Borrowed lines

Borrowed from Basho: 見るところ花にあらずと云ふことなし、 Miru tokoro hana ni arazu to iu koto nashi, There is nothing you can see that is not a flower; My interpretation: a day without flowers is like a year without sun a life without love

This is all very nice and sweet, but...doesn't tally with the Jane Reichhold essay. So, I'll start again:

bitterly cold the North wind does not reach where the pheasant sits

Now I have the two parts. Still a mental connection between the single and the double though. bitterly cold sets the scene and gives the reasoning behind the pheasant sitting in its preferred spot. Often these 'dabs of paint' inside a translated haiku seem to have little or no connection. Obviously cultural differences between the Japanese and European societies play an important role here. There can be so many inside jokes that we as outsiders are not aware of. But I feel certain that for us writing these gems there is absolutely no reason to introduce deliberate obscurities of understanding and relationship between the fragment and the phrase.

Reading one of J.Reichhold's translations I once more tumbled into a quandary: old pond a frog jumps into the sound of water Yes, but..... here we have one of the vagaries of English syntax: these lines can be read two different ways: old pond (that) a frog jumps into------ [ phrase 1] the sound of water----------------------[ fragment 1] or: old pond--------------------------------[ fragment 2 ] a frog jumps into the sound of water----[ phrase 2 ] I hope this mirror image juxtaposition is a mere fluke, and not a requirement, or this whole thing would be out of my reach.

Written for a prompt at CarpeDiem