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(Vol 5, No. 1)Tj
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(Spring 2004)Tj
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(Past Inscription:)Tj
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(The Mythopoetics of Angkarn Kalyanapong)Tj
20.398 -2.557 Td
(John Mattioli)Tj
-13.379 -2.557 Td
(John Mattioli is a PhD candidate in the department of Comparative )Tj
0 -1.2 TD
(Literature at the University of Wisconsin, Madison and can be reached at\
)Tj
T*
(johnmattioli@yahoo.com.)Tj
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(So nowadays when people have been touched by )Tj
0 -1.2 TD
(some hardship, they say, 'We've had it, it's given out )Tj
T*
(on us!' They recall the original primary word\(s\) but )Tj
0 -1.2 TD
(they don't understand what they mean. \(Collins, )Tj
0 -1.2 TD
(Agganna Sutta, 630\).)Tj
0 -2.557 TD
(As a matter of fact, how can you count poetry? It's )Tj
0 -1.2 TD
(just like this ... you can't count the grains of sand on )Tj
T*
(a beach or the trees in a forest ... poetry is part of my )Tj
T*
(heart beat, part of my breath ... when I die I'll either )Tj
T*
(be a spirit or a deity ... I am a )Tj
/TT5 1 Tf
('kawi')Tj
/TT1 1 Tf
( \(poet\). )Tj
T*
(\(Angkarn, Interview from )Tj
/TT5 1 Tf
(A Contemporary Siamese )Tj
T*
(Poet)Tj
/TT1 1 Tf
(\).)Tj
-23.4 -2.557 Td
(What is the status of myth and language in modern Thai poetry? Radical T\
hai poets from Cit Phumisak to )Tj
T*
(Khomthuan Khanthanu search classic Thai epics, archaic Brahmin oaths, an\
d core Buddhist sutras for )Tj
T*
(the origins of poetry. Buddhist reform poets and writers, like Sulak Siv\
araksa, find poetic vision in the )Tj
T*
(foundational texts of empire and religion. It becomes apparent that the \
texts of the past, their myths and )Tj
T*
(forms, bear weight in the expressions of modern Thai poetry. The role of\
the past appears as a source of )Tj
T*
(inspiration, meter and language. Yet it also reveals a portentous path f\
or writing into the future. The Thai )Tj
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(John Mattioli -- Past Inscription: The Mythopoetics of Angkarn Kalyanapo\
ng)Tj
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(poet Angkarn Kalyanapong is often called the doyen of contemporary Thai \
poetry \(Chetana, "Sense," 12\).)Tj
0 -1.2 TD
([1] Angkarn's poetry calls upon the poetic conventions of the past and t\
he potent myths of both Buddhism )Tj
T*
(and the Thai State. In examining the use, rewriting and recreation of my\
th in contemporary Thai poetry, )Tj
0 -1.2 TD
(Angkarn's poems )Tj
/TT1 1 Tf
(WakThalee)Tj
/TT0 1 Tf
( \(Scoop up the Sea\) and )Tj
/TT1 1 Tf
(CaarukAdiit)Tj
/TT0 1 Tf
( \(Past Inscription\) present a fertile )Tj
0 -1.2 TD
(ground between the evocation and exploration of mythopoetics by the poet\
s of revolution and the poets of )Tj
T*
(reform.[2] The purpose of this study is to explore the poetry of Angkarn\
and the myths he accesses, )Tj
T*
(yielding a framework of the relationship of myth to poetry.[3])Tj
0 -2.557 TD
(In order to better understand the use of the myth in contemporary Thai p\
oetry, the work of Sulak offers )Tj
0 -1.2 TD
(an excellent frame for a study of Angkarn. Sulak is, in part, responsibl\
e for the myth of Angkarn as a )Tj
T*
(national and international poet. Angkarn's first collection of poems was\
published under Sulak's )Tj
T*
(encouragement and, in addition, Sulak has worked to promote and translat\
