Now the most interesting subject to us is about the
relation
between imagery and ideoplasty.
Ezra-Pound-Japan-Letters-essays
the history of
? SECTION IV: ESSAYS 191
the U. S. A. , the sooner the American people will find out. For, of their own motion and initiative, they are not finding it out.
God alone knows what we Americans know of Japan. None of us reads Japanese. Some tens of and hundreds of thousands of us can read German, French and Italian.
Note to your own honor that Italy billed their taking of Somaliland as the FIRST time the British Empire had lost a colony. Spain said, "the first time in 300 years. " A day later came Japanese opinion to the effect that it was the first time since the American Revolution, when we Yanks took out 13 colonies all at once! (Nevertheless, it took us five years, not two months. )
? 192
APPENDIX
APPENDIX I
'ME . ART! !
7AMI KDtfMM^
? APPENDIX 193
Tami Koume, The Art of S Etherism, or Spiritico-Etheric Art
I AM AN artist; I must live in my art; my life is in my art. This being the case, I can ill throw my pencil for a pen, in order to set forth in so many words the principles as well as the inner meanings of my life-problem, the Spiritico- etheric Art.
However, for the enlightened public, who are not yet well acquainted with my art, but kind enough to be curious to know what that is in reality, I would fain forgo the advantages, and try to describe the nature and content oftheartinwhichI havebeenspirituallyawakened,throughtruthful speculation, and by means of entire devotion to the cause of the all-great and mystical Universe.
We are now standing at the critical moment of humanity. We must be saved by something. Hence who would venture to say that the Universe should d[eny? ] the cries vehemently uttered by the chosen few, who par- ticipate in the saving councils of Nature? There are [a] few born now, whose spiritual and intellectual capacities represent the ages of [a] thousand years hence; for nature does not bring forth children useful only for the present age.
In last May, 1920, I have exhibited my artistic creations on my own account, to show the content of my art-life; in other words, I have attempted to reveal the processes that have led my art from artificial creations "to super-artificial-growing-creations. "
Now these "Super-artificial-growing-creations" stand as a sort of medium between self and the universe, while self is a kind of medium in like manner between the universe and the growing creations; and so I have provisionally styled this art then a mediumistic school. But this term, convenient as it is, [is] apt to be misunderstood as to the essential signifi- cance thereof, on account of its already enjoying a peculiar technical usage of its own; besides, it is rather too superficial to be applied to my spirit- saving art.
Upon this I was forced temporarily to coin a new term, which is but a symbol of my art, by which symbol, I, ,- (which I make bold to pronounce Reitherism or ft Etherism] the essential features of my art-life, it is to be hoped, might be made somewhat plainer. Let me here remark par ex- ceJJence that this sign being the symbol of my art, has no conventional pronuciation, but only serves to signify the inner meaning of my art, and may thus be pronounced as above indicated, because it is an artistic repre- sentation of my art-life.
? 194
APPENDIX
Historically speaking, the art that applies colouring matters on the surface, has been called painting, whose development, it is quite needless to repeat here.
The more advanced painting of the present age has so far progressed as to be able to delineate mental phenomena. But those schools of painting are unable to exhibit anything decisively and analytically as to the origin of all things, and the substance of the mind.
They only deceive themselves and others through unsatisfactory self- affirmations. I, who found it impossible to conform to this state of unrea- son, have at last arrived at this my art, Reitherism, or Spiritico-etheric Art, through purest and truest intuition, and by means of sincerest speculation and pious devotion, even willingly risking physical safety. I was thus saved.
Reitherism is an artification of human life.
Reitherism is a beautification of all things material and immaterial. It is again a beautiful manifestation of Spirit.
Those who are possessed of a beauty-consciousness, will all
acknowledge that, in general. Art means an all-round consciousness- operation that goes for creating beauty artificially. It is a philosophical representation of this truth.
The birth of art is either an Anschauung or an intuitive operation. Art is or should be an Artificial creation, that represents its objects through its own cells. Hence Art is again purest philosophy that deals with the Uni- verse or human life, by imparting its own life to the objects or subjects it has to do with.
The conclusion of art is beauty itself. Beauty consciousness, aesthetic consciousness, is a bodily experience of the life-forms of the good.
Good is the primary intuition or direct-perception that is to be harmo- nized and incorporated with the truth.
In the sense of truth. Art is the mental form of humanity. It is universal- ly a self-contemplation and self-reflection.
In fine, the true, the good, and the beautiful, or truth, goodness and beauty, must form a trinity in unity.
The essence or essential quality of beauty is inexpressible.
True Art is a radiation of high toned or high flooded sense of beauty, that is impressed on practical life of humanity. The ecstasy of faith seems to be the same with an eternal purification of the rapture felt in the moment of love.
The essence of beauty is not to be touched outside the region of self-
? APPENDIX 1 95
knowledge. If it is so, old aesthetics is but a puppet logic, for it cannot go beyond shadowing forth superficial differences of nature.
In the puppet logic, art is defined to be an enjoyment of life. Such views are boastfully entertained by the ignorant, who consider themselves (i. e. men) most high-stationed in the universe, as lords of creation, thus deceiv- ing themselves and others, under the shadow of old antiquated aesthetics, or so-called science of beauty. In fine, man has no right to define art an enjoyment of human life.
If there are any enjoyable elements in art, they are, must be, the es- sential nature of art herself, not her definable meaning, much like the aesthetic impressions accompanying the ecstasy or rapture of faith.
***
The littleness of self or ego, cannot but be felt by those who have become conscious of their own intrinsic nature.
Many and various problems that men cannot solve by means of the progress of science and development of reason, must not be struck away or blotted out as merely unthinkable or incomprehensible.
At least, I myself cannot blunder away the essential power, great and mystic, of the Universe, which we bodily experience irresistibly--and this by lukewarm reasons of science or psychology. No; God forbid!
In such mood, we cannot but exclaim admiringly, when we gaze upon the millions of bright, shining heavenly bodies, "O God, how splendid! " We thus cry to that irresistible might of Nature, and this superartificial power, "O God! " However we have become conscious of these grand
phenomena, so as to extort from us such rapturous exclamations, we cannot deny the Absolute Power called God, pervading the whole Universe.
However, the "God" I admire is not the God of monotheism or polytheism; neither is he the impersonal God of pantheism, though in his essential nature he somewhat approaches the latter. Positively it is not the God of Atheism, said to be one with the Universe.
I deemGodtobeonewiththeUniverse,butthatissointheisticpointof view. Yes; I intuit the existence of God, great and mystical. To recognize the Universal Consciousness or Gosmic soul, is to acknowledge God. The narrow and poor intellect of man can only touch some portion of Universal Consciousness, great and mystic, merely by negating himself.
Men are not aware of the preciousness of negating themselves. But yet those who are awaking to the salvation of their own souls, are approaching the precious state of self-negation daily more and more, nearer and nearer, by self-discipline and deep sincerity--this is not denied by God himself.
? 196 APPENDIX
Now simple or pure ego I call the state in which human personality, with its minimum conscious condition, is harmonized and interfused with the consciousness of the Universe. But, what is the state of simple ego, or pure ego, here introduced rather mystically? That is the state of realization or bodily experience of spiritual enlightenment, rational and exalted, attained by inspiratory judgement and reasonable speculation--a state, free from all doubts, and impure ideas, transcending little human personalities, wherein reigns naivety and simplicity.
In this state, minimum human consciousness being present, conscious- ness manifestations in the cerebral cells subsiding, superhuman powers of extraordinary spirituality are dominant.
Such artists who are conscientious enough to live in truth and purity, should bravely renounce all those petty ingenuities, learned from conven- tions, and listen to the voice of conscience, for these petty ingenuities only tend to deceive others as well as the artists themselves.
Although we are determined to part with the shallow self-affirmatory modes of representation taught to us from historical education, so pertina- cious are we men, that we feel much grudge to do away with those skills which have been our companions years long. But those earnest artists who have once listened to the precious voice of conscience, cannot but re- nounce all grudge to live the pure and true life of enlightened artists.
If not so, chefs d'oeuvre themselves are not much better, nay far worse, than those rough lines drawn by children expressive of their love toward nature. They are simply productions of time devoted to ingenuity.
