現代俳句 & 變奏系列《141》| Modern Haiku & Variations Series《141》

何康隆 | Khang-Loon Ho

1401.
晚風起，岸上
薩克斯風更加輕柔
星光下，歲月依然晶亮
As the evening breeze rises from the shore,
The saxophone's melody grows even softer.
Under the starlight, the years remain brilliantly clear.

1402.
空， 鳥飛深山    
靜， 月印寒潭    
禪， 人閑桂花落 
Emptiness — birds fly deep into the mountains.
Stillness — the moon reflects on a cold pond.
Zen — in leisure, osmanthus petals fall.

** 唐。王維《鳥鳴澗》
人閑桂花落，夜靜春山空。
月出驚山鳥，時鳴春澗中。

**
In leisure, one watches osmanthus fall.
At night, the spring mountains are still and empty.
The moon rises, startling mountain birds.
From time to time, their cries echo through the stream.
— Wang Wei, “Birdsong Stream”

** “Gemini“ AI 對這首俳句的解讀:
這首短詩運用精鍊的文字，描繪出富有禪意的幽深意境。我們可以逐句細細品味：

** 空，鳥飛深山 :   空，鳥兒飛向深山。
     「空」字點出了全詩的基調，它既可以指空曠、空寂的自然景象，更深層次則暗示了佛教中「空」的概念——萬物本無自性，皆是因緣和合而成。
     「鳥飛深山」描繪了動態的景象：鳥兒向著幽深的山中飛去。這「深山」更強調了遠離塵囂的空寂感。鳥的飛翔，在這片空寂中反而更凸顯了山的靜謐與遼闊。

** 靜，月印寒潭 :   靜，月影映照在冰冷的潭水中。
     「靜」字進一步深化了詩的意境。這不僅僅是聲音上的安靜，更是心靈層面的寧靜。
     「月印寒潭」是一幅極美的畫面：清冷的月光灑落在幽深寂靜的潭水之上，潭水如鏡，清晰地映照出月亮的倒影。「寒潭」的「寒」字，不僅指水溫的冰冷，也渲染了清冽、幽寂的氛圍。月亮與潭水，一在天，一在地，相互映照，呈現出虛實相生、靜謐和諧的景象。

** 禪，人閑桂花落 :   禪，人在悠閑中感受桂花飄落。
     「禪」字點明了詩歌的主題，揭示了前兩句所描繪的「空」與「靜」的意境，最終都歸向於禪的感悟。
      「人閑桂花落」化用了唐代詩人王維《鳥鳴澗》中的名句「人閒桂花落，夜靜春山空」。這裡的「人閑」指人的心境悠閒自在，沒有俗事的紛擾。正因為心閑，才能敏銳地感知到細微的桂花飄落。桂花的飄落是細微而無聲的，只有在極度的寧靜和心無雜念的狀態下才能被察覺。這細微的動態，反而更襯托出環境的幽靜與人心的空明。

整體解讀：
這首詩透過「空」、「靜」、「禪」三個核心意象，層層遞進，描繪了一幅遠離塵俗、空靈幽美的自然景象，並藉此表達了一種寧靜致遠、物我兩忘的禪宗心境。

1. 由景入情，情景交融：詩歌從空寂的深山鳥飛，到靜謐的寒潭印月，再到悠閒的人與飄落的桂花，每一句都是一幅精美的畫面。這些畫面不僅僅是客觀景物的描寫，更融入了詩人主觀的感受和禪意的理解。

2. 以動襯靜，以有顯空：鳥飛、月印、花落，這些動態的描寫，反而更加突出了深山的空曠、夜晚的靜謐以及人心的安寧。如同王維詩「月出驚山鳥」一樣，微小的動靜反而更彰顯了整體的寂靜。同樣，「有」鳥、「有」月、「有」人、「有」花，這些具體的物象，最終都導向對「空」與「禪」的體悟。

