MENGHAYAL JADI PRESIDEN

Termenung di atas klosetMenghayal, jadiPresiden.......Plung!2006

Sumber: http://telagapuisi.blogspot.co.id/2009/10/puisimenghayal-jadi-presiden-dan-kkn.html

Commentary by Robert Aitken

The old pond;a frog jumps in Plung! (the sound
of the water).
Furu ike ya
Old pond!kawazu tobikomu
frog jumps inmizu no oto
waters sound

THE FORM
Ya is a cutting word that separates and yet joins the
expressions before and after. It is punctuation that
marks a transition a particle of anticipation.
Though there is a pause in meaning at the end of the
first segment, the next two segments have no pause
between them. In the original, the words of the second
and third parts build steadily to the final word oto. This
has penetrating impact the frog jumps in waters
sound. Haiku poets commonly play with their base of
three parts, running the meaning past the end of one
segment into the next, playing with their form, as all
artists do variations on the form they are working with.
Actually, the name haiku means play verse.

COMMENT
This is probably the most famous poem in Japan, and
after three hundred and more years of repetition, it has,
understandably, become a little stale for Japanese
people. Thus as English readers, we have something of
an edge in any effort to see it freshly. The first line is
simply The old pond. This sets the scene a large,
perhaps overgrown lily pond in a public garden
somewhere. We may imagine that the edges are
mossy, and probably a little broken down. With the frog
as our clue, we guess that it is twilight in late spring.
This setting of time and place needs to be established,
but there is more. Old is a cue word of another sort.
For a poet such as Bash, an evening beside a mossy
pond evoked the ancient. Bash presents his own mind
as this timeless, endless pond, serene and potent a
condition familiar to mature Zen students.
In one of his first talks in Hawaii, Yamada Kun Rshi
said: When your consciousness has become ripe in
true zazen pure like clear water, like a serene
mountain lake, not moved by any wind then anything
may serve as a medium for realization.
D.T. Suzuki used to say that the condition of the
Buddhas mind while he was sitting under the Bodhi
tree was that of sagara mudra samadhi (ocean-seal
absorption). In this instance, mudra is translated as
seal as in notary seal. We seal our zazen with our
zazen mudra, left hand over the right, thumbs touching.
Our minds are sealed with the serenity and depth of the
great ocean in true zazen.
There is more, I think. Persistent inquiry casts that
profound serenity. Tradition tells us that the Buddha
was preoccupied with questions about suffering. The

story of Zen is the story of men and women who were

open to agonizing doubts about ultimate purpose and
meaning. The entire teaching of Zen is framed by
questions.
Profound inquiry placed the Buddha under the Bodhi
tree, and his exacting focus brought him to the serene
inner setting where the simple incident of noticing the
morning star could suddenly disclose the ultimate Way.
As Yamada Rshi has said, any stimulus would do a
sudden breeze with the dawn, the first twittering of
birds, the appearance of the sun itself. It just happened
to be a star in the Buddhas case.
In Bashs haiku, a frog appears. To Japanese of
sensitivity, frogs are dear little creatures, and
Westerners may at least appreciate this animals
energy and immediacy. Plop!
Plop is onomatopoeic, as is oto in this instance.
Onomatopoeia is the presentation of an action by its
sound, or at least that is its definition in literary
criticism. The poet may prefer to say that he became
intimate with that sound. Thus the parody by Gibon
Sengai is very instructive:
The old pond!Bash jumps in,The sound of the water!
Hsiang-yen Chih-hsien became profoundly attuned to a
sound while cleaning the grave of the Imperial Tutor,
Nan-yang Hui-chung. His broom caught a little stone
that sailed through the air and hit a stalk of bamboo.
Tock! He had been working on the kan My original
face before my parents were born, and with that sound
his body and mind fell away completely. There was only
that tock. Of course, Hsiang-yen was ready for this
experience. He was deep in the samadhi of sweeping
leaves and twigs from the grave of an old master, just

