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Raj Arumugam Feb 2012
Fuji-san
I'm bored and life's hard:
let me run away
The master makes me work all day
while his sons go to school
and learn writing and numbers;
and his daughters put on pretty dresses
and they play with dolls and flowers -
while all day I wash their clothes
and sweep the courtyard
and collect herbs for the Lady of the House
O Fuji-san -
you have great power
and you watch over all
so let me run away
And I shall run to Edo
And I'll work there
at the tea-houses
and I'll see fine gentlemen
and I'll see pretty ladies
and I'll work and earn and save
And one day I'll be a gentleman myself
So, O Fuji-san
let me run away

Clear my way
Fuji-san
and make it safe
and I shall go to Edo
and I'll be rich one day
and I'll come back here to you Fuji-san
and I'll bring you offerings of dumplings and flowers
So help me, O mighty Fuji-san
Let me run away
poem based on art print by Katsushika Hokusai (1760-1849)
I wanna go back to the edo way of life,
Cutting with my blade every single source of strife.
Nigel Morgan Feb 2013
Prince Niou had removed himself from Kaoru’s company and the warmth of the wood-burning stove. Under the shelter of the steep karawa eaves he stood to watch the snow, to watch it fall, fall relentlessly, relentlessly. But for the biting cold he might have been watching the blossoms fall and scatter, those intricate, delicate flowers that, as you looked up at them in the trees, were in tessellation with the sky. It was Kisaragi (late February) when winter shows little sign that spring might appear. So now the time of deep snows in the mountain fastness where Kaoru’s family estates straddled part of the necessary journey from Edo to Kyoto.
 
The snowfall mesmerized Niou. It held such a purity of disordered motion, He stretched out his arm to feel the soft touch of the flakes on his embroidered sleeve. He imagined Ukifune’s touch would be like that of this falling snow, a pattering of fingers, a sweep of her long, long hair. She, Kaoru’s mistress, had left earlier in the afternoon to journey safely across the mountain passes to her lakeside home before the heavy snow fall set in. He had been close witness to Kaoru’s passion for this delicate flower picked from across the mountains to grace his country house his wife would never visit in winter. And now Prince Niou had, in just two days of polite proximity, lost his heart and all reason to this girl-woman, this woman-girl. She seemed beyond conventional description such was her beauty and her graceful manner. When her eyes rose to his he lost the composure he knew his station demanded. But Kaoru in his own infatuation and glowing with the pleasuring he and Ukifune enjoyed seemed oblivious to the Prince’s covert gaze.
 
This evening Kaoru had already drunk more than was sensible. But darkness was drawing in, and the duties, what little he allowed himself, were over for the day, except to entertain his eminent friend. He had allowed himself to be carefully boastful of Ukifune’s charms and beauty. His words made frequent veiled suggestions of their moments of pleasure together in this winter world of silence where lovers would part the screens and stand folded in each other’s arms to witness the white world of snowfall decorate the mountain landscape.
 
Prince Niou had already decided that as his friend fell into stupor then sleep, and that would be soon, he would set out across the snows to seek Ukifune’s path, to capture her for himself, to declare his love and passion. As she left he had passed a note to her maid telling her not to be surprised by a night-time visitation. He knew that a journey in falling snow would take many hours and it would probably be dawn before he could approach her mountain retreat, a small house by a lake. There, it seemed, she withdrew from the complexities of court life to find the peace and balance necessary to sustain her beauty. She had described the joy of witnessing the intricate twilights and blood red dawns of winter, of watching the birds rise from and return to the oft-frozen lake. She and her maid would drift idly in her boat watching the black, dense water lap too and fro, until the cold required a return to warmth and comfort.
 
It was to be a hard journey. Niou, though prepared with stout boots, an extra cloak and shawl, knew he would flounder into drifts along way. Only his long staff would save him from ignominy. His saw his path blessed by the light of a half moon and together with a myriad of stars arching across the heavens, he would triumph. He had borrowed items of Kaoru’s clothing, his hat and staff, his bag and winter cloak. To all intents and purposes as he approached Ukifune’s home he would appear as his soon to be cuckolded friend. His thoughts remained fixed on  Ukifune. He longed for the moment when she would raise her eyes to him from her pillow, in surprise, in wonder he hoped. He considered how his cold body would join with her warm body in the infinite caress of love’s first passionate meeting. He would then carry her wrapped in her bed coverings to her boat and, having secured her comfort, pole out into the lake and there join with her as the moon looked down from the dawn sky.
 
