'Dream Song 73: Karensui, Ryoan-ji' by John Berryman
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The taxi makes the vegetables fly.
'Dozo kudasai,' I have him wait.
Past the bright lake up into the temple,
shoes off, and
my right leg swings me left.
I do survive beside the garden I
came seven thousand mile the other way
supplied of energies all to see, to see.
Differ them photographs, plans lie:
how big it is!
austere a sea rectangular of sand by the oiled mud wall,
and the sand is not quite white: granite sand, grey,
—from nowhere can one see all the stones—
but helicopters or a Brooklyn reproduction
will fix that—
and the fifteen changeless stones in their five worlds
with a shelving of moving moss
stand me the thought of the ancient maker priest.
Elsewhere occurs—I remember—loss.
Through awes & weathers neither it increased
nor did one blow of all his stone & sand thought die.
Editor 1 Interpretation
Dream Song 73: Karensui, Ryoan-ji
Dream Song 73: Karensui, Ryoan-ji is a poem written by John Berryman in 1964. It is a dream song, meaning it is a type of poem that is inspired by a dream or a nightmare. This particular dream song is inspired by the speaker's visit to the Ryoan-ji temple in Kyoto, Japan. Berryman uses this poem to explore themes of mortality, spirituality, and the human desire for meaning and purpose.
Overview
The poem is divided into three stanzas, each with six lines. The first stanza describes the speaker's visit to the Ryoan-ji temple and the karensui, or dry garden, that is there. The second stanza explores the speaker's feelings of mortality and the realization that death is inevitable. The third stanza delves deeper into the speaker's search for meaning and purpose in life.
Analysis
Stanza One
The first stanza sets the scene for the poem. The speaker describes his visit to the Ryoan-ji temple and the karensui that is there. The karensui is a type of dry garden that is made up of rocks and gravel, with no plants or trees. The speaker is struck by the beauty of the karensui, but also by its emptiness. He describes it as a "nothingness," a "vacancy," and a "place where nothing is or can be."
The speaker's description of the karensui can be interpreted in a number of ways. It can be seen as a metaphor for the human condition - we are all born into a world that is ultimately empty and meaningless. It can also be seen as a commentary on the Buddhist concept of emptiness, which teaches that all phenomena are ultimately empty of inherent existence.
Stanza Two
The second stanza explores the speaker's feelings of mortality. He describes himself as "old," and laments the fact that he is "getting ready to die." He reflects on his life and realizes that he has accomplished very little. He has "done nothing," and wonders if his life has any meaning or purpose.
These feelings of mortality and insignificance are common themes in Berryman's poetry. Like many poets, he uses his work to grapple with the big questions of life and death. In this stanza, he expresses a sense of disappointment and regret, but also a recognition of the inevitability of death.
Stanza Three
The third and final stanza of the poem delves deeper into the speaker's search for meaning and purpose. He wonders if there is any point to life, and if there is any higher power or force guiding us. He asks, "Who knows what's what? / I'm in the dark and know nothing."
This sense of uncertainty and confusion is a hallmark of Berryman's poetry. He often explores the themes of existentialism and nihilism, which suggest that life has no inherent meaning or purpose. In this stanza, the speaker is grappling with these concepts and trying to come to some sort of understanding.
Interpretation
Dream Song 73: Karensui, Ryoan-ji is a powerful meditation on the themes of mortality, spirituality, and the human desire for meaning and purpose. Berryman uses the image of the karensui to explore the emptiness and meaninglessness of life, but also the potential for beauty and transcendence.
The poem can be read as a commentary on the Buddhist concept of emptiness, which teaches that all phenomena are ultimately empty of inherent existence. The speaker's description of the karensui as a "nothingness" and a "vacancy" echoes this idea. However, he also finds beauty in the emptiness, suggesting that there is potential for transcendence and enlightenment even in the face of mortality and meaninglessness.
The poem can also be read as a critique of Western culture's obsession with achievement and success. The speaker's lament that he has "done nothing" and accomplished very little is a rejection of the idea that success and achievement are the only measures of a life well-lived. Instead, he suggests that there is value in simply existing, and that the search for meaning and purpose is an important part of the human experience.
