Today in Japan for 22 Feb – I Shall Return

And here is your daily almanac for Thursday, the twenty-second of February 2024.

Today in Japan is affectionately known as Cat Day (猫の日), celebrated due to the date (2/22) mirroring the sound cats make (“nya nya nya” in Japanese). There are a lot of pun days like this in Japan. This one is a day where cat lovers across the nation show extra appreciation for their feline friends, reflecting the country’s deep affection for cats.


On this day in history, FDR ordered General Douglas MacArthur to depart from the Philippines during World War II. This order led to MacArthur’s famous vow, “I shall return,” a promise he fulfilled over two years later, liberating the Philippines from Japanese occupation. MacArthur is generally beloved in Japan these days for his role in rebuilding the country and almost everyone knows this line.


Today is the birth of Takahama Kyoshi, born in 1874. Kyoshi was a pivotal figure in the world of Japanese literature, renowned for his contributions to haiku poetry. As one of the leading disciples of Masaoka Shiki, Kyoshi played a significant role in the development and popularization of the haiku form, emphasizing the importance of nature and seasonal imagery in his works. He was also the editor of Hototogisu, a magazine that became a significant platform for haiku poets.

He is not without controversy. He ruled the haiku world with an iron fist and suppressed anyone writing haiku he didn’t approve of, including followers of a more free form haiku style. In one unfortunate incident, this caused many of that group to be sent to prison during the war.

Despite this ruthless side, his haiku themselves often expressed a much more peaceful worldview. They reflect a deep connection to the natural world, a testament to his belief in the beauty and significance of the changing seasons. His work continues to inspire and influence haiku poets today, embodying the essence of traditional Japanese aesthetics.


Today’s rokuyō, Senbu (先勝), suggests a day where the afternoon is auspicious and where it is better to act calmly and avoid urgent things, making it a fitting time to celebrate the beauty of poetry and nature, as well as to remember historical acts of courage. (Read more about the rokuyō here)

On the old calendar, today would have been the thirteenth day of the first month. We are in the midst of Usui (雨水), the arrival of rainwater, signifying the awakening of the earth, and the microseason Tsuchi no shō uruoi okoru (土脉潤起), when the earth’s veins start to moisten. This time symbolizes the beginning of the transition from winter to spring, a period that many haiku poets often celebrate in their poems.

Spring Rain at Sakurada Gate by Kawase Hasui
Spring Rain at Sakurada Gate by Kawase Hasui

In the spirit of Usui (雨水) and the awakening earth, a haiku from Ransetsu captures the essence of this period beautifully:

梅一輪いちりんほどの暖かさ
ume ichirin ichirin hodo no atatakasa

one plum blossom
means one step closer
to warmth
—Ransetsu

Photo Mine
Photo Mine

Around this time of year, the plum (or ume) blossoms are full in most places in the country. They are lovely flowers, and are thought to be heralds of warmer weather. This haiku serves as a delicate reminder of the incremental warmth and revival that each plum blossom heralds. Ransetsu’s words resonate with the anticipation of spring’s approach, mirroring our own yearning for the gentler days ahead.


Be well, do good work, and stay in touch.

Listening to the Wind: Zen and the Art of Finding Yourself

Cogito, ergo sum
I think, therefore I am.
—Descartes, Discourse on the Method

A rush of wind comes furiously now, down from the mountaintop. “The ancient Greeks,” I say, “who were the inventors of classical reason, knew better than to use it exclusively to foretell the future. They listened to the wind and predicted the future from that. That sounds insane now. But why should the inventors of reason sound insane?”
—Robert Pirsig, Zen and the Art of Motorcycle Maintenance

As I sit here, I hear a strong breeze outside blowing past and against the balcony window. It’s intermittent. It blows for about 20–30 second, then it lessens and the calm returns for a few minutes before it blows again. A coming spring storm? It seems like it should be too early in the year for that, but then again, with climate change who can tell what is normal these days.

Who is the I who is listening to this?

Descartes famously declared I think therefore I am. That would seem to settle it. I is me. But then the great doubter Hume smiled and replied “yes, but who is the I who is making that statement?” He proposed what if instead of one voice in our head that makes up I, what if it is instead several voices that combine and together make up who we think of as I. Jung later came along and organized these voices into archetypes that make up I, of which twelve are the most well-known, though he himself didn’t limit the number.

But I’m jumping ahead too far. Back from Jung to Hume. Kant later attempted to answer Hume’s questioning of the self, resulting in his famous book The Critique of Pure Reason, considered one of cornerstones of modern philosophy, in which he attempted to bridge this divide between Hume and Descartes.

