The ideas of Zen as reflected in the imageries and metaphors in Matsuo Basho`s Haiku an undergraduate thesis - USD Repository

  

THE IDEAS OF ZEN AS REFLECTED IN THE IMAGERIES AND

METAPHORS IN MATSUO BASHO’S HAIKU

AN UNDERGRADUATE THESIS

  Presented as Partial Fullfilment of the Requrements for the degree of Sarjana Sastra in English Letters

  By

NATAN ARYA LEKSANA GAYUH

  Student Number: 074214048

  

ENGLISH LETTERS STUDY PROGRAMME

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

SANATA DHARMA UNIVERSITY

YOGYAKARTA

2012

  Peace and Love

• Gandhi-

  ACKNOWLEDGEMENTS

  The writer thanks thesis advisor, Mam Ni Luh Putu Rosiandani,S.S., M.Hum, who helps the writer to write systematic undergraduate thesis and gives the writer advices for facing difficulties, the Co-advisor Mam Adventina Putranti,S.S., M.Hum. who reads and revises the paper, Dra. A.B Sri Mulyani, M.A., Ph.D. who helps the writer to revise the paper, and Academic advisor Mr. Harris Hermansyah Setiajid,S.S., M.Hum.

  The writer also thanks his parents, YB. Priyanahadi, and FM Sri Darmiarti, the writer’s brother Elia for his support, and also Febi Riana the writer’s close friend.

  The writer also wants to thank Snatch Club, KB crew, Gregorius Andi Sindana, Invani Lela Herlani, Fr. Seno SJ, Fr. G. Budi Subanar SJ, F.O.M.B, Danny Trejo, Yoko Putra Santoso, Petrus, Sugeng Utomo, Kuda Besi, XKnockDownX, SM. For the inspiration. At last the writer thanks Jesus, Mother Mary, and God for His miracle that helps the writer finish his undergraduate thesis.

  Sincerely, Natan Arya Leksana Gayuh.

  

TABLE OF CONTENTS

TITLE PAGE .................................................................................................................... i

APPROVAL PAGE .......................................................................................................... ii

ACCEPTANCE PAGE .................................................................................................... iii

LEMBAR PERSETUJUAN PUBLIKASI........................................................................iv

MOTTO PAGE .................................................................................................................. v

ACKNOWLEDGEMENTS .............................................................................................. vi

TABLE OF CONTENTS ................................................................................................... vii

ABSTRACT ........................................................................................................................ ix

ABSTRAK ........................................................................................................................... x

  

CHAPTER I: INTRODUCTION .................................................................................... 1

A. Background of the Study .........................................................................................1 B. Problem Formulation .............................................................................................. 7 C. Objectives of the Study ............................................................................................ 7 D. Definition of Terms .................................................................................................. 8

CHAPTER II: THEORETICAL REVIEW .................................................................... 10

A. Review of Related Studies ....................................................................................... 10 B. Review of Related Theories ..................................................................................... 13 1. Theory of Imagery ............................................................................................. 13 2. Theory of Metaphor ........................................................................................... 14 3. Theory of the Zen philosophy ............................................................................ 16 4. Theory of Haiku .................................................................................................19 C. Review on History or Biography ..............................................................................20 D. Theoretical Farmework ............................................................................................ 24

CHAPTER III: METHODOLOGY ................................................................................. 25

A. Object of the Study .................................................................................................. 25 B. Approach of the Study ............................................................................................. 27 C. Method of the Study ............................................................................................... 27

CHAPTER IV: ANALYSIS .............................................................................................. 29

A. Imageries in Basho’s haiku ....................................................................................29 1. Visual imagery in Basho’s haiku .................................................................... 29

  1.1 Visual imagery in Basho’s frog poem ...................................................... 29

  1.2 Visual imagery in Basho’s prostitute poem ............................................. 30

  1.3 Visual imagery in Basho’s stormy sea poem ........................................... 30

  1.4 Visual imagery in Basho’s poem of the dragonfly .................................. 31

  1.5 Visual imagery in Basho’s cherry trees poem.......................................... 31 2.

   Auditory imagery in Basho’s haiku................................................................ 32

  2.1 Auditory imagery in Basho’s frog poem ................................................. 32

  2.2 Auditory imagery in Basho’s stormy sea poem ....................................... 32

  2.3 Auditory imagery in Basho’s cicada’s cry poem ...................................... 32 3.

   Tactile imagery in Basho’s haiku ....................................................................33

  B.

   Metaphors in the Basho’s haiku ......................................................................... 34 1.

