Classical Chinese Poetry in Singapore: Witnesses to Social and Cultural Transformations in the Chinese Community. By Bing Wang. Lanham, Md.: Lexington Books, 2018. Pp. xii + 189. $90 ; $85.50.

Reading Medieval Chinese Poetry: Text, Context, and Culture. Edited, with an introduction, by Paul W. Kroll. Sinica Leidensia, vol. 117. Leiden: Brill, 2014. Pp. vi + 310. €126, $164.

Name der Zeitschrift: Semiotica Jahrgang: 2018 Heft: 224 Seiten: 19-44.

For some Western translators before the twentieth century, domestication was their strategy to translate the classical Chinese poetry into English. But the consequence of this strategy was the sacrifice of the ideogrammatic nature of these poems. The translators in the twentieth century, especially the Imagist poets and translators in the 1930s, overcame the problems of their predecessors by developing their translation theory and practice in ways that are close to those of many contemporary semiotic translators. But both Imagist (...) translators and contemporary semiotic translators have the problem of indifference to the feeling of the original in their translations. For the problem of translating the classical Chinese poetry by the Westerners before the twentieth century and the Imagist poets and translators of the twentieth century, see Zhao and Flotow 2018. This paper attempts to set up an aesthetic-semiotic approach to the translation of the iconicity of classical Chinese poetry on the basis of the examination of both Eastern and Western translation studies. (shrink)

This paper has two interconnected themes. First, it is a study of metaphor of love in classical Chinese poetry. Second, Josef Stern’s semantic account on metaphor interpretation will be explored. By analyzing the common grounds and remaining differences in Chinese and English, I will try to challenge the view that metaphor is simply a function of semantics, specifically the analogy between metaphors and demonstratives. I will argue that metaphorical interpretation is not solely a semantic matter. With regard (...) to metaphor in classical Chinese poetry, one of the pragmatic factors, Yi Xiang (the cultural image) should also be taken into consideration. (shrink)

In this paper I investigate a reprint of a Meiji anthology titled Meiren qiantai shi 美人千態詩 by Shang- hai shuju in 1914. This is the first time that this anthology has received critical attention. I examine the poems collected by the anthologist, contextualize the anthology in relation to traditions and trends in Japan and China, and analyze the significance of the poetic tradition centered on images of women for understanding border-crossing literati culture from the seventeenth to the early twentieth centuries. (...) My study revises both Japanese and Chinese literary history. I show that the practice of kanshi composition was sustained by major Japanese men of letters through the late Meiji era. With the rise of modern Japanese literature, especially in the genre of fiction, it is generally held that there was a rupture between Edo and Meiji-Taisho literature. Within the discursive space carved out by the beauty anthology, however, we see a continuity that unified the Edo and Meiji eras. Furthermore, the Japanese poets’ particular engagement with the subgenre on beautiful women and related sentiments was concurrent with developments among the Chinese literati from the seventeenth to the early twentieth century. (shrink)

When humans are confronted with an epidemic situation or a continuous natural disaster, success depends largely on how critical information is conveyed to as many people as possible, how individuals' emotional experiences of the crisis are elicited, and how their behaviors are directed going forward. Efficient publicity is key to successful epidemic prevention and control. This study explores the role of creative publicity by comparing the influence of creative publicity and general publicity in different periods of the COVID-19 outbreak in (...) China. The effects of creative and general publicity differed across varying periods of the COVID-19 outbreak. Specifically, compared to general publicity, creative publicity had a significant impact on individuals' emotional arousal in the early period of the COVID-19 outbreak while it significantly promoted individuals' emotional arousal, behavioral regulation, and willingness to actively disseminate information in the middle period. In the stable period of the COVID-19 outbreak, creative publicity performed better than general publicity in regulating individuals' behavior. On the other hand, general publicity was more effective than creative publicity in regulating individuals' behavior and actively disseminating information about the epidemic in the early period of the COVID-19 outbreak. In conclusion, creative and general publicity had differing effects in different periods of the COVID-19 outbreak, which may relate to the characteristics of the publicity format and people's psychological conditions in different periods of the COVID-19 outbreak. (shrink)