Why do I bring all this up? …there we go again. Who is that I there?

Hume might have fit right in with Zen. He doubted the existence of a self behind all the thoughts, feelings, and perceptions of the mind. This is as good a summary of muga (無我) or anātman as any, and pretty interesting to find in an 18th century Scotsman. One might wonder where Western philosophy could have gone if Hume’s ideas had maintained prominence and not been overshadowed by Kant.

But this kind of musing is actually what Zen argues against. Trying to figure out reality and the self by thinking is like trying to taste by reading a recipe: while it might give you a hint or an idea, it’s going to leave you with more questions than answers and ultimately going to get in the way. The only way to understand, according to Zen, is to experience directly. Zen or the Tao or Reality or whatever we call this (and here if I were there I might clap my hands together and let the resulting noise reverberate around the room and fade) can only be experienced, not understood by any intellectual thought.

If you want to learn to swim, you can read all you want about how to move the body in a specific swimming form or the laws of flotation and buoyancy and whatever else you want, but none of these are going to help you actually understand swimming until you jump in the water and swim (ideally with an instructor so you don’t, you know, die).

The problem, then, lies in thinking, which distracts us and impedes our direct experience of the world. The solution, according to Zen, is to meditate. Zen meditation, however, is not quite what you might be familiar with from yoga classes, where you lie down listening to a track of flowing water or other pleasant noises, often falling asleep in the process. Such a “meditation” is viewed by Zen as contrary to our purpose. Instead, Zen advises sitting silently and listening to the world without contemplation or judgment, a style of meditation known as shikantaza.

When you sit long enough and watch as thoughts and feelings pop up unbidden, you start to wonder where these things come from. Zen would advise to resist the urge that Jung felt to classify and categorize all these things into different personas or archetypes, and rather just sit and watch. Don’t try to figure anything out: just observe, just watch, just experience.

There is a old Zen story:

A monk came to a new master. The master asked, “Who did you study with before?” and the monk answered, “Ch’ing-feng”.

“I see,” said the Master. “What did he teach you.”

“When I asked what is the meaning of Buddhism, he answered me ‘Ping-ting comes for fire’.”

“An excellent answer!” said the Master. “But I’m sure you didn’t understand it.”

“Sure I did.” explained the monk, “You see, Ping-ting is the god of fire. For him to be seeking for fire is like myself, seeking the Buddha. I’m the Buddha already, and no asking is needed.”

“Just as I thought!” laughed the Master. “You didn’t get it.”

The monk said, “Well, how would you answer?”

“Go ahead, ask me.”

“What is the meaning of Buddhism?” inquired the monk.

“Ping-ting comes for fire!”

The monk instantly achieved enlightenment.

Anātman is often translated simply as “no self”, but that doesn’t tell the whole story. At least not with the Zen interpretation of the idea, muga. Zen does deny there is an atman, a soul, that is traveling from life to life, changing bodies as easily as a sea crab changes shells. However, Zen does not deny that there is something moving from life to life. What is that thing? Is that the I that we’ve been looking for this entire post?

(Here is when I clap again)

Go sit and find out for yourself.


Misc: Title photo made by me from this photo by Kiều Trường from Pixabay

Special thanks to my friend Koto-art who put this topic in my head with her great art.

Sleeping Boy and Kite Flying

たこだいたなりですやすやたりけり 一茶
tako daita nari de suya-suya netari keri[1]

holding his kite
soundly and peacefully
sleeping
—Issa
[2]

Hiroshige - Kakegawa Kites Flying at Fukuroi
Hiroshige – Kakegawa Kites Flying at Fukuroi

Kite is a spring kigo (season word), so this is considered a spring haiku, but flying kites is traditional a New Years activity in Japan and so that is the time that might be first thought of when we hear the word.

It’s right there in the second verse of the New Year’s song (Oshōgatsu)

お正月には凧あげて
Oshōgatsu ni wa, tako agete
On New Year’s Day, we will fly kites

On the traditional calendar, Japan celebrated the lunar New Year and that was usually near the first day of spring, so you can see the connection.[3]

As sweet a scene as this haiku paints, it is actually bittersweet. Issa’s children all died young, too young to have enjoyed flying a kite. He wrote this in 1816, after they were all gone. He may have been sitting there one day close to New Years and thinking of them, wishing he had had a chance to watch them enjoy this traditional activity.

I can really relate to this haiku. When my boys were smaller they were always falling asleep clutching their toys close. Well, they still do that. When they were smaller it was usually toy cars or action figures; these days it is usually their Switch.

Some things never change, eh?