e Angkarn's poetry \(Manas, )Tj
T*
(47\). It is in Sulak's vision of the past that one can find a companion \
or comparative approach to )Tj
T*
(Angkarn's mythopoetics. Donald K. Swearer, in "Sulak Sivaraksa's Buddhis\
t Vision for Renewing )Tj
0 -1.2 TD
(Society," explores Sulak's use of a Buddhist past that offers paths for \
contemporary reform.)Tj
/TT2 1 Tf
2.857 -2.505 Td
(For many people today the confusions of the present seem to promote a no\
stalgia for the )Tj
0 -1.2 TD
(past. In some cases the nostalgia is an escape back to a romanticized, s\
ecure, comfortable )Tj
T*
(and less threatening time. For others the past provides a critical persp\
ective form which to )Tj
T*
(inform the present and guide the future. The latter use of the past typi\
fies Sulak's view of the )Tj
T*
(Buddhist tradition. It is a "living past" with the power to inspire peop\
le to be more generous )Tj
T*
(and compassionate, and to incite societies to be more just and nonviolen\
t \(Swearer, 39\). )Tj
/TT0 1 Tf
-2.857 -2.609 Td
(The past is caught somewhere between escape and action. It is important \
to note that both escape and )Tj
T*
(action are tensions within an approach and appreciation of the past -- w\
ithin nostalgia. Even when )Tj
T*
(turned towards action, the past, inscribed into tensions under nostalgia\
, produces and provides only the )Tj
T*
(distance for a 'critical perspective.' As poetry delves deeper into myth\
, it can yield much more than )Tj
T*
(perspective. Although this work is not about Sulak or Buddhist reform, S\
ulak's distance from and use of )Tj
0 -1.2 TD
(the past can provide some tentative first terms for this study.)Tj
0 -2.557 TD
(In his appropriation and appreciation of the past, Sulak concentrates on\
several core texts. The Buddhist )Tj
0 -1.2 TD
(historical moments that are of primary concern to Sulak are: "King Ramkh\
amhaeng's model of )Tj
T*
(benevolent, righteous kingship; King Lithai's synthesis of Buddhist cosm\
ology, politics and ethics; King )Tj
T*
(Mongkut's neo-orthodox Buddhist revivalism; and Buddhadhasa Bhikkhu's re\
formist Buddhism, )Tj
T*
(especially his utopian ideology of Dhammic socialism" \(Swearer, 40\). I\
t is important to point out that )Tj
T*
(these historical moments \(and figures\) were periods of poetic producti\
vity as well. King Ramkhamheang's )Tj
T*
(Sukhothai inscription is considered one of the most potent vestiges of T\
hai poetry and the Thai State and )Tj
T*
(is often referred to as the first pillar/post \()Tj
/TT1 1 Tf
(laknung)Tj
/TT0 1 Tf
(\).[4] King \(Phya\) Lithai is accredited with the sermon )Tj
/TT1 1 Tf
T*
(The Three Worlds)Tj
/TT0 1 Tf
(, a text that accesses classical Buddhist cosmology and "may well be the\
earliest )Tj
T*
(elaborated Therevada cosmology" \(Swearer, 41\). Although Sulak uses the\
se texts for their ethical import, )Tj
T*
(especially in outlining the effects of virtues and vices, these core tex\
ts also inform Angkarn's myth )Tj
T*
(making. The Thai poet Angkarn Kalyanapong explores/exploits the past as \
a source of myth, language )Tj
T*
(and poetic convention. The poems, )Tj
/TT1 1 Tf
(WakThalee)Tj
/TT0 1 Tf
( and )Tj
/TT1 1 Tf
(CaarukAdiit)Tj
/TT0 1 Tf
(, yield Angkarn's mythopoetics at the )Tj
T*
(intersection of myth, language, and poetic convention.)Tj
0 -2.557 TD
(What are the terms and tensions of mythopoesis? In order to understand A\
ngkarn's relation to the past )Tj
0 -1.2 TD
(and his use of myth, it is important to set some limits to the relation \
