2021-08-15 01:44:18 +00:00
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<a href="/~rogbeer/" title="Home">~rogbeer's corner</a>
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<small>where ~rogbeer stashes some stuff</small>
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<h1 class="post-title">
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2023-02-13 06:35:00 +00:00
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<a href="/~rogbeer/2019/02/05/bright-but-near-twilight/">
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'They have certificates, but no flower!'
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2021-08-15 01:44:18 +00:00
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</a>
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</h1>
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2023-02-13 06:35:00 +00:00
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<time datetime="2019-02-05T00:00:00+00:00" class="post-date">05 Feb 2019</time>
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<p>The exclamation in the title of this post came from a street-busker I have met,
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a number of years ago. He was commenting on the quality of music-playing
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that came from young musicians nowadays.</p>
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<p>“What is ‘flower’?” I asked him.</p>
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<p>“Flower? Flower is this!” he replied, before launching into a song, on his
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guitar, which I couldn’t help but dance to.</p>
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<p>So what is flower? I couldn’t help but to want to have a more theoretical,
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or even academic, perspective on the terminology of this street-busker.</p>
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<p>Finally, years later, with glory to my god - and thanks to Him, of course - I found a mention
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in a book called “Nine gates: Entering the mind of poetry” by Jane Hirshfield.</p>
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<p>Hirshfield mentioned the concept of <em>hana</em> in a form of
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Japanese theatre called Nō. Supposedly, <em>hana</em> - which, interestingly enough,
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means ‘flower’ in the Japanese language - is the quality by which an actor
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can move the audience, despite being hidden behind a mask and standing motionless
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on stage. Supposedly (according to the claims of Hirshfield, who in turn
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was quoting a practitioner or observer of Nō), <em>hana</em> can be accessed
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sometimes in youth, but in maturity, <em>hana</em>… - oh, I forget what Hirshfield
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wrote.</p>
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<p>Perhaps this might be interesting enough for me to investigate further.</p>
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2021-08-15 01:44:18 +00:00
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2023-02-13 06:35:00 +00:00
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© <a href="">~rogbeer, whoever he is</a>, <time datetime="2023-02-13T06:29:33+00:00">2023</time>. All rights reserved.
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2021-08-15 01:44:18 +00:00
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