This study analyses the influence and infection of traditional Chinese culture, starting from the cultural influence of ancient Chinese poetry and literature, and explores the impact and healing effect of traditional Chinese poetry and literature on college students’ psychological anxiety. Combining with traditional Chinese culture, it proposes intervention and treatment strategies for college students’ psychological anxiety. Through volunteer recruitment, 100 college students were recruited for comparative experiments, and the subjects were divided into an experimental (...) group and a control group. The experimental group participants regularly participate in Chinese ancient poetry and literature appreciation courses during the experimental period, and form an ancient poetry and literature learning group for discussion and learning. Research has found that psychological anxiety is a common psychological problem among contemporary college students, with most of them experiencing varying degrees of psychological anxiety. After the experiment, the number of patients with severe anxiety disorder decreased by 64.21%, while the number of patients with moderate anxiety disorder decreased by 57.36%. Under the artistic influence of traditional Chinese culture, the anxiety state of students with mental anxiety has been significantly improved, and the overall satisfaction score of students with treatment intervention plans is relatively high. Contribution: This study uses the profound historical heritage of Chinese ancient poetry and literature to help contemporary college students adjust their psychological state and reach the psychological adjustment under the infection of Chinese tradition culture. During the learning and appreciation of Chinese ancient poetry, literature and culture, students can comprehend the literature advancement in Chinese society, also influenced by the excellent traditional Chinese culture, for enhancing the humanistic quality and mental health level. The results of this study can be utilised by scholars in the field of the psychology of religion and public theology. (shrink)

In Heidegger, “thinking” and “poetry” are inseparable, and the interpretation of poetry is an important approach for him to express his philosophical thinking. His phenomenological approach is a path to return to the things themselves, i.e, to see the facticity and understand the meaning of existence in the lived experience of existential situations. Themes such as “anxiety”, “alien”, “soul and Earth”, “words” can reveal the existential situations in Chinese and German poems through a cross-cultural interpretation from Heidegger’s (...) perspective. (shrink)

This paper examines ways leading Song-dynasty Chan teachers, especially Cishou Huaishen 慈受懷深 (1077–1132), a prominent poet-monk (shiseng 詩僧) and temple abbot from the Yunmen lineage, transform the intricate rhetorical techniques of Chinese poetry in order to explicate the relationship between an experience of spiritual realization beyond language and logic and the ethical decision-making of everyday life that is inspired by transcendent principles. Huaishen’s poetry expresses didactic Buddhist doctrines showing how an awareness of nonduality and the surpassing of (...) all conceptual boundaries and categories can and must be applied to negotiating moral choices in concrete everyday situations that are either conducive or detrimental to the attainment of enlightenment. My main argument is that Song Chan discourse does not lead to antinomianism or an indifference to the conflicts of the mundane world but, instead, features an ethical approach for determining an aspirant’s degree of illumination. This function is central to the school’s overall teaching mission of assisting those seeking to overcome their egocentric delusions by realizing the benefits of Chan insight. (shrink)

This work, edited by Henry Rosemount, Jr, is Volume I in the series of "Critics and Their Critics". Angus C. Graham is the leading translator and interpreter of Chinese philosophical texts; he has written philosophical works of his own, he has written at length and in detail on early Chinese grammar and philology, he has translated Chinese poetry, and he has published some of his own poetry. Graham's polymathic achievement explains the polygenous nature of his (...) collection, which has some essays ranging broadly over aesthetics, ethics, religion, and epistemology; others providing concentrated discussion of specific problems in early Chinese syntax, semantics, etymology, and paleography; and yet others being admixtures, moving by turns through etymology, epistemology, and problems of the translation, interpretation, and dating of Chinese texts. (shrink)