   Ontological metaphors in Basho’s haiku ...................................................... 34

  1.1 Ontological metaphor in Basho’s frog poem ............................................ 34

  1.2 Ontological metaphor in Basho’s prostitutes poem ................................... 35

  1.3 Ontological metaphor in Basho’s poem of dragonly ................................. 36

  1.4 Ontological metaphor in Basho’s cherry trees poem ................................ 37 2.

   Implied metaphors in Basho’s haiku ............................................................ 38

  2.1 Implied metaphors in Basho’s stormy sea poem ..................................... 38

  2.2 Implied metaphor in Basho’s cicada’s cry poem .................................... 39 C.

   Zen reflected through imagery and metaphor................................................ 40 1.

  Zen reflected through imagery and metaphor in Basho’s frog poem ............ 40 2. Zen reflected through imagery and metaphor in Basho’s prostitute poem ..... 41 3. Zen reflected through imagery and metaphor in Basho’s stormy sea poem ... 42 4. Zen reflected through imagery and metaphor in Basho’s cicada’s cry poem .. 43 5. Zen reflected through imagery and metaphor in Basho’s dargonfly poem ..... 44 6. Zen reflected through imagery and metaphor in Basho’s cherry trees poem... 45

  

CHAPTER V: CONCLUSION ..........................................................................................46

BIBLIOGRAPHY .............................................................................................................. 49

  NATAN ARYA LEKSANA GAYUH. The Ideas Of Zen As Reflected

  In The Imageries And Metaphors In Matsuo Basho’s Haiku

  Yogyakarta: Department of English Letters, Faculty of Letters Sanata Dharma University, 2012.

  ABSTRACT This thesis analyzes ideas of Zen in the short poems written by a legendary Japanese poet, Matsuo Basho. It is mentioned in this thesis that the Japanese poem written in around the sixteenth century is called Haiku. Haiku is a genre of Japanese poem written in three lines with 5-7-5 syllable rule. The writer found a hypothesis that in the poems created by Basho who has ideas that describe the reality of life and wisdom in the view of Japanese Buddhism that is well known as Zen Buddhism.

  To prove that Haiku - written by a man who lived alone in Japanese forest

• – contains the deep ideas of Zen Buddhism, the writer formulated three questions that helps valid proving on the depth of Buddhist philosophy inside the Haiku. The first is how the images of Basho’s Haiku are presented. Second is how the metaphors of Basho’s Haiku are presented. The last is what ideas of the Zen reflected through imageries and metaphors of Basho’s Haiku.

  The method used in this thesis writing is library research by collecting data and information that is based on the hypothesis of Haiku and taking notes of it, doing d eep reading, and analyzing six Basho’s haiku. The approach of this thesis is biographical approach.

  Haiku is a poem that reflected the depth of Japanese culture. Japan is a rich place of art and religion. Japan has not only haiku but also Zen, which is a branch of school of Buddhism that enriched Japanese life.. While Zen emphasizes individual enlightenment, haiku is poem genre, which is contained of ordinary scenery of Japan. Zen is a spirituality, haiku is an art work. Although they are different things, they are closely related. This thesis is meant to reveal the wisdom of Japanese culture from the haiku and Zen as the best representation of Japanese culture. The answer of first problem formulation is that there are imageries or the word pictures including visual, auditory, and tactile perception in the haiku. The second answer is that there are ontological metaphors and the last is that there is Zen ideas inside the metaphors and the images of the haiku. NATAN ARYA LEKSANA GAYUH. The Ideas Of Zen As Reflected

  In The Imageries And Metaphors In Matsuo Basho’s Haiku

  Yogyakarta: Jurusan Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2012.

  ABSTRAK Tesis ini membahas tentang pesan

• –pesan dalam puisi pendek yang ditulis oleh seorang penyair Jepang legendaris Matsuo Basho. Dalam Tesis ini disebutkan bahwa puisi Jepang yang ditulis sekitar Abad 16 tersebut bernama Haiku. Haiku adalah sebuah genre puisi Jepang yang dituliskan dalam tiga baris dengan aturan 5-7-5 suku kata. Hipotesis yang penulis temukan adalah sebuah ide bahwa Haiku yang diciptakan Basho ini, mempunyai pesan-pesan yang menggambarkan realitas kehidupan dan kebijaksanaan dalam cara pandang Buddhisme Jepang yang terkenal dengan sebutan Buddhisme Zen.