3. 禪意深遠：詩歌的核心在於「禪」的體悟。它告訴我們，在空寂寧靜的自然環境中，當人心達到悠閒無慮的狀態時，便能感知到宇宙萬物的細微變化，從而領悟到禪的真諦——一種超越表象、回歸本心、與自然合一的境界。

總而言之，這是一首意境深遠、耐人尋味的禪詩。它通過對自然景物的細膩描繪，引導讀者進入一個空明澄澈的精神世界，感受禪的靜美與超越。

** Gemini AI’s Interpretation of This Haiku:
This short poem uses concise language to depict a deeply meditative, Zen-like atmosphere. Let’s appreciate it line by line:

1. Emptiness — birds fly deep into the mountains:
The word “emptiness” sets the tone. It can refer to a vast, quiet natural scene, and more deeply, it alludes to the Buddhist concept of “emptiness”—that all things are without intrinsic self-nature and arise through interdependent conditions.
The imagery of “birds flying into the deep mountains” conveys movement within stillness. The “deep mountains” emphasize seclusion and silence. The act of bird flying enhances the sense of vast stillness rather than disturbing it.

2. Stillness — the moon reflects on a cold pond:
“Stillness” furthers the contemplative mood, not just in sound, but also in spirit.
“The moon reflecting on a cold pond” is a beautiful scene: clear moonlight falls upon a silent, deep pond that mirrors the moon’s image like a polished mirror. The word “cold” suggests not just temperature but a crisp, tranquil atmosphere. The relationship between moon and water—one in the sky, the other on the earth—forms a serene image of mutual reflection, where illusion and reality coexist.

3. Zen — in leisure, osmanthus petals fall:
“Zen” states the poem’s essence, bringing the preceding “emptiness” and “stillness” to their natural spiritual conclusion.
The line echoes Wang Wei’s “Birdsong Stream”: “In leisure, one watches osmanthus fall.” “Leisure” refers to a tranquil mind, free of worldly distractions. Only such a mind can perceive the subtle moment of an osmanthus petal falling. This gentle movement heightens the sense of stillness and inner clarity. The faint action enhances, rather than disturbs, the surrounding silence.

** Overall Interpretation:
This poem unfolds through the imagery of emptiness, stillness, and Zen, gradually building a vision of secluded natural beauty that reflects a Zen state of spiritual quietude.

1. From scene to feeling — unity of emotion and image:
The poem transitions from birds in empty mountains to moonlight on a still pond, and finally to the leisurely awareness of falling flowers. Each image is vivid and poetic, not merely descriptive but imbued with the poet’s internal perception and Zen understanding.

2. Motion enhances stillness, presence reveals emptiness:
Bird flight, moonlight, and falling petals — all are dynamic elements that highlight the surrounding stillness. Like Wang Wei’s “the moon startles mountain birds,” subtle movements emphasize overall quiet. These “presences” — birds, moon, flowers, people — ultimately lead to insights into emptiness and Zen.

3. Profound Zen insight:
The heart of the poem lies in the Zen realization it conveys: In the stillness of nature, when the mind is truly untroubled, one can perceive the subtlest shifts in the universe — and thereby touch the truth of Zen: a state that transcends appearances, returns to one’s original nature, and unites with all things.

** In summary, this is a deeply evocative Zen poem. Through delicate imagery of nature, it leads the reader into a clear and tranquil spiritual world, inviting a direct experience of Zen’s serene beauty and transcendence.

1403.
車子已經走了一整天，風景 
還在一模一樣的心裡盤旋
無聊人生的旅行者
The car has been on the road all day, yet the scenery
keeps circling, inside the unchanged heart—
A traveler on a monotonous journey.

**
牛就是牛，牽到北京也是牛。
白翎鷥飛到胭脂巷，也是白。
— 教育部臺灣台語常用詞辭典

**
Taiwanese Proverb:
A cow is still a cow, even if you lead it to Beijing.
A white egret flying into a lane of rouge is still white.
— From the Ministry of Education’s Taiwanese Hokkien Dictionary

1404.
苔痕曲徑，青翠潔淨
遊客細碎聲，如松針飄落
枯山水，波纹平静，雲影相印
Moss-lined winding paths, lush and pristine.
Visitors’ soft steps fall like drifting pine needles.
Karesansui garden, ripples lying still, cloud shadows mirrored.