By melodic landscape, this paper points to natural milieus such as mountains whose motifs are caught up in contrapuntal relations. With Merleau-Ponty, the structure of the world is a symphony, and the production of life which implicates both organism and environment as unfurling of Umwelt is ‘a melody that sings itself’. For the Chinese culture, mountains have been deemed virtuous in Confucianism, immortal by Daoists, and spiritual for a Buddhist to reach a substrate level of pure stream of a-subjective (...) consciousness. A Chinese painter-poet within the ‘mountain-water’ genre would consider mountains as performance of events, a concert of vibration of light, shape and sound, movement and rest. Insofar as art is to create energy transfer, Chinese artists of mountains aim at concerting with nature as organised by rhythms and conspecifics, unfolding contrapuntal melodies with all kinds of counterpoints. As Deleuze and Guattari's notion of refrains are the three forces or tempos of chaos, earth and world confronting/converging one another, this paper endeavours to find out, first, how Deleuze and Guattari's geological, organic and alloplastic stratifications can be put alongside mountains, animals, plants and arts, and second, how this notion can contribute to our new appreciation of the way Chinese mountains in arts can give out music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Chinese Gleams of Sufī Light: Wang Tai-yü's Great Learning of the Pure and Real and Liu Chih's Displaying the Concealment of the Real Realm, with a New Translation of Jāmī's Lawā'iḥ from the Persian by William C. ChittickE. N. AndersonChinese Gleams of Sufī Light: Wang Tai-yü's Great Learning of the Pure and Real and Liu Chih's Displaying the Concealment of the Real Realm, with a New Translation (...) of Jāmī's Lawā'iḥ from the Persian by William C. Chittick. By Sachiko Murata, with a foreword by Tu Weiming. Albany: State University of New York Press, 2000. Pp. xiv + 264.Contacts between China and the Near East are at least as old as civilization but have been relatively little studied. This has led to a lack of attention to Chinese Islam. Yet, Islam has been a profoundly influential force in China for centuries. In Chinese Gleams of Sufī Light, Sachiko Murata has stepped forward to bring a wider awareness to the interactions between Chinese Islam and native Chinese philosophic traditions. (Murata is also the author of The Tao of Islam [1992] and, with Islamicist William Chittick, The Vision of Islam [1994]). [End Page 257]The present book adds greatly to our understanding. It includes a translation of The Great Learning of the Pure and Real, by Wang Tai-yü (ca. 1590-ca. 1658) and facing-page versions of William Chittick's English translation of the fifteenth-century Gleams (Lawā'iḥ) by 'Abd al-Rahman Jāmī and Murata's English translation of Liu Chih's (ca. 1662-ca. 1730) Chinese version of the same work. (Here, incidentally, I follow the book in using the Wade-Giles system.) One can see, comparing the translations, howLiu recast Jāmī's work in Chinese philosophic language, paraphrased some difficult passages, summarized others, and added his own commentaries.Interestingly, Liu eliminated Jāmī's Persian poetry. Murata thinks this is because Liu wanted to focus on the hard ideas; I suspect that it was because Liu realized that Persian prosody and imagery were too far from Chinese poetry to please his audience.Both Wang and Liu belonged to what must have been a rather loose but some-how connected circle of Chinese Islamic scholars. Both, also, almost necessarily used language fairly widespread in Chinese philosophy. Terms such as "emptiness" and "transformation" had many Chinese resonances, some most un-Islamic (Neo Confucian and Buddhist, for instance).Neither Chittick nor Murata give any glosses for key philosophical terms in either source language. Their philosophical and religious provenance, Chinese or Muslim, is correspondingly unclear.What is clear is that Neo-Confucianism had a strong influence on these scholars. Haqiqa "reality" is often translated as li "principle." Pen-jan "root nature" is used for the Arabic compound "essence and attributes." These examples are discussed in the introduction (p. 19). "Annihilation" becomes "conquering" (pp. 148-149). This is strange, because "Annihilation" (fana') is a technical term in Sufism for the disappearance of the self in God; it is an Arabic term, and literally means something like. "passing away." It signifies the forgetting or loss of self, such that only contemplation of the Divine remains. It is as close to the Divine as humans can get since, in Islam, humans cannot be absorbed into Allah (as, in Buddhism, they can be absorbed into Nirvāṇa or the Buddha-nature). "Conquering" seems a rather strange way to express this in Chinese. Perhaps Chinese Muslim readers of the time had developed this specialized sense for it.There are, of course, debatable translations here to contend with (both from Persian and Arabic to Chinese and from Persian and Chinese into English), but it appears that real incommensurability is involved. It was very difficult to use the language of Chinese philosophy in the seventeenth century, influenced as it was by centuries of Neo-Confucian thought, to talk about a radically different religion characterized by an infinitely powerful and wise God, aware of all futures, close to the believer and yet cut off.The inevitable result is to wedge the Arabic and Persian philosophy, so heavily informed by Neoplatonic essentialism and other... (shrink)