  Untuk membuktikan bahwa Haiku - yang ditulis oleh seseorang yang pernah tinggal menyendiri di hutan Jepang - ini berisi tentang pesan- pesan buddhisme Zen yang mendalam, penulis merumuskan tiga pertanyaan yang akan membantu pembuktian yang valid atas kedalaman filsafat Buddha di dalamnya. Pertanyaan pertama adalah, bagaimana gambaran yang dialami basho di dalam haikunya, Pertanyaan kedua adalah, bagaimana metafora disajikan dalam haiku karangan Basho. Yang ketiga adalah bagaimana gambaran dan metafora dalam haiku Basho merepresentasikan ide Zen.

  Metode yang digunakan dalam penulisan tesis ini adalah metode kepustakaan, dengan mengumpulkan data dan informasi yang berdasarkan hipotesis pada Haiku Basho dengan mencatat, melakukan pembacaan mendalam, dan menganalisis enam Haiku. Pendekatan dalam tesis ini adalah pendekatan biografi.

  Haiku adalah genre puisi yang mencirikan kebudayaan Jepang. Jepang adalah negara kaya akan seni dan agama. Selain Haiku, Zen juga turut memperkaya kehidupan orang Jepang. Zen menekankan pada pencerahan pribadi, dan haiku adalah genre puisi yang menyajikan pemandangan sederhana yang khas dari Jepang. Zen adalah spiritualitas, Haiku adalah karya seni. Walau keduanya berbeda namun berhubungan erat. Thesis ini bermaksud menggali kebijaksanaan dari budaya Jepang dari haiku dan Zen sebagai representasi terbaik budaya Jepang. Jawaban atas pertanyaan pertama adalah deskripsi adanya gambaran haiku berupa pemandangan, suara, sentuhan. yang kedua adalah deskripsi adanya metafora ontologis dalam haiku dan jawaban pertanyaan ketiga adalah pengungkapan ide Zen melalui metafora dan gambaran dalam haiku.

CHAPTER I INTRODUCTION A. Background of the Study Literature is to be read and to be loved. It is work of art. The writer tries to

  share the significance of Basho’s Haiku as one of the best literary works of Japanese classic poetry, through this thesis.

  This thesis began with the assumption that Haiku of Basho, has a particular relation to Zen Buddhism. It is interesting to be discussed because Buddhism offers the simple way to get into deep spiritual life. Therefore, it must be related to the mind of Buddha, and it needs to be proven that Buddha’s teaching is conveyed through the poems. Poem and philosophy are related.

  They have a relation of how they construct humankind. Philosophy and literature have a much greater affinity (Rowe, 2004: viii). A poet’s life is influenced by a specific idea, it is like Basho himself, who was influenced by

  Buddha’s teaching namely Zen. Poems and philosophy are the products of human thoughts. Thoughts can also be in the form of a personal expression of an author that has certain quality of ideas. Basho had ideas of Buddha that are expressed in his poems. This thesis is about the relation between poems and philosophy that contains buddhist teaching.

  The topic of this thesis is the idea of Zen Buddhism in Haiku (Japanese poem). The writer chose Basho’s Haiku to show how poems and philosophy derive from the same source, which is the mind

  . The writer assumed that Basho’s Haiku reflect ideas of Zen and it will be found through the imageries and metaphors. The imageries and the metaphors will be discussed, because those are the tools used by the poet to send the message, and inside the metaphors and imageries there is the core of

  Basho’s Haiku is relied. That is the reason why the study of Basho’s Haiku is rellevant to study. Those two objectives are made in the name of getting and gaining better understanding of art, literature, philosophy, and religion that cannot be separated in the life of human being. This thesis is made for the sake of deeper understanding of life by analyzing and reading Haiku through Zen perspective. Haiku and Zen influenced American people as American people received knowledge of Japanese culture. (Suzuki, 1988: vi).

  From 1600-1868, Japan was an isolated place until The Last Shogun Yoshimune led Japanese. Then Meiji Restoration took over the civilization and opened Japan to the Western. This growth of modern world became the fertile place for west-east relation, and this relation was growing far deeper in the twentieth century. In this century Haiku and Zen started to spread to the western world.

  Basho’s Haiku and Zen Buddhism are the product of Eastern life. They were born in Japanese life. Japan is one of the places where wisdom of the Eastern grows in a very genious way. It means that the daily life of the people, the genious of the East, in this case Japanese is depicted through the art that creates impact to the Western world, and the impact was beyond time bound (Suzuki, 1988: vi).

  The topic of Japanese life became so influential since Yukio Mishima one of the greatest author in Japan wrote The Temple of The Golden Pavilion which tells about a Zen monk way of life. This story was highly respected by western people.