枯山水庭院。 Japanese Garden, Portland, Oregon. （攝影/何康隆）
Karesansui Garden. (Photo by Khang-Loon Ho)

**
枯山水是日本式寫意園林的一種最純淨形態，也是日本畫的一種形式。一般是指由細沙碎石鋪地，再加上一些疊放有致的石組所構成的縮微式園林景觀，偶爾也包含苔蘚、草坪或其他自然元素。枯山水並沒有水景，其中的「水」通常由砂石表現，而「山」通常用石塊表現。有時也會在沙子的表面畫上紋路來表現水的流動。枯山水不使用開花植物，這些靜止不變的元素被認為具有使人寧靜的效果，是日本寺院僧侶用於參襌静思的場景。 (整理自維基百科)

**
Karesansui, or dry landscape garden, is the purest form of Japanese symbolic gardening, and a visual art akin to ink painting. The layout forms a miniature landscape, typically composed of fine sand or gravel and carefully arranged stones. Moss, lawns, or other natural elements may be included occasionally. Though devoid of water, “water” is represented through raked patterns in the gravel, while “mountains” are symbolized by stones. The sand is often raked into wave-like lines to represent flowing water. No flowering plants are used. These static, unchanging elements are believed to promote tranquility and are traditionally used by monks in Zen temples as spaces for meditation and contemplation. (Adapted from Wikipedia)

1405.
有人採薇，有人採荇
有人蠶桑，有人浣衣
走入詩經的古典風景
Some gather fern shoots, others water weed.
Some raise silkworms, others wash clothes.
Stepping into a classical landscape from the Book of Songs.

** 詩經《周南 · 關雎》
關關雎鳩，在河之洲。窈窕淑女，君子好逑。
參差荇菜，左右流之。窈窕淑女，寤寐求之。

** Book of Songs – “Guan Ju” (from Zhou Nan)
Cooing and calling, the ospreys on the islet in the river.
Graceful and fair is the modest maiden—a fine match for a nobleman.
Scattered water plants drift left and right.
The nobleman dreams day and night of the graceful maiden.

** 詩經《小雅 · 采薇》
採薇採薇，薇亦作止。曰歸曰歸，歲亦莫止。
靡室靡家，獫狁之故。不遑啟居，獫狁之故。

** Book of Songs – “Gathering Fern” (from Xiao Ya)
Gathering fern, gathering fern—the fern grows tall.
We say we will return, yet the year grows late.
No home, no family—because of the raids of Xianyun.
No time to rest—because of the raids of Xianyun.

** 蠶桑，即養蠶與種桑。是古代農業的重要支柱。相傳是嫘祖（黃帝正妻）發明。蠶桑文化是漢文化的主體文化，與稻田文化一起標誌着東亞農耕文明的成熟。

** Silkworm raising and mulberry cultivation (蠶桑) were vital to ancient agriculture and textile production. It is said that Leizu ( 嫘袓), the wife of the Yellow Emperor, invented sericulture. This tradition represents a major component of Han cultural heritage, alongside rice agriculture, both of which mark the maturity of East Asian agrarian civilization.