Metaphor has been a feature of poetry for centuries. Some metaphorical phenomena in poetry raise questions for the traditional framework, in which metaphor is a matter of the metaphorical use of individual words. White does not adopt the traditional view. He intro­duces a sentence-approach instead. I argue that the alleged phenomena occur in the Chinese poetry as well. I argue further, that White’s structure of representing metaphor can be used to analyze metaphor in the Chinese (...) poetry, but that it must be constructed on the basis of working out the relevant cultural implicatures. In effect, interpreting a metaphor involves generating the cultural implicature where a literary quotation is being alluded to, because the quotation acts as the key to understanding the metaphor in the poetry. (shrink)

The Chinese Aesthetic Tradition touches on all areas of artistic activity, including poetry, painting, calligraphy, architecture, and the "art of living." Right government, the ideal human being, and the path to spiritual transcendence all come under the provenance of aesthetic thought. According to Li this was the case from early Confucian explanations of poetry as that which gives expression to intent, through Zhuangzi’s artistic depictions of the ideal personality who discerns the natural way of things and lives (...) according to it, to Chan Buddhist-inspired notions that nature and words can come together to yield insight and enlightenment. In this enduring and stimulating work, Li demonstrates conclusively the fundamental role of aesthetics in the development of the cultural and psychological structures in Chinese culture that define "humanity.". (shrink)

This paper discusses poetry as a site of what Pierre Hadot calls “spiritual exercises,” with particular reference to China's greatest poet, Du Fu (712–70 C.E.). While Hadot's work has bridged gaps between (i) philosophy and religion and (ii) theory and practice, this paper suggests that spiritual exercises can also blur the modern separation between form and content. It argues for the possibility of poetry as philosophy; that is, philosophy in a less-recognized form. If poetry can be spiritual (...) exercise and if spiritual exercise with its goal of self-transformation is the core of philosophy, then we may be able to treat poetry as one form of philosophy. The paper also demonstrates the relevance of Hadot's work for ancient Chinese and comparative philosophy more broadly. (shrink)

With the development of society, the rapidly developing social environment has played a significant role in the particular group of college students. College students will inevitably suffer setbacks and psychological obstacles in their studies and daily life. This work aims to ameliorate college students’ various mental illnesses caused by anxiety and confusion during the critical period of status transformation. Educational psychology theory, aesthetic theory, and poetry appreciation are applied to the mental health education of college students to obtain a (...) satisfying psychological healing effect. First, this work summarizes the connotation and characteristics of college student’s mental health and defines educational psychology. Secondly, the long tradition of Chinese poetry teaching is introduced. Besides, the theoretical basis of poetry therapy and aesthetic psychology is expounded, and foreign poetry is discussed. In addition, poetry appreciation is used to promote personality shaping and psychological healing of college students based on the theory of educational psychology and poetry appreciation psychotherapy. In addition, mental health education for college students is studied from the perspectives of psychological health, mental health education, college students’ mental health education, and appreciation of ancient poetry. In addition, the principle and significance of college students’ mental health education are discussed from the perspective of poetry appreciation. Finally, an experimental study is conducted on college students and patients in a specific hospital department by issuing questionnaires to verify the practical application effect of this method in psychotherapy. The survey results indicate that the scores of college students who have completed a one-semester poetry appreciation course in different dimensions of mental disorders are lower than those of those who have not completed the course. At the same time, in the scores of 16 personality traits, the positive trait scores of the experimental group are higher than those of the control group. Comparing scores before and after class also reflects the positive effect of poetry appreciation intervention on college students’ personality shaping. It can be concluded that poetry appreciation has a strong effect on promoting college students’ mental health and personality shaping and improving college students’ psychological problems. (shrink)