of myth to language.)Tj
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(John Mattioli -- Past Inscription: The Mythopoetics of Angkarn Kalyanapo\
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(Mythopoeia)Tj
/TT1 1 Tf
(: \(Gr 'myth-making'\) the conscious creation of a myth. In literature, \
the )Tj
0 -1.227 TD
(appropriation and reworking of mythical material, or the creation of a k\
ind of 'private' )Tj
0 -1.2 TD
(mythology \(Cuddon, 527\).)Tj
/TT2 1 Tf
-2.857 -2.609 Td
(This first definition informs our discussion of Angkarn. Angkarn's use o\
f myth must lie somewhere )Tj
0 -1.2 TD
(between myth-making, as mythopoesis, and convention \(and its re-working\
\) of myth, mythopoetics. The )Tj
T*
(answer to this dilemma of definition revolves around the status of langu\
age and the past in the poetry of )Tj
0 -1.2 TD
(Angkarn. The literary theorists Paul de Man and Jean Luc Nancy provide a\
framework for this questing )Tj
T*
(after mythic language.)Tj
0 -2.557 TD
(In )Tj
/TT3 1 Tf
(The Inoperative Community)Tj
/TT2 1 Tf
(, Jean-Luc Nancy points out the properties of mythic language. "It [the \
)Tj
0 -1.2 TD
(language of myth] is no longer the language of their exchanges, but of t\
heir reunion -- the sacred )Tj
T*
(language of a foundation and an oath" \(Nancy, 44\). Mythic language, th\
en, is the language of sacred )Tj
T*
(foundations which produces and acts. Angkarn's poetry accesses this sacr\
ed language. The poem )Tj
/TT3 1 Tf
0 -1.2 TD
(WakThalee)Tj
/TT2 1 Tf
( calls upon the language of the )Tj
/TT3 1 Tf
(Agganna Sutta)Tj
/TT2 1 Tf
(, the Buddhist creation myth, the )Tj
/TT3 1 Tf
(Oong Kaan )Tj
0 -1.2 TD
(Chaeng Nam)Tj
/TT2 1 Tf
(, the Oath of Fealty \(the Water Oath\), and the )Tj
/TT3 1 Tf
(Ramakian)Tj
/TT2 1 Tf
(, the Thai rewriting of the Indian )Tj
T*
(epic Ramayana and the foundational text of the Chakri dynasty \(the curr\
ent Thai dynasty\) \(Nitaya, 322\). )Tj
T*
(Thus, Angkarn's poetry already sets itself within the limits of sacred l\
anguage. In )Tj
/TT3 1 Tf
(CaarukAdiit)Tj
/TT2 1 Tf
(, Angkarn )Tj
T*
(evokes the place and time of mythic inscription and the inscriptions of \
classical Thai poetry. It is this )Tj
T*
(moment and monument of inscription that allies itself to Nancy's scene o\
f myth.)Tj
/TT1 1 Tf
2.857 -2.505 Td
(It is not just any scene: it is perhaps the essential scene of all scene\
s, of all scenography or )Tj
T*
(all staging; it is perhaps the stage upon which we represent everything \
to ourselves or )Tj
T*
(whereupon we make appear all representations, if myth, as Levi-Strauss w\
ould have it, is )Tj
T*
(primarily defined as the which or in which time turns into space \(Nancy\
, 44-5\).)Tj
/TT2 1 Tf
-2.857 -2.609 Td
(Through Nancy's work, myth can be set as the sacred language of foundati\
on which creates a special )Tj
0 -1.2 TD
(relationship between time and space. An exploration of Angkarn's poetry \
must pay attention to how these )Tj
T*
(poems deal with sacred language, foundations and the past.)Tj
0 -2.557 TD
(Paul de Man presents another understanding of myth. In his reading of Sc\
hlegel, de Man refers to )Tj
0 -1.2 TD
(Schlegel's understanding of myth and poetry. "And then he [Schlegel] say\
s 'This is the origin of all poetry, )Tj
T*
(to suspend the notions and the laws of rational thought and to replace u\
s within a beautiful confusion of )Tj
T*
(fantasy in the original chaos of human nature \(for which mythology is t\
he best name\)'" \(de Man, 181\). Yet )Tj