** 有關浣衣 (浣紗) 的典故，最流傳的要數春秋末期的西施了。西施是中國古代四大美女之一，又稱「西子」。生長於浙江諸暨蒔蘿村。西施出身貧寒，常浣紗於溪，生有姿色，秀媚出眾。越國戰敗後，被迫向吳國稱臣求和。越王勾踐遍選國內美女獻給吳王夫差，天生麗質的西施是其中的一員。夫差對西施萬般寵愛，先是在姑蘇建造春宵宮，又為西施建造表演歌舞和歡宴的館娃閣、靈館等。西施擅長跳“響屐舞”，夫差又為其築“響屐廊”。而同時，越王勾踐臥薪嘗膽，使越國強盛起來，最終打敗了吳國。吳國滅亡後，西施不知去向，有說是被沉海而死，有說是與范蠡泛舟五湖隱居而去。

** The tradition of laundry by the stream (浣紗) is best known through the legend of Xi Shi (西施), one of ancient China’s Four Beauties. Born in Zhuluo Village, Zhejiang, Xi Shi came from humble origins and was often seen washing silk by the creek. During the late Spring and Autumn period, after Yue (越) lost to Wu (吳), King Goujian (勾踐) of Yue submitted to Wu and selected beautiful women as tribute, Xi Shi among them. Enchanted by her beauty, the Wu king built grand palaces and entertainment halls for her. Meanwhile, King Goujian endured hardship and rebuilt his strength, eventually leading Yue to conquer Wu. After Wu’s fall, Xi Shi’s fate remains uncertain—some say she was drowned, others that she lived in seclusion with her lover Fan Li（范蠡）.

1406.
一顆一顆砲彈，色相飽滿，堅銳呼嘯
逐天墮地，開爆如花，驚悚窮荒，於是煙硝
煙硝加薩，哀泣醫院寺堂住家平民孩童，和信仰 
Shell after shell—full in hue, sharp, howling, falling from the sky.
Exploding like flowers, terrifying the wasteland, then, smoke. smoke over Gaza.
Weeping in hospitals, temples, homes, among civilians, children, and faith.

** 亞伯拉罕自舊約聖經一路走來。三千里路雲和月。流奶與蜜之地。世紀顛波。
選民和子民流浪生死。煙硝和仇恨紛起。哀禱聲聲。耶和華和真主掩面，追悔。

** Abraham walked out of the Old Testament—
three thousand miles through drifting clouds and moonlight.
To a land of milk and honey, Through the upheavals of the ages.
The chosen and the kin, wandering through life and death.
Smoke and hate rise in turmoil. Cries of prayer echo unceasingly.
Yahweh and Allah turn their faces away — in regret.

** 猶太人和阿拉伯人其實是同宗同源的。談猶太人和阿拉伯人的關係是和宗教分不開的，根據《聖經·舊約》上記載，他們的遠祖是亞伯拉罕，而亞伯拉罕的大兒子以實瑪利是公認的阿拉伯人祖先，同父異母的小兒子以撒則是猶太人的祖先。不僅是宗教經文這樣認為，根據許多遺傳學研究，包括Y染色體和線粒體DNA的分析，猶太人（特別是中東地區的猶太人）與阿拉伯人（如巴勒斯坦人、黎巴嫩人、敘利亞人）共享許多相似的遺傳標記。這些研究表明，他們有來自中東的共同祖先。 (整理自360Doc 和ChatGPT)

** Jews and Arabs are, in fact, of the same ancestral origin. According to the Old Testament, both people claim descent from Abraham. His firstborn son, Ishmael, is traditionally recognized as the ancestor of the Arabs, while Isaac, his son by Sarah, is the forefather of the Jews. This shared ancestry is supported not only by scripture but also by genetic studies, including Y-chromosome and mitochondrial DNA analysis, showing significant genetic markers in common between Middle Eastern Jews and Arabs, such as Palestinians, Lebanese, and Syrians, indicating a common ancestral origin in the Middle East. (Adapted from 360Doc and ChatGPT)

** 「耶和華」（YHWH）是猶太教與基督宗教所信奉的神之名，也就是一般所說的「上帝」、「神」或「天主」。神的名字『耶和華』(Jehovah) 第一次出現在創世記二章4節，在整本舊約聖經中，『耶和華』共出現6,823次。

** “Yahweh” (YHWH) is the name of God in Judaism and Christianity—commonly rendered as “God” or “the Lord.” It first appears in Genesis 2:4 and is mentioned 6,823 times in the Hebrew Bible.

