Embed Size (px)
Citation preview
\
J If
It
If ~. ~ ~,I ~ ~
}f~I~eP-~~~' .: ~ ~ .
1-C( ! .f0!ttJ
Mj~
\(JVIc wJ) ~ ~ rV\'~ +W Wvtt ~
~.~~. ~ ~ h;~ ~~_
1 ~ ro~ ~ l1lw~~ ~rh'
-hi ~ /
~ - r-:
FMi&ds~'~ Mwwru1
WLr I ~0VVtJ ~ ~ ~ H7~~Ltj
Cnt,1
• • 77
?? .. .
? •
t ~ J 1/I/fl>-ltVf
MCU<M--' /-vvJ -~
~0~~~wvU~ ~ ~
wl'M l[ >/~~Jk-Wr-
iL-~ '~¥r_
N~~~5~~~_
o Printed on 100% Hccyc'ec Paper -I~ 0 Prtnted on 100;<.Recycled Paper
- ++
r.
+ +
{~~~ ~~~~ '------------.,.
26. Zl, hft1l: I ~'/:;~ • j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
I
NE110 011 CDS 26 Sept. 1975
(COSMIC DELlVE~Y SYSTEM)
Various Spaceworkers' for the Cincinnati (Utter) Space Program have , reported an Irrtcr-es t Ing phenomenon that has been tentatively LabeLed the
Cosmic Delivery System. W~ call it CDS for shorthand refcrenca and so's you can space out friends who ar~ not yet hip to the Spucepcrson's fancy, y~t
productively cryptic language.
CDS is in operation when you get just what you needed. Typically you find yourself feeling grateful and bewildered, if not absolutely ecstatic, and you find yourself saying something like, "~low, I feel grateful and bewildered, if not absolutely ecstatic! I just got what I ne~ded (a tricycle,
--a package of cigarette papers, a space heater-, an I'N' in Turgid Field Theor.y, or a small dog who loves you, etc.). And I didn't have to go nuts or beat people up to gE::t it!" When th:lt happens, you haVE: btoen served by none other than CDS.
I" i I !' . So far, Spaceworkers un~nimously insist that th~ only critical ingredient
involved in CDS is CLARITY about what you~ dream is, since your dreams involve, at soma level, just what you really need, not what is adv~rtised on Johnny Carson or the Fritz Bangfeltcr Show, or told to you by an alcoholic family doctor. No one else can tetl you what you need$ only you know,' and if you don't knew, only you. can learn it.
We now hypothesize that the Univcrsa provides you tvcrything you need. If yo~ need Cosmic or Terrestial Horseshit to step in, you get it (say Thank You). If you need cigarette papers, you get them. If you need confusion~ you're confused. Get it?
CAUTION: Knowl~dgc of th~ ~DS hypotnesis leads some people far astray into Cosmic Confusion ana wo know, metatheoretically, that that is just what th~y ne~d.
Many people jump at the chance to g~t ~verything th~y ~ver wanted by the strange but true tactic of just laying back and waiting for a deliv~ry. You will be a long time with loose tobacco and no papers if you think this is how it works. Get clarity! Pay att~ntion to what is happening. CDS is in operation in direct rutio to your GETTING au WITH IT. Do wh.:J.t you have to do. Do it novr ; Be what you hav~ to be. BE:: it now! DreGm wh~t you hav~ to dream. CDS works when you ar~ ~orking, not when you ar~ idly d2ydre3ming about th~ day CDS will deliv~r free tickets to Utopia.* CDS materializes your dreams when you are being you, when you ar-e being real, when you are CLEAR about what is really going on. Wh~n you are not being you, the Dolivery System g~ts mixed up, just as you gGt mixed up when you arG not being you.
Now you can forget about CDS. As one Spuct=l-lcrker put it, "Qui t ~forryin I
buddy. It just works thataway." In fact, it hes be.:;;n noted th::lt wcrkin[ to get CDS operative actually def€ats the \4C1Y of CDS. \/hat W<:3 H-:mt to emphasIze is letting things t.3ke their own cour-s e , The cl~l'ity th·:-.t is necessar-y comas from forgetting about CDS; and gettin~ on with it. Th~ best Christmas present comE:S when you don't h2.vc: expectations about wh<J.t it will b~. Just he €:mpty. Just get on with it.
Holl, there it is. CDS. Th~ Cosmic D~livcry System. M~y it bring you all the cigar~tt~ p~pers or small dogs that love you, that you ev~r_ dreampt of.
Pleasant Dreams,
~Utopia is a small tcwn in Hot Atnab, Director Ohio s omewhor-o bc tvc-cn CUSP. Alpha Modul~ Cincinn3ti und Ab\.:rd<::cll.
; .. '
I
, I
I
9.
and visible as it is in the case of a high-school dropout, but the human loss is devastating. The number of people who hate their work is so high that it is not an accidental fact that the time of the week when most people die is Monday at 9AM.
• I think it is about time for a quote from James Thurber:
10.
It is better to know some of the questions than all of the answers
James Thurber
Quoted. in Patricia St. John, The Secret Language of Dolphins.
Summit Books, New York, p. 11. (1991)
• There are surely many subordinate questions which must be asked if we
make the following question the one that is central for us:
What must we do in order to maximize the opportunities for waking up in our educational institutions?
But I will not try to imagine them now. Here I invite your contributions.
And I will end as I started, with zen - a quote from Leonard Cohen, a longtime student. This quote belies what I said at the outset - that words are useless. When they are YID:Y good, words can point, clearly, at what lies beyond language. I like an ending that destroys the beginning. It seems a nice way out of some of the tangles that writing anything like this brings, inexorably, with it.