T*
(in de Man's study of Schlegel, he reveals that this chaos of nature is n\
ot one of beautiful symmetry. The )Tj
T*
(language of myth, the authentic and authenticating language, is radical \
and arbitrary. "The authentic )Tj
T*
(language is the language of madness, the language of error, and the lang\
uage of stupidity" \(de Man, 181\). )Tj
T*
(De Man's reading points out the unreliability of mythic language. In a s\
earch for mythic language, the )Tj
T*
(search must always be interrupted by the madness and errors of language.\
)Tj
0 -2.557 TD
(This study has outlined two approaches to myth, one of sacred and founda\
tional language and the other )Tj
0 -1.2 TD
(of the authentic confusion of language, yet both these languages suffer \
interruptions. Sulak's vision of the )Tj
T*
(past presents a model of these interruptions. In Swearer's discussion of\
Sulak, the past and the myth are )Tj
T*
(always in the distance. But it is this distance that provides both the t\
rajectory of escape and of action. The )Tj
T*
(mythic texts remain locations of critical distance from the present. Thi\
s view of the past highlights the )Tj
T*
(difference between mythopoesis as the immediate and unmediated place of \
myth and action and )Tj
T*
(mythopoetics with critical distance to re-work the myth as potential for\
action. For Nancy, the )Tj
T*
(interruption of myth is a central point.)Tj
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(It is here that things are interrupted. The Tradition is suspended at th\
e very moment it fulfills )Tj
0 -1.2 TD
(itself. It is interrupted at that precise and familiar point where we kn\
ow that it is all a myth )Tj
T*
(\(Nancy, 52\).)Tj
/TT1 1 Tf
-2.857 -2.609 Td
(Nancy's interruption of myth is what denotes the lack of myth-making; my\
th no longer has the power to )Tj
0 -1.2 TD
(fashion the world.[5] Myths no longer make, instead they, themselves are\
re-made and re-fashioned. De )Tj
T*
(Man's reading of myth returns to mythopoetics, myth as trope.)Tj
0 -2.557 TD
(In his discussion of the trope of irony, de Man presents some interestin\
g rhetorical considerations for )Tj
0 -1.2 TD
(myth.)Tj
/TT0 1 Tf
2.857 -2.505 Td
("A pattern of words that turns away" -- that turning away is the trope, \
the movement of the )Tj
T*
(trope. Trope means to "to turn," and it's that turning away, that deviat\
ion between literal and )Tj
T*
(figurative meaning, this turning away of the meaning, which is certainly\
involved in all )Tj
T*
(traditional definitions of irony, "such as meaning one thing and saying \
something else," or )Tj
T*
("praise by blame," or whatever it may be -- though one feels that this t\
urning ways in irony )Tj
T*
(involves a little more, a more radical negation than one would have in a\
n ordinary trope )Tj
T*
(such as synecdoche or metaphor or metonymy \(de Man, 164-5\).)Tj
/TT1 1 Tf
-2.857 -2.609 Td
(Considering the mad and arbitrary signification of mythic language point\
ed out by de Man, it seems that )Tj
T*
(mythic language 'turns away.' Myth as the telling language and as the la\
nguage that creates or makes is, )Tj
T*
(potentially, its own trope of language. For de Man, the mythic language \
can never escape its rhetorical )Tj
T*
(position as 'mythic language.' Thus in approaching Angkarn's poems, the \
nature of language \(sacred and )Tj
T*
(mad\) becomes an essential key in discerning Angkarn's myth-making or rh\
etoric of myth.)Tj
0 -2.557 TD
