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Arima Akito: A Scientist's Haiku
“Science pursues the structure of nature, which often surprises us with her beauty and exquisiteness. In my experience, I am convinced that natural science and poetry have many similarities.” —Dr. Arima
What is haiku? Some modern authors refer to a single, momentary breath of insight, while others suggest they are simple, small expressions of nature and corresponding human interaction. The question then becomes, if nature and creation are such an intricate and vital part of the haiku genre, why would its interaction with science seem so unusual? Personally, I find that it makes complete sense. The philosophies of writing and science both aspire to understanding the origins, purpose, and direction of life. For example, dictionary.com describes nuclear physics as the study of the reactions, forces, and internal structures of atomic nuclei. Atomic nuclei makeup the basic aspects of every part of life, creating the beauty that human individual’s then write about.
Dr. Akito Arima fortunately has been gifted with not only an understanding of how science and nature interact, but also how to convey his knowledge to readers of all types of educational upbringing. He expertly intertwines the two passions and balances their importance within his own life, while teaching others to do the same.
After a lifetime of expert talent and highly recognized successes, it is important to recall the steps that led to Dr. Arima’s now highly recognized position in both the Japanese government and the haiku world. Among his most distinguished achievements, his appointment as president of the University of Tokyo (1989-1993) and Japan’s Institute of Physical and Chemical Research (1992-1998) are some of the most notable. Also, the nuclear physicist and author is a member of the House of Councillors, as well as committees such as the International Society for Science and Technology and the Society for the International Promotion of Haiku. It is clear that Dr. Akito Arima has a passion for the advancement of the international community as a whole, and that he is able to achieve all of his dreams regardless of the amount of papers, meetings, appointments, or experiments piling upon his desk.
Over his expansive career, Dr. Arima has taken the time to write five haiku collections. The majority of my research, however, has come from a compilation of his work called Einstein’s Century, an English translation containing 170 haiku from all five books, as well as recent haiku found in periodicals.
It is astounding that through his busy schedule, Dr. Arima has gained the respect and privilege within the haiku world to become a master, or sensei. Consider this haiku by Akito Arima:
arousing the snake
from its winter sleep—
the snake charmer
(Akito Arima, Einstein’s Century [EC] p. 50)
Arima-sensei expertly describes himself and his work through this haiku. Consider the idea of a snake charmer. They have somehow tapped into an extraordinary world that is seen by all, but experienced and taken advantage of by few. At the same time, if talented individuals such as Dr. Arima or, for example, Matsuo Basho, did not practice and perform such talents, the world would be oblivious to the amazing works of nature transpiring around them. Again paralleling the haiku, the experience of snake charming, through movies and novels, tends to come off as a type of luxury, or richly prized enjoyment. I feel as if the author has taken this stance with his writing, continuing his tedious, skilled everyday job, while filling in the rest of his days with an art that is truly appreciated by few, and surpassed by an even smaller number.
Just as any other artist, Dr. Arima did not suddenly stumble upon his talent and become a world renowned writer. He had the privilege of studying under Seison Yamaguchi (1892-1988), a renowned haiku poet personally responsible for helping ease the tradition of haiku into the modern world. Like Arima, Yamaguchi-sensei not only helped mold the modern view of haiku but was also instrumental in creating a bridge between the world of science and poetry. A professor of engineering himself, it is possible that Seison Yamaguchi helped Dr. Akito Arima develop strategies and methods of bridging the gap through his own writing. An example of his traditional style writing can be found here:
within the shade
of mother’s parasol:
Mother’s Day
(Akito Arima, Einstein’s Century p. 106)
The haiku holds a certain amount of subtly concerning the everyday life of an individual, while also taking the needed extra step to give reference to the season. The reader can almost step into the author’s mind and look through his eyes out onto the world that his writing has created. Not only that, but the emotions tied to the haiku are also very prevalent. By using the shade as well as the reference to mother’s day, Arima has opened a window through which readers in more than one country can understand and appreciate the beginning of summer, as well as the strong appeal to the mother and her family role.