True Art must be love towards humanity, born necessarily for saving the disquietude men entertain in respect to the present existence.
For us who endeavor to live in the soul-saving art, there is no need of a temple or church occupying and enclosing a portion of space. All phe- nomena pervading the infinite universe; nay, one single constellation glittering in the firmament, one single flower emitting sweet fragrance in the field--these are a thousand times better than myriad volumes of printed books, being a direct teaching of God bestowed on us mortals.
The works of Cezanne and van Gogh are manifestations of love apprehended necessarily from Nature. The still lifes of Gezanne are smiling lives, while van Gogh's plants are portions of breathing Nature. They cannot but feel, as though inanimate nature were his or her brothers and sisters.
Yes! all things are our brothers and sisters. All things, men, animals, plants, nay mountains, rivers, desks, papers, all are so. At least I perceive
? APPENDIX 197
them to be so. One's own work--what does it consist of? It is a synthesis of himself, the canvas, and colouring matters. In other words, the work here produced, is an animated object, as it were, which has absorbed my spirit, and got combined with paints on the canvas to be manifested thus.
In one's own productions one's life dwells, and animate some of the elements (spiritual elements) that go to constitute one's self. One's own works produced on such faith are one's brothers, kith and kin, to be sure!
One's work of art is, so to speak, a fragment or detachment of one's own life. Therefore works of art that are not in earnest, and falsely represented, are so many useless cuttings-away of the artist's life! An artist, if he fears death, cannot execute (growing) works. But, to think of death without any (growing) work, this is far more unbearable indeed!
Such artists who fear death, and at the same time fear the appearance of their growing works--these have no right to exist in the noble world of art. I have said, all things in Nature are our brothers.
Yes! so they truly are. All things in Nature are the workings and manifestations of Ether. Men too, in the beginning of their existence, are but simple cells. The germinal cells have, each of them, specific cell-mind, which I christen provisionally Spiritual element.
The spiritual element, which pervades the universe, according to its different operations, sometimes makes organic manifestations, and some- times inorganic manifestations. Strictly speaking, the distinction between organic and inorganic, is, simply, based on the point of view from human standard. They are simply the two faces of that infinite, absolute thing called the Universe.
I shall now speak of my realization of the truth. I repeat, the so-called Spiritual element is the cell-mind of Ether, which not only pervades all spaces, but even fills up the spaces between atoms. All objects emit subtle emanation called aura or auric atmosphere, which is nothing but the proceeding of this spiritual element.
Just as in our visual nerves, vibrating etheric rays strike the retinas to produce colour-impressions; so this spiritual element, by acting upon the cerebral convolutions, can make the nerve centre in the brain produce the auric atmosphere, as above referred to.
The minutest elements in the sensory organ or sensorium are the sensitive cells. Again the minutest elements in the inner sensory centre of the cerebral convolutions are a mass of nerve-cells. In a highly sensitive condition of these nerve-cells, the sensory centre is enabled to have com- munion with the external (so-called) spiritual-elements.
? 198 APPENDIX
So even the colour-forms, that are not reflected on the retina of the eyes, can be seized at the Fornix of the brain. Some persons, in whom their spiritual sensation is highly developed, can insensibly represent or per- ceive them; just as forms that are not made visible by means of prismatic spectrum, can be seized by ultra-violet rays of the spectrum. Our -, p school artists are too highly ultra-sensitive to be merely ingenious to draw visible things.
The recent tendency to give theoretical explanations to the movements of colours or lines, is a dreadful one, apt to specimenize (specify] art, or restrict the significance of it.
i^sthetic symbolisation, or artistic representation, is not mnemonic (of the memory) symbolization constituted by means of speculation or medita- tion, nor is it a conventional specimen either. This is a symbolization reached by the inbringing of feeling, "Ein/iihiung," through which the artist's spiritual character as well as his or her philosophy is manifested, or aesthetically symbolized.
***
The life of art is eternal and everlasting. As long as the Universe stands, as far as all things exist, art is a changeful representation of Nature, running along the orbit of the whole Universe.
Art, though deemed by Moderns to have been brought to a stand-still, or deadlock, has in truth, only finished her first stage, now just on the point of entering on the second stage, which would only commence her true career.
We who have not yet been saved by conventional art based on sense perceptions, must henceforward be saved by the images reflected on the Fornix of the brain.
? ^ V
4 r
4
. '^'' . ;. >>? "
/
? ^. ^/M/,
.
* ? > '
j/^- .
V
I
-- 0r*
*. ##'/*
. ^'
;
J
^
V
199
? 200 APPENDIX
APPENDIX II VOU CLUB
In his essay "VOU Club," Ezra Pound introduced to Western readers some contemporary Japanese poets. In his generous opinion, their poems were "better work than any save those of E. E. Cummings," admiring in them the Japanese eye which was "like those new camera shutters that catch the bullet leaving the gun. " In his estimation their thought went from one peak to another "faster than our slow wits permit us to follow. "
Pound's essay appeared in the Townsman, vol. I, no. 1 (January, 1938), as an introduction, with the "Notes" by Katue Kitasono, to thirteen poems by eight of the VOU Club members: "Upon the Tragedy of a Flower on the Calm-latitudes or of a Passenger Aeroplane" and "Secrecy of a Duet" by Takeshi Fuji; "The End of Evil Fortune" by Chio Nakamura; "The Road of Flowers" and "Glassy Hour" by Takeshi Koike; "Young Swan" and "Love's Magnetism" by Toshio Sasajima; "Finger Top of Waltz" and "Outflow of Waltz" by Koichi Kihara; "A Battle of Roses" by Minoru Yasoshima; and "Poems" by Katue Kitasono. Reprinted here are Pound's "VOU Club" and Kitasono's "Notes" from the Townsman, in addition to six poems by VOU poets, as well as James Laughlin's "Modern Poets of Japan" from New Directions 1938.
As Pound had suspected, there certainly were other clubs of poets in Japan at that time. Among the "active" poets in the Tokyo area were Junzaburo Nishiwaki, Shiro Murano, Ichiro Ando, Ikuo Haruyama, and Fuyuhiko Kitagawa, to name a few. But also as Pound had guessed, the VOU Club was a center of intellectual attention at that time, rapidly in- creasing its merpbership during the years 1935-37.
Almost twenty years later, Kitasono recollected the old days and wrote an essay, "The VOU Club," upon the request of Michael Reck, who visited him in Tokyo. Reck later included this essay in his book, Ezra Pound; A Close-Up (New York: McGraw-Hill, 1967).
? APPENDIX 201
Ezra Pound, VOL/ Club
It is not a case of asking what would any set of eight European and/or American poets look like if asked to translate their poems into Japanese. It is a case of saying that for half a century after Papa P'laubert started writing, any man who wanted to write English prose had to start by reading French prose. And it may be that from now on any man who wants to write English poetrywillhavetostartreadingJapanese. I meanmodernJapanese,not merely studying Chinese ideogram, as I have been advocating for the past twenty years.
Not as translations but as actual writing, these poems are better work than any save those of E. E. Cummings at his happiest. They may even serve to introduce Cummings and Peret to readers who have thought my more obscure younger contemporaries merely eccentric. Yes. You will have to read Mr. Kitasono's introduction twice, and the poems three or four times. The Japanese eye is like those new camera shutters that catch the bullet leaving the gun. You will not understand some sentences as you read them, but only after having got to their ends, see that they reach round and tuck in their beginnings, so that sense is there nicely boxed. I myself feel rather like a grizzly bear faced by a bunch of weasels. It is the Mongoose spring, the chameleon's tongue quickness. All the moss and fuzz that for twenty years we have been trying to scrape off our language--these young men start without it. They see the crystal set, the chemical laboratory and the pine tree with untrammelled clearness. As to their being a or the most active new club of poets in Tokio, I doubt if any one city contains two such clubs. I know that nowhere in Europe is there any such vortex of poetic alertness. Tokio takes over, where Paris stopped.
Make no mistake, the thought is not absent from these poems. The Japanese poet has gone from one peak of it to another faster than our slow wits permit us to follow before we have got used to his pace.