•
What is a saint? A saint is someone who has achieved. a remote human possibility. It is impossible to say what that possibility is. I think it has something to do with the energy of love. Contact with this energy results in the exercise of a kind of balance in the chaos of existence. A saint does not dissolve the chaos; if he did the world would have changed long ago. I do not think that a saint dissolves the chaos even for himself, for there is something arrogant and warlike in the notion of a mansetting the universe in order. It is a kind of balance that is his glory. He rides the drifts like an escaped ski. His course is a caress of the hill. His track is a drawing of the snow in a moment of its particular arrangement with wind and rock. Something in him so loves the world that he gives himself to the laws of gravity and chance. Far from flying with the angels, he traces with the fidelity of a seismograph needle the state of the solid, bloody landscape. His house is dangerous and finite, but he is at home in the world. He can love the shapes of human beings, the fine and twisted shapes of the heart It is good to have among us such men, such balancing monsters of love.
Leonard Cohen
Stranger Music: Selected Poems and Songs Pantheon Books,New York (1993).
Quoted. in:
the other side of waiting. An interview with Leonard Cohen, conducted at his Montreal home by Toronto journalist Cindy Bisaillon
Shambhala Sun, January 1994,p. 50
2.1.
Waking up
Haj Ross English Department
University of North Texas [email protected] or [email protected]
I have been chasing after zen for what seems like a long tim.e now, and recently, it has begun to seem that maybe the relationship is getting mutual. For those of you for whom zen is a total stranger, I willjust say that though it is often said that zen is something like an Eastern philosophy, or psychology, or kind of way of working on oneself, in fact, whatever it is, it is pretty clearly indescribable in anything as frail as mere words. If I were to say that it was something like beginning to live with a huge invisible elephant that you were pretty sure was in your living room all the time,but you didn't really know that, and anyway, no one else would see it, it was your problem, would that help any'? I didn't think so.
I think that problem is that when you and zen move in together, words have to move out. This whole category of experience is something intensely personal and lived, and the more you think that wrapping words around it is going to be useful, the less you have got the hang ofit. Sothe prognosis is not good, right? And yet
• My first brush with zen was when I talked probably thirty years ago at a
class reunion with a good friend from prep school who had been hanging out with some of the zen folks in San Francisco. I tried to get Si to explain what it was that he was doing, and I couldn't understand a word that he said to me. Which makes me think now that he must have been pretty far along even then.
But the one thing that I got, somehow, was that whatever this was, it was something of immense value. Hmm.
• And then, near the end of that turbulent and much maligned decade, the
60's, another good friend, a philosopher, loans me a book by Philip Kapleau: The Three Pillars of Zen. I read ~t uncomprehendingly, it talks about meditation, the basic instruction, to sit down and follow one's breath, counting up to ten breaths, on each exhalation - this is so silnple. How come that when I try to (try to) try it, it is so hard?
• And this book gives"me for the first time a zen word: koan. And tells me
what it is like to live with a koan. A koan is some kind of riddle or something, something that you cannot answer with your mind, something so fiendishly crafted that it in fact defeats your mind, after you have lived with it long enough.
Hey waidaminit! What is all this stuff about getting rid of my mind? What is so bad about having a mind, after all? Haven't I been going to all kinds of lengths to train my mind, and now I'm supposed to just chuck it? And for something as dubious as this, the first koan I remember encountering, and one that is said to be central to zen?
The monk Joshu is asked: Has a dog Buddha nature? Joshu's reply: Mu.
["rou" is helpfully said to be a generalized word for negation]
And here are all these stories about extremely serious people, going through extreme hardships, meditating for many years, staying up, outside, under the moon, baying Mu into the night air. And for what?
• Well, there is said to be a way of being, at the end of this indefinitely long
and painful ordeal with Mu, something the least intelligible ofall, something called enlightenment, or realization, or in Japanese, satori. And from the testimonials of several of the people in Kapleau's book who have had these satori experiences, something mysterious, which somehow comes, through, despite their inability to talk about it (better: despite their indifference towards the impossibility of expressing this whatever it is in words) - something from far away and yet also nearer than language is calling to me.
• And so I go to Japan in 1971 for the first time, and somehow, comically,
(turns out that one has to laugh a lot at oneselfon this trip) find myself at a zen temple, where I go to take part in a sesshin, a fierce ten-day retreat of about 18 to 20 hours of zen per day, I arrive in the middle of it, I burn out after twelve hours, leave feeling defeated, but also, how can this be? - still drawn, hypnotizedly, to this order of being, to this inaccessibility. I will spare you the gory details, suffice it to say that I fitfully meditate, read more stuffwithout understanding it, think that I want to (want to) learn more, fill the next 12 years with as much shillying as shallying, Let us kindly refer to this interlude as "Haj (thinking he is) chasing after zen."
• And now the scene shifts, it is the summer of 1983, I have a grant, from
the Jason and ,Marion Whiting Foundation, to talk to various people on the West coast about the relationships between art and science and philosophy and religion, which I feel are in some way inextricably intertwined, are much more alike than they are often thought to be, I am in Los Angeles. And I have been told, by a very dear friend, someone much farther along on this pathless path, that when she met the head of the Zen Center ofLosAngeles, Taezan Maezumi Roshi, she burst into tears, she knew immediately that he was her teacher, changed from the practice that she had been doing intensively for years to follow this man.
5.
phyartreligion - this is instead ~ whatever it is, and it is linked to insight, and learning about it is possible in groups in which some strange horizontalizanon has taken place, and the asymmetry usually there between student and! teacher has washed out, and we are all just learning together
There's a lot more like that too,should you wish to hear it. It is very hard to sayjust in what way it is not what it was in 1983. It is not that I now believe in different things, exactly - maybe a slightly better way to say it would be to say that the belief is in more of me. Or that it comes from a deeper place.
