Ecological Poetics of the Union of Self and Things in the Poetry of Kyubo Lee, Matzo Basho and A. R. Ammons
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This paper studies how the “Union of Self and Things (物我一體)” can be reinterpreted as an ecological way of perceiving nature. The four-character phrase has traditionally been interpreted as referring to a state of harmony between humanity and nature. But it is also a unique way of perceiving nature and widely practiced by poets and writers in East Asia. In order to perceive nature as is, East Asian writers have traditionally employed two main tactics. The first is forgetting oneself, that is, not to exert oneself onto ten thousand things of the world, but to allow oneself to stand still at the receiving end. The second is positively identifying oneself with things―hence evoking sympathy and compassion. By practicing these virtues, one can escape the prison of human-centered vision and experience essential oneness of all things of the planet earth. According to R. H. Blyth, the core spirit of haiku is “the apprehension of a thing by a realization of our own original and essential unity with it.” He thereby shows how the principle of the “Union of Self and Things” is also embedded in the haikus of Basho. Kyubo Lee develops this idea of oneness into an ecological poetics of love and compassion by adding Buddhist idea of mercy and Confucian idea of compassion. This Taoist idea of oneness blooms fully in the ecological poetry of A. R, Ammons who is learned at the modern science of ecology and Taoism. The poetics of the union of self and things has led these poets to overcome the chronic anthropocentricism and foster the biotic egalitarianism.
Abstract
This paper studies how the “Union of Self and Things (物我一體)” can be reinterpreted as an ecological way of perceiving nature. The four-character phrase has traditionally been interpreted as referring to a state of harmony between humanity and nature. But it is also a unique way of perceiving nature and widely practiced by poets and writers in East Asia. In order to perceive nature as is, East Asian writers have traditionally employed two main tactics. The first is forgetting oneself, that is, not to exert oneself onto ten thousand things of the world, but to allow oneself to stand still at the receiving end. The second is positively identifying oneself with things―hence evoking sympathy and compassion. By practicing these virtues, one can escape the prison of human-centered vision and experience essential oneness of all things of the planet earth. According to R. H. Blyth, the core spirit of haiku is “the apprehension of a thing by a realization of our own original and essential unity with it.” He thereby shows how the principle of the “Union of Self and Things” is also embedded in the haikus of Basho. Kyubo Lee develops this idea of oneness into an ecological poetics of love and compassion by adding Buddhist idea of mercy and Confucian idea of compassion. This Taoist idea of oneness blooms fully in the ecological poetry of A. R, Ammons who is learned at the modern science of ecology and Taoism. The poetics of the union of self and things has led these poets to overcome the chronic anthropocentricism and foster the biotic egalitarianism.
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