** 「真主」這個詞，在阿拉伯語中是「الله」（Allah），它並不是專屬於阿拉伯人的神，而是阿拉伯語中對「上帝」的稱呼。這個詞在伊斯蘭教中被廣泛使用，穆斯林無論是哪個民族，都稱上帝為「真主」或「安拉」（Allah）。在伊斯蘭教中，「真主」是宇宙唯一的創造者，超越種族、語言與地域。

** “Allah” (الله) in Arabic means “God.” It is not an exclusively Arab deity, but the Arabic word for the one God worshipped in Islam. Muslims of all ethnicities refer to God as “Allah.” In Islamic belief, Allah is the sole creator of the universe, transcending race, language, and nation.

1407.
窗外的夜色是四十年代的低迷
燈下的回憶是失焦的往事如霧
散漫著阿茲海默說不清的孤寂
The night outside the window is the gloom of the 1940s
Memories under the lamp are blurred past events, like fog.
Permeated by the ineffable loneliness of Alzheimer's.

** 阿茲海默症（Alzheimer’s disease，AD）是一種發病進程緩慢、隨著時間不斷惡化的腦神經退化性疾病，佔了失智症成因的六至七成。其腦部病變特徵為澱粉樣蛋白老化斑(Amyloid plaques)及神經纖維糾結 (Neurofibrillary tangles)的形成、導致神經細胞的凋亡，細胞間連結傳達的阻斷，以及大腦的整体萎縮。將近七成的風險因子與基因遺傳有關；其他的風險因子還有頭部外傷、憂鬱症和高血壓。絕大多數的阿茲海默症屬於晚發型，發生在60歲以後。阿茲海默症早期最常見的症狀為喪失短期記憶（難以記住最近發生的事件），當疾病逐漸進展，症狀可能逐漸出現，包括語言障礙、定向障礙和自能障礙（包括容易迷路）、情緒不穩、喪失動機、無法自理和許多失常行為問題。當情況惡化時，患者往往會因此和家庭或社會脫節，並逐漸喪失身體機能，與神智的全盤衰竭。疾病初期的症狀常被誤認為是一般老化。確診則需藉助病史，臨床症狀，影像掃描和病理檢驗綜合對照而得。

** Alzheimer’s disease (AD) is a progressive neurodegenerative condition and the most common cause of dementia, accounting for 60–70% of all cases. It is characterized by the accumulation of amyloid plaques and neurofibrillary tangles in the brain, resulting in neuronal death, impaired neural communication, and overall brain atrophy. Nearly 70% of the risk is genetically linked; other contributing factors include head trauma, depression, and hypertension. Most cases are late onset, occurring after age 60. The earliest symptom is typically short-term memory loss, followed by difficulties in language, orientation, self-care, emotional regulation, and behavior. As the disease advances, patients may withdraw from family and society, eventually losing bodily function and cognitive capacity entirely. Early symptoms are often mistaken for the normal effects of aging. Diagnosis relies on a combination of the patient’s history, clinical examination, imaging, laboratory results, and pathology.

** Mayo Clinic: Alzheimer’s disease
https://www.nia.nih.gov/health/alzheimers-and-dementia/alzheimers-disease-fact-sheet-traditional-chinese

1408.
翻過一夜，也翻過一頁
今夜，翻到有星光的那頁
說，放開手，讓風箏飛向原野
Another night turned, another page turned.
Tonight, it opens to a page with starlight.
It says: let go—let the kite fly into the open field.