Maybe two things will help point to something just barely perceptible. Some twentieth-century painter, I think it was Max Ernst, but I don't know for sure, he was asked: what do you tell young painters? He said: I tell them to quit. That way, only those who have to will keep on painting. Or there is an expression in German: die Hand £firetwas ins Feuer legen - "to put one's hand in the fire for something." To believe something so much that you would actually put your hand in the fire as a kind of demonstration of your degree of commitment to it.
Now I feel more of a chicken about physical pain than I imagine most people do, yet there are things I have seen in poems, say, or mayl)e even about all of this mooshing, which I would put my hand in the flames for (I'm not saying how long, mind you). However much this may be true, when push comes to shove, is in a way immaterial. I am just trying to find some way to describe what may be dif· ferent in the Raj of 1997 from the one in 1983. I don't think that there was much in the older one that he would have put his hand in the fire for.
• Or maybe another way to talk around this feeling is to say that wanting
has become somewhat irrelevant. I used to want to believe in mooshability, and was assailed by doubts guilt etc. Now, despite the continued presence of all that dark stuff, mooshability just is. It's as ifat times I become Mr. Moosh.
• But what does all the above have to do with the title of this piece? Where
does waking up come in? And what is this whole thing about, anyway? Believe me, I sympathize with such questions. I am getting there, doubtless not fast enough. But I have to tell one more story, from a kind book, a present from a kind friend: Seeking the Heart of Wisdom , by Joseph Goldstein and Jack Kornfeld. The book starts like this:
It is said that soon after his enlightenment, the Buddha passed a man on the road who was struck by his extraordinary radiance and peacefulness. The man stopped and asked, "My friend, what are you? Are you a celestial being or a god?"
"No," said the Buddha. "Well, then, are-you some kind of magician or wizard?" Again the Buddha answered, "No." "Are you a man?" "No." "Well, my friend, what then are you?" The Buddha replied, "I am awake."
6.
And in fact, the word Buddha comes from the Sanskrit root, *bhudl):.. which means "to be awake." When the ending -dha is added to it, a word is produced which means "one who hasawakened."
I am going to skip a lot of stuffabout what it was that the Buddha awakened to, which is called in Sanskrit Dharma, and which we might quickly translate as "what is firm, or the Law," or: "the way things are." There are many books which talk about this much better than I know how to. Instead, what I want to talk. about is how the Buddha passed this wisdom down to his students.
And there, the answer was, and still is today: from the deepest place in his heart to that same place in his student. The Buddha's great insight and courage and determination had enabled him to completely purify his heart, and had also given him the ability to see clearly into the hearts of anyone who wanted to follow his teaching, and to tell when someone had truly understood, and embodied, all of it. And when that mystical point was reached, what happens, is something that we who have not experienced this can only guess at: it is written that at that point, there ceases to be any difference between that Buddha and the student. They are One in their deepest heart of wisdom. .
And what happened when one of the Buddha's students, who had personally achieved this fusion with the Buddha, started teaching still other students? Well, the same thing: when one of the students' students had achieved a pure heart, that fact would be revealed to the pure heart of his teacher, and again teacher and student would fuse into one. And thus arose the notion oflineage, and today there are Buddhist masters who can tell you who their teacher was, and who their teacher's teacher was, and so on, alI the way back 2500 years to the Buddha. There is an unbroken conduit of Light that radiates from the Buddha that comes down into the lives of these living masters today.
• The Buddhists say that we are all already Buddhas, but that we don't
know it. All the work that we do on ourselves is to help us to wake up and remember who, in our deepest essence, we most truly are. They say that each of us has a sleeping Buddha in us, and that we can wake that Buddha up.
• OK, you may say, but what does all of this have to do with Maezumi Roshi
in 1983? Well back then, I believed something which was wrong, I now think· that when we awake, we are roshis or gurus or Perfect Masters, or whatnot. I believed this fervently, despite many cautionary warnings in the zen literature, like the famous story:
Before I studied zen, a mountain was a mountain, a tree was a tree, and a lake was a lake. Then I studied zen for a while, and a mountain was no longer a mountain, a tree was no longer a tree, and a lake no longer a lake. I continued my studies, and a mountain is again a mountain,
/}. N.N1\ lr
l~~haL~
~~ ~ kIW)
d~(-
<T~~.1 ~ trt ~: '>
~K Tk -+dt ~ M~l ?-~
? }
------
1 1..-h~~~: \ 7L ~}, 1P. ~fl't ____
~\ ~
~L ~ ~ -h :aPWfvi:lu- Lh-~
~ ~1(Jf1l'1AJw.....1~.
\ ]G \~ ~~rL
L??~ ~ ~ ~~ ~.~
Gk1kv- -----"
~!9st~JjJ~
~-t-: ~ M :J5{ l-lrr
&~~L/~~~~
J 7f fKJ ~~T
if., ,.1u..11
s: '0v~~ ~ ~K1,
~ -rJ~ PN= 1M ~
tvv.-rx: :# ~ Y~7- ~W -
- --
wU- wt-I~ ~ ~ kJlkLlA1
... ---------. II G' 3
t TL.t-~ ~S A--- ----- &b
-..
? ~ b-rtIe--M-~ tW- ll) ~wiJ ~ tt ~
'? Nu4a.qtr Jk ~ W.f~ ~ Pf=1~~ _
:~!!Jk hL-i[J-s, ~~
· r AJar-. ;
~/~' ~Ax
r ~ ~~. ~1L£k~J)l
tN~' / ok lU ? l ~ll}~ I·wrJi.~ ) ,~
?N~~ ~ s~~~ :r)~~
~~
~77 • I
-' «w I::iEc> :::>C a...~g I:::>:50 0ua...