  1. See: Pronunciation of Japanese  ↩

  2. See: a note on translations  ↩

  3. Technically the system that tracked the seasons was a solar system whereas the calendar was a lunar system. As you might imagine, these two systems didn’t sync up exactly. For example, this year (2024) the first day of spring occurred about a week before the lunar new year.  ↩

Drunk and Playing in the Snow with Bashō

We may be into the traditional spring as I write this, but much of the northern hemisphere is still pretty cold right now. Thinking about that, I was reminded of this winter haiku the other day.

いざ行かむ雪見にころぶ所まで 芭蕉
iza yukan yukimi ni korobu tokoro made[1]

say, let’s go
enjoying looking at the snow
till we stumble and fall
—Bashō
[2]

Zojoji Temple in Snow by Tsuchiya Koitsu
Zojoji Temple in Snow by Tsuchiya Koitsu

This haiku has a few different versions. The one above appears in Bashō’s haibun Oi no Kobumi (“Knapsack Notebook”). He originally wrote it at a book merchant’s house in Nagoya. He was enjoying the effects of sake that evening and was in a jolly mood. When it started snowing and had accumulated a bit, he composed this poem and suggested everyone go outside for some snow-viewing (yukimi), an activity that was similar to Cherry Blossom viewing (hanami) or moon viewing (tsukimi); and just like those activities, usually involved ample sake.

With the last line he might be suggesting the alcohol will get the best of them and they will lose their balance, or that the snow will prove too slippery for them, or maybe both.

The Japanese begins with the repeated “yu” sound in yukan yukimi (“let’s go, snow viewing”) which gives it a light playful sound. He was drunk, after all, and this nicely captures the playful mood. I tried to capture this with my translation say…snow. Technically say would be iza, which is something like now, well and is used when a person has a sudden idea. We also something use say for this meaning, so it works. Adding a third s word in the last line continues the idea.

Spring (and Setsubun) Before the New Year in Poetry

We have an interesting phenomenon this year, illustrating one of the complexities in Japan’s old calendar systems. It’s not an uncommon thing, and as he often was, Bashō was there about 360 years ago to write about it.

春や来し年や行きけん小晦日 芭蕉
haru ya koshi toshi ya yukiken kotsugomori[1]

is spring here?
is the year over?
second-to-last-day
—Bashō
[2]

Early Spring - Takeuchi Keishu
Early Spring – Takeuchi Keishu

Today is Setsubun! It seems like I write about this day every year, so go read the write up I did last year. Suffice to say it is a spring celebration. Tomorrow is the start of spring, called Risshun!

Now the system that gives us Setsubun and the other microseasonal events I often post about (24節気) is a solar system, whereas the old calendar is a lunar system, so the first day of spring doesn’t always line up with Lunar New Year. This is what Bashō is talking about in his haiku above. He’s expressing some playful confusion at how it can be spring when the year isn’t over yet.

In his case, the two systems were only out of alignment by two days. This year is one of those years when it doesn’t line up, but it’s out of sync by more than two days for us. Lunar New Year isn’t until Feb 10th this year.

(Keep in mind Japan celebrated New Years with the Lunar New Year before switching to the Gregorian calendar in 1871 and changing the day to Jan 1st)

Most normal people didn’t really care. It was a curiosity when the two dates didn’t line up, but nothing to waste time thinking about. Poets, however: we tend to notice such things. In the haiku world, there are many kigo (season words) to describe times like this, when spring begins a few days before the New Year. This one from Bashō may be the most famous.

This is actually the first dated haiku we have from Bashō, written in 1662 when he was only 19 years old. At this time in his career he was all about the clever wordplay and allusions to older poetry, and that is on full display here as he is borrowing phrasing from one classic poem from the Ise Monogatari and is also pointing at another famous poem from the Kokin Wakashū. Both of these poems would have been fairly well-known in his day, so many readers would have easily gotten his jokes.

The second of those poems he is alluding to is by Ariwara no Motokata:

年のうちに春は来にけりひととせをこぞとやいはむことしとやいはむ
toshi no uchi ni haru wa kinikeri hitotose o
kozo to ya iwan kotoshi to ya iwan

spring has come
before the year’s end
the remaining days
do we call them
this year or last?
—Ariwara no Motokata[3]

Bashō would later move away from this kind of word play, but in his early years he loved it.

These days Japan no longer follows the same lunar calendar that much of Asia still does, so mention of this idea in haiku has probably all but disappeared. Japan does still follow the system of microseasons for many events, so celebrations of days like Setsubun are still pretty common.

By the way, if you are eating a sushi roll for Setsubun this year (again, see that linked post) then the lucky direction for 2024 is east-northeast.

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