(With these paradigms in consideration, Angkarn's poetry can help probe t\
he relationships of myth, )Tj
0 -1.2 TD
(language and poetry. )Tj
/TT2 1 Tf
(WakThalee)Tj
/TT1 1 Tf
( is considered one of Angkarn's best poems and is often cited as source \
)Tj
0 -1.2 TD
(text for understanding the aesthetics of Angkarn's poetry \(Chetana, "Ar\
t," 218-9\). Yet the images and )Tj
T*
(beauty of the poem fall before the potency of his language and his re-wr\
iting of myth. Before turning to )Tj
T*
(the exploration of Angkarn's poems, it is necessary to confront the laye\
rs of Angkarn's reception and )Tj
T*
(interpretation. Angkarn's poetry directly confronts the poetic tradition\
s of classical Thai poetry.[6])Tj
/TT0 1 Tf
2.857 -2.505 Td
(Of course it would be easy to look at Angkarn's poetry as breaking with \
convention since his )Tj
T*
(attitude towards the world is very different from that of ancient poets.\
Angkarn regards all )Tj
T*
(things in the universe as equal, whereas the convention classifies both \
animate and )Tj
T*
(inanimate things as good or bad, high or low, godly or earthly, king or \
commoner, heroes or )Tj
T*
(villains etc. \(Manas, 47\).)Tj
/TT1 1 Tf
-2.857 -2.609 Td
(According to Manas, Angkarn's confrontation of classical conventions is \
both a break with the past )Tj
T*
(traditions but also an adherence to them. Angkarn's breaks with traditio\
n occur within poetical )Tj
T*
(convention.[7])Tj
/TT0 1 Tf
2.857 -2.505 Td
(This does not mean, however, that the poet ignores the rules of conventi\
on or creates his )Tj
T*
(own rules. For Angkarn, who has studied deeply the convention which he r\
egards as Thai )Tj
T*
(heritage, the basic structure of the form is observed but the minor inte\
rior arrangements )Tj
T*
(may be manipulated and altered \(qtd in Manas, 49 from Suchitra, 76\).)Tj
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(It is this tension between poetic convention and creation that marks Ang\
karn's works. Angkarn's poetic )Tj
0 -1.2 TD
(forms seem to take on convention at the level of poetic creation. It can\
be said that Angkarn, in his study )Tj
T*
(of archaic and classical poetry has recreated the poetic forms. As Manas\
has pointed out, Angkarn's )Tj
0 -1.2 TD
(poetry is markedly different than that of classical poets. Whereas ancie\
nt poetry classified and divided the )Tj
0 -1.2 TD
(world into its separate orders and hierarchies, Angkarn's poetry breaks \
down these orders making them )Tj
T*
(universally equal. In this movement and moment, Angkarn re-inscribes the\
world \(and perhaps recreates )Tj
T*
(it\).)Tj
0 -2.557 TD
(Angkarn, himself, points towards the relationship of language to creatio\
n and myth to poetry. An )Tj
0 -1.2 TD
(appreciation of Angkarn's understanding of 'the work of poetry' is essen\
tial to this enquiry. In one of the )Tj
T*
(quotes that starts this study, Angkarn responds to a question about the \
number of poems he has written:)Tj
/TT1 1 Tf
2.857 -2.505 Td
(As a matter of fact, how can you count poetry? It's just like this. you \
can't count the grains of )Tj
T*
(sand on a beach or the trees in a forest ... poetry is part of my heartb\
eat, part of my )Tj
T*
(breath ... when I die I'll either be a spirit or a deity... I am a 'kawi\
' \(poet\). \(Angkarn, Interview )Tj
T*
(from )Tj
/TT2 1 Tf
(A Contemporary Siamese Poet)Tj
/TT1 1 Tf
(\)[8])Tj
/TT0 1 Tf
-2.857 -2.611 Td
(In Angkarn's answer to this question, lies the foundation of his underst\
anding of the relationships of )Tj
T*