as Bash is lost in the samadhi of an old pond, and just

as the Buddha was deep in the samadhi of the great
ocean.
Samadhi means absorption, but fundamentally it is
unity with the whole universe. When you devote
yourself to what you are doing, moment by moment
to your kan when on your cushion in zazen, to your
work, study, conversation, or whatever in daily life
that is samadhi. Do not suppose that samadhi is
exclusively Zen Buddhist. Everything and everybody
are in samadhi, even bugs, even people in mental
hospitals.
Absorption is not the final step in the way of the
Buddha. Hsiang-yen changed with that tock. When he
heard that tiny sound, he began a new life. He found
himself at last, and could then greet his master
confidently and lay a career of teaching whose effect is
still felt today. After this experience, he wrote:
One stroke has made me forget all my previous
knowledge.No artificial discipline is at all needed;In
every movement I uphold the ancient wayAnd never
fall into the rut of mere quietism;Wherever I walk no
traces are left,And my senses are not fettered by rules
of conduct;Everywhere those who have attained to the
truthAll declare this to be of highest order.
The Buddha changed with noticing the morning star
Now when I view all beings everywhere, he said, I
see that each of them possesses the wisdom and virtue
of the Buddha . . . and after a week or so he rose
from beneath the tree and began his lifetime of
pilgrimage and teaching. Similarly, Bash changed with
that plop. The some 650 haiku that he wrote during his
remaining eight years point precisely within his narrow

medium to metaphors of nature and culture as personal

experience. A before-and-after comparison may be
illustrative of this change. For example, let us examine
his much-admired Crow on a Withered Branch.
On a withered brancha crow is perched:an autumn
evening.
Kare eda ni
Withered branch onkarasu no
tomari keri crows perchedaki no kure
autumns evening
The Japanese language uses postpositions rather than
prepositions, so phrases like the first segment of this
haiku read literally Withered branch on and become
On [a] withered branch. Unlike English, Japanese
allows use of the past participle (or its equivalent) as a
kind of noun, so in this haiku we have the
perchedness of the crow, an effect that is
emphasized by the postposition keri, which implies
completion.
Bash wrote this haiku six years before he composed
The Old Pond, and some scholars assign to it the
milestone position that is more commonly given the
later poem. I think, however, that on looking into the
heart of Crow on a Withered Branch we can see a
certain immaturity. For one thing, the message that the
crow on a withered branch evokes an autumn evening
is spelled out discursively, a contrived kind of device
that I dont find in Bashs later verse. There is no turn
of experience, and the metaphor is flat and
uninteresting. More fundamentally, this haiku is a
presentation of quietism, the trap Hsiang-yen and all
other great teachers of Zen warn us to avoid. Sagara
mudra samadhi is not adequate; remaining indefinitely
under the Bodhi tree will not do; to muse without

emerging is to be unfulfilled.
Chang-sha Ching-tsen made reference to this
incompleteness in his criticism of a brother monk who
was lost in a quiet, silent place:
You who sit on the top of a hundred-foot pole,Although
you have entered the Way, it is not yet genuine.Take a
step from the top of the poleAnd worlds of the ten
directions will be your entire body.The student of Zen
who is stuck in the vast, serene condition of
nondiscrimination must take another step to become
mature.
Bashs haiku about the crow would be an expression of
the first principle, emptiness all by itself separated
from the world of sights and sounds, coming and going.
This is the ageless pond without the frog. It was
another six years before Bash took that one step from
the top of the pole into the dynamic world of reality,
where frogs play freely in the pond and thoughts play
freely in the mind.
The old pond has no walls;a frog just jumps in;do you
say there is an echo?

Thirty translations of a haiku by Matsuo Bash (1686).

Many more versions can be found in Hiroaki Satos One
Hundred Frogs (Weatherhill, 1995), which includes over
100 translations plus a number of adaptations and
parodies.
The commentary is from Robert Aitkens A Zen Wave:
Bashs Haiku and Zen (revised ed., Shoemaker &

Hoard, 2003). The book includes essays on 26 of

Bashs haikus, of which this is the first.