~.wOO; ~ t:;
Cla: :::> u::
II)
~,...._"""rnO>
eo".:::XCt:::>~ Zoo ,... .c C\I.c C")::J C\I...Ju
e_
f~Cc +"""~ 'tlc1'k
'&S', ~) ~V1{ r tL ~~Jh
~ kw)~ , <J ~~ 1k~k, ~
*~Il\U*~ ~
fL ~.4~_
~
1L-~; rls ~ hrtY\J-~
~ /4t{ -/tY ~kl ri ~ I ~
~r----\~
? 4t1 oftv~ ~ /~tiiJ
TkClh.:Z--rr '~'~1 [1 '~~'''/IJ ? 1 S ffl'tA-rl4\
So ~F A- h+-~~1)~~. ..
We-~ ~ 4--~M~ 11' 1
Lv; ~ J..
1 ~~~~~~~~vi I.
~-----------
~ ~;}~ \ 11.}R,i\{}\,1j[
'{fA ~~
)/
S~k~J~~ /
riPHlSs, K, .~;.:,}~"\!J~1:'3J;? Q;"'0(i~:(\
.',', •..•. \ " evr '," :? :'.: '('0/ \/'J1J"t/
QI
~ · ;(tri LK tAt\/1A it
\tJ\lr;h~ :~,~. .. , ~~
\~ Q';~~~!;.., :-~) '-< .,.
.» ~J~1'$
..~-.-
..1
·6~
,.,
:;:;~
~':~
rp w
.~ dlr"l!ir~-,"",
C<;' ~4
6e-~_ <: ~~ si: ?>/ ??1A!'f'~
(3(' "/\
~
~' Ujkl~ ?~ ~ 01, Jr. I'-t/vl L
l~) IJrV~m ~:~~ _ ~ ~4~
/Ji ~+~ dP1VWvhv~ J(~_.
wk~ hU k ~ ~{-he{ jWW'J ,
~t- ~ +,t Lf ~ I iLJJ'1. f~ Dh ,f ~ ~ ~ {)q,.~'r1J,A• d
"J .~
~~I~~ ~ ~ 1~c/bP lr=~'
lt~ ~~vqlr~k~l~lc~
~ )/l~ ~ ~~~~*f ~. /IT
t W~~ L ~ M-r Mev{
~lw,wI1-~ wl" k-~ T bo~
~kW ~ LtL 1~1;;J ~
~) »:: ~~ -h: 1_~_U~-v-----;---+-\----,-
~1-kI1t~ ~7 :1 w-Jvl-vvt \A/l... II
------<
\ ~~ "-'~ \ q. ][.1'1 ~~ .. l,,4k~!~-
Kfit/(I1· ~! f\0 - ~R ~~
!~ W-e--~ Zl~~~_
wJ~~£~w~
[Ivev J40~ lv~~ ~L Wt~ -
\0
? VI
~ ~We--f~~f ~ k- 6Me-_U2.:? r~
" lL,vDD 1) 'ffvvJ>
f5~
~~n\)
~~
~ ~J--
\
d I~ {;nf '" k [ ~ ] -h.A\A
'- --- n k k :\ k 't .{..A.
~~ J ftIj~:
~~- t~ ~M-~~~N fN~ (, [efLv ~
rNfJ -i: rPt.) tvrl)
i: '" ./
'1;. ~/N ~l~ ~ If. ~~~ ,,\i~: V l'»fkr. . V~
A. ~~~ . _ ~ 1. ~: 'f-"" w-·l in1~:.J - k
~J r~~ 1h~
c. ... {,...{ /1'v-[Th~
D(. l~ ~~1. ~~?
. - J.u.... ~ -}.p &tlt 4- . A.~
(3 I ~. ~ w-rvJ
~. ~
[,v u- LA J~~~ <S~ ~
~~~~
«». AJ~k~
II0L--~ ;";)r
~ --;z;;:;.
*N;t- ~,t0 >vt- -",,/,'
--------f:.~~.~~ oJ '
--,q...." (
~~
-----
~
~--h.. e
J I
~kM~_
-~ ~~~s_ '> J'L!"'''--F'O ~)I1.W
b. ~-~jlg/J~> ~~~
~~~~
\ ~~~ I~r' ~~~~J ;tQt'.rl1ltj
~~~~...-:--~_~~~~ ---
~.n~ \
DJr~~~
t" /~ ke1 rtcL~ ~ ~~ 1Lfl~~~M
---
l ~io ~S:D)~ 10- giL · tvl~
~~~ 1 &If ,~~
~~1+~~b~ ~~~.« -
~~ s: .s: li-t ~ ~,
~r~k
l~~t 0SV2J l~.:
~ t~,J: f~~~i f.J~t, fMttht~ t.lo ~~ofk-~)~~J:;
:ksU- D(~~~
\~ ~~ ~-(f.:r~ YUh-~ v-s7~' 1~ r.:":~ ~ !~\J t~k~ w~ 'wJJ ~~. it w.I1 kA/
If r:: ': IqI11U-)~ eJU-~tAg l -- J
MluhP~ .--- -----
\ t
\WON \
1-r~ 'K-L1L1 ~;f~ iLrr ~L,J
~)t; ~
.. -.....
t_ "'; .j>.