(poetry, language and myth. The counting of poetry is an impossible task.\
Poetry \(and language\) has a )Tj
T*
(correlation to nature. Poems are \(somehow\) equal to sand and trees, co\
untless in their multitude but )Tj
T*
(beating a rhythm in breath and pulse. Poetic creation is a presence that\
is bound to the body of the poet )Tj
T*
(and carries over into celestial abodes.)Tj
0 -2.557 TD
(The word )Tj
/TT3 1 Tf
(kawii)Tj
/TT0 1 Tf
( is especially significant. This word denotes a poetic presence that is \
related to creation )Tj
0 -1.2 TD
(and language. A poet is a )Tj
/TT3 1 Tf
(nakkawii)Tj
/TT0 1 Tf
(, a person of poetry, while a poem is a )Tj
/TT3 1 Tf
(botkawii)Tj
/TT0 1 Tf
(, a piece or part of )Tj
T*
(poetry. It is the presence of the poetic that marks the poem and the poe\
t. Although )Tj
/TT3 1 Tf
(nak)Tj
/TT0 1 Tf
( is contemporarily )Tj
T*
(defined to mean expert and authority, as a part of language it is a 'bou\
nd stem' that creates an 'agent )Tj
0 -1.2 TD
(noun' \(Haas, 260\). The poet is the bound agent of the poetic, of poetr\
y. )Tj
/TT3 1 Tf
(Bot)Tj
/TT0 1 Tf
( is a noun that signifies the )Tj
T*
(text, the lines and the subject \(of discussion\), yet it also quantifie\
s the sections of proverbs, lessons and )Tj
T*
(verse \(Haas, 280\). Poems, thus, partake of and are part of the poetic.\
Poems are separate pieces of and )Tj
T*
(the subject of poetry. But what is this poetic, this )Tj
/TT3 1 Tf
(kawii)Tj
/TT0 1 Tf
(?)Tj
/TT3 1 Tf
0 -2.557 TD
(Kawii)Tj
/TT0 1 Tf
( is a Thai word that includes all the different forms and genres of poet\
ry and song. )Tj
/TT3 1 Tf
(Kawii)Tj
/TT0 1 Tf
( is )Tj
0 -1.2 TD
(etymologically from Pali and it is this link that provides a deeper unde\
rstanding of the creative potency of )Tj
T*
(poetry. Pali is the language of Thai Buddhism and Buddhist texts. It is \
the sacred language of the Buddha )Tj
T*
(and the language of sutras and sermons. Poetry is of the sacred traditio\
n, of birth and death, and of )Tj
T*
(creation and enlightenment. Thus when called upon to count and account f\
or his poetry, Angkarn )Tj
T*
(answers \(can only answer\) 'I am a bound agent of poetry and the poetic\
.'[9] In response to the )Tj
T*
(parameters of myth and language set forward by Nancy and de Man, it seem\
s that the poet and poem )Tj
T*
(retain the foundational nature of language necessary for mythopoesis and\
the distance from poetry to )Tj
T*
(poet is the beating heart, punctuated \(and perhaps interrupted\) by bre\
ath.)Tj
0 -2.557 TD
(As the poet and poem are part of the creation of the world, it is only f\
itting to look at Angkarn's )Tj
0 -1.2 TD
(recounting of the coming into being of the world. Angkarn's poem )Tj
/TT3 1 Tf
(WakThalee)Tj
/TT0 1 Tf
( \(Scoop up the Sea\) is, in )Tj
T*
(part, a recreation of the Buddhist creation myth, the )Tj
/TT3 1 Tf
(Agganna Sutta)Tj
/TT0 1 Tf
(. The )Tj
/TT3 1 Tf
(Agganna Sutta)Tj
/TT0 1 Tf
( \(also called )Tj
T*
("The Discourse on What is Primary"\) is a speech/sermon of the Buddha th\
at recounts the creation of the )Tj
T*
(world and this sutra is later incorporated in the cycle of time and crea\
tion in )Tj
/TT3 1 Tf
(The Three Worlds of Phra )Tj
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(John Mattioli -- Past Inscription: The Mythopoetics of Angkarn Kalyanapo\
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(Cosmology)Tj
/TT1 1 Tf
(, University of California, Berkeley, c. 1982.)Tj
0 -2.557 TD
(PhrayaUppakitSilapasaan. )Tj