Ezra Pound
? 202
APPENDIX
Katue Kitasono, Notes
These poems collected here were all written by the members of the VOU Club. This club was planned in a stroll of fifteen minutes or so under the platan-trees at Ginza Street, August 1935. After a week the VOU Club consisting of fifteen members was born as a most active, new club of poets in Japan. Almost the half of these poets belonged before to the "Club d'Arcueil," which was made in the spring of 1931 by four young poets and two poetesses. The magazine Madame Blanche was published under my editorship.
At that time we were profoundly influenced by the personality and the attitude for art of Erik Satie. In the memory of this harmless great artist we used the name of the place where he had lived for our Club. The movement of this club rapidly exerted an influence over young poets, and the mem- bers increased next year to more than forty, making an epoch in the poetical world.
It was by an inevitable result of the tendency of the age that the "Club d'Arcueil" should dissolve at last without a serious reason and the Madame Blanche ceased to be published at No. 19.
Now the most interesting subject to us is about the relation between imagery and ideoplasty. Contemporary young poets are all vaguely con- scious of, and worry about this part. Some of them went over again to its extremity and returned. Others gave up exploration and found out a queer new country, remaining only as amateur thinkers. But anyone whose stand- ing ground is in literature can do nothing for it, if he ignores the system of literature.
The formation of poetry takes such a course like below: (a) Language (b) Imagery (c) Ideoplasty
That which we vaguely call poetical effect means, generally, ideoplasty which grows out of the result of imagery. Man has thought out to make a heart-shaped space with two right angles. This great discovery on plastic, and also that of the conies in mathematics, are two mysteries brought by man's intellect.
The relation between imagery and ideoplasty makes us suppose the heart-shaped space which is born by the connection of the same mysterious two curves. We standardized these two curves and got a necessity.
What we must do first for imagery are collection, arrangement, and combination. Thus we get the first line, "a shell, a typewriter, and grapes," in which we have an aesthetic feeling. But there is not any further develop-
? APPENDIX 203
ment. We add the next line and then another aesthetic feeling is born. Thus all the lines are combined and a stanza is finished. This means the comple- tion of imagery of that stanza and then ideoplasty begins.
This principle can be applied to poems consisting of several stanzas. In that case ideoplasty is formed when the last stanza is finished.
Though it cannot be allowed as orthodox of poetry that imagery is performed by ideoplasty, this violence is dared often by religionists, politi- cians, and satirists. Morality poems, political poems and satirical poems are written, almost without exception, with such an illogical principle.
The phenomena in our life proceed, through our senses to our experi- ences, perceptions, and intuitions. It is intuition rationally that provides the essentials for imagery, and it is the method of poetry that materializes intuitions perceptively and combines. Consequently, exact imagery and ideoplasty are due to an exact method. Pure and orthodox poetry cannot exist without this theory.
I fear that the contemporary Japanese literature has not been appreci- ated rightly in the western world, because of the books written not with ability but with amateur energies. The true understanding is not to be led by those to wear gloves and take the pen. It must be carried out by those who, standing on the literary fact of Japan, bravely suffer for laying the eternal literary foundation on the new land.
For a long time we have desired our poems to be read by superior poets of Europe and America. To our gratitude an opportunity has been given by Mr. Ezra Pound whom we respect heartily.
I see those poems have been deprived of the most part of the nuances of Japanese by the imperfect translation. But each of us did his best to translate his own poems. Though this first attempt may not succeed, we cannot neglect its literary and cultural meaning.
Katue Kitasono
? 204
APPENDIX
POEMS
I
Under the the umbrella of concrete, yesterday, we laughed at tomato for its carelessness.
Their thoughts have gone rotten by a bucket, and they talk of rope-necktie. A shot is cabbage in the sky over the office.
Dear friend, now is all right the heel.
To-day a duck they dug out in a brush of philosophismus
My laugh is nearer to the condition of Dachshunde-like cylinder than the
cucumber-shaped ideas of Aquinas.
I put on gloves emeraldgreen and start with a book MembranoJogie under
my arm.
Is there a shop to sell clear bags?
To-morrow beside a bucket a necktie I shall wear for the sake of General clothed in vegetable costume.
A weary city is likened to a brush.
Be-gone! a wandering head.
Be-gone! in a fling like an explosive, over the rock through a Geissler's brass
pipe.
II
In leaden slippers I laugh at the fountain of night, and scorn a solitary swan. A parasol of glass she spreads, and wanders along the lane the cosmos
flowering.
Over the cypress tree I image, to myself, a hotel marked with two golf-clubs
crossed;
And move my camera on the sand of night.
In the street, there shining the spindle-shaped amalgam stairs, the telephone-bell is ringing on the desk.
In Congo by a barber a parrot is trained and sold at Kabinda.
Then by cheerful young sailors her head is replaced by a leaden one: Just a glimpse of it a watchmaker catches under cocoanut-trees, where is
seen a dome tightly closed.
On the table I toss the gloves of antelope, and the gloomy fellows I ignore. A typewriter packed in a raincoat of oil-skin is dead and gone on the Le
Temps.
She, spreading the parasol of glass, pursues a nightingale, in the space
? APPENDIX 205
between the Le Temps and the cosmos flowers. Or the new age is born.
Under the hydroplane, "Hamburger Fliigzeugbau Ha 139," a duck throws into confusion the battle line.
Among the cosmos flowers vibrate machineguns. By the drain a young washerman blows up.
the clearer, the better is the sky over the street. Flash on the concrete a bright wire and shovel.
UPON THE TRAGEDY OF A FLOWER ON THE CALM-LATITUDES OR OF A PASSENGER AEROPLANE
Sliding down the stair-cases of plants,
Tearing off the soft stripes of calm-latitudes,
A round-bodied mannequin's yellowish bare foot Suddenly crushes a chalky structure with a bang of a gun. Then, the fountain of soda-water is opened.
And the inner-side of the zoo comes slowly to be seen.
--Takeshi Fuji
FINGER TOP OF WALTZ
1 switch on a gilded turbine of glass.
Give an anticorrosive of asphalt upon the air current ascending,
Pave the street with white-gold lines, and ballasts toss.
The mind of sky brightens canvas shoes.
Since then a system of necktie became milkwhite colour.
A single sound of cloud has dissolved.
When came out a sound of lens.
Finger tops of a boy who praises verdure, stepping emergency stairs of
afternoon.
--Katue Kitasono
--Koichi Kihara
? 206
APPENDIX
YOUNG SWAN
One stamp is going down on the white canal Along its side the red cuhure tosses chairs and its a pageant
In this time the dahlia venerates my mind But high steady forest Enjoy this tablet Many windows are more beautiful than the goods Take care I'm nothing But at last I'm a blue manifesto for her.
THE END OF EVIL FORTUNE
Summer falls crushing
My dear jar of champagne
Your love affair is dispersed over the sky, and in vain, So the empty conception
Which has now burnings the perfume, colour,
And there grows the white empty grass
And it is a dream of one cigarette only
oblivion, all must he reject on the ground
Now glistening the valley, so bitter the slips of glasses Nor shabby the shining sun
Death is ugly
Tomato is crashing too
Tomorrow is not so good as aujourd'hui In broad day camouflages the clothings 1 am sorry to feel the Zephyr Cucumber drifts
Silhouette of present state
OI honouryourfortunelight.
GLASSY HOUR
--Tio Nakamura
Coming back from the sea, the morning after a long absence. Training the gymnastics, a sun-dial and a priest.
In front of the theater, a clipping-man is standing.
Aiding by a swallow, an envelope, from a hospital, is gnawing the
apples, and runs after the side of Obelisk.
--Toshio Sasajima
--Takeshi Koike
? APPENDIX 207
James Laughlin, Modern Poets of Japan
Thk pokms that follow are the work of a group of young Japanese poets, members of the Vou Club, translated into English by themselves. I am particularly glad to be able to publish them because of two dissociations which they can effect. They will show first of all that militaristic imperial- ism has not wiped out artistic activity and secondly that there is live poetry in Japan. We might not have known it, as little, apart from the classics, filters through to the Occident except the very bad modern imitations of the classics--such as the poems written by the emperor's third cousin's grand- mother for his birthday.