Later they would exchange poems:
 
Niou
​Snow upon hill, ice along frozen rivers:
​​There for you I trod, yet for all that never lost
​​The way to be lost in you.

 
Ukifune​
*Quicker than the snow, swirling down at last
​​To lie by a frozen lake, I think I shall
​​Melt away while aloft yet in mid sky.
Raj Arumugam Sep 2012
(a traditional Japanese ghost story, re-told by Raj Arumugam)




Preamble

Ogiwara sits in his shed
alone, sad
only memories sustain him now
in the lonely hours of his nights

and now it is the night of the obon
and he hears the light feet of women
just outside on the grass
just below the willow

it is a woman with her peony lantern
and beside her
through his window
Ogiwara sees the beauty that weakens his heart
young Otsuyu he sees
and Ogiawara comes out and bows
and he invites them in
on this the night of the obon





What Onatsaku saw

I saw the ladies come every night
and the woman with the lantern
sat out at the deck
while the young one went in
and Ogiwara as happy as in times past

every night I saw them
come as gentle as divine beings
and before the break of dawn
as I prepared for work
I saw them leave
and Ogiwara sad, as he is always now



What an elderly neighbor saw

toothless I may be
but ‘m still sharp of faculty
and I saw these two w'men
one young, and a beauty as one from Edo
and every night Ogiwara received her
and last night I went by his window
and I saw ‘m naked in his room
and the w'man he was making love to
was but bones, bones and smiling skull
and the two were entwined
limb over limb
so close in love making
and the w'man he was making love to
was but bones, bones and smiling skull


What the priest did

And the priest came forth
And warned Ogiwara of the danger
The ravishing young girl
was the ghost Otsuyu
And a prayer he placed on the door
so she can never come in
even when invited in





Otsuyu’s song

O Ogiwara
my heart and flesh
yearns for you

on previous nights
you welcomed me in
but now you have doors
shut against me  
was all your love
false, false as our days?

O Ogiwara
my heart and flesh
trembles for yours

on previous nights
you cried as we made love
you cried that you had found
beauty and joy
but now you let me stand
crying out in the cold
was all your love
false, false as our days?

O Ogiwara
if I may not come in
open the door
and come with me



What the children saw

This morning we
went playing across the fields
and at the graveyard
And there in an open grave
there we saw Ogiwara’s corpse
breaking, rotting
but his blue cloak still round him
And we saw his corpse
embraced by a woman
but she was but bones, bones and smiling skull
and the two were entwined
limb over limb
and the skull-woman he was with
she hissed at us
and she said: *“Go away, children…Go away…”

and she was but bones, bones and smiling skull
(a traditional Japanese ghost story, re-told by Raj Arumugam) for companion picture google "Peony Lantern" or "Otsuyu"
Nigel Morgan Dec 2012
IX

Oh this gradual coming together as sleep lifts away from bodies resting just apart but then a little turn on the pillow knees touch there is the slightest kiss of a nose a mingling of feet hands may rest atop a thigh and touch experimentally This is such bliss all consuming no thought but each body’s press and caress so slightly so gently given until hands and limbs and kisses and the dearest stroking fills us to the brim with that longing which only the deeper kiss can quench Afterwards we watch from our attic bedroom leaves departing their trees

X

The steep steps and Doric pillars eight in all gather us into an entranced gloom only to spill us out into the light and space of galleries filled with Cyprian artefacts an owl with a removable head more porcelain than even your great aunt could look at but in a corner there were these bowls from Syria 12C and earlier Michael Cardew could have thrown and patterned but didn’t One in Iranian green inscribed thus blessing prosperity glory grace joy happiness security and long life to the owner  nothing more surely ever to be wished for ever to be wanted

XI

My Chinese heroine has a soulmate: Jilia’s deer in flight across a page of Somerset Soft White and Tengin mould oh the verse of Hafiz 14C Sufi mystic flowing into the body of this running beast Rejoice you lonely seeker of the scented path out of the wilderness the perfumed deer has come and there was more in different hands paper parchment poems exquisitely rendered into living words In a frame Goethe’s leaves of the Gingo Biloba stuck to his letter of love to married Marianne This leaf from a tree in the East has been given to my garden