MATSUO BASHO - BIOGRAPHY

Matsua Basho (1644 - 1694) is one of the most celebrated Japanese
poets. His reputation extends from Japan to include a nearly global
recognition. Basho is considered to be the master of the haiku. His work is
praised for its brevity and clarity; its ability to capture the most suddle
transitions is astounding. Many monuments in Japan bear his poems. His
works include The Seashell Game, A Shriveled Chestnut, Record of a
Weather-Exposed Skeleton, Winter Days, Spring Days, A Visit to Kashima
Shrine, Record of a Travel-Worn Satchel, A Visit to Sarashina Village,
Wasteland, The Gourd, The Monkey's Raincoat, Saga Diary, On
Transplanting the Banana Tree, On Seclusion, A Sack of Charcoal, The
Detached Room, Narrow Road to the Interior, and The Monkey's Raincoat,
Continued) . To earn a living, Matsuo Basho was employed as a teacher.
Matsuo Basho began writing poetry when he was young. He quickly
became a fixture amongst the intelligentsia of Edo period Japan. However,
he rejected urban life and its literary circles. He was known to take to the
countryside to wander in the wilderness. His experiences and observation
of nature fueled his work. Stylistically, Matsuo Basho sometimes rejected
the strict stylistics of kigo in favor for his hokku. Basho felt he could reveal
nature and emotion more directly. Matsuo Basho is also given credit for
developing the haiku as a free standing poem. Despite the fact, Matsuo
Basho did not always work in the most popular style of poetry, he was
widely admired in his lifetime. At the end of the nineteenth century, the
Japanese interest in his work became a national obsession. His reputation
was so inflated that Shinto bureaucrats made negative critiques of his
poetry blasphemy. In the twentieth century, translations of Matsuo
Bashos work into European languages expanded his influence. His
writings would influence Imagist poets (including Ezra Pound) as well as
the Beat Generation writers. His use of image has, perhaps, been
duplicated but never rivaled.
In 1644, Matsuo Basho was born in Iga Province, close to the city of Ueno.
He was name Matsuo Kinsaku. His father was probably a samurai, though
not one of high reputation. If this is true, Basho would have easily been
embraced in the military. Yet when Matsuo Basho was still a child, he
came to serve Todo Yoshitada. Yoshitada nurtured the boys literary and
poetic interests. His master encouraged Basho to take part in the
collaborative haikai no rengaa collaborative style of poetry from which
the haiku was to be derived. In 1662, Matsuo Bashos first poem was
published. In 1664, Matsuo Bashos first collection of hokku was released.
In 1666, Yoshitada died. His masters death released his from the
enjoyable security that the servitude provided the young poet. Many
believe that it was at this point that Matsuo Basho rejected his samurai

status and left his fathers home. This time was one of confusion for the
poet, and the historical record gives no clear reason for his action.
Suggested reasons include a possible infatuation with a Shinto miko
(priestess) or curiosity about the concept of love for ones own sex. He
was also unclear about whether he wanted to devote himself to his craft
or if he wanted to join the governmental apparatus. His reluctance to
throw himself completely into his poetic craft was in part due to the low
standing of poetry. The styles of poetry Matsuo Basho practiced at the
time (renga and haikai no renga) were considered social diversions and
not serious pursuits. Throughout the period of indecision, Basho continued
to publish collections of his work.
In 1672, Matsuo Basho moved to Edo to continue his studies into poetry.
He began to make a reputation for himself in the literary community of
Nihonbashi. By 1674, Matsuo Basho had become an intimate of those in
the haikai profession. He had also received instruction from Kitamura Kigin
a Buddhist intellectual who taught that homosexuality was more natural
for priests. Although Kigins configuration of homosexual love was more
like that of Classical Greece, than the homosexual love of the postFreudian, post-Liberation era.
During this period, Matsuo Basho adopted the nom de plume Tosei. He
began to teach. The work of his students would eventually be collected in
The Best Poems of Toseis Twenty Disciples. Matsuo Bashos reputation
was so significant that the students wanted to promote their connection to
the master. In 1680, Basho began to move away from the literary public.
He relocated his home to Fukagawa. His students constructed a home for
him and planted a banana tree for him. In honor of this event, he adopted
the name Matsuo Basho, which means banana tree.
Matsuo Basho was unnerved by his success and loneliness. In an attempt
to bring order to his mind, he became a practitioner of Zen meditation. He
entered a period of personal turmoil when in 1682 his house burnt down,
in 1683 his mother died. He went to Yamura to live with a friend for a
short while. His students rebuilt his home, but he could not shake his
negative mindset. He soon undertook the first of his four major
peregrinations. This undertaking was dangerous because of the
lawlessness of the period. Many anticipated that Matsuo Basho would be
murdered by highway men or (if lucky) simply expire in the wastes
between cities. However, Basho met many people and found joy in the
experiences of nature. Bashos poems became less interior as he began to
focus on the natural world, the exterior world, in a more focused way.
The first trip led him from Edo to Mount Fuji to Ueno and finally to Kyoto.
Many poets he met claimed to be his devotees. The clamoured for his
wisdom and advice about their poetry. His main advice was to ignore the
literary fads of Edo, and to ignore even the work of his that the amateur
poets had found in his recent publications. When Basho returned to Edo in
1685, he embraced his role of instructor and began to hold poetry
contests. Throughout this period he would alternatively crave and reject
visitors. But some of his work revealed a certain whimsy and humor that
went beyond his temporary bouts of melancholy.
In 1686, Matsuo Basho wrote a poem describing a frog leaping into water.