The first thing to think about in stating these poems is the fact of the ideogram. The Japanese language, derived from the Chinese, is still very much a picture language. In spite of the intrusion of the phonetic characters the Japanese can still see in many of the words which he writes the picture of the thing itself. What is the result in terms of poetry? Naturally there is more verbal reality, a closer relationship between the thing and its name, some of the essence of the thing in the name.
But of course that quality is not carried over into a translation. So we can only surmise that the oriental poet and poetry reader are, in this respect, "better off" than we are, and let it go at that.
Whatwecan,tosomeextent,judgeisthegreatertension. IfI under- stand Japanese syntax aright it has, to an even greater degree than an inflected language like Latin, a minimum of dead words--that is, words which have no charge of meaning apart from their purely grammatical function--articles, prepositions, etc. --all the useless little words which clutter up a positional language like English and thin out the vigour of the poetic line.
I think anyone must concede that one of the most important factors in poetry is verbal inter-activity--word working upon word, the sense-aura of one word fusing and contrasting with those of the words near it. The dead little words of English lessen this activity by separating the meaning- bearing words. Thus in English we only get in small segments of the line--in adjectival and adverbial phrases for the most part--the kind of tension that we often get in a whole line of Latin, where there will be perhaps only one word out of seven that does not carry a meaning. The same sort of thing, I think, is possible in Japanese; certainly these poems confirm that thesis.
And the poets of the Vou Club are very well aware of the rich possibili-
? 208 APPENDIX
ties of their medium. They would not perhaps use the word "tension" but they have coined the word "ideoplasty" to express the esthetic effects which the close juxtaposition of verbal images makes possible. Here is what the leader of the group, Katue Kitasono, has to say about ideoplasty and about the group's general conception of poetry. Occidental poets will not waste any time they may spend studying Kitasono's statement, so I print it in full.
[seJection from Kitasono's previous "Notes"l
There is one other fact that the American reader should know before he applies himself to these poems--that there is a very strong French in- fluence in Japan. Tokyo knows a great deal more about what is going on in Paris than New York does. All of the important books of Eluard have been translated into Japanese ideogram. None have been published in New York.
And so the thoughtful reader will think about the relation of ideogram to Surrealism. He will also want to think about the following statement, which I quote from Kitasono's last letter: "The experiment we are now making on poetry is to express our polygonal ideas vividly as by painting. The poetical movement of the Vou Club might be defined as directed to natural-scientific realism. "
The name "Vou," by the way, means nothing special. Kitasono writes that it is "not even so significant as a single grape-leaf. The word Vou shall be bestowed its quality and its value by the club's strong will and its solid action. "
"Strong will and solid action" sounds rather bad, sounds like Fascism and poets in uniform. But this is not the case. The real outlook of the poets can be appraised from a few of the biographical notes which accompanied the manuscript: "Haruki Sohu . . . walks with a stick as slender as a feeler. Tio Nakamura . . . she raised the most charming voice when she was near being drowned in the sea last summer. Eiko Sirota . . . so poor at sums that she cannot add up the money she must pay for the cakes she had. but very proud of that. Syuiti Nagayasu . . . when tired of work he goes to the street and enters a lonely coffee-house, and sometimes goes home from there. "
[The above introduction, accompanied by a selection of poems hy VOU poets, appeared in New Directions 1 938. In New Directions 1 940, poems by Kitasono and Ueda Toshio further appeared. ]
? APPENDIX 209
Katue Kitasono, The VOU Club
The VOU Club was born in 1935. The members at the start were Kitasono Katue, Iwamoto Shuzo, Miki Tei, and eleven other poets. The initial num- ber of the magazine VOU was issued on the 5th of July in the same year, containing four essays on poetry, fifteen poems and the translation of a letter of Jack Vasse.
I can remember the moment in which the strange name VOU was adopted by us. It was on the table of a small coffeehouse on the Ginza street. We had been satisfied with none of the names introduced there, each of them having its own meaning restrictive to our activities, when we hit upon the meaningless spell[ing] which Iwamoto was scribbling automatically on a scrap of paper, and thus we became VOUists.
The VOU poets wanted to create a new trend of art in Tokio entirely different from those which were already born after the First World War. To begin with, we needed to break up every traditional and conventional art in Japan. We decided that we should be as ironical in our artistical attitude as Erik Satie who fought for modern music.
In VOU's third issue we printed Abstraction-Creation Art Non Figura- tive, and Boethy's essay in the fourth issue. I specially mention this, because I wish to suggest the direction of art of the VOU group at this time.
In the beginning of 1936 the members of our group counted 21, several composers, painters, and technologists having joined us. In May of the year we held the VOU Club demonstration at the hall of the Denki Club, in which we read eight manifestos and recited poems of our own. This attempt was rather a failure as there came up only a few opponents.
I had sent copies of VOU to Ezra Pound, who soon sent to me from Rapallo a copy of Guide Cavalcanti and a letter with his affectionate hail that the VOU group would remain forever in the youth of twenty-one. He gave us as many opportunities of touching the avant-garde of England and America as he could. If VOU still keeps the youth of twenty-one (as I am sure of it), it's much indebted to his sensible suggestions.
In 1937 through Ezra Pound I knew D. C. Fox, member of Forschungsin- stitut fiir Kulturmorphologie supervised by Leo Frobenius, and I published the very interesting essay "Paideuma" in VOU's sixteenth issue. It was in this same issue that the VOU poet Fuji Takeshi treated of T. E. Hulme's Speculations in his article "The Direction of Poetry as a View of the World. "
In February 1937 I sent to Pound sixteen VOU poems with my notes, which were printed the next year in the first number of Townsman started
? 210 APPENDIX
by Ronald Duncan, with Pound's introductory notes for them. This was the first appearance of VOU poems in Europe, and the next year James Laughlin in America printed fourteen VOU poems with his notes in New Directions. The war between China and Japan already began in July 1937. We hoped it would soon be finished, but on the contrary it was marching to the death fight of the Pacific War. The government began to stiffen even on art. Some of the surrealists were imprisoned. In 1940 we were forced at last to abandon publication of the magazine. I succeeded somehow or other in keeping VOU poets from arrest.
On December 8th 1941, I heard, in the library of the Nippon Dental College (the librarian of which I have been from then till now), the radio news of the attack on Pearl Harbor. Fortunately there came an interval in which the pressure on culture was a little slacked, and I could reissue the magazine under the title New Technics, with the contents just the same as before. It lasted four numbers and then ceased as the army persecuted again every movement of international tendencies. We diverted ourselves in cultivating the classical field of Japanese literature. I began printing the literary pamphlet Mugi [Wheat), which was continued until the beginning of 1945 when Tokio was exhaustively bombed out.
InAugustJapansurrendered. I caughtontheradiotheEmperor'svoice in the Ichijoin Temple in Sanjo, a small town three hundred kilometers from Tokio. VOU poets came back from the war by twos and threes, and in 1947 we revived the magazine VOU. After numbers 31 and 32, the inflation in this country forced us to give up the next issue.
It was by the backing of [the] Asagi Press that we could begin publica- tion of the newly titled Cendre, which was put out six times until 1949 when Asagi got into depression. In January of this year [1950] we again put the title back to VOU and published the thirty-third and thirty-fourth issues aided by the Shoshinsha Press.
VOU's orientation: everything humanistic is a boredom. Tears, cryings, loves, crimes, ironies and humors, all attract us in no ways. We only find a little of aesthetic excitement in erasing every humanistic vestige from art.
"Everything tends to be angular"--T. E. Hulme.
? APPENDIX 211
Michael Reck, Memoirs of a Parody Perry^
Nearly a hundred years after Admiral Perry hove into Tokyo harbor, I myself landed in Japan--with no letter from the U. S. President, like Perry, but at least some notes of introduction from the American "minister of the arts without portfolio. " as Horace Gregory had so aptly described Ezra Pound. I slipped in unnoticed, one among thousands of hapless draftees bunked six-deep on a troop ship. Except for my precious notes of introduc- tion, I was merely a parody Perry--a Till Eulenspiegel. no bemedalled emissary.
For several years before, I had been visiting the most distinguished American poet, appropriately enough (for him? for the country? ) confined in a "bug house"--Saint Elizabeths Asylum for the Criminally Insane in Washington, D. C. The Master could be seen from 2 to 4 p. m. only and he allotted each regular visitor his or her "day.