WVl11 ~UL-tf~
It ~f~Lbnt~~~ -
--
_--.L.- A.- ,!.. 1~~ Ait 2... ~. HIf1 ','
R,P( L.-.J ~ S:1,,{'
~ ~ ~~ Yf.!-~ ~I 'f-' I
' ~ ~ '1.1_V
iii I
~ I
~ IA~_
..
, ,
hdf-k~J~ ,
~~Aut8~Iek--~oh kt;-. <, l'
#L~ I
~ I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
,
- --
11~ ,~ '-'L~. M~ ~
f
f~ ~ l~~~ (
7/~
~; ~ Jo MIl ~f J~J w. lk r; /; T~
~ ~/) JL~ ~ ....... ...
~ JkLt1/V>--~~ I -;:J-J
~
-- -
~~ ~ ~~~
~ ~~ ~ )
~-tr
.', ' " 'i
0J.{ ) k-~~ <t
*~ .J- (fn/J~-:~ , .~P
~1T~ "": :.4h-~,
??~~L~~
--
, .
I
..
/
n. b?:b(;§fP
~W- ~ ~J -~,
~~~~~~
/tal ~~ w~J ~vu '
D.H. M~
A
JA?-<-f r1Jw., ~f ~ Ja!Z. f~:Z: ll\\A'~~)f) ~ 1-3t11.
J k~Po~1\U-
keer · O<J K..~[sl ~
/ 7J.AW ..
- ~
\k,~ ~
~k ~(Jl
..v ..............
~ t 5~IJlI.A.I'IA--t-I--"--",,",IY
~~~nk ~
IR>L~I !
--.-/
~1lv~ 4~
lCrk ~ )b-- WlLv TI/M"~~
LLt.~.~%/~ J ~:FI.flW1 (3k-~
? ~WY1ci) ~ r
/> ~
?TL;t rd ~~~~;)
I
J~ _c~t·p'(O~J.fI i.e, ~ W\,N'(j<uiM rri-fvt:-~'rtl ~5~n,d'~f1Yv JMf1},awY . .~«1-~) 1JJ.J~au l'WU ~U..iJ- ~.vi~ tr-OtA - 1M ~a-w'~ l~J9I~~t~}
Ene P. Hamp wiAviv L-tM>\'t-M to be Vht rw ~M tt4 • I'M U- L-:-(J•.sS-lmi~ it rs fltY" rJ'.ti;k~ ~ ;J·lh se.e. vY, It ~r~~J;i: ~" br~~~ ~ lq11 -J1v.J-fht.-° LfA r~ ~ to skettw 1kt. p~ftJg';';-~at.c.it~ ~ Jkelv~ PMt-fru1d~J
A language doesn't have to be big to have big thoughts and to find big beauty of expression. Some languages have a lot of equipment in some of their closets; but it takes an agile, inventive, and tasteful mind to use it well. Some languages accumulate lots of handy objects to do much the same thing; like old suits ranged in a closet. A clever mind can use them all, so that you'd think them n9w (though we love e. them when they're old and familiar) and just designed for style and beauty.
! I'
Albanian has a number of ways of expressing a negative: jo 'no', pa 'without, not', -Ce< *-ne (!<urre k.
'never'), a-Le- < "n- 'un-', mos [-FACT] < *me?-kWid 'not, don't',1 and then for 'not': \ o
tn~.. ':).; ...-.,~ , .._~,_._---'---.:..... .. . nuk(e) ~ Latin nunquam Latin neci neque'" / /.-/'
nenge)<f~~ke i (: .I ..... -- I ' \- . ,j,o,j,o '. *ne-kwo
neng _:.' nge ~ ng
s , . ~,Jr h/St. .'.-;:.' .~
Of the group originating in *ne-kwo or Latin nunquam most dialects select only one shape, but some dialects show two, probably neng(e) and one other ( notes). All these and 5 (older se) negate predications in the indicative, conditional, admi~rative .e. not the imperative, subjunctive, optative, nonfinite, or certain kinds of subordination re the inflected verb (or AUX) and the preposed pronoun objects. All these n- forms and 5 are synonyms grammatically and semantically, are selected by dialect, somewhat by style or register, apparently by phonotactics and phonetics, surely by prosodies and by oral-formulaic status (Eric P. Hamp, 'The reconstruction of particl~and syntax' in Historical syntax,ed. by J. Fisiak, 177-~ Berlin: Mouton, 1984),but precise and systematic rules appear not yet to have been worked out to account for choices. The n- forms and 5 can be strengthened by as 'nor' ~
'not even', dot 'impossible', and para 'barely'. Double negatives produce negativity in a single clause but between a main and a subordinate clause can produce affirmativity; mos standing alone can be the residue of a subjunctive or optative clause, 'May it not.;'. (}
Thus for realis predications a single dialect has 5 and one or two n- forms at its disposal~iant debris from its past. The Arberesh village of Santa Caterina Albanese (natively Pi~i/\ia or Pi!i"ia), Provincia Cosenza, rejoices in the forms 5, neng, and ng. Francesco Paolo Santori (16 September 1819--7September 1894;Paolo was replaced by Antonio when he entered the Franciscan order) was born of a lowly family in Picilia, where his bright mind was first nourished by the parish priest. Picilia (pop. 838 in 1807,according to A. Masci), unlike many Arbercsh villages, has been Roman, and not Eastern, rite as long as we know since its estimated settlement in 1461. Santori became a monk in nearby San Marco Argentano, the diocesan seat, where he received a competent Classical education which shows through in his poetry. During a life of unhappiness, envied by unsympathetic colleagues, he was obliged to leave monastic life ca. 1860 and in 1875, after an interval of pover~ and improvisation, he was given the pastorate of San Giacomo Albanese nearby. His 50-page Canzmiere, a gem, is even of uncertain publication date, the o alleged 1839 probably taken from the poem here presented.