  Mishima’s writing that is translated in the West shows the decay of Modern Japan. (Napier, 1996: 241). The story tells the truth of the changing culture in Japan. This changing era brought Japanese people to the damage of identity. In the middle of that identity crisis, the spirituality of Japan was raised in the idea of a Zen monk

  After World War II the Japanese thinker like Dr. Suzuki went to America and shared Zen as well as Japanese culture to the western audience, and the feed back was outstanding. Almost hundreds of scholars were interested in Zen and its development and also interested in how the culture of Japan influences the growth of Zen (Suzuki,1988: v).

  Zen is currently considered as an important teaching. The importance of Zen was proved by its influence to the Western people. They have accepted Zen because the scholars like Suzuki shows Zen into Western life enables people to reach complete mental development. In the other words, Zen made a human to be a well-cultivated human. Suzuki was one of the person behind this progress of Zen. He was the first courageous person who spread the Zen Buddhism in American society. Japan’s foremost authority on Zen Buddhism, Daisetz T. Suzuki’s greatest achievement was to open up a path to the essential spirit of Zen thought to the West. In 1936 DT. Suzuki as a Zen scholar gave lectures on various occasion in England and America. A section of the study was love of nature which was given in Japan to a group of Western people in 1935, and was published in The Eastern Buddhist. ( Suzuki, 1988: v).

  Landis Bahmil the current translator of Basho ’s Haiku, wrote the introduction for the understanding of

  Basho’s poems, and said that Basho is almost too appealing, because its impact of his Haiku in the life of Japanese people and Japanese culture is significant. The influence of Basho is not only spread in Japanese culture but also in the American modern culture. The last fifty years after the book was published there have been increasing interest in Basho

  ’s work among scholars, poets, nature writers, and environmental philosophers. It was about one hundred years ago that Basho became known in the West through the translations of Basil Hill Chamberlain and more importantly, it was known that the influence on the poet Ezra Pound was Basho ( Bahmil, 2004: ix).

  Basho had his spiritual journey and expressed his experience in his Haiku. He developed his own aesthetics that reflected spiritual depth. In 1688, he travelled to Sarashina village to see the harvest moon, which was written in

  

Sarashina Journal (Sarashina kiko), an then he returned to Edo in September. He

  left Edo in May 1689 for a very long journey to the north country and the west coast of Japan, which became the basis for The Narrow Road to the Deep North

  Biwa, and then moved to his native village of Ueno. He began to speak of his new poetic ideal of lightness (karumi).

  He spent late May at the “Villa of Fallen Persimmons

  “ in 1691 in the hills west of Kyoto, where he wrote Saga Diary (Saga nikki). The linked-verse anthology

  Monkey’s Straw Raincoat (Sarumino)

  was published. In December he returned to Edo. In 1692 after many relatively quiet months, a new hut was built for him, and he became busy again as a haikai master (Bahmil, 2004: 3). The Result is the six Great Haiku which portray his deep spiritual life, as a poet and as a Zen man.

  Those six Haiku were written in the period of his journey, and noticed as the time when he reached the highest point of his spiritual life. The first Haiku is; Old pond- a frog jumps in, water’s sound (Bahmil, 2004:54)

  This poem was written in Spring 1686, (Bahmil, 2004: xii). The second Haiku was written in Spring 1689.

  Under one roof, prostitutes, too, were sleeping; the bush clover and the moon (Suzuki, 1988:230)

  It was written when Basho left Edo in May, which became the basis for his next series of poems. The third Haiku was written in Autumn 1689, (Bahmil, 2004: i): Stormy sea- Stretching out over Sado, Heaven’s River (Bahmil, 2004:97)

  Soon to die Yet no sign of it: A cicada’s cry (Bahmil,2004:114)

  In Autumn 1690 he wrote another poem of a dragonfly, when he started to move from his hut to a village. He moved to the village of Ueno.

  Dragonfly Unable to hold on To the Grass Blade (Bahmil,2004:114)

  In Spring 1691 he wrote again a poem, when he spent time in May at the Villa of Persimmons to wrote Saga diary, one poem of Saga diary is about the life of the cherry trees.

  Year upon year Fertilizing the cherry trees: Blossom dust (Bahmil,2004:121)

  Besides influencing the art, Zen influences Western culture through the aspect of human psyche. How Zen and Psychoanalysis are conducted and spread for the benefits for human is useful knowledge. T hrough Basho’s Haiku it will be understood more deeply that Zen helps people to cultivate their inner strength for their peaceful life. B orrowing Shelley’s words, Basho produced knowledge in the term of poetry, because Poets are the unacknowledged legislators of the world.

  That is how Zen discussion is important, and this thesis tries to react to the issues. Considering the significant influence of Haiku in Japanese life and western people life, the study is meant to reveal the meaning of Haiku, to reveal the ideas of Zen in the form of Zen philosophy.