continent. 1.2 (2011): 129-135. Introduction Vincent W.J. van Gerven Oei Successions of words are so agreeable. It is about this. —Gertrude Stein Nachoem Wijnberg (1961) is a Dutch poet and novelist. He also a professor of cultural entrepreneurship and management at the Business School of the University of Amsterdam. Since 1989, he has published thirteen volumes of poetry and four novels, which, in my opinion mark a high point in Dutch contemporary literature. His novels even more than his (...) class='Hi'>poetry are criticized for being inaccessible, which I generally take to be a compliment. It would be like saying that Fernando Pessoa is inaccessible, which he is not. Neither is Wijnberg. When we think of the combination economist-poet we are immediately reminded of the American poet Wallace Stevens, who, as the story goes, had two stacks of paper on his desk, one for contracts, one for poems. We also know that Stevens wrote on the economy and that questions of economy and insurance surface at multiple points in his poems. The following text is a very preliminary attempt to point at the intersections between poems, novels, business, and poetry in Wijnberg’s work. On the back cover of his novel De opvolging ( The Succession , 2005), Wijnberg states the following: “[This is] a novel for whomever is interested in the workings of a company as much as in the workings of a poem.” Wijnberg thus claims that the way in which a company “works” may be similar to the way in which a poem “works.” The question is the obvious one, what does this similarity consist in? De opvolging tells the story of company in which bosses and company doctors, secretaries, children, clowns, and beggars have tons of meetings, recite poems, perform plays, tell jokes, and succeed each other, climbing up and down in the company’s hierarchy. De opvolging is a novel in which the career of people follows the career of words. It resonates with Gertrude Stein's sentences, "Grammar. What is it. Who was it" (1975, 50). The words in Wijnberg's poems are like he characters in his novel. And if we keep in mind this allegorical reading of De opvolging , which is obviously only one of the possible readings, we may be able to understand some aspects of Wijnberg’s poetry. A repetition is already a pun. Look, that word is trying it again, as if it is afraid that by not doing it it would give up the hope that it will ever be able to do something. A pun is the opposite of the first word coming to the mind of someone who shouts it when he suddenly discovers something. (104) The repetition, the succession of the same word, is already a pun, a joke. The succession of the father by the son after the revolution is a joke. "Look he's trying it again!" The essence of a joke is a repetition. Archimedes’ “Eureka!” is its opposite. Poems can easily become jokes, depending on the way the words follow and repeat each other. In De opvolging , the careers of the bosses, good and bad secretaries, and company doctors easily become jokes, as they are “afraid that by not doing it [they] would give up the hope that [they] will ever be able to do something.” Not only the repetition, but also the distance and difference between the words in a poem, their cause and effect relations can be read as company relations. This becomes clear when we, for example, read the first lines of the poem “Cause, sign” from Het leven van ( The Life Of , 2009). A sign lets know what is going to happen, a cause lets it happen. If the sign also lets happen there is no reason to isolate it, because then I would isolate some- thing only because it’s different for me. If I didn’t have to write this myself, but would have secretaries to whom I could dictate it, I would be able to say more about it. (49) Upon reading the first two lines we can already conclude that any word may be cause or sign or both. If a sign is also a cause there is no reason to discriminate it, yet to the poet they are still different. This difference only becomes expressible the moment he would have a secretary. Just like in De opvolging , the secretary introduces a distance; not in a company but in a poem. Hence the difference between “good” and “bad” secretaries in a company, where the good secretary of one boss may be the bad secretary of another one. The more we can say about the bosses of the company, or signifiers of the poem, the greater the distance we introduce between them and us. We should take serious the relation between Wijnberg’s novels and poems. Although they operate on different scales, they explain and converse with each other. Another example may be the novel Politiek en liefde ( Politics and Love , 2002), which deals with the relation, precisely, between politics and love. In the novel, Nicolai, a lieutenant in the Dutch army, is sent to Africa on a military mission. Upon leaving a receives a letter from his father. Dear son, Don’t do anything stupid before your father has advised you to do so. Your mother asked me to write a wise letter. I have been looking for wisdom for half a day and haven’t found much. If you borrow a small amount from a bank you become the bank’s slave, but if you borrow a couple of