?
Santori's stature as a poetic genius (as well as a preacher) is indubitable. I hope my little rendition in English will convey some of the flavor, the blend of folk verse tradition and classical lean precision. Our point here is to see how Santori could exploit his wealth of negatives, could add their semantic repetition in varied dress to his patterned insistent alliterations (home-grown cynghanedd or Hopkins chiming) to heighten the depiction of the pathos of life. The perfectly placed crescendo of s'if, ng'e, neng eamongst the other lavish (near) repetitions can surely never leave a dry admiring eye.
As the Arberesh say at the end of a tale, ng if me 'non c'e piu'.
Kentek e IV. (1839)2 Ndallanyshe, ndallanyshe, Swallow, sweetest swallow, Prire e thornse se me gjen, You'll come back and not find me,
.../'. '. o me con ~mbjatu ndryshe or else quite changed I'll seem to be r Nden dh~ ~ hfr i bene a clod of ash in the earth below.
Ti kendon e Todhri me You'll sing, but doting Theodore Se te ndien se ahler s'e will hear you not; he'll be no more.
Ti mallmadhe, zall' e thelle Homesick, yearning again to reach Se te shihje me lereve Kin and steeply sandy beach Tek pate te paren gj~lle, Where we first drew life's fresh breath, Tek u rrite e tek u leve: were born and grew, no thought of death. Moj nde Todhrin pra do me But when you come your Tel to see til
..... I Neng e con se ahjer ng'e. you won't find him; he won't be.
Mot' i lulevet kur vjen When blossom time arrives one day Kush e df nde thuash mbe tyj: Maybe to yourself you'Il say "Popo! lulet neng e gj~ne "Oh dear, the flowers haven't found Ke rriti te kopsht' i tij". the one who grew them in his ground." Ti kendon e Todhri me You will sing, but Theodore Se te gjegjen se neng e will not heed; he'll hear no more. , .
PIQI~ fjon~ kallez k~r ti shah C- r ~ ~h~~~ill seeour fields grow gold Arat tona verdhullore, heo..vy and . aj4s of grain unfold f/wn
a/ftn Z/etf e Todhrit neng e njeh the voice of Ted you will not pick out Mbi e te tjerevet lartullore; from among the others' thronging shout. Ti e kerkon perpara e me You will look for him where in front he'd be, Neng #con, se ahfer ng'e. but you won't find him; he won't be.
I Kur nde vjeshte kojllorrnet molla When autumn's apple takes on hue Dimrin afer te buthtonjen, Approaching winter comes in view Ato te verdha ke u mbolla and, yellowing, the ones I grew Kam bese se me tc kujtonjen: will stir a memory for you. Thua pra ahlena, ndal1anyshe: Then, swallow, you will sadly say "Popo! Todhrin cova ndryshe!" "How changed I find my Ted today."
Kur po gjithesh uraten merr When farewell wish from all you take Se te vesh te [i] huaji dhe To foreign shore your way to make
~/' Zemren e ndjen te shqerr' You'll softly hear a mute heart break ( Se nge kane per tyj me hje --your beauty's gone for our sake . .: :.'. t r: \.
e Ka. do shah, 0 ndallanyshe; ..;zwherever you look, swallow-true, x/I"" S,Kpa Todhrin par# endryshe. Without your Ted 'twill all be new.
rS4-b (?).,e.,J.. ~~e.~CiC!·Se1~n.f' 2 Santori, Francesco Antonio, II canzoniere albanese'l\Quaderni di Zjarri, 1975.
)
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
---------
-- ---
------
~~lA.~+~ j ~
o-e« l~v1{' ~ 1
~~ J\\r\ ~ AV ( ... t
~:
~~ LttJ (sKJ\ V\l v»
~~ L~ISt~AV~~
~:
\.~l~l I
?-. ~ ¥Sr/\-~ ~ t-
~ he,. {0., ~~Z
I
b~kVfL In' vmrr:r LA,. " ......
I
----:;?>
2.~\ ~ ,MWJ
!1j~ , I
/P ~wiJ-Vu d--J-{U--r~
:k 1 ~ ~lYfrM-1U L r ------------1- .....
~ . J:~~(f~ -k~~:
i ,1 ,cdu vt/s M lu/w.,t~
'B;;f[) t.. !-1--;) U-sJ
tf:l~ '-flr
¥~ ~~ /~Ji,~1lj 1.Jto, Z.
ri- ~ ~ -/0r/...~
4:r~/~ ~~~
~
---~
~ J~ IV"VlAUIl
.s ? •
)7,12. Mt\1
J~'~~
~ l...-~ UK ~ ~ /:~~ ..
~! t-o -J{:r ~~~
~~JU-~
~4-~~~~~~~
~k~~ ~
vi- W?l-o ~ ~~ ~~ -----~
~ ? .
rt====::'-~~~-j-~~~~~~
3) ~)
?(j ~.L( ~--r-+-----n-~-TJ=~~
~IIJA'"\
--II--I4--..J
~
1) '*- .r 7, 4n .
L~ ~1 ~ ~~,--.(,r
(ttJ~{ We ~~~~
IL.TX}'{~ 1. ~ -'
r~~
i
@ .s ~- ~ ~ -ucu: CJ.(
~~Lt~~~~ ,-======------~UQ~~
~~
..
Dk ~ ~ ~ ~ ~ w-Lt-k-~~
j;.
1m Rahmen des
Linguistischen Kolloquiums der Universitat Mllnchen
spricht am Mi t two c h , dem 3 1 . Mai 2000, um 1 8 c.t,
in Hn r s a a lEO 5, Schellingstr, 3 VG,
Prof. John Robert Ross, PhD.