? SECTION IV: ESSAYS 191
the U. S. A. , the sooner the American people will find out. For, of their own motion and initiative, they are not finding it out.
God alone knows what we Americans know of Japan. None of us reads Japanese. Some tens of and hundreds of thousands of us can read German, French and Italian.
Note to your own honor that Italy billed their taking of Somaliland as the FIRST time the British Empire had lost a colony. Spain said, "the first time in 300 years. " A day later came Japanese opinion to the effect that it was the first time since the American Revolution, when we Yanks took out 13 colonies all at once! (Nevertheless, it took us five years, not two months. )
? 192
APPENDIX
APPENDIX I
'ME . ART! !
7AMI KDtfMM^
? APPENDIX 193
Tami Koume, The Art of S Etherism, or Spiritico-Etheric Art
I AM AN artist; I must live in my art; my life is in my art. This being the case, I can ill throw my pencil for a pen, in order to set forth in so many words the principles as well as the inner meanings of my life-problem, the Spiritico- etheric Art.
However, for the enlightened public, who are not yet well acquainted with my art, but kind enough to be curious to know what that is in reality, I would fain forgo the advantages, and try to describe the nature and content oftheartinwhichI havebeenspirituallyawakened,throughtruthful speculation, and by means of entire devotion to the cause of the all-great and mystical Universe.
We are now standing at the critical moment of humanity. We must be saved by something. Hence who would venture to say that the Universe should d[eny? ] the cries vehemently uttered by the chosen few, who par- ticipate in the saving councils of Nature? There are [a] few born now, whose spiritual and intellectual capacities represent the ages of [a] thousand years hence; for nature does not bring forth children useful only for the present age.
In last May, 1920, I have exhibited my artistic creations on my own account, to show the content of my art-life; in other words, I have attempted to reveal the processes that have led my art from artificial creations "to super-artificial-growing-creations. "
Now these "Super-artificial-growing-creations" stand as a sort of medium between self and the universe, while self is a kind of medium in like manner between the universe and the growing creations; and so I have provisionally styled this art then a mediumistic school. But this term, convenient as it is, [is] apt to be misunderstood as to the essential signifi- cance thereof, on account of its already enjoying a peculiar technical usage of its own; besides, it is rather too superficial to be applied to my spirit- saving art.
Upon this I was forced temporarily to coin a new term, which is but a symbol of my art, by which symbol, I, ,- (which I make bold to pronounce Reitherism or ft Etherism] the essential features of my art-life, it is to be hoped, might be made somewhat plainer. Let me here remark par ex- ceJJence that this sign being the symbol of my art, has no conventional pronuciation, but only serves to signify the inner meaning of my art, and may thus be pronounced as above indicated, because it is an artistic repre- sentation of my art-life.
? 194
APPENDIX
Historically speaking, the art that applies colouring matters on the surface, has been called painting, whose development, it is quite needless to repeat here.
The more advanced painting of the present age has so far progressed as to be able to delineate mental phenomena. But those schools of painting are unable to exhibit anything decisively and analytically as to the origin of all things, and the substance of the mind.
They only deceive themselves and others through unsatisfactory self- affirmations. I, who found it impossible to conform to this state of unrea- son, have at last arrived at this my art, Reitherism, or Spiritico-etheric Art, through purest and truest intuition, and by means of sincerest speculation and pious devotion, even willingly risking physical safety. I was thus saved.
Reitherism is an artification of human life.
Reitherism is a beautification of all things material and immaterial. It is again a beautiful manifestation of Spirit.
Those who are possessed of a beauty-consciousness, will all
acknowledge that, in general. Art means an all-round consciousness- operation that goes for creating beauty artificially. It is a philosophical representation of this truth.
The birth of art is either an Anschauung or an intuitive operation. Art is or should be an Artificial creation, that represents its objects through its own cells. Hence Art is again purest philosophy that deals with the Uni- verse or human life, by imparting its own life to the objects or subjects it has to do with.
The conclusion of art is beauty itself. Beauty consciousness, aesthetic consciousness, is a bodily experience of the life-forms of the good.
Good is the primary intuition or direct-perception that is to be harmo- nized and incorporated with the truth.
In the sense of truth. Art is the mental form of humanity. It is universal- ly a self-contemplation and self-reflection.
In fine, the true, the good, and the beautiful, or truth, goodness and beauty, must form a trinity in unity.
The essence or essential quality of beauty is inexpressible.
True Art is a radiation of high toned or high flooded sense of beauty, that is impressed on practical life of humanity. The ecstasy of faith seems to be the same with an eternal purification of the rapture felt in the moment of love.
The essence of beauty is not to be touched outside the region of self-
? APPENDIX 1 95
knowledge. If it is so, old aesthetics is but a puppet logic, for it cannot go beyond shadowing forth superficial differences of nature.
In the puppet logic, art is defined to be an enjoyment of life. Such views are boastfully entertained by the ignorant, who consider themselves (i. e. men) most high-stationed in the universe, as lords of creation, thus deceiv- ing themselves and others, under the shadow of old antiquated aesthetics, or so-called science of beauty. In fine, man has no right to define art an enjoyment of human life.
If there are any enjoyable elements in art, they are, must be, the es- sential nature of art herself, not her definable meaning, much like the aesthetic impressions accompanying the ecstasy or rapture of faith.
***
The littleness of self or ego, cannot but be felt by those who have become conscious of their own intrinsic nature.
Many and various problems that men cannot solve by means of the progress of science and development of reason, must not be struck away or blotted out as merely unthinkable or incomprehensible.
At least, I myself cannot blunder away the essential power, great and mystic, of the Universe, which we bodily experience irresistibly--and this by lukewarm reasons of science or psychology. No; God forbid!
In such mood, we cannot but exclaim admiringly, when we gaze upon the millions of bright, shining heavenly bodies, "O God, how splendid! " We thus cry to that irresistible might of Nature, and this superartificial power, "O God! " However we have become conscious of these grand
phenomena, so as to extort from us such rapturous exclamations, we cannot deny the Absolute Power called God, pervading the whole Universe.
However, the "God" I admire is not the God of monotheism or polytheism; neither is he the impersonal God of pantheism, though in his essential nature he somewhat approaches the latter. Positively it is not the God of Atheism, said to be one with the Universe.
I deemGodtobeonewiththeUniverse,butthatissointheisticpointof view. Yes; I intuit the existence of God, great and mystical. To recognize the Universal Consciousness or Gosmic soul, is to acknowledge God. The narrow and poor intellect of man can only touch some portion of Universal Consciousness, great and mystic, merely by negating himself.
Men are not aware of the preciousness of negating themselves. But yet those who are awaking to the salvation of their own souls, are approaching the precious state of self-negation daily more and more, nearer and nearer, by self-discipline and deep sincerity--this is not denied by God himself.
? 196 APPENDIX
Now simple or pure ego I call the state in which human personality, with its minimum conscious condition, is harmonized and interfused with the consciousness of the Universe. But, what is the state of simple ego, or pure ego, here introduced rather mystically? That is the state of realization or bodily experience of spiritual enlightenment, rational and exalted, attained by inspiratory judgement and reasonable speculation--a state, free from all doubts, and impure ideas, transcending little human personalities, wherein reigns naivety and simplicity.
In this state, minimum human consciousness being present, conscious- ness manifestations in the cerebral cells subsiding, superhuman powers of extraordinary spirituality are dominant.
Such artists who are conscientious enough to live in truth and purity, should bravely renounce all those petty ingenuities, learned from conven- tions, and listen to the voice of conscience, for these petty ingenuities only tend to deceive others as well as the artists themselves.
Although we are determined to part with the shallow self-affirmatory modes of representation taught to us from historical education, so pertina- cious are we men, that we feel much grudge to do away with those skills which have been our companions years long. But those earnest artists who have once listened to the precious voice of conscience, cannot but re- nounce all grudge to live the pure and true life of enlightened artists.
If not so, chefs d'oeuvre themselves are not much better, nay far worse, than those rough lines drawn by children expressive of their love toward nature. They are simply productions of time devoted to ingenuity.
True Art must be love towards humanity, born necessarily for saving the disquietude men entertain in respect to the present existence.