B. Problem Formulation

  In order to reveal Zen ideas in the Haiku, there are three problems formulated that will help to find the Zen philosophy as ideas in the Haiku. The order of the questions are applied in each Haiku.

1. How are the images of Basho’s Haiku presented? 2.

  How are the metaphors of Basho’s Haiku presented? 3. What are the Zen ideas reflected through imageries and metaphors of

  Basho’s Haiku?

C. Objectives of the Study

  There are three objectives that show where this thesis led to. The first objective of this study is an answer of the first question, that is to indentify metaphors in the Haiku. The second objective is to identify imageries and in the Haiku. The third objective is to reveal the ideas of Zen Buddhism inside that reflected through metaphor and imagery.

  The third objective, is finding the ideas of Zen inside the Haiku. Poem is language of metaphors and imageries, it stands for another things, so does Haiku of Basho. The proves of what writer has assumed that the Haiku has the Zen idea is to do something with the imagery and the metaphor. The only way to see deepest recest of a poem is through analyzing and revealing the metaphor and the imagery of the poem.

D. Definition of Terms

  1. Zen Zen is a spiritual sect of Buddhism that has philosophy of the products of the Chinese mind especially Taoism after its contact with Indian thought, which was introduced into China in the first century A.D through the medium of Buddhist teachings. Buddhist teaching is concerned with self liberation from all attachements and suggesting homeless life to trancendentalism. Enlightment occupies the central point of teaching in all schools of Buddhism, Hinayana, and Mahayana, because the Buddha’s teachings all start from his enlightment experience, about 2,500 yaers ago in the northern part of India. Zen philosophy concerned in enlightment, in Japanese language it is called as satori. Zen thought is that life is for enlightment (Suzuki, 1988:1).

  2.Haiku Haiku is like Zen as a major Japanese culture. According to Landis

  Bahmill, Haiku is a modern word. It was created by Masaoka Shiki who lived from 1867 until 1902, as the first great modern Haiku poet, as distinguish the type of verse from its antecedants, haikai and hokku.

  Haiku is a poem of nature and words picture, according to Kennedy and Gioa, Haiku is often has meanings in its imagery. In Haiku an image can convey a flash of understanding.

  According to Abrams, haiku is a lyric form that repre sents the poet’s impression of a natural object or scene, viewed at a particular season or month, in exactly seventeen syllables (Abrams, 1993:88).

CHAPTER II THEORETICAL REVIEW A.Review of Related Studies In the book entitled Zen and Japanese culture, D.T. Suzuki wrote his view

  and ideas toward Haiku and revealed the Zen idea the Haiku. His work depicted how Zen enriched Haiku, and became the essential part in it. Suzuki analyzed two big poet’s works, namely Basho (1643-1694) and Chiyo (1703-1775).

  Suzuki analyzed Basho’s Haiku, and showed the idea of Zen in the Haiku, as the contemplation of life.

  Suzuki said that Chiyo’s Haiku showed the relation of Zen and art. He analyzed how art and Zen are conducted or even almost similar in the term of process of liberation of ego. He found that process of Zen man and Haiku poet, are in the similar process, in terms of reaching egolessness stage (Suzuki,1988:215).

  In his book Suzuki said that Haiku is like Zen. It abhors egoism in any form of assertion. The product of art like Haiku must be entirely devoid of artifice or ulterior motive which is ego of any kind. There ought not to be any presence of mediatory agent between the artistic inspiration and the mind into which it has come (1988:226). Suzuki wrote the saying

  , “that is Zen and that is art”. He explained that the artist let the unconcious work itself out, for the unconcious is the realm of inner life. The realm where artistic impulses are securely kept away from our superficial utilitarian life. Zen also lives here, and this is where Zen is of great help to artists of all kind (Suzuki, 1988: 225).

  He explained how the artist of Haiku is also a person who learned Zen. For example, Chiyo, once told to be in deep meditation before she composed good Haiku. Her meditation of cuckoo sound told by DT. Suzuki in the sense of Zen meditation.

  Chiyo’s all night meditation on cuckoo sound helped to open up her unconcious. What she used to do before this experience was to contemplate the subject she would use in composing a Haiku.

  In the eyes of DT. Suzuki, for the reason above whatever Haiku she produced was always conducted with a certain amount of artificiality or mere cleverness that had really nothing to do with poetry in its proper sense. It just happened as a meditation process. Chiyo for the first time realized that a Haiku, as long as it is a work of poetical creativity, ought to be an expression of one’s inner feeling altogether devoid of the sense of ego. Haiku poet in this sense is a person who learned Zen (Suzuki, 1988:226).