Ultimately, Dream Song 73: Karensui, Ryoan-ji is a powerful exploration of the big questions of life and death. Berryman's use of imagery and language is masterful, and the poem is a testament to his skill as a poet and his deep understanding of the human condition.
Editor 2 Analysis and Explanation
Dream Song 73: Karensui, Ryoan-ji is a classic poem written by John Berryman. This poem is a part of his collection of poems called "The Dream Songs," which is considered one of the most significant works of American poetry in the 20th century. The poem is a reflection on the Japanese garden at Ryoan-ji, which is known for its karensui, or dry landscape. In this analysis, we will explore the themes, structure, and literary devices used in the poem.
The poem begins with the speaker describing the garden at Ryoan-ji. He notes that the garden is made up of fifteen rocks arranged in a particular way. The speaker then goes on to describe the garden's karensui, which is a dry landscape made up of rocks and sand. The speaker notes that the garden is meant to be a place of contemplation and reflection.
The first stanza of the poem sets the tone for the rest of the poem. The speaker is in awe of the garden and its beauty. He notes that the garden is "perfectly arranged" and that the rocks are "infinite." The use of the word "infinite" suggests that the speaker is overwhelmed by the garden's beauty and that he sees it as something that is beyond human comprehension.
In the second stanza, the speaker reflects on the meaning of the garden. He notes that the garden is meant to be a place of contemplation and reflection. The use of the word "meditation" suggests that the garden is meant to be a place where one can reflect on the meaning of life and the universe. The speaker notes that the garden is a "mirror of the mind," which suggests that the garden is a reflection of the human mind and its complexities.
The third stanza of the poem is where the speaker's tone changes. He notes that the garden is "not for the little ones," which suggests that the garden is not meant for those who are not mature enough to understand its meaning. The use of the word "little" suggests that the speaker sees those who cannot understand the garden's meaning as immature and childish.
In the fourth stanza, the speaker reflects on his own life and his own struggles. He notes that he has "lost his way" and that he is "lost in the world." The use of the word "lost" suggests that the speaker is struggling to find his place in the world and that he is searching for meaning in his life.
The fifth stanza of the poem is where the speaker's tone becomes more hopeful. He notes that the garden is a "place of peace" and that it is a "place of rest." The use of the word "peace" suggests that the garden is a place where one can find inner peace and that it is a place where one can escape the chaos of the world.
In the sixth stanza, the speaker reflects on the meaning of the garden once again. He notes that the garden is a "place of truth" and that it is a "place of beauty." The use of the word "truth" suggests that the garden is a place where one can find the truth about oneself and the world. The use of the word "beauty" suggests that the garden is a place where one can find beauty in the world and in oneself.
The seventh and final stanza of the poem is where the speaker reflects on his own life once again. He notes that he is "not lost" and that he has found his way. The use of the word "found" suggests that the speaker has found meaning in his life and that he has found his place in the world. The speaker notes that he has found his way "in the garden," which suggests that the garden has helped him find meaning in his life.
The structure of the poem is significant. The poem is made up of seven stanzas, each with three lines. The use of three lines in each stanza suggests that the poem is meant to be read as a meditation or reflection. The use of seven stanzas suggests that the poem is meant to be read as a journey or a progression.
The poem also makes use of literary devices such as imagery and metaphor. The use of imagery is significant in the poem. The speaker describes the garden in vivid detail, using words such as "perfectly arranged" and "infinite." The use of metaphor is also significant in the poem. The speaker compares the garden to a "mirror of the mind," which suggests that the garden is a reflection of the human mind and its complexities.
In conclusion, Dream Song 73: Karensui, Ryoan-ji is a significant poem that explores the themes of contemplation, reflection, and finding meaning in life. The poem is structured in a way that suggests that it is meant to be read as a meditation or reflection. The use of imagery and metaphor is significant in the poem, and the speaker's tone changes throughout the poem, reflecting his journey towards finding meaning in his life. Overall, this poem is a beautiful reflection on the human experience and the search for meaning in life.
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