For us who endeavor to live in the soul-saving art, there is no need of a temple or church occupying and enclosing a portion of space. All phe- nomena pervading the infinite universe; nay, one single constellation glittering in the firmament, one single flower emitting sweet fragrance in the field--these are a thousand times better than myriad volumes of printed books, being a direct teaching of God bestowed on us mortals.
The works of Cezanne and van Gogh are manifestations of love apprehended necessarily from Nature. The still lifes of Gezanne are smiling lives, while van Gogh's plants are portions of breathing Nature. They cannot but feel, as though inanimate nature were his or her brothers and sisters.
Yes! all things are our brothers and sisters. All things, men, animals, plants, nay mountains, rivers, desks, papers, all are so. At least I perceive
? APPENDIX 197
them to be so. One's own work--what does it consist of? It is a synthesis of himself, the canvas, and colouring matters. In other words, the work here produced, is an animated object, as it were, which has absorbed my spirit, and got combined with paints on the canvas to be manifested thus.
In one's own productions one's life dwells, and animate some of the elements (spiritual elements) that go to constitute one's self. One's own works produced on such faith are one's brothers, kith and kin, to be sure!
One's work of art is, so to speak, a fragment or detachment of one's own life. Therefore works of art that are not in earnest, and falsely represented, are so many useless cuttings-away of the artist's life! An artist, if he fears death, cannot execute (growing) works. But, to think of death without any (growing) work, this is far more unbearable indeed!
Such artists who fear death, and at the same time fear the appearance of their growing works--these have no right to exist in the noble world of art. I have said, all things in Nature are our brothers.
Yes! so they truly are. All things in Nature are the workings and manifestations of Ether. Men too, in the beginning of their existence, are but simple cells. The germinal cells have, each of them, specific cell-mind, which I christen provisionally Spiritual element.
The spiritual element, which pervades the universe, according to its different operations, sometimes makes organic manifestations, and some- times inorganic manifestations. Strictly speaking, the distinction between organic and inorganic, is, simply, based on the point of view from human standard. They are simply the two faces of that infinite, absolute thing called the Universe.
I shall now speak of my realization of the truth. I repeat, the so-called Spiritual element is the cell-mind of Ether, which not only pervades all spaces, but even fills up the spaces between atoms. All objects emit subtle emanation called aura or auric atmosphere, which is nothing but the proceeding of this spiritual element.
Just as in our visual nerves, vibrating etheric rays strike the retinas to produce colour-impressions; so this spiritual element, by acting upon the cerebral convolutions, can make the nerve centre in the brain produce the auric atmosphere, as above referred to.
The minutest elements in the sensory organ or sensorium are the sensitive cells. Again the minutest elements in the inner sensory centre of the cerebral convolutions are a mass of nerve-cells. In a highly sensitive condition of these nerve-cells, the sensory centre is enabled to have com- munion with the external (so-called) spiritual-elements.
? 198 APPENDIX
So even the colour-forms, that are not reflected on the retina of the eyes, can be seized at the Fornix of the brain. Some persons, in whom their spiritual sensation is highly developed, can insensibly represent or per- ceive them; just as forms that are not made visible by means of prismatic spectrum, can be seized by ultra-violet rays of the spectrum. Our -, p school artists are too highly ultra-sensitive to be merely ingenious to draw visible things.
The recent tendency to give theoretical explanations to the movements of colours or lines, is a dreadful one, apt to specimenize (specify] art, or restrict the significance of it.
i^sthetic symbolisation, or artistic representation, is not mnemonic (of the memory) symbolization constituted by means of speculation or medita- tion, nor is it a conventional specimen either. This is a symbolization reached by the inbringing of feeling, "Ein/iihiung," through which the artist's spiritual character as well as his or her philosophy is manifested, or aesthetically symbolized.
***
The life of art is eternal and everlasting. As long as the Universe stands, as far as all things exist, art is a changeful representation of Nature, running along the orbit of the whole Universe.
Art, though deemed by Moderns to have been brought to a stand-still, or deadlock, has in truth, only finished her first stage, now just on the point of entering on the second stage, which would only commence her true career.
We who have not yet been saved by conventional art based on sense perceptions, must henceforward be saved by the images reflected on the Fornix of the brain.
? ^ V
4 r
4
. '^'' . ;. >>? "
/
? ^. ^/M/,
.
* ? > '
j/^- .
V
I
-- 0r*
*. ##'/*
. ^'
;
J
^
V
199
? 200 APPENDIX
APPENDIX II VOU CLUB
In his essay "VOU Club," Ezra Pound introduced to Western readers some contemporary Japanese poets. In his generous opinion, their poems were "better work than any save those of E. E. Cummings," admiring in them the Japanese eye which was "like those new camera shutters that catch the bullet leaving the gun. " In his estimation their thought went from one peak to another "faster than our slow wits permit us to follow. "
Pound's essay appeared in the Townsman, vol. I, no. 1 (January, 1938), as an introduction, with the "Notes" by Katue Kitasono, to thirteen poems by eight of the VOU Club members: "Upon the Tragedy of a Flower on the Calm-latitudes or of a Passenger Aeroplane" and "Secrecy of a Duet" by Takeshi Fuji; "The End of Evil Fortune" by Chio Nakamura; "The Road of Flowers" and "Glassy Hour" by Takeshi Koike; "Young Swan" and "Love's Magnetism" by Toshio Sasajima; "Finger Top of Waltz" and "Outflow of Waltz" by Koichi Kihara; "A Battle of Roses" by Minoru Yasoshima; and "Poems" by Katue Kitasono. Reprinted here are Pound's "VOU Club" and Kitasono's "Notes" from the Townsman, in addition to six poems by VOU poets, as well as James Laughlin's "Modern Poets of Japan" from New Directions 1938.
As Pound had suspected, there certainly were other clubs of poets in Japan at that time. Among the "active" poets in the Tokyo area were Junzaburo Nishiwaki, Shiro Murano, Ichiro Ando, Ikuo Haruyama, and Fuyuhiko Kitagawa, to name a few. But also as Pound had guessed, the VOU Club was a center of intellectual attention at that time, rapidly in- creasing its merpbership during the years 1935-37.
Almost twenty years later, Kitasono recollected the old days and wrote an essay, "The VOU Club," upon the request of Michael Reck, who visited him in Tokyo. Reck later included this essay in his book, Ezra Pound; A Close-Up (New York: McGraw-Hill, 1967).
? APPENDIX 201
Ezra Pound, VOL/ Club
It is not a case of asking what would any set of eight European and/or American poets look like if asked to translate their poems into Japanese. It is a case of saying that for half a century after Papa P'laubert started writing, any man who wanted to write English prose had to start by reading French prose. And it may be that from now on any man who wants to write English poetrywillhavetostartreadingJapanese. I meanmodernJapanese,not merely studying Chinese ideogram, as I have been advocating for the past twenty years.
Not as translations but as actual writing, these poems are better work than any save those of E. E. Cummings at his happiest. They may even serve to introduce Cummings and Peret to readers who have thought my more obscure younger contemporaries merely eccentric. Yes. You will have to read Mr. Kitasono's introduction twice, and the poems three or four times. The Japanese eye is like those new camera shutters that catch the bullet leaving the gun. You will not understand some sentences as you read them, but only after having got to their ends, see that they reach round and tuck in their beginnings, so that sense is there nicely boxed. I myself feel rather like a grizzly bear faced by a bunch of weasels. It is the Mongoose spring, the chameleon's tongue quickness. All the moss and fuzz that for twenty years we have been trying to scrape off our language--these young men start without it. They see the crystal set, the chemical laboratory and the pine tree with untrammelled clearness. As to their being a or the most active new club of poets in Tokio, I doubt if any one city contains two such clubs. I know that nowhere in Europe is there any such vortex of poetic alertness. Tokio takes over, where Paris stopped.
Make no mistake, the thought is not absent from these poems. The Japanese poet has gone from one peak of it to another faster than our slow wits permit us to follow before we have got used to his pace.