millions and spend them as quickly as possible the bank becomes your slave. What I want to say is that you have to return from Africa in good health, and before you know it the world will be your slave [....] Signed with a kiss from your father. (88) The line, “If you borrow a small amount from a bank you become the bank’s slave, but if you borrow a couple of millions and spend them as quickly as possible the bank becomes your slave,” returns as the title of poem in Het leven van: “If I borrow enough money the bank becomes my slave” (12-3), which elaborates this theme. So both in the way that these poems are structured and in their subject matter, they refer to the structures of our economy, to the ever-continuing line of CEOs succeeding each other like words, to the distance between them introduced by bureaucracy, and giving and receiving as economical and poetical acts. Poem and economy map onto each other, as in another episode from De opvolging : Edward reads two of the beggar’s poems about presents. Of a holiday nothing remains, except for memories, and if some of them are bad I’d rather forget them all; if I get a present I’d rather get something that’s useful to me for a long time. If I may choose, I choose what I can use longest, long enough to partially forget that this was the present, because it feels bad when nothing is left of it. […] Giving away becomes destruction in the stock destruction economy [ voorraadvernie -tigings-economie ], that is a gift economy [ geschenkeneconomie ], encountering for the first time an economy in which there’s selling and buying on markets. Instead of destroying supplies someone can also quickly say that they aren’t worth anything anymore; if someone wants to take them I’d gladly give him something extra. In a stock destruction economy he is someone who each day wants to work more hours than his colleagues. If around a company there is a gift economy in which someone’s rank is determined and made visible by the gifts someone can give someone else, a company will be more often character- ized by an invisible or unclear system of ranks. (152) Two poems about gifts present two different economical models, described by Wijnberg with the terms “stock destruction economy” and “gift economy.” Here we immediately recall the opposition introduced by George Bataille’s work on the concept of expenditure in The Accursed Share , where a “general economy” would surpass the stock destruction economy based on scarcity (capitalism) and become a gift economy (potlatch) and an egalitarian (communist) society. These claims are made both on the level of the poems and in their discursive explanation. They follow each other and on each other. I would like to finish this introduction to Wijnberg’s writing with a translation from his novel De joden ( The Jews , 1999), which develops the story of Hitler abdicating as chancellor of the Third Reich, appointing philosopher Martin Heidegger as his successor. In a conversation with two Russian actor-spies, sent by Stalin to figure out the situation, philosopher Walter Benjamin describes the abdication scene. Maimon: You were there when Hitler resigned? Benjamin: In the room we’re right now. The desk and the chairs are new. After his resignation Hitler would like to take his furniture to his new house. Martin naturally agrees. It is a sunny day. Martin is very nervous and complains about the heat. Martin is wearing his best dark blue suit, not his professor’s robe. Hitler is wearing his uniform. We enter the room and Hitler gets up and embraces Martin. Martin is not very good at embracing. Hitler shakes his hand. Hitler’s cap is on the desk. The cap has a metal lining. Hitler has strong neck muscles. Hitler says: A man is unclean. He takes a bath. Does he make the bath water unclean? I say: a man is unclean. He steps into a river. A little further a man steps into the river; does he become unclean? Hitler nods. I say: a man is standing in music. Another man hears the music but also sees the first man moving on the beat of the music in a way that he is certain that the music would excite different feelings in him if he wouldn’t to see the first man. Hitler says: a man is clean, listens to music, is suddenly touched and he doesn’t know by what. The conversation ends in the way you know it ends. Hitler picks up his cap from the desk and puts it on Martin’s head. (73-4) Aware of the never ending debate on the question of Heidegger’s involvement in the Nazi regime, Wijnberg has the audacity to present the arguments of complicity in the religious terminology of cleanliness and uncleanliness, while at the same time recalling overtones of Hitler’s supposed love for Wagner, suggesting a relation between Benjamin and Hitler, and so on. The space of this introduction is to small to treat a novel like De joden , a reading of which together with passages from Philippe Lacoue-Labarthe's Heidegger, Art, and Politics: The Fiction of the Political , Jacques Derrida's Of Spirit , Christopher Fynsk's Heidegger: Thought and Historicity , and Avital Ronell's The Telephone Book would be extremely elucidating and potentially open new avenues in thinking Heidegger's