/TT0 1 Tf
(Foundations of Thai Language)Tj
/TT1 1 Tf
(, Thai Watthana Phanit, Bangkok, c. 1993. \(in )Tj
0 -1.2 TD
(Thai\))Tj
0 -2.557 TD
(Suchitra Chongstitvatana, "The Nature of Modern Thai Poetry Considered w\
ith Reference to the Works of )Tj
0 -1.2 TD
(Ankhan Kalayanaphong, Naowarat Phongphaibun and Suchit Wongthet," Diss. \
University of London, )Tj
T*
(School of Oriental and African Studies \(SOAS\), 1984.)Tj
0 -2.557 TD
(Sulak Siviraksa, )Tj
/TT0 1 Tf
(Siam in Crisis)Tj
/TT1 1 Tf
(, Komol Keemthong Foundation, Bangkok, c. 1980.)Tj
T*
(Swearer, Donald K. "Sulak Sivaraksa's Buddhist Vision for Renewing Socie\
ty," )Tj
/TT0 1 Tf
(Crossroads)Tj
/TT1 1 Tf
(. Vol. 6.2, )Tj
0 -1.2 TD
(Center for Southeast Asian Studies, Northern Illinois University, c. 199\
1.)Tj
0 -2.557 TD
(Swearer, Donald K., )Tj
/TT0 1 Tf
(Three Thai Poets: Angkarn Kalyanapongs, Naowarat Pongpaibool and )Tj
0 -1.2 TD
(Witayakorn Chiengkul)Tj
/TT1 1 Tf
(. Sathirakoses-Nagapradipa Foundation, Bangkok, c. 1978)Tj
0 -2.557 TD
(Whitman, Jon, )Tj
/TT0 1 Tf
(Allegory: The Dynamics of an Ancient and Medieval Technique)Tj
/TT1 1 Tf
(, Harvard University )Tj
0 -1.2 TD
(Press, Cambridge c. 1999.)Tj
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(John Mattioli -- Past Inscription: The Mythopoetics of Angkarn Kalyanapo\
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(Ruang)Tj
/TT1 1 Tf
(. In the )Tj
/TT0 1 Tf
(Agganna Sutta)Tj
/TT1 1 Tf
( the world comes into being through a series of steps involving the de-)Tj
0 -1.2 TD
(evolution of spirits into material being. These steps revolve around the\
coalescence of spirit matter into )Tj
T*
(earth essence. "Then \(on one such occasion\) an earth essence spread ou\
t on the waters" \(Collins, 629\). )Tj
0 -1.2 TD
(Once this essence appears it is only \(or not yet\) a matter of time bef\
ore consumption \(and greed\) begin )Tj
0 -1.2 TD
(the advance to materiality. The physical description of this consumption\
depicts the material effect of this )Tj
T*
(first cause.)Tj
/TT2 1 Tf
2.857 -2.505 Td
(Then, monks, a certain being, greedy by nature, thinking "What can this \
be?", tasted the )Tj
0 -1.2 TD
(earth-essence with his finger. As he tasted the earth-essence with his f\
inger he was )Tj
T*
(pleased, and Craving came upon him. Other beings imitated that being, ta\
sting the earth-)Tj
T*
(essence with their finger\(s\). They too were pleased, and Craving came \
upon them. Then, )Tj
T*
(monks, these beings started to eat the earth-essence taking \(big\) mout\
hfuls of it with their )Tj
T*
(hands. \(Collins, 629\))Tj
/TT1 1 Tf
-2.857 -2.609 Td
(In this description, greed and physicality are conjoined. The physical a\
ctions of scooping this essence, its )Tj
T*
(mouthfuls and handfuls, lends and leads the world into its divisions of \
being, labor, wealth \(caste and )Tj
T*
(class\). It is through the consumption and greed that materiality, diffe\
rentiation and order are put to the )Tj
T*
(world.)Tj
0 -2.557 TD
(With handfuls of "earth-essence spread out on the waters," the creation \
of the world begins.)Tj
/TT3 1 Tf
18.166 -2.557 Td
(Scoop up the Sea)Tj
/TT1 1 Tf
([10])Tj
/T1_1 1 Tf
-17.567 -2.513 Td
(Scoop the sea onto a plate feasted with white rice)Tj
0 -1.2 TD
(Grasp for a handful of stars mixed with salt to eat)Tj
T*
(Watch the crabs and oysters circle dancing, singing folk songs)Tj
T*
(Chameleons and millipedes fly to eat the sun and moon)Tj
T*
(A toad mounts the golden palanquin floating tour on currents of hea\