  DT. Suzuki in analyzing Basho’s Haiku used Dr. R.H Blyth’s comments to find answer in Basho’s Haiku. He considered Basho as the founder of modern school of Haiku. He also, quoted Dr. R.H Blyth, as one of authority on the study of Haiku.

  Dr. R.H Blyth wrote, Haiku is the expression of a temporary enlightment, in which we see into the life of things. From this view D.T. Suzuki put a position that Basho’s Haiku are the expression of Zen. The position of Basho who is related to Zen is explained by D.T.Suzuki’s with a reason, that whether

  “temporary” or not, Basho gives his seventeen syllables a significant intuition into reality (Suzuki, 1988:229). It means that both Haiku and Zen are the matter of moment where intuition sublimes with reality.

  Furthermore Suzuki explained deeper into the relation between Zen and Haiku, Haiku and Zen are not to be confused. Haiku is Haiku and Zen is Zen.

  Haiku has its own field, it is poetry, but it also partakes of something of Zen, at the point where a Haiku gets related to Zen. That is what the writer tried to develop in this thesis.

  Dr. R.H Blyth wrote in his study of Basho’s Haiku entitled The Gentlest

  

and the Greatest Friend of Moon and Winds that Haiku is the revealing of the

  preaching by presenting us with the thing devoid of all our mental twisting and emotional discoloration; or rather, it shows the thing as it exists at one and the same time outside and inside the mind, perfectly subjective, ourselves undivided from the object in its original unity with ourselves. Dr. R.H Blyth examined Haiku as an expression. He wrote:

  It is a way to returning to nature, to our moon nature, our cherry- blossom nature, our falling leaf nature, in short to our Buddha nature. It is a way in which the cold winter rain, the swallows of evening, even the very day in its hotness and length of the night become truly alive share in our humanity, speak their own silent and expressive language. The Gentlest and the

  Greatest Friend of Moon and Winds Soji, 1996)

B. Review of Related Theories

  A poem is an expression, of someone ’s intuition. It is the work that becomes the representation of poet’s thoughts, ideas, feeling, experiences. Since poetry is fit to the speculation of expressive theorist, it is subdued to the field of poems idea, a poet’s mind. For the first question it is necessary needed the theory of metaphor and imagery.

  1. The theory of Imagery Abrams mentioned that imagery is one of the most common in a modern criticism, and one of the most variable in meaning. Its application range all the wa y from the “mental pictures” which, it is sometimes claimed, are experienced by the reader of a poem, to the totality of the components which make up a poem (1993:86).

  According to Abrams, in Glossary of literary Terms, there are three usage of the imagery, and all these senses imagery is said to make poetry conceivable and opposed to abstract: 1.

  “Imagery” (that is, “images” taken collectively) is used to signify all the objects and qualities of sense perception referred to in a poem or other work of literature, whether by literal description, by allusion, or in the vehicles (the secondary references) of its similes and metaphors.

  2. Imagery is used, more narrowly, to signify only description of visible object and scenes, especially if the description is vivid and particularized.

3. Most commonly in recent usage, imagery signifies figurative language , especially the vehicles of metaphors and simile (1993: 86).

  According to X. J Kennedy and Dana Gioia, image suggests a thing seen, but images in poetry generally mean a word or sequence of words that refers to any sensory experience. The sensory experience of imagery are a sight (visual imagery), a sound (auditory imagery), and a touch as a perception of roughness or smoothness (tactile imagery), ( 2002: 96). Imagery of a poem all its images taken together, to make the images useful than to write separate images (2002: 97).

  2. The theory of Metaphor According to Abrams, metaphor is a word or expression which in literal usage denotes one kind of thing or action to a distinctly different kind of a thing or action, without asserting a comparison (Abrams, 1993: 67).

  Metaphor has two aspects. The metaphorical term, and its metaphorical signification or subject. In a widely usage of metaphor. I. A Richards introduced the name tenor for the subject that the metaphor is applied to, and the name vehicle for the metaphorical term itself. ( Abrams, 1993: 67).

  Abrams mentioned one of the metaphors named, Implicit Metaphor, which is the tenor is not itself specified, but only implied. Vehicle that is situational, determined by the association of it, which is applied to implied tenor is a ground (1993:67).

  According to Dr Andrew Leng, in Mastering Unseen Poetry poets use metaphors for a number of reasons, so it is needed to decide the specific functions and effects of each metaphor that read on a case-by-case basis ( Leng, 2000: 18). However, metaphors usually help writers to do one or more of the following list of usage of the metaphors:

  1. Metaphors help readers to visualise more clearly what the poet is talking about. This could be: an object or a scene which the reader may never seen at all; an everyday object or occurence which the writer has observed in a fresh, new and special way, and wishes to share; or something which the poet has imagined.