Dr. Arima also uses his poetic license to give light and credence to the world he has come to know through his travels. As Basho once did through his own writing, the modern poet has opened doors of imagination and appreciation for the natural wonders of the world. For example: one penguin
falls behind the flock-
spring moon
(Akito Arima, Einstein’s Century p. 58)
The haiku brings together a beautiful scene of an Antarctic twilight. All of the reader’s senses attune themselves to the bitter waves, crashing on the icy shore, with the stars shining down. It is almost as if the author is paralleling a moment of solitude, intertwining his love and need for travel with the desire to wonder the far reaches of the earth.
At the same time, Dr. Arima seems to also be portraying the idea of a single person falling in line, fading into a crowd. The idea stems out to encompass whoever the penguin might be for the reader, possibly someone choosing to walk down the broad, popular path rather than stepping out and creating something on their own. The inclusion of the spring moon may also portray the idea of a new beginning, or lack thereof. The choice of a penguin is also interesting. In America, the penguin is sometimes used to describe someone stepping out on their own, doing the extraordinary, rather than the ordinary. It is obvious that Dr. Arima has met and surpassed this quality.
The professor has the incredible ability to mix the beauty of nature with the intelligence and creations of man. Consider this haiku:
street lamp:
at its foot the tulips
begin to glow
(Akito Arima, Einstein’s Century p. 102)
In this haiku, the author gracefully blends the advancement of our global society with the beauty of nature. Also, in contradiction with some literary writers, he writes as if the advancement is a good thing, rather than a nature destroying plague that is destroying the earth’s beauty. Through this haiku, Dr. Arima blends his own passions, nuclear physics and poetry, sharing with readers that technology and city dwellings can accent nature. Through the furthering of science and the understanding of how things are created and destroyed, an assurance is being given that nature’s beauty will be available for all to see, purposefully preserved for future generations.
While written in the 1600’s, the haiku of master Matsuo Basho also express a story of a wandering traveler, intent on expressing the coexistence of man and earth we live upon. Here is a haiku by Basho:
Chrysanthemum’s scent—
in the old town of Nara,
many ancient Buddhas.
(Matsuo Basho translated by Makoto Ueda, The Master Haiku Poet Matsuo Basho p. 66)
Here, however, is a reversed image. It appears that nature is not only accenting the creation of man, but also that regardless of how much society creates or builds, the world existing before the dawn of man will survive. Its beauty will coexist with that of man, accepting as an equal, built upon the same principles, but it will not back down.
The haiku also takes time to recognize the existence of the ancient world and the society that in it’s own way helped to develop the advancement of today’s knowledge and wisdom. Both Basho and Arima expertly give credence to masters before them, showing how information passed steadily from one generation to the next. The haiku also captures Basho’s idea that one can exist in the modern world and still remain at peace with oneself. Dr. Arima’s haiku carry this message as well.
Another comparison between Matsuo Basho and Dr. Akito Arima is the emphasis they both place on religious landmarks and their place in nature. Professor Arima has expertly carried on the tradition made famous by Basho. The difference is, however, that while Basho gave a great emphasis on the sacred sights of Buddhism, the professor has gone to great links to make reference to religions that affect the entire world. For example:
the land
of the Ten Commandments
snowmelt in its wells
(Akito Arima, Einstein’s Century p. 66)
In this haiku about the Ten Commandments, there is an emphasis on holy landmarks that seems to be a reoccurring factor within the works of Akito Arima. It is also interesting how he ties in specific places with a broadened look at country’s or world religions. The term snowmelt describes the desert, which gives a sense that the author is well versed and traveled with different scenes around the planet.
Overall, Dr. Akito Arima’s haiku are magnificent. His combinations of different cultures, landmarks, and subject material are astounding. It was very difficult to not feel completely overshadowed by this man’s great work, as well as unworthy to research his work. The most important aspect that I, as the researcher, believe the professor is conveying to his readers is the conflict of interests oppressing him through his talents and observations. Throughout his years of writing, he steadily teaches his readers how to balance the common things of live and enjoy every moment possible. Works Cited
Arima, Akito. Translated by Emiko Miyashita and Lee Gurga. Einstein's Century: Akito Arima's Haiku. Decatur, IL: Brooks Books, 2001.
Ueda, Makoto, Matsuo Bashô. Tokyo & New York: Kodansha International LTD., 1982. |
