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