Ezra Pound
? 202
APPENDIX
Katue Kitasono, Notes
These poems collected here were all written by the members of the VOU Club. This club was planned in a stroll of fifteen minutes or so under the platan-trees at Ginza Street, August 1935. After a week the VOU Club consisting of fifteen members was born as a most active, new club of poets in Japan. Almost the half of these poets belonged before to the "Club d'Arcueil," which was made in the spring of 1931 by four young poets and two poetesses. The magazine Madame Blanche was published under my editorship.
At that time we were profoundly influenced by the personality and the attitude for art of Erik Satie. In the memory of this harmless great artist we used the name of the place where he had lived for our Club. The movement of this club rapidly exerted an influence over young poets, and the mem- bers increased next year to more than forty, making an epoch in the poetical world.
It was by an inevitable result of the tendency of the age that the "Club d'Arcueil" should dissolve at last without a serious reason and the Madame Blanche ceased to be published at No. 19.
Now the most interesting subject to us is about the relation between imagery and ideoplasty. Contemporary young poets are all vaguely con- scious of, and worry about this part. Some of them went over again to its extremity and returned. Others gave up exploration and found out a queer new country, remaining only as amateur thinkers. But anyone whose stand- ing ground is in literature can do nothing for it, if he ignores the system of literature.
The formation of poetry takes such a course like below: (a) Language (b) Imagery (c) Ideoplasty
That which we vaguely call poetical effect means, generally, ideoplasty which grows out of the result of imagery. Man has thought out to make a heart-shaped space with two right angles. This great discovery on plastic, and also that of the conies in mathematics, are two mysteries brought by man's intellect.
The relation between imagery and ideoplasty makes us suppose the heart-shaped space which is born by the connection of the same mysterious two curves. We standardized these two curves and got a necessity.
What we must do first for imagery are collection, arrangement, and combination. Thus we get the first line, "a shell, a typewriter, and grapes," in which we have an aesthetic feeling. But there is not any further develop-
? APPENDIX 203
ment. We add the next line and then another aesthetic feeling is born. Thus all the lines are combined and a stanza is finished. This means the comple- tion of imagery of that stanza and then ideoplasty begins.
This principle can be applied to poems consisting of several stanzas. In that case ideoplasty is formed when the last stanza is finished.
Though it cannot be allowed as orthodox of poetry that imagery is performed by ideoplasty, this violence is dared often by religionists, politi- cians, and satirists. Morality poems, political poems and satirical poems are written, almost without exception, with such an illogical principle.
The phenomena in our life proceed, through our senses to our experi- ences, perceptions, and intuitions. It is intuition rationally that provides the essentials for imagery, and it is the method of poetry that materializes intuitions perceptively and combines. Consequently, exact imagery and ideoplasty are due to an exact method. Pure and orthodox poetry cannot exist without this theory.
I fear that the contemporary Japanese literature has not been appreci- ated rightly in the western world, because of the books written not with ability but with amateur energies. The true understanding is not to be led by those to wear gloves and take the pen. It must be carried out by those who, standing on the literary fact of Japan, bravely suffer for laying the eternal literary foundation on the new land.
For a long time we have desired our poems to be read by superior poets of Europe and America. To our gratitude an opportunity has been given by Mr. Ezra Pound whom we respect heartily.
I see those poems have been deprived of the most part of the nuances of Japanese by the imperfect translation. But each of us did his best to translate his own poems. Though this first attempt may not succeed, we cannot neglect its literary and cultural meaning.
Katue Kitasono
? 204
APPENDIX
POEMS
I
Under the the umbrella of concrete, yesterday, we laughed at tomato for its carelessness.
Their thoughts have gone rotten by a bucket, and they talk of rope-necktie. A shot is cabbage in the sky over the office.
Dear friend, now is all right the heel.
To-day a duck they dug out in a brush of philosophismus
My laugh is nearer to the condition of Dachshunde-like cylinder than the
cucumber-shaped ideas of Aquinas.
I put on gloves emeraldgreen and start with a book MembranoJogie under
my arm.
Is there a shop to sell clear bags?
To-morrow beside a bucket a necktie I shall wear for the sake of General clothed in vegetable costume.
A weary city is likened to a brush.
Be-gone! a wandering head.
Be-gone! in a fling like an explosive, over the rock through a Geissler's brass
pipe.
II
In leaden slippers I laugh at the fountain of night, and scorn a solitary swan. A parasol of glass she spreads, and wanders along the lane the cosmos
flowering.
Over the cypress tree I image, to myself, a hotel marked with two golf-clubs
crossed;
And move my camera on the sand of night.
In the street, there shining the spindle-shaped amalgam stairs, the telephone-bell is ringing on the desk.
In Congo by a barber a parrot is trained and sold at Kabinda.
Then by cheerful young sailors her head is replaced by a leaden one: Just a glimpse of it a watchmaker catches under cocoanut-trees, where is
seen a dome tightly closed.
On the table I toss the gloves of antelope, and the gloomy fellows I ignore. A typewriter packed in a raincoat of oil-skin is dead and gone on the Le
Temps.
She, spreading the parasol of glass, pursues a nightingale, in the space
? APPENDIX 205
between the Le Temps and the cosmos flowers. Or the new age is born.
Under the hydroplane, "Hamburger Fliigzeugbau Ha 139," a duck throws into confusion the battle line.
Among the cosmos flowers vibrate machineguns. By the drain a young washerman blows up.
the clearer, the better is the sky over the street. Flash on the concrete a bright wire and shovel.
UPON THE TRAGEDY OF A FLOWER ON THE CALM-LATITUDES OR OF A PASSENGER AEROPLANE
Sliding down the stair-cases of plants,
Tearing off the soft stripes of calm-latitudes,
A round-bodied mannequin's yellowish bare foot Suddenly crushes a chalky structure with a bang of a gun. Then, the fountain of soda-water is opened.
And the inner-side of the zoo comes slowly to be seen.
--Takeshi Fuji
FINGER TOP OF WALTZ
1 switch on a gilded turbine of glass.
Give an anticorrosive of asphalt upon the air current ascending,
Pave the street with white-gold lines, and ballasts toss.
The mind of sky brightens canvas shoes.
Since then a system of necktie became milkwhite colour.
A single sound of cloud has dissolved.
When came out a sound of lens.
Finger tops of a boy who praises verdure, stepping emergency stairs of
afternoon.
--Katue Kitasono
--Koichi Kihara
? 206
APPENDIX
YOUNG SWAN
One stamp is going down on the white canal Along its side the red cuhure tosses chairs and its a pageant
In this time the dahlia venerates my mind But high steady forest Enjoy this tablet Many windows are more beautiful than the goods Take care I'm nothing But at last I'm a blue manifesto for her.
THE END OF EVIL FORTUNE
Summer falls crushing
My dear jar of champagne
Your love affair is dispersed over the sky, and in vain, So the empty conception
Which has now burnings the perfume, colour,
And there grows the white empty grass
And it is a dream of one cigarette only
oblivion, all must he reject on the ground
Now glistening the valley, so bitter the slips of glasses Nor shabby the shining sun
Death is ugly
Tomato is crashing too
Tomorrow is not so good as aujourd'hui In broad day camouflages the clothings 1 am sorry to feel the Zephyr Cucumber drifts
Silhouette of present state
OI honouryourfortunelight.
GLASSY HOUR
--Tio Nakamura
Coming back from the sea, the morning after a long absence. Training the gymnastics, a sun-dial and a priest.
In front of the theater, a clipping-man is standing.
Aiding by a swallow, an envelope, from a hospital, is gnawing the
apples, and runs after the side of Obelisk.
--Toshio Sasajima
--Takeshi Koike
? APPENDIX 207
James Laughlin, Modern Poets of Japan
Thk pokms that follow are the work of a group of young Japanese poets, members of the Vou Club, translated into English by themselves. I am particularly glad to be able to publish them because of two dissociations which they can effect. They will show first of all that militaristic imperial- ism has not wiped out artistic activity and secondly that there is live poetry in Japan. We might not have known it, as little, apart from the classics, filters through to the Occident except the very bad modern imitations of the classics--such as the poems written by the emperor's third cousin's grand- mother for his birthday.