  2. Metaphors sometimes allow poets to describe the indescribable.

  3. Metaphors can sometimes be used as a kind of shorthand, to show reders many aspects of one thing economically.

  4. Metaphors can sometimes be used to deepen reader’s insight and understanding, by showing that what the writer is describing is connected to complex feelings and emotions, and/ or important ideas, issues and themes.

  George Lakoff the writer of Metaphors We Live By wrote that metaphor is for most people a device of the poetic imagination and the rethorical flourish as matter of extraordinary rather than ordinary language. Moreover, metaphor is typically viewed as language characteristic alone, a matter of words rather than thought or action (2003: 4). Lakoff categorized metaphor into three types which are structural metaphor, orientational metaphor and ontological metaphor.

  For this reason, most people think they can get along perfectly well without metaphor. Lakoff found, on the contrary, that metaphor is pervasive in everyday life, not just in language but in thought and action.

  Our ordinary conceptual system, in terms of which we both think and act, is fundamentally metaphorical in nature. Our conceptual system thus plays a central role in defining our everyday realities. (Lakoff, 2003: 4)

  Lakoff wrote that, the human experiences with physical objects (senses especially our own bodies) provide the basis for wide variety of ontological metaphors, that is, viewing events, activities, emotions, ideas., as entities and subtances ( 2003: 25).

  3. The theory of the Zen philosophy Zen spread among Buddhist scholar, monk and warrior class or the

  

samurai in Japan. The tradition of Zen is to practice the mind to be as calm and

peaceful as possible and to free ones mind into the stage of enlightenment.

  Therefore, in his daily practice a zen monk should be one who understands concepts of Buddhism and its philosophy until its deepest roots for his advancement. In Zen, someone who learns the concepts of Buddhism and who learns sutra completely is not complete yet before he experiences enlightenment, therefore to reach the accomplishment of Zen someone has to leave the concepts behind, throw them away, leave all the concepts even put them in a damnation.

  This act means that even sutra and concepts in Buddhism are attachment that block someone to go to the experience of enlightenment. This act of putting aside the concepts is considered as part of the concept of Zen, the concept of non- attachment or egolessness.

  The Zen monk who is leaving the concepts that just cited may be an extreme act, but the spirit is there. Zen insists on handling the thing itself and not an empty abstraction. It is for this reason that Zen neglects reading or reciting the sutras or engaging in discourse on abstract subjects (Suzuki, 1988: 5).

  There are three ideas of the Zen philosophy: a.

  Non attachment This concept of non-attachment is a concept to help to go further into practice which is practiced by meditation, or for Buddhist it is concept that is to be put into a practice, into life. In Zen, attachment is a barrier to enter satori or Buddhist enlightenment because every attachment is resulting ego, and egoistic mental attitude makes the Self cannot be realized fully to attain and reach enlighment. Therefore, somebody who wants to put himself in meditation should understand this philosophy (Suzuki, 1988:5). b.The Enlightenment

  Satori is an enlightenment, and it is verbally transmitted, after somebody

  understands Buddha’s teaching and puts himself into meditation in appropriate period he will enter the conversation with his Master and the Master will help him to enter the satori. This philosophy, however, is not concerned to elucidate all these verbal complexity but to reach the mind itself. Satori finds a meaning hitherto hidden in our daily concrete particular experiences, such as eating, drinking, writing, or business of all kinds (Suzuki, 1988:16).

  The Satori experience, therefore, cannot be attained by the ordinary means of teaching or learning. It has its own technique in pointing to the presence of a mystery that is beyond intellectual analysis. Life is indeed full of mysteries, and wherever there is a mysterious feeling, there is Zen in one sense or another. This is known among the artists as shin-in (shen-yun) or ki-in (chi-yun), that are the spiritual rhythm, the taking hold of which constitues satori.

  Satori thus refuses to be subsumed under any logical category, and Zen provides people with specific method. D.T Suzuki explained Zen provides us with a specific method for its realization. Conceptual knowledge has its technique, that is, its progressive method,whereby one is initiated into it step by step. But this does not allow us to come in touch with the mystery of being, the significance of life, the beauty of things around us. (Suzuki,1988:220). Without an insight into these values it is impossible for one to be master or artist of anything. Every art has its mystery. Zen becomes most intimately related to all branches of art, including Haiku. The true artist is attained satori by appreciating the spiritual rhythm of things (mio) (Suzuki, 1988:221).

  c. The Impermanent Zen is thought of the impermanent of word. It has been explained by D.T.