This work, with its myriad of English translation, became the most famous
of Bashos famed literary production. This haiku is seen by many as
representing the vast possibility of the subtleties of the genre. In honor of
the greatness of this work, a contest was held for haikai no renga that
dealt with frogs. These works were collected with Matsuo Bashos poem as
their keystone.
In 1688, Matsuo Basho returned to the city of his youth, Ueno. There he
celebrated the Lunar New Year. When he returned to his home, he
returned to his reclusive ways. In 1689, Basho and his student Kawai Sora
would travel through the northern provinces. This journey would be
memorialized in The Narrow Road, which was published in 1694.
When Matsuo Basho returned to Edo, he was more sociable allowing a
nephew and a sick woman to leave with him. He also opened his home to
visitors again. At this time in his life, Basho practiced karumi (lightness).
With this frame work, he accepted the everyday normalcy of the world,
foregoing his rejection of society. In 1694, Matsuo Basho would travel one
last time to Ueno, Kyoto and Osaka. Illness struck him. He died in the
company of his students.
http://www.egs.edu/library/matsuo-basho/biography/

Di Bawah Ini Adalah

Puisi Haiku Karya
Penyair Jepang
Bernama Matsuo
Basho
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scribd. scribd. scribd. scribd. scribd.

Di bawah
ini adalah
puisi Haiku
karya
penyair
Jepang

bernama
Matsuo
Basho.
BerjudulKo
lam Tua,
tahun
1686.

Sebenarny
a puisi
Haiku
tidak
berjudul,
karena
puisi Haiku

hanyaterdi
ri dai tujuh
belas
suku kata
atau
Silabe,
hanya

pembaca
yang
menyepak
ati makna
puisiterseb
ut,
sehingga

seolaholah
disimpulka
n sebagai
judul.
Furu ike ya
kawazu

tobikomu
mizu no
oto
Dalam
bahasa
Inggris:
Old pond

frogs
jumped in
sound of
water
Dalam
bahasa
Indonesia:

