poets of the English-speaking world. Yet no scholar or critic, until now, has undertaken a definitive study of the problems of writing haiku in English.
This book, the first of its kind, examines English language haiku in the light of Japanese form. Author Joan Giroux explicates the meaning and history of the Japanese haiku, its cultural background the creative process which gives it birth and the technical devices developed by Japanese poets over the centuries. Examples by classic and contemporary poets, including Basho and Buson, Shiki and Hastutaro, are given Romanized Japanese and in English translation. Poems, in English, from early efforts by Ezra Pound and Wallace Stevens to work of contemporaries like James Hackett, are discussed and evaluated. Wherever possible, comparisons are made, contrast indicated and suggestions given, with a rare sensitivity to the poetic possibilities of both languages and keen appreciation of the unique qualities of both cultures.
Rouzer investigates how Buddhism defined the way that believers may have read Hanshan in premodern times. He proposes a Buddhist poetics as a counter-model to the Confucian assumptions of Chinese literary thought and examines how texts by Kerouac, Snyder, and Jane Hirshfield respond to the East Asian Buddhist tradition. �
Beginning with a history of Zen from the time of its origin to the present, the book goes on to outline the themes and practices associated with Zen, such as koans, meditation, enlightenment, and ethics. The final section of the book, entitled "Living Zen," addresses the ways in which Zen can help us to realize a deeper, fuller life though such artistic activities as poetry, brush painting, the martial arts, tea ceremony, and flower arrangement.
The best-loved and most widely read of all Japanese poetry collections, the Ogura Hyakunin Isshu contains 100 short poems on nature, the seasons, travel, and, above all, love. Dating back to the seventh century, these elegant, precisely observed waka poems (the precursor of haiku) express deep emotion through visual images based on a penetrating observation of the natural world. Peter MacMillan's new translation of his prize-winning original conveys even more effectively the beauty and subtlety of this magical collection.
Translated with an introduction and commentary by Peter MacMillan.
Emerging from the role of sexual objects within poetry, late imperial women were agents of literary change in their expansion and complication of the boudoir theme. While some take ownership and de-eroticizing its imagery for their own purposes, adding voices of children and older women, and filling the inner chambers with purposeful activity such as conversation, teaching, religious ritual, music, sewing, childcare, and chess-playing, some simply want to escape from their confinement and protest gender restrictions imposed on women. Women's Poetry of Late Imperial China traces this evolution across centuries, providing and analyzing examples of poetic themes, motifs, and imagery associated with the inner chambers, and demonstrating the complication and nuancing of the gui theme by increasingly aware and sophisticated women writers.
Uma compilação de dez poemas sobre a alma humana.
Sentimentos levados às últimas consequências.
Um retrato da mente da autora.
A depressão. A solidão. A dor. A raiva.
Quão viscerais somos diante da pressão correta?
Até onde você iria se não houvessem consequências?
Você seria capaz de se sacrificar por alguém?
Você seria capaz de sacrificar alguém por você?
Sinta o gosto amargo do sangue do outro em sua boca antes de partir.
Haiku icon Basho is represented amply here, as are imagery-virtuoso Buson and wry, warm, painfully human Issa. The verses of Shiki, Joso, Kyorai, Kikaku, Chora, Gyodai, Kakei, Izen, and others also appear, all illuminated by lovely woodblock prints. Ranging from exquisite (In the sea surf edge/Mingling with the bright small shells.../Bush-clover petals –Basho) to bittersweet (Dead my fine hopes/And dry my dreaming, but still.../Iris, blue each spring –Shushiki) to silly (Dim the grey cow comes/Mooing, mooing, and mooing/Out of the morning mist –Issa), this collection will stir your senses and your heart.
In 1765 Karai Senryu published a selection of tsukeku that reflected his personal taste and humor. This anthology, Yanagidaru, became widely popular and was followed by 22 more of the same title, also compiled by Senryu, and a further 144 volumes compiled by his successors to the tradition. The type of poems Karai chose eventually came to be known as senryu. They did not require inclusion of a seasonal word, as did haiku, which developed from the introductory portion of linked verse.