The first thing to think about in stating these poems is the fact of the ideogram. The Japanese language, derived from the Chinese, is still very much a picture language. In spite of the intrusion of the phonetic characters the Japanese can still see in many of the words which he writes the picture of the thing itself. What is the result in terms of poetry? Naturally there is more verbal reality, a closer relationship between the thing and its name, some of the essence of the thing in the name.
But of course that quality is not carried over into a translation. So we can only surmise that the oriental poet and poetry reader are, in this respect, "better off" than we are, and let it go at that.
Whatwecan,tosomeextent,judgeisthegreatertension. IfI under- stand Japanese syntax aright it has, to an even greater degree than an inflected language like Latin, a minimum of dead words--that is, words which have no charge of meaning apart from their purely grammatical function--articles, prepositions, etc. --all the useless little words which clutter up a positional language like English and thin out the vigour of the poetic line.
I think anyone must concede that one of the most important factors in poetry is verbal inter-activity--word working upon word, the sense-aura of one word fusing and contrasting with those of the words near it. The dead little words of English lessen this activity by separating the meaning- bearing words. Thus in English we only get in small segments of the line--in adjectival and adverbial phrases for the most part--the kind of tension that we often get in a whole line of Latin, where there will be perhaps only one word out of seven that does not carry a meaning. The same sort of thing, I think, is possible in Japanese; certainly these poems confirm that thesis.
And the poets of the Vou Club are very well aware of the rich possibili-
? 208 APPENDIX
ties of their medium. They would not perhaps use the word "tension" but they have coined the word "ideoplasty" to express the esthetic effects which the close juxtaposition of verbal images makes possible. Here is what the leader of the group, Katue Kitasono, has to say about ideoplasty and about the group's general conception of poetry. Occidental poets will not waste any time they may spend studying Kitasono's statement, so I print it in full.
[seJection from Kitasono's previous "Notes"l
There is one other fact that the American reader should know before he applies himself to these poems--that there is a very strong French in- fluence in Japan. Tokyo knows a great deal more about what is going on in Paris than New York does. All of the important books of Eluard have been translated into Japanese ideogram. None have been published in New York.
And so the thoughtful reader will think about the relation of ideogram to Surrealism. He will also want to think about the following statement, which I quote from Kitasono's last letter: "The experiment we are now making on poetry is to express our polygonal ideas vividly as by painting. The poetical movement of the Vou Club might be defined as directed to natural-scientific realism. "
The name "Vou," by the way, means nothing special. Kitasono writes that it is "not even so significant as a single grape-leaf. The word Vou shall be bestowed its quality and its value by the club's strong will and its solid action. "
"Strong will and solid action" sounds rather bad, sounds like Fascism and poets in uniform. But this is not the case. The real outlook of the poets can be appraised from a few of the biographical notes which accompanied the manuscript: "Haruki Sohu . . . walks with a stick as slender as a feeler. Tio Nakamura . . . she raised the most charming voice when she was near being drowned in the sea last summer. Eiko Sirota . . . so poor at sums that she cannot add up the money she must pay for the cakes she had. but very proud of that. Syuiti Nagayasu . . . when tired of work he goes to the street and enters a lonely coffee-house, and sometimes goes home from there. "
[The above introduction, accompanied by a selection of poems hy VOU poets, appeared in New Directions 1 938. In New Directions 1 940, poems by Kitasono and Ueda Toshio further appeared. ]
? APPENDIX 209
Katue Kitasono, The VOU Club
The VOU Club was born in 1935. The members at the start were Kitasono Katue, Iwamoto Shuzo, Miki Tei, and eleven other poets. The initial num- ber of the magazine VOU was issued on the 5th of July in the same year, containing four essays on poetry, fifteen poems and the translation of a letter of Jack Vasse.
I can remember the moment in which the strange name VOU was adopted by us. It was on the table of a small coffeehouse on the Ginza street. We had been satisfied with none of the names introduced there, each of them having its own meaning restrictive to our activities, when we hit upon the meaningless spell[ing] which Iwamoto was scribbling automatically on a scrap of paper, and thus we became VOUists.
The VOU poets wanted to create a new trend of art in Tokio entirely different from those which were already born after the First World War. To begin with, we needed to break up every traditional and conventional art in Japan. We decided that we should be as ironical in our artistical attitude as Erik Satie who fought for modern music.
In VOU's third issue we printed Abstraction-Creation Art Non Figura- tive, and Boethy's essay in the fourth issue. I specially mention this, because I wish to suggest the direction of art of the VOU group at this time.
In the beginning of 1936 the members of our group counted 21, several composers, painters, and technologists having joined us. In May of the year we held the VOU Club demonstration at the hall of the Denki Club, in which we read eight manifestos and recited poems of our own. This attempt was rather a failure as there came up only a few opponents.
I had sent copies of VOU to Ezra Pound, who soon sent to me from Rapallo a copy of Guide Cavalcanti and a letter with his affectionate hail that the VOU group would remain forever in the youth of twenty-one. He gave us as many opportunities of touching the avant-garde of England and America as he could. If VOU still keeps the youth of twenty-one (as I am sure of it), it's much indebted to his sensible suggestions.
In 1937 through Ezra Pound I knew D. C. Fox, member of Forschungsin- stitut fiir Kulturmorphologie supervised by Leo Frobenius, and I published the very interesting essay "Paideuma" in VOU's sixteenth issue. It was in this same issue that the VOU poet Fuji Takeshi treated of T. E. Hulme's Speculations in his article "The Direction of Poetry as a View of the World. "
In February 1937 I sent to Pound sixteen VOU poems with my notes, which were printed the next year in the first number of Townsman started
? 210 APPENDIX
by Ronald Duncan, with Pound's introductory notes for them. This was the first appearance of VOU poems in Europe, and the next year James Laughlin in America printed fourteen VOU poems with his notes in New Directions. The war between China and Japan already began in July 1937. We hoped it would soon be finished, but on the contrary it was marching to the death fight of the Pacific War. The government began to stiffen even on art. Some of the surrealists were imprisoned. In 1940 we were forced at last to abandon publication of the magazine. I succeeded somehow or other in keeping VOU poets from arrest.
On December 8th 1941, I heard, in the library of the Nippon Dental College (the librarian of which I have been from then till now), the radio news of the attack on Pearl Harbor. Fortunately there came an interval in which the pressure on culture was a little slacked, and I could reissue the magazine under the title New Technics, with the contents just the same as before. It lasted four numbers and then ceased as the army persecuted again every movement of international tendencies. We diverted ourselves in cultivating the classical field of Japanese literature. I began printing the literary pamphlet Mugi [Wheat), which was continued until the beginning of 1945 when Tokio was exhaustively bombed out.
InAugustJapansurrendered. I caughtontheradiotheEmperor'svoice in the Ichijoin Temple in Sanjo, a small town three hundred kilometers from Tokio. VOU poets came back from the war by twos and threes, and in 1947 we revived the magazine VOU. After numbers 31 and 32, the inflation in this country forced us to give up the next issue.
It was by the backing of [the] Asagi Press that we could begin publica- tion of the newly titled Cendre, which was put out six times until 1949 when Asagi got into depression. In January of this year [1950] we again put the title back to VOU and published the thirty-third and thirty-fourth issues aided by the Shoshinsha Press.
VOU's orientation: everything humanistic is a boredom. Tears, cryings, loves, crimes, ironies and humors, all attract us in no ways. We only find a little of aesthetic excitement in erasing every humanistic vestige from art.
"Everything tends to be angular"--T. E. Hulme.
? APPENDIX 211
Michael Reck, Memoirs of a Parody Perry^
Nearly a hundred years after Admiral Perry hove into Tokyo harbor, I myself landed in Japan--with no letter from the U. S. President, like Perry, but at least some notes of introduction from the American "minister of the arts without portfolio. " as Horace Gregory had so aptly described Ezra Pound. I slipped in unnoticed, one among thousands of hapless draftees bunked six-deep on a troop ship. Except for my precious notes of introduc- tion, I was merely a parody Perry--a Till Eulenspiegel. no bemedalled emissary.
For several years before, I had been visiting the most distinguished American poet, appropriately enough (for him? for the country? ) confined in a "bug house"--Saint Elizabeths Asylum for the Criminally Insane in Washington, D. C. The Master could be seen from 2 to 4 p. m. only and he allotted each regular visitor his or her "day.
