MENGHAYAL JADI PRESIDEN

Termenung di atas kloset Menghayal, jadiPresiden.......Plung!2006

Sumber: http://telagapuisi.blogspot.co.id/2009/10/puisi-menghayal-jadipresiden-dan-kkn.html

Commentary by Robert Aitken

The old pond;a frog jumps in Plung! (the sound of the water).
Furu ike ya
oto

Old pond!kawazu tobikomu

waters sound

frog jumps inmizu no

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
perchedaki no kure

Withered branch onkarasu no tomari keri

autumns evening

crows

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 ofnondiscrimination 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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Di bawah ini adalah puisi Haiku karya penyair Jepang bernama Matsuo
Basho. BerjudulKolam Tua, tahun
1686. Sebenarnya puisi Haiku tidak berjudul, karena puisi Haiku
hanyaterdiri dai tujuh belas
suku kata atau Silabe, hanya pembaca yang menyepakati makna
puisitersebut, sehingga seolah-olah
disimpulkan 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 menggunakan bahasa yang
menjelaskan
pada
keadaan alam. Kata benda yang ada di kehidupan dipilihnya untuk
menuangkanimajinasinya ke dalam tulisan menjadi sebuah puisi Haiku,

sehingga pembaca ikut terbawa

olehimajinasi 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, menandakan bahwa mereka adalah
kata benda yangdapat
ditemukan di alam sekitar kehidupan pembaca.
Bahasa yang sangat sederhana,menyimbolkan satu makna. Hal tersebut
memudahkan
pemahaman pembaca tergadap puisisang pengarang. Bahasa yang
dipilih tidak menyampaikan makna
tersirat yang harus benar- benar dipahami oleh pembaca. Pengarang
memilih
bahasa yang sederhana untuk menggambarkan suasana alam yag
dirasakannya.
Citraan (Imagery)
Puisi Haiku yang berjudul Kolam Tua dihasilkan oleh pengarang untuk
menggugahimajinasi pembaca
dengan menggunakan citra lihatan. Pembaca diajak menggunakan
indralihatannnya 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 pendengaran 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
imajinasinya. Melaluicitra
dengaran, pembaca mampu merasakan apa yang terjadi di pikiran

pembaca mengenaigejala
alam. Setelah membaca puisi tersebut pasti pembaca mendapatkan
keunikan dari karyasastra
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. Pembacatidak menemukan bahasa yang
dilebih-lebihkan menjadi suatu keadaan yang menggambarkankeindahan
dan kemegahan karena pengarang tidak
menggunakan majas atau bahasa kias yanghiperbolis untuk
menggambarkan apa yang ada di imajinasinya. Tidak ada simbilsimbol dalamkaryanya, hanya keadaan sebenarnya mengenai sesuatu
yang terjadi di alam.
Tipografi
Puisi Haiku khas dengan sturktur fisik yang dimilikinya, segala
kesederhanaannyamenjadikan puisi jenis ini menyebar ke seluruh dunia.
Keunikannya itu
memiliki identitas sebagai berikut.Terdiri dari tujuh belas suku kata atau
silabe yang terbagi menjadi 3 larik dengan
rinciansebagai 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 pemenggalan suku kata kanji atau huruf-huruf
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
mengutamakankeindahan menulis dalam bentuk huruf kanji dan keahlian
pengarang
menyatukan suku katadari huruf kanji yang memang sudah identitas
bangsa Jepang, karena tiap-tiap satu huruf
kanjimemiliki makna. Di situlah letak keindahan puisi Haiku.
Struktur Batin
Tema (Sense)
Puisi Haiku yang terbit selama ini sebagian besar bertemakan suasana
alam dankehidupan. 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)Walaupun dalam puisi ini menyampaikan
bahwa pembaca
harus semangat dalammenjalani kehidupan tanpa adanya kesedihan,
tetepi
pengarang tidak menggambarkannyadengan cara yang bergejolak,
bergelora, dan berlebihan.
Pengarang menyampaikan dengan carayang tenang dan menyayom.
Pengarang jujur
meyatakan isi hati dan pikirannya bahwa iasedang dalam keseduan atau
kesedihan.Amanat atau
tujuan (Intention)Pembaca boleh bersedih untuk menunjukkan rasa
simpati. Sebagai makhluk sosial
tidak dianjurkan untuk bersedih yang berlarut-larut karena manusia tidak
hidup sendiri.Manusia harus
berusaha, bersemangat, 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
berbagidengan sesama.
SIMPULAN
Dari kedua karya tersebut dapat kita ambil kesimpulan bahwa puisi Haiku
memberi
pengaruh terhadap kesusastraan 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.Keduanya sama-sama
menyampaikan hal mengenai kehidupan di bumi. Yang berbedadari segi
makna yang ingin
disampaikan oleh pengarang. Matsua Basho yang berasal dariJepang lebih
dominan
dengan puisi yang bertema suasana alam karena dilatarbelakangi oleh
pola pikir masyarakat
Jepang yang maju dengan ilmu pengetahuan alam, cara
mengelolanya,dan teknologinya. Eka

Budianta berasal dari Indonesia menghasilkan karangan

bertemakehidupan sosial yang
dilatarbelakangi oleh kemajuan masyarakatnya dengan pola pikir
ilmusosial mengenai pengendalian
diri untuk menhasilkan tenaga kerja manusia.Jadi, tidak ada karya sastra
yang tidak berumber dari kehidupan.
Bahan baku karya sastraadalah kehidupan. Itu semua yang saya pahami
setelah membaca dan mengkaji dua buah
karyasastra dari negara yang berbeda. Pendapat saya mengenai
pemahaman dua buah puisi Haiku initidak dapat
sepenuhnya dibenarkan atau pun disalahkan karena kebenaran
sepenuhnya hanyaada pada
pengarang.
DAFTAR PUSTAKA
http://www.poemhunter.com/poem/the-old-pond/