XII

Captivating in beauty glowing silvery-white petals flutter down to lay a blanket of snow beneath the flowering trees and miraculously they did and more to make us wonder that negative space could be so powerfully wrought Hiroshige the master in his element of the winter snows eloquent landscapes figures on the Edo to Kyoto road the detail of raised up clogs and warm layered garments of a Geisha walking out with her maid the stone blue waters the pale reflecting skies the delicate embossing of waves and the flow of hillsides the ukiyo-e woodblock prints pictures of the floating world

XIII

Wearing purple and red your near to Advent colours grace this table we lunch at before a final walk through the city full of our time here amongst the towers and chapels and more history and art than we can manage for the time being Again and always whelmed over by your beauty seen against the press and clutter the clustering in the peopled streets the bicycled roads and in this one o’clock restaurant’s clamour how is it that my eyes are wholly on you my ears only hearing your sweet voice my fingers reaching out to touch you again?
Raj Arumugam Jul 2011
Shibata Zeshin studied art at Kyoto
and in farewell
was told by his sensei:
“you never know
the immensity of Mt Fuji
standing on it;
and so you never know
my importance as your teacher
and how fortunate you’ve been
till you go away from me
and you return to your native Edo”


and in years to come
Zeshin tells his departing students:
“may it be that you
become great artists
and you might say:
I studied under a man called Zeshin”
the poem refers to the Japanese artist Shibata Zeshin (March 15, 1807 – July 13, 1891); companion picture: Fuji Tagonoura, maki-e (lacquer); picture by Shibata Zeshin, 1872
Raj Arumugam Feb 2012
the Japanese beauty of Edo
she sat delicate in the garden;
she observed the cheery blossoms:
the beauty
the stillness
the quite
and
the blossoms faded almost days after
and the beauty -
O she too followed the way
of the blossoms;
and here I am ages after
and I long for the beauty
impossible to touch
and who sat in the garden
poem based on painting:
"Woman seated under a cherry blossom tree" by Kuniyoshi Utagawa (1797-1861)
Starry  Aug 2019
Edo castle
Starry Aug 2019
Edo castle
Stands tall
And proud
As the ruling Tokugawa
Family
Control japan
And live there
Just impregnable
Fierce. Yet beautiful.
Babatunde Raimi Nov 2019
If you want to make heaven
Marry from Enugu!
You want to be successful
Please marry from Anambra
If you want a complete package
Marry an Akwa Ibomite
They attended finishing school
Right under their mother's tutelage
If you want to raise Professors
Marry From Ekiti
If you want to build empires
Marry an Igbo girl
They push you to success
Do you want to maintain your culture?
Mary a Yoruba girl
If you want to be royalty
Marry a Hausa girl
If you don't ever want to cheat
Mary and Edo girl
If your relationship survived this year
Despite its economic realities
Please marry that one
If you desire a beauty Queen
Marry a Benue girl
If you love good romps
Marry a Calabar girl
Your life will never remain the same
And you will live happily ever after
If you want to be loved forever
Marry your friend and soulmate
Listen to me my friend
Don't go for looks
It will fade away
Don't go for money
Someday it will be exhausted
If you want a good partner  
Go down on your kneels
Then, watch and pray
Raj Arumugam Sep 2012
the sun goes to sleep in the waters
below the bridge of Edo
(ah, the Edobashi)
and rises gentle over it when it is time*

it is morning over Nihonbashi now
and the golden glow of the early sun
is the smile that stretches like gentle colours
over festive banners and a geisha’s paper fan
like a girl’s smile, in her first blush of love

the thin light spreads out and finds its children
the back-bent men are there already
carrying their heavy loads
the fishermen carry in their catch
in baskets on poles
they saunter, purposeful
though the sleepy city is reluctant
after its nightly revels
and the dogs, the stray dogs are there too
at the gates of Nihonbashi
and the sun’s rays are like
the gentle smile of a mother discovering her children
* Edobashi (Edo bridge) is the old name for the current Nihonbashi (Japan bridge)

* poem based on "The Morning glow at the Nihonbashi", a Ukiyo-e from The Fifty-Three Stations of the Tokaido by Utagawa Hiroshige (歌川 広重?, 1797 –1858)
kaycog  Oct 2014
Untitled
kaycog Oct 2014
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