以禪學教會我們「舒適地度過人生」！入選「世界最值得尊敬的100名日本人」之百萬暢銷作家──枡野俊明。多一點放下，少一點反應，淡泊一點也沒關係，讓我們放下大部分的事情，把反應留給少一點的事情，但是反應得更好、更深、更真誠。這樣的人生不是更美好嗎？禪語「放下著」，意指捨去一切的執著。（博客來書訊）

Zen teaches us how to “live life comfortably.” Million-selling Japanese author Shunmyō Masuno, named among the “100 Most Respected Japanese People in the World”, suggests: Let go a little more, react a little less. Be calmer, more detached—and that’s perfectly fine. Let go of most things. Save your responses for the few that matter—respond better, deeper, and more sincerely. Wouldn’t life be better this way? The Zen saying “放下著” (fàngxiàzhe) means to release all attachments.
(From the book description on Books.com.tw)

書中分五個大章，共收錄99個枡野俊明的禪練習：
別硬是要參一腳 ──人際關係更「淡泊」一點才好。
別在意每件事 ──擺脫不安、焦慮、憤怒的方法。
別對每件事都有反應 ──停止磨耗心靈的練習。
別白忙一場累壞自己 ──這樣思考才不會自討苦吃。
別硬是要分出是非對錯 ──活出快意人生的祕訣。

Masuno’s book is divided into five chapters, featuring 99 Zen practices, including:
– Don’t insert yourself into everything—less entanglement in relationships is better.
– Don’t stress over everything—free yourself from anxiety, fear, and anger.
– Don’t react to everything—preserve your inner peace.
– Don’t tire yourself in vain—avoid unnecessary struggle.
– Don’t insist on right vs. wrong—live freely and joyfully.

1409.
雨停，車沿湖岸
窗外水色澄清，一片
山月隨人歸的安静夜晚
The rain stopped; the car traces the lake shore.
Outside the window, the water is clear, a serene night
where the mountain moon accompanies one home.

**
暮從碧山下，山月隨人歸。
卻顧所來徑，蒼蒼橫翠微。
— 李白《下終南山過斛斯山人宿置酒》

**
Descending at dusk from the emerald hills,
The mountain moon follows me home.
Turning to glance back at the path I came,
Mist-veiled green peaks stretch across the dusk.
–Li Bai (李白) 《 Leaving Zhongnan Mountain》

1410.
當記憶的燈都點亮
就知道，夢的方向
明天會更好
When every lamp of memory is lit,
You’ll know where the dream is heading—
Tomorrow will be better.

**
《明天會更好》
填詞 : 羅大佑，張艾嘉，張大春
譜曲 : 羅大佑，編曲 : 陳志遠

輕輕敲醒沉睡的心靈，慢慢張開你的眼睛
看那忙碌的世界，是否依然孤獨地轉個不停
日出喚醒清晨，大地光彩重生
讓和風拂出的音響，譜成生命的樂章

唱出你的熱情，伸出你雙手
爲明天獻出虔誠的祈禱
讓我擁抱著你的夢，讓我擁有你真心的面孔
讓我們的笑容，充滿著青春的驕傲
讓我們期待明天會更好

**
           《Tomorrow Will Be Better》
Lyrics: Lo Ta-Yu, Sylvia Chang, Chang Ta-chun
Music: Lo Ta-Yu     Arrangement: Chen Chih-yuan

Gently awaken the slumbering soul, slowly open your eyes.
Seeing the world in its busy spinning—is it still lonely underneath it all?
Sunrise brings a new morning; the earth shines anew.
Let the wind’s harmony compose a symphony of life.

Sing out your passion, stretch forth your hands,
Offer a sincere prayer for tomorrow.
Let me embrace your dream, let me see your true face.
Let our smiles shine with youthful pride,
Let us believe—tomorrow will be better.

** 《明天會更好》是1985年在台灣推出的一首華語流行公益單曲，
其靈感來自模仿美國公益歌曲《We Are the World》。是台灣最重要的公益合唱歌曲。這歌曲不僅象徵了用音樂凝聚而出的力量，更反映出了台灣音樂的無比活力。

** “Tomorrow Will Be Better” is a Mandarin pop charity single released in Taiwan in 1985. Inspired by the American charity song “We Are the World,” it became Taiwan’s most significant charity chorus song. This song not only symbolizes the power coalesced through music but also reflects the immense vitality of Taiwanese music.