University of North Texas
fiber das Thema
"The Frozenness of Pseudo-Clefts"
Zu diesem offentlichen Vortrag wird herzlich eingeladen.
Fur das Institut fUr Deutsche Philologie: apl. Prof. Dr. Dietmar Zaefferer
Fur das Linguistische Kolloquium: Dr. David Restle (lnstitut fUr Deutsche Philologie)
I -
· kh v.jL,~
(f) _~ ~ 41-h~ C~ I
~ I
c-) ~~ ~W1I? U-~
~ ~ l~) ~ ~~ ~~~
~)~~~~~~
LLJ .r eJf ~~~
rJ 0 ~
I
I
---
iNk: 'r:: 7:3.Y.MM
~/&.T-F~1~~= k~s~~f rx~~ -r:
7J~S~~~~ • I ~
...
t ~ wc«: re ~~
?~lt~Ga~ktq~ ~
Ll~ ~MJ;;J~j
i:Uo~l~;
~~rJ~~~~
f: l~ wl._ HM
Mf\\\~ ~ r~-4
L1J ~. ~.,J ~ It-rw J' ~ ~~~ i, ~ ~ <1.-~~ I~ A-~
[/OJ eL. ~1 L:J Pv J ~~
tj -1 I~ 4k-dd..r 9.~< 'A.. "
· ~1~S~~ V4,1~t
~ -:f,. *14 »\Jb.: #l(~ ... ~Jn~ rJ"W 1Lt-~ I .. ~ ~.
L1l) c , #~ fW...J A- rL "j-q ~~~~ It. ! ~ ~~~{ ~">] ~
?l~~ I_
tL~) A., ~t.J) It- <t~,J-~ ~_ ~. 1 r h.1f&~ ~;L~~
~'~J:~
1<111 ~ 1k-~ "'t ..... "- fMrl, ~-- .
~1t,..\~~~~
w~ v~: :~s
~
ll- .1... ~ Mr1 e;
r~",z....+- J.ill\,f ~
A~. ~ -s-: '\ ~i1lJ k ~J t ~A- ~ J tJpf
[y~ 1A~~ 1BJNJ*~ ~~ . ~~
A+-'B ~~~~ JVL~
~
~-r-. ~ TvfW TVR'r' ~~
G-~w,M -rJ' w~ ~ ..IJVfI/M"~'
¥ff)~S lMA\l~ ~»
~~ tttJ»1( 1)~
fl>~
"'QNA ~ ~~
1~~iI-~~ -vNA fiQ ~ tln It. (.,b)C 1\teAE" GoAL
~~
~T!L. S~k~"l.
\ -
v
v-
A-r
~ \r G iJ ~tE-rr----4-~-~---vl :;~G--v~ L.-)
,B ~
v ~G (:)J ??V ~Q L4-)
I l:7! j f: i 10. V Mrt(-,
CAS
'i - ~ y I
~L ~p 6rr--~)Wz. I
J
~#~)
~~~ wV-~~?
e.: 1i-~ ~~~! ~
r~~'>(~~ ~~~~.
~ ~~~~L~rj~' ~
\)~\ ~ _. D t. elk VI ~I-. .I
. ~ ~VU'~~ -...-/
e1.-0 ~ t. Y. Mfi
Cis
1k d1U-Hk-~k~~
i? ~~------- .. -
~~k~?
~~ ~~~ t\ ~-tf4j ~
~ ~1~ - -f *~~ ~'
~ ~~ ~:;:lJ ~ _ .
~ ~ 'f>~ *~
-~ t~
• . 1f'~~ ~~ ;~~ 1 ~
A. €'Ul~
e. ~~..;
" "-- .. ~ "" "
~ : 1
1~ Mit;. ~ " ~ ~ . ~ t~ t t~ f(,n~~---
---
/1. Y.M~ ~.
~L~
~ ~~roJ.v 11(' Azc.. V(j-h i l' _
~~) ~ =~
[.I~ ~~ j ~~-J. AJ,~I ~ -
~ 1\'-7 ~\.
1LJI-~~ -4. U-~~.. ~--------
t st t!.) S2
M, wd-)
l0-~jI I) ~ co , ~
(Z-J ~-h I f' ~~r-p ( ~
(7) ~? W~ I r ~Lt.t.t ~.?
(~">lt) '!--~~ >:> ~--)~
~~ ~{?~»1? 4tw ~jr~k- l · --=:r-t7~ ~~ J
~ ~ ~I~~k~ct '
1tL~ 1 : ?
V\rwrQ
~~] \v'"
(;J-tVJ /isf(D~?
+Dk ~ -+~cQv
•
l1rie -7 ~?~
1k rwr-. / Jir lVL W,.J 4
)1 111»A{.f Jwlj-~ -kJ +r, ~. W~N-l-~+O ~
V-w-M~~ ~ ,
~~ • -z.D ,IV L..~ - ..
r~VNT
f~~~ ~~ &t~ J,Jt r
~t-~~~~M~ ,;,f-)C ~
, ~
1/fJ\I~ N -
I. I. ~k.~i tJY..-7Gte
tJ;;j-l ?
}~~ -1k~
,
NB: ~ IvIt mv 1~V<J
i. ;»,": ~ ~~ ~dN-U-1 L wL ~
~ WlYts ~~~~ ~~ ~
~ ~ ~ M-r~!~~~~~~ I 0- J
~ J-? '" wL a-<fk-~J-
\
~~O ·
:"A
C----------~-
~ w-~~) N7Ilj'
(i) ~~ wv:t~-Iv~
-r-K;t-~) ~ 'r
) &) ~W'L~W4~r~
ct11~t;'vtc>o Iv ~ >0 ~ ~/~~KLl:
\
ZL--~ ~~J d'k. ~U 1lJ. /~ «: 1A<&y: J01L.1
\it- Ai; )hU ~ .?