  Suzuki, with the teaching of relativeness of situation, even freedoms are impermanent, all things compared are relatives, and the absolute Zen idea is that a man should realize it and free in his inner life (1988:220).

  The major philosophy of Zen are the three ideas including, Non attachment, Satori, and, impermanentliness. Things are conceptual and not intuitively to bring someone to satori.

  The idea that the ultimate truth of life and of things generally is to be intuitively and not conceptually grasped, and that this intuitive prehension is the foundation of Zen philosophy (Suzuki, 1988:220).

  4. Theory of Haiku The eminent scholar Haruo Shirane uses acombined approach in his Early

  

Modern Japanese Literature book published by Columbia University Press New

  York. He has sections on “Composing Haiku” and “The Poetics of Haiku” and yet speak of Basho’s poems as hokku (Bahmil, 2004: 5).

  Hokku are by definition poems about the current season written in a

  complete statement as the first starting stanza of Haikai no renga, or the complete form of Japanese classic poem. Hokku are stanzaz in alternating syllabic rhythms of 5-7-5. Haikai poets like Basho began to write hokku as semi independent verses and could be appreciated by themselves (Bahmil, 2004: 5).

  What Basho has started is hokku, but Landis Bahmil used the Haiku as a term for refering to poetic form more generally. The twentieth century Western scholars and translators used the term Haiku for pre modern Hokku and modern haiku as he mentioned in his book. Besides Basho there is a famous Haiku poet named Chi-yo, She was also known as Chiyo-ni or Chiyo-jo.The suffix -ni refers to her becoming a Buddhist nun later in her life. The -JO suffix is often attached to the names of Tokugawa era women poets. She lived in 18th Japan (1703-75) Her birthplace was Matto (now called Hakuzan City) a small town near Hakusan (one of the three major sacred mountains the others being Fuji and Tateyama).

  Matto is close in the better known city of Kanazawa in an area then called Kaga (province). While most of her life was spent there she made occasional visits to nearby other towns and cities like Kyoto and Kanazawa to practise and study.

  However, I use the term haiku and the haiku tradition to refer to the poetic form more generally when I am referring to the long tradition that includes premodern hokku and modern haiku. And since haiku is the more familiar term, I have used it...(Bahmil, 2004:5). In addi tion, Basho’s hokku now in modern culture (both in Japan and the West) is known as Haiku (Bahmil, 2004: 5).

  According to Donald Keene in the book entitled Japanese Literature one obvious feature of Japanese poetry, which has been highly praised by critics, is its power of suggestion. In B asho’s poem, the falling of the cherry blossoms and the scattering of the autumn leaves are favourite themes because both of them suggest the passing of time and the brevity of human existence. There is a religious background to such poetry (1955: 28).

C. Review on the Biographical Background

  Biographical background of Basho is needed to approach the Zen in the Haiku. The life chronology of Matsuo Basho, was portrayed in the same book translated by Bahmil. His life was a long journey of a poet who dedicated his life for the highest achivement on the art.

  Matsuo Kinsaku (Basho) was born in Ueno, Iga Province in 1644. In 1656 Matsuo Yozaemon,

  Basho’s father, died. He began to make poem in 1662 as his earliest poem. In 1666 Basho’s friend and fellow poet, son of his Lord, was dead.

  In 1675 Basho participated in a linked verse (haikai no renga) gathering with Nishiyama Soin (1605-1682), the founder of the Danrin school. By this time,

  (1661-1707).

  Sugiyama Sampu is a deaf haiku poet, who became Basho’s patron, and he devoted his life to support Basho economically Takarai Kikaku was a Japanese haikai poet and one of the most accomplished disciples of Basho. Although he was a haikai poet, he was best known for his haiku. He wrote the final days of Basho (www.famouspoetryandpoet/takaraikikaku.com).

  Then, in fast development of his skill he participated two Danrin-style linked verse sequences, entitled Two Poets in Edo (Edo ryogin shu) in 1676. He continued to be a rising star in the Danrin school while he began to work at the waterworks department in Edo, it was 1677. Two years later, in 1679 he became a lay monk. In 1680, two major collections by his school were published, Twenty

  

Solo Sequences by Tosei Disciples (Tosei montei dokugin nijikkasen) and Haikai

  Contests (Haikai awase). He moved out to central Edo into a hut on the rustic outskirts in the Fukugawa district. In this time, his poetry began to reflect the emotional intensity and spiritual depth of Chinese poetry.

  In 1681, Basho’s disciple transplanted a basho (banana) tree at his hut. Before the year was over, the hut and the poet are known by that name. In that year also, Basho practices Zen under Butcho a master of the art (1642-1716).