emphasis on poetry after the fall of the Nazi empire. But at this point we will have to curb our curiosity and follow the poet himself. The themes of the relation between business and poetry, but also Chinese landscape painting, love, Indian and Japanese poetry, and Western philosophy are analyzed and assimilated in Wijnberg’s work without ever losing the clarity of expression. It may be that, according to Alain Badiou, the “Age of the Poets” is over, but its end (Paul Celan) has exactly brought a new balance between philosophy and poetry, and it is this playful, but nonetheless serious balance that makes one hope that one day Wijnberg’s complete oeuvre might become available to readers across the planet. Tiranë, Albania February 15, 2011 English translations (all of them translated by David Colmer, who is preparing an English collection of Wijnberg’s poems entitled Advanced Payment ): Poetry International Words Without Borders Green Integer Review from Het leven van ( The Life of ) THE LIFE OF KANT, OF HEGEL As if every day he takes a decision that is as good as when he’d been able to think about it all his life. The life of Kant, of Hegel, the days of the life of, select three or four of them. Tell what he has discovered during those days as if he were the last one who knew so little. Give me something that I can cancel against then I can prepare myself for it. The reward is that I may continue with what I’m doing, it doesn’t matter how long it takes. This has nothing to do with everything remaining the same if I say that I no longer want anything else. I wouldn’t be able to say in which one and the other occur in a way that I if I knew something to cancel that one against it wouldn’t be possible now. The stars above my head and being able to say what belongs to what if I’ve let them in. FOLLOWING MY HEART WITHOUT BREAKING THE RULES Observing the rules without observing the rules by going where the rules no longer apply. I could also observe the rules there by applying them to what at great distance may resemble what the rules are about. But why would I do that, not to confuse someone who is seeing me from a great distance? Behind this morning the morning prepares itself when the rules are everything I have. IF I BORROW ENOUGH MONEY THE BANK BECOMES MY SLAVE A bank lends me money, if I don’t pay it back they tell my boss that he has to pay them my salary. But they have to leave me enough to eat and sleep and an umbrella when it’s raining. They can also empty my house, the furniture isn’t worth a lot, but every little helps. Each morning I leave for work, if I don’t start early they’ll soon get someone else, no bank will lend me money when the sun is shining. My boss has given me a cat to raise as a dog. Of course I know that it won’t work out, but I’ve asked for a week—maybe the cat gets lucky, maybe I get lucky. My hands around a cup of coffee, before I leave for work, warm-empty, cold-empty, as if hidden in the mist over a lawn. What I make when there’s no work left for me, I’m ashamed to say how little it is. Once I’m outside I check it, if they watch out of the window they can see me doing it. Suppose it is so much that I’d stay counting for hours, it’s getting dark and I’m still there. They stay watching for a while once they’ve finished their work, but have to go home, I get that, sure, I could also go home and continue counting there. If it’s too little running back immediately won’t help, because nobody’s there anymore, and if I come back tomorrow I may have spent what’s missing tonight. Going somewhere where it’s warm enough to walk around without clothes during daytime, it helps me to know that something’s more there than here. For someone like me there’s work anywhere, it shouldn’t take a week to find work for me there. Three times work and a home close to work, I may choose one and try for a week whether I want to stay there. If at the end of the week I don’t want to stay I’m back on the next day, then it was a week’s holiday. RULES If that’s against a rule, it’s yet another one that I cannot observe, or only so briefly that I cannot re- member it later. Anyways the rules are only there to help me remember what I need in order to do better what I do. In that respect there’s no difference between the rules that I find in a book and the rules that I think of early in the morning. I know that because I’ve made a rule just now nothing has yet to observe it. CAUSE, SIGN A sign lets know what is going to happen, a cause lets it happen. If the sign also lets happen there is no reason to isolate it, because then I would isolate something only because it’s different for me. If I didn’t have to write this down myself, but would have secretaries to whom I could dictate it, I could to say more about it. If something is taken away from me I consider how it would be if the opposite had been taken from me. That is what causes or signifies what is farthest away from what is caused or signified by what has been taken away from me. note: For the translations of “The life of Kant, of Hegel” and “If I borrow enough money the bank becomes my slave” I was able to consult David Colmer’s wonderful translations. (shrink)