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Gedicht

Jane Hirshfield

To Spareness: An Assay

To Spareness: An Assay

To Spareness: An Assay

                            You lean toward non-existence
but have not yet become it entirely.
             For this reason, you can still be praised.

The tree unleafing enters your dominion.
An early snowfall shows you abide in all things.

Your two dimensions are line and inclination.
Therefore desire,
incindering each mote of its object, itself is spare.

                                                      The late paintings of Turner
prove your slender depths without limit
             The beauty too of shakuhachi and cello.

“Winter darkness. Rain. No crickets singing.”
—you are there, pulling hard on the rope-end.

Remembering you, I remember also compassion.
I cannot explain this.
                                      Nor how you live in a teabowl
or in a stone that has spent a long time in a river.
             Nor the way you at times can signal your own contradiction,
                                      meaning extra, but not by much—
“Brother, can you spare a dime,” one thin man asks of another.

Any room, however cluttered, gestures toward you,
declaring:
                “Here lives this, not that.”
In logic, the modest “<” sign gestures toward you.

Your season is surely November,
your fruit, persimmons ripening by coldness.

Your sound is a crow cry, a bus idling at night by roadside.

Without apparent effect,
and so you remind of starlight on the colors of a cow’s hide.

Your proposition, like you, is simple, of interest only to the human soul:
             vast reach of all that is not, and still something is.
Jane Hirshfield

Jane Hirshfield

(Verenigde Staten, 1953)

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To Spareness: An Assay

                            You lean toward non-existence
but have not yet become it entirely.
             For this reason, you can still be praised.

The tree unleafing enters your dominion.
An early snowfall shows you abide in all things.

Your two dimensions are line and inclination.
Therefore desire,
incindering each mote of its object, itself is spare.

                                                      The late paintings of Turner
prove your slender depths without limit
             The beauty too of shakuhachi and cello.

“Winter darkness. Rain. No crickets singing.”
—you are there, pulling hard on the rope-end.

Remembering you, I remember also compassion.
I cannot explain this.
                                      Nor how you live in a teabowl
or in a stone that has spent a long time in a river.
             Nor the way you at times can signal your own contradiction,
                                      meaning extra, but not by much—
“Brother, can you spare a dime,” one thin man asks of another.

Any room, however cluttered, gestures toward you,
declaring:
                “Here lives this, not that.”
In logic, the modest “<” sign gestures toward you.

Your season is surely November,
your fruit, persimmons ripening by coldness.

Your sound is a crow cry, a bus idling at night by roadside.

Without apparent effect,
and so you remind of starlight on the colors of a cow’s hide.

Your proposition, like you, is simple, of interest only to the human soul:
             vast reach of all that is not, and still something is.

To Spareness: An Assay

Sponsors
Gemeente Rotterdam
Nederlands Letterenfonds
Stichting Van Beuningen Peterich-fonds
Prins Bernhard cultuurfonds
Lira fonds
Versopolis
J.E. Jurriaanse
Gefinancierd door de Europese Unie
Elise Mathilde Fonds
Stichting Verzameling van Wijngaarden-Boot
Veerhuis
VDM
Partners
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