Di kolam
tua
katak
melompat
kecipak air
Struktur
Fisik

Diksi
(diction)
Matsuo
Basho
dalam
karyanya,
Kolam

Tua
mengguna
kan
bahasa
yang
menjelask
an

pada
keadaan
alam. Kata
benda
yang ada
di
kehidupan

dipilihnya
untuk
menuangk
animajinas
inya ke
dalam
tulisan

menjadi
sebuah
puisi
Haiku,
sehingga
pembaca
ikut

terbawa
olehimajin
asi
pengarang
. Pembaca
terbawa
menikmati

suasana
alam
hanya
dengan
kata-kata
yangdipilih
oleh

pengarang
.
Di
kolam tua
katak
melompat

kecipak
air
Kata-kata
yang
ditebalkan
oleh saya,

menandak
an bahwa
mereka
adalah
kata
benda
yangdapat

ditemukan
di alam
sekitar
kehidupan
pembaca.
Bahasa
yang

sangat
sederhana,
menyimbol
kan satu
makna. Hal
tersebut
memudahk

an
pemahama
n pembaca
tergadap
puisisang
pengarang.
Bahasa

yang dipilih
tidak
menyampai
kan makna
tersirat
yang harus
benar-

benar
dipahami
oleh
pembaca.
Pengarang
memilih
bahasa

yang
sederhana
untuk
menggamb
arkan
suasana
alam yag

dirasakann
ya.
Citraan
(Imagery)
Puisi Haiku
yang
berjudul
Kolam Tua

dihasilkan
oleh
pengarang
untuk
menggugahi
majinasi
pembaca
dengan

menggunak
an citra
lihatan.
Pembaca
diajak
menggunak
an
indralihatan

nnya atau
secara
visual untuk
menikmati
karya
pengarang.
Dibuktikan
dengan lirik

yangsaca
cetak tebal
berikut ini

Di
kolam tua
katak

melompat
kecipak air
Pengarang
juga
menggugah
indra
pendengara
n atau

nonvisual
pembaca
melalui

karyanya.
Sangat
indah dan

sangat
cerdas
dalam
memilih
kata.
Dibuktikan
dengan

lirik
yangsaya
cetak
tebal.
Di kolam
tuakatak
melompat

kecipak air
Pengarang
berhasil
membawa
imajinasi
pembaca
ikut serta

dalam
imajinasin
ya.
Melaluicitr
a
dengaran,
pembaca

mampu
merasakan
apa yang
terjadi di
pikiran
pembaca
mengenai

gejala
alam.
Setelah
membaca
puisi
tersebut
pasti

pembaca
mendapat
kan
keunikan
dari
karyasastr
a

yang
hanya
terdiri dari
beberapa
suku kata
saja
karena

bisa
merasakan
suara air
yang biasa
mereka
dengar
tetapi

melalui
media
tulisan.
Bahasa
kias
(Figurative
)

Puisi Haiku
berisi
tulisan yang
apa adanya
mengenai
alam dan
gejalagejalanya.

Pembacatid
ak
menemukan
bahasa
yang
dilebihlebihkan
menjadi

suatu
keadaan
yang
menggamba
rkankeindah
an dan
kemegahan
karena

pengarang
tidak
menggunak
an majas
atau bahasa
kias
yanghiperbo
lis untuk

menggamba
rkan apa
yang ada di
imajinasinya
. Tidak ada
simbilsimbol
dalamkarya

nya, hanya
keadaan
sebenarnya
mengenai
sesuatu
yang terjadi
di alam.
Tipografi

Puisi Haiku
khas
dengan
sturktur fisik
yang
dimilikinya,
segala
kesederhan

aannyamenj
adikan puisi
jenis ini
menyebar
ke seluruh
dunia.
Keunikanny
a itu

memiliki
identitas
sebagai
berikut.Terdi
ri dari tujuh
belas suku
kata atau
silabe yang

terbagi
menjadi 3
larik dengan
rincianseba
gai berikut:
Baris 1 : 5
suku
kataBaris 2 :

7 suku
kataBaris 3 :
5 suku kata

Dapat
dibuktikan
dengan
lirik puisi

Kolam
Tua asli
dalam
bahasa
Jepang
yang
sedang

saya
bahas
berikut
ini. Puisi
dipenggal
sesuai
pemengga

lan suku
kata kanji
atau hurufhuruf
tradisional
Jepang
lainnya.

Fu-ru-i-ke
ya
(5 suku
kata atau
silabe)
ka-wa-zu
to-bi-ko-

mu
(7 suku
kata atau
silabe)
mi-zu no
o-to
(5 suku

kata atau
silabe)
Kekhasan
puisi Haiku
terletak
pada
keunikan

puisi itu
sendiri
yang
mengutam
akankeind
ahan
menulis

dalam
bentuk
huruf kanji
dan
keahlian
pengarang
menyatuk

an suku
katadari
huruf kanji
yang
memang
sudah
identitas

bangsa
Jepang,
karena
tiap-tiap
satu huruf
kanjimemil
iki makna.