Although senryu were at first written in only seventeen syllables(in lines of five, seven, and five syllables) or fourteen syllables(in lines of seven and seven), these rules became less strictly adhered to as time passed. The main difference between senryu and haiku is one of tone. The meaning and structure of a haiku can be brilliant, but I personally often find them conventionally serious and sentimental, offering few surprises. One has to be a near genius to write good haiku, but almost anyone can write reasonably good senryu; the form seems somehow to have escaped the structural restrictions that bind and, perhaps, limit haiku.
Among the tea blossoms.
Haiku, the traditional Japanese verse form composed of seventeen syllables, can express a dramatic scene or philosophical idea in a single line of verse. In this collection, haiku poet Yuzuru Miura has selected and translated poems by past masters such as Basho and Buson, as well as haiku by contemporary poets. Fireflies, pheasants, a summer shower, winter snow, camellias—all the favorite haiku subjects are included among the one hundred poems of this impressive anthology. Classic Haiku evokes the peace and serenity of the Japanese way of life.
While many haiku collections are available to Western readers, few books combine both translated haiku with haiku written originally in English, along with an analysis of individual poems and of the haiku form itself. Written by a leading scholar in the field—Kenneth Yasuda was the first American to receive a doctorate in Japanese literature from Tokyo University—Japanese Haiku has been widely acclaimed.
This edition is completely repackaged for a digital format, and is the perfect book for lovers of poetry who do not have a solid background in haiku.
Haiku icon Basho is represented amply here, as are imagery-virtuoso Buson and wry, warm, painfully human Issa. The verses of Shiki, Joso, Kyorai, Kikaku, Chora, Gyodai, Kakei, Izen, and others also appear, illuminated by lovely woodblock prints. From the playful (Oh, that summer moon!/It made me go wandering/Round the pond all night –Basho) to the bittersweet (Everything I touch/With tenderness, alas/Pricks like a bramble –Issa) to the fondly amused (It is not easy/to be sure which end is which/of a resting slug –Kyorai), this collection will stir your senses and your heart.
With two hundred sixty haiku and haiku-inspired poems, Swaying Branches, Rustling Leaves offers insightful observations of everyday and uncommon moments presented with humor, joy, and clarity.
Ranging from the traditional to flexible verse, this book explores the simple marvel and delight present in the world in and around us if we but look.
Swaying Branches, Rustling Leaves is for those who wish to experience the heart of each instant that the mind may open and become still.
Tags / Related Terms:
haiku poetry poem asian japanese chinese religious spiritual spirituality present awareness inspirational zen buddhist mind insight ordinary moment poignant profound profundity miraculous buddhism poet meaning humor joy verse mind mindfulness silence peace serenity nirvana meditate meditation humanity life perception japan china floating world wonder
Du Fu wrote poems that engaged his contemporaries and widened the path of the lyric poet. As his society—one of the world’s great civilizations—slipped from a golden age into chaos, he wrote of the uncertain course of empire, the misfortunes and pleasures of his own family, the hard lives of ordinary people, the changing seasons, and the lives of creatures who shared his environment. As the poet chases chickens around the yard, observes tear streaks on his wife’s cheek, or receives a gift of some shallots from a neighbor, Young’s rendering brings Du Fu’s voice naturally and elegantly to life.
I sing what comes to me
in ways both old and modern
my only audience right now—
nearby bushes and trees
elegant houses stand
in an elegant row, too many
if my heart turns to ashes
then that’s all right with me . . .
from “Meandering River”
From the Trade Paperback edition.
The state of Japanese poetry in the twentieth century, its high quality and individuality is clearly shown in this book. The introduction gives a brief, lucid history of poetry in Japan, with the emphasis on modern poetry. The body of the book is taken up with the translation of the work of forty–nine widely acclaimed poets: free–verse poets, tanka poets, and haiku poets. At the back are notes giving illuminating biographical and literary information about each poet.
The excellence of the translations and the lucidity of the introduction and notes make the book a treasure for poetry lovers everywhere. Poets include:Kotaro TakamuraYoshiaki SasazawaIku TakenakaSaburo KurodaShuntaro TanikawaMokichi SaitoKuniyo TakayasuSuju TakanoKiyoko Takayanagi