[?~-- L? .
I,
~,L~ '~I
l5'. r. /11111£ X ~
W: Mwr boil ' (
--
«: 1~ ayrJe£ ~ J-.d:] ~
r l~ ~ 1'\
~ c£ 1 ~ l::})~"t; 1N~',
l~ t:f I", ~ ~ 11. r."tk. Bbf~
I
I
~ ~~~~I~~I~Jlft~)~i - I
~~ ~:J4>r-} ~~~~ ~l 1-\1 ~~ II
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
·*~,13Jfs e ~ "-~~ ~.
~ 113M ~A~ ~.
I~ h "--~ ~ V>-
~1SM llne-~r~ ~~~,
~'ront-;: it '(t' V,Nl S J~ 10
tA ~ ) 1kt; ~~ P5ft.
\~ l~o P, ~ .I ) t
t ~ [kJ-~lJ
l3, X, ?JftJ
J+n~ t) lteof4- tN- W ~ ~~)4n.4 VI/I/l./"v--J .s ~ r ;~
~ ~ ~~ ~~~ Rs ~~_ ._ 11-_
J ~ f34 ~rwc4 ~ S- 1vLwIk~_
r /IJr A)vf~
~~~~, -' -
~ ~ __ _ -hrrlt-k,- ---...J
.......
T~ ~ \[)'~ . ---
•
1 ~ {- ~) 1. lL.11<.
~W7rf rvr- ~ ~.J, 1 wrI1~ '3 s-t::]t) ~h .~ 5rt~.
'»
:1 ~1<4 J s~f!r in J J~.h t ~~ ;v 1 Vr'IVJ'~ slf MJ cfR r
.,..
r&~+vk~~~ '\.
Ok}': lk-. fvr .~ ~~
1L- Wr .fw- r: * ~ _ ~ /
--- -t~Dk'tJ Wr ~f
~¥~
o
t[l~t~l-tvJ~ : ~d~ (?) ~ i ~ttR, ~ 'C
_ v v~~ 6 (WE U I
~: ~~ t.;: ~~~(!]( . (j I~~ i k-~ki~~~{~
I
c¥lk~~~~ - J
~·~~fw-r~ ~.
~ 1~? ~-+v~~~ ~-hrr 10 ~:
-) ~~ ~ JWl';., )~.!~~-b~
-G, ~~{O -
_----.... I
l C1tff J~-J
~wx- ~~1~J¥ ?¢
St- w- ;:c-- -:rl..- ~d__ .---
?{J
7? iu U- IN---------+--:rr--- wJJI ~~J ~
~1 ~
vl~ l6ll~~~:
~ ~skLe NflLnv ---=----t---Tt----~
1~~J4
Z
• •
?7 , 4 /
14:. I. :J.iwrJ DI} 'n"i-1J'
~ / [~, 7vJ - v'~ / /
I o ?? /4 •
o '* ??
I 3, t. t. P1J
~
. '.
z: ir. e»
~
. ',n . JI ~A I .' vi) V\. 00;::. IVI t,
, "
1.1.00 L u 1
01,01.00
L LJJ l3~
\
l~~~~4{2J
~~l~~~~~b'0'
,.
~ 111\
~ ~UFJ1~o~ ~lTh
~~~~.+~~-r
I", ~ W!~) t41fl~~_.--- 1
----~
~ :.. ~ ~ +r~r4V'~.f-u s.. ~~P~:V·-
t' ~)V'\
df\Jlt\
J
•
VLES
i. \JV/
j
~
., j
l':f£: 1JI j-j
~f ~ /
J'~ P i
~f1lu· / / j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j
j j
ilt.:K.Q1
~b~ I. i lMMd.. jv>.; I[f/fS~ I:' ~
J...t-$ 11v-1tf! ~ ~MH( "" ~ od- ~.O'J\
7-. V~ P"",( ; ~) ~ :3. ~ ': i,,~: t-'}~
Lbt--7 t1)) r
~--)~
\
! -----~----~
~¥W-l.~
.~~ 2..., ~J'J.1 3, v;~ 't. ~
6> ~
------
t~ f7~ k~J~
»: ~J~
~z{b ~~
lYJ~~ <~ ~
l~ vllJf/
~~".A I--. ~
..,~"""'- ~~ -
I~
I •
t\ ~
'1--' ~ srJltlV1 a. ~NWX0
tt,~ r~ r.~~
1
"1"'\_
sW: ~ Jr4- ~ Mfri II
~·~J~jl
~l~' \ 1
1
'30 ' :g. 91. !.~ wn-I/l~ ~
PJlU: ~k1~_ ~1~~
\n . *~ ~ Ol~ A-~),J
~,~~ /wJ A l0,,,~ k, (~ .lA, L_~ ~ n
"" &..;'... <==,=~, ',~, .()vv'\ 1 ~
--ii--(-
~~1 ~rtM ~"'Z&·t.
~~~ ~A·l~ 'W~~~~
..
W-: .l4t ~ A-':.-:~~~~~~A..-:.:.=.~:k+-
W~~ fJ~
t( 0~~ \
Q[s) ~rJJl~
~®~~ ~ tfJ~~),:
PJh 1,b,,(iq, ~~
l.~~~~~~rJ~~
1-. k-~ ~~? ~ ~
~~
~-~~4~
.> <::
.........."