Di situlah
letak
keindahan
puisi
Haiku.
Struktur
Batin

Tema
(Sense)
Puisi Haiku
yang terbit
selama ini
sebagian
besar

bertemaka
n suasana
alam
dankehidu
pan.
Seperti
karya

Matsuo
Basho
yang
lainnya,
berikut ini.
Kare eda
ni

karasu no
tomari keri
aki no kure
Dalam
bahsa
Inggris:

Withered
branch on
crows
perched
autumns
evening

Nada atau
suasana
(Tone)Wala
upun
dalam
puisi ini

menyamp
aikan
bahwa
pembaca
harus
semangat
dalammen

jalani
kehidupan
tanpa
adanya
kesedihan,
tetepi
pengaran

g tidak
menggam
barkannya
dengan
cara yang
bergejolak,
bergelora,

dan
berlebihan
.
Pengarang
menyamp
aikan
dengan

carayang
tenang
dan
menyayo
m.
Pengarang
jujur

meyataka
n isi hati
dan
pikirannya
bahwa
iasedang
dalam

keseduan
atau
kesedihan.
Amanat
atau
tujuan
(Intention)

Pembaca
boleh
bersedih
untuk
menunjukk
an rasa
simpati.

Sebagai
makhluk
sosial
tidak
dianjurkan
untuk
bersedih

yang
berlarutlarut
karena
manusia
tidak
hidup

sendiri.Ma
nusia
harus
berusaha,
berseman
gat, gesit,
dan tekun

dalam
menjalani
kehidupan.
Seperti
semut
walaupun
keadaan

tubuhnya
yang kecil,
tetapi
dalam
hidupnya
semut
selalu

berkumpul
dan
berserikat
, tidak
pernah
menyerah,
mengeluh,

semangat
dalam
berusaha,
bekerja
dengan
gesit, ulet,
hidup

bergotong
royong,
setia, tidak
egois, dan
selalu
berbagide
ngan

sesama.
SIMPULAN
Dari kedua
karya
tersebut
dapat kita
ambil

kesimpula
n bahwa
puisi Haiku
memberi
pengaruh
terhadap
kesusastra

an dunia.
Puisi Haiku
karangan
penyair
Indonesia
memiliki
ciriyang

sama
dengan
puisi Haiku
karangan
penyair
negara asli
Haiku

berasal,
Jepang.
Terdiri
daritujuh
belas
suku kata
atau silabe

yang
terbagi
menjadi 3
larik. Baris
pertama
terdiri dari
limasuku

kata, baris
kedua
terdiri dari
tujuh suku
kata, dan
baris
ketiga

terdiri dari
lima suku
kata.Kedu
anya
samasama
menyamp

aikan hal
mengenai
kehidupan
di bumi.
Yang
berbedada
ri segi

makna
yang ingin
disampaik
an oleh
pengarang
. Matsua
Basho

yang
berasal
dariJepang
lebih
dominan
dengan
puisi yang

bertema
suasana
alam
karena
dilatarbela
kangi oleh
pola pikir

masyaraka
t
Jepang
yang maju
dengan
ilmu
pengetahu

an alam,
cara
mengelola
nya,dan
teknologin
ya. Eka
Budianta

berasal
dari
Indonesia
menghasil
kan
karangan
bertemake

hidupan
sosial
yang
dilatarbela
kangi oleh
kemajuan
masyaraka

tnya
dengan
pola pikir
ilmusosial
mengenai
pengendali
an

diri untuk
menhasilk
an tenaga
kerja
manusia.Ja
di, tidak
ada karya

sastra
yang tidak
berumber
dari
kehidupan.
Bahan
baku karya

sastraadal
ah
kehidupan.
Itu semua
yang saya
pahami
setelah

membaca
dan
mengkaji
dua buah
karyasastr
a dari
negara

yang
berbeda.
Pendapat
saya
mengenai
pemaham
an dua

buah puisi
Haiku
initidak
dapat
sepenuhny
a
dibenarka

n atau pun
disalahkan
karena
kebenaran
sepenuhny
a
hanyaada

pada
pengaran
g.
DAFTAR
PUSTAKA
http://www
.poemhunt

er.com/po
em/theold-pond/