Here
My steps along this street
resound
in another street
in which
I hear my steps
passing along this street
in which
Only the mist is real
-- Octavio Paz --
I have been in a thick fog or mist and there are strange sounds and strange visions immersed in there, along with me.
Pedestrian
He walked among the crowds
on the Boulevard Sebasto',
thinking about things.
A red light stopped him.
He looked up:
over
the gray roofs, silver
among the brown birds,
a fish flew.
The light turned green.
As he crossed the street he wondered
what he'd been thinking.
-- Octavio Paz --
I was not very alert when I first read this poem, but something bothered me about it--just couldn't put my finger on it. I am ashamed to admit that I didn't find it until the third reading. Perhaps I did see it the second time but refused to "see it." Perhaps the colors distracted me as I read along--first red, then gray, followed by silver and then brown, with the silver being the only color that didn't immediately precede the noun it modified. Who knows? Maybe I'm just an inattentive reader at times (only at times I hope.)
Exclamation
Stillness
not on the branch
in the air
Not in the air
in the moment
hummingbird
-- Octavio Paz --
A hummingbird--it's here, and then somewhere else, and then gone.
This one is very much like a haiku, or so it struck me. I remembered it when I came across the following poem:
Basho An Basho An
The whole world fits in- El mundo cabe
to seventeen syllables, en diecisiete silabas:
and you in this hut. tu en esta choza.
Straw thatch and tree trunks: Troncos y paja:
they come in through the crannies: por las rendijas entran
Buddhas and insects. Budas e insectos.
Made out of thin air, Hecho de aire
between the pines and the rocks entre pinos y rocas
the poem sprouts up. brota el poema.
An interweaving Entretejidas
of vowels and the consonants: vocales, consonantes:
the house of the world. casa del mundo.
Centuries of bones, Heusos de siglos,
mountains: sorrow turned to stone: penas ya pen
~as, montes:
here they are weightless. aqui no pesan.
What I am saying Esto quie digo
barely fills up the three lines: son apenas tres lineas:
hut of syllables. choza de silabas.
-- Octavio Paz --
The first and third lines consist of five syllables while the second line has seven--the seventeen syllables of a class haiku. In the fifth stanza, the second "penas" should have a tilde over the "n."
Basho, of course, is the most famous haiku poet in Japan. I once purchased a book titled
The Haiku Masters and was surprised to find that Basho was not included among them. The editor in the Introduction explained that the Masters are those superior haiku poets who are second to Basho, who is not a haiku master, but the Haiku Poet.
Example
A butterfly flew between the cars,
Marie Jose said: it must be Chuang Tzu,
on a tour of New York.
But the butterfly
didn't know it was a butterfly
dreaming it was Chuang Tzu
or Chuang Tzu
dreaming he was a butterfly.
The butterfly never wondered:
it flew.
-- Octavio Paz --
This, of course, refers to a famous saying by Chuang Tzu, some thousands of years ago, in which he supposedly comments on the nature of reality--that one can't tell the difference between reality and a dream. He said that once he dreamt he was a butterfly and then awoke, and couldn't decide whether he was a butterfly dreaming that he was Chuang Tzu or Chuang Tzu dreaming that he was a butterfly. I always believed he was satirizing those pompous sages whose wise utterances consisted of obscure formulations. They always reminded me of the following:
Seek clarity-- and you gain wisdom.
Seek wisdom-- and you gain obscurity.
Seek obscurity-- and you gain followers.
Octavio, of course, has many long poems, but those are for another day.
Which, if any, are the most interesting to you, and why?
All poems come from
The Collected Poems of Octavio Paz, edited by Eliot Weinberger and published as a
New Directions Paperback in 1991. Most translations are by Eliot Weinberger.