ven)Tj
0 -1.2 TD
(A bull-frog goes with him Angels flee into a coconut husk)Tj
T*
(Earthworms seduce maidens Apsaras who sleep in the sky)Tj
T*
(Every cell and spore raises their face shining succes\
s)Tj
T*
(Gods bored with celestial mansions swoop to earth to eat shit)Tj
T*
(Praising waste that has a taste wonderful in surplus of wo\
rds)Tj
T*
(Jungle groves and thickets can speak deep philosophy)Tj
T*
(Sawdust murmuring in sleep calculates the weight of shadows\
)Tj
T*
(Who, wonderful, can reign the sky Who remains, earthly, low, a buf\
foon)Tj
T*
(World of avarice and drunken wrath Fools, Let's possess excess -Euy\
[11])Tj
T*
( Angkarn: 2533 B.\
E)Tj
/TT1 1 Tf
-0.6 -2.601 Td
(The title and first line of this poem carry with them the first cause of\
the world's materiality and suffering. )Tj
T*
(The word )Tj
/TT0 1 Tf
(wak)Tj
/TT1 1 Tf
(, to scoop, starts the poem and references the physical action of scoopi\
ng mouthfuls by )Tj
T*
(hand, the arc of the action and the verb leading to the mouth that consu\
mes \(and speaks\). Angkarn's )Tj
T*
(poem exists at the nexus of poetry, language and myth drawing on the fou\
ndational text, words and )Tj
T*
(action of the world's origin.)Tj
0 -2.557 TD
(Thematically and linguistically )Tj
/TT0 1 Tf
(WakThalee)Tj
/TT1 1 Tf
( invokes the language of sacred beginnings. Considering )Tj
0 -1.2 TD
(Nancy's sacred language and mythic scene, )Tj
/TT0 1 Tf
(WakThalee)Tj
/TT1 1 Tf
( calls out and upon myth. The sacred language )Tj
T*
(that the Buddha speaks is spoken in the poem and the poet speaks the wor\
ds of that telling. The poem )Tj
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(articulates the scene and language of origin. The first lines of the poe\
m set the primal scene, the mythic )Tj
0 -1.2 TD
(action by which the world comes into being. As pointed out by the resear\
ch of Manas, Angkarn engages )Tj
T*
(the orders and hierarchies of archaic poetry. In Angkarn's order of the \
world, the differentiation of being )Tj
0 -1.2 TD
(is accounted for but is also upset. Beings are divided and differentiate\
d, but in the act of creation/)Tj
0 -1.2 TD
(consumption they are also confused. Interestingly enough, this confusion\
seems to evoke de Man's view )Tj
T*
(of mythic language as "madness, error and stupidity." This topsy-turvy w\
orld is one of "avarice and )Tj
T*
(drunken wrath." The essence of the world and its consumption are the res\
ult of fools. The mythic scene is )Tj
T*
(one of chaos, abundance and abandon.)Tj
0 -2.557 TD
(The first action of the world's origin and division is immediately turne\
d around. The mythic consumption )Tj
0 -1.2 TD
(of earth-essence is turned back towards the sky as the handfuls grasped \
are those of stars.)Tj
/T1_1 1 Tf
2.34 -2.513 Td
(Scoop the sea onto a plate feasted with white rice)Tj
T*
(Grasp for a handful of stars mixed with salt to eat)Tj
/TT0 1 Tf
-2.34 -2.601 Td
(It seems that the mythic scene, its primal essence, is also already inte\
rrupted at the moment of its \(re-\) )Tj
T*
(enunciation. This movement and moment mirrors the 'turning away' of de M\
an's trope and the )Tj
T*
('interruption of myth' of Nancy. The first action and first words turn a\
way from the myth and towards the )Tj
T*
(stars interrupting the de-evolution of being.)Tj
0 -2.557 TD
(Again the poem is caught between mythopoesis and mythopoetics. In additi\
on to the )Tj
/TT1 1 Tf
(Agganna Sutta)Tj
/TT0 1 Tf
(, this )Tj
0 -1.2 TD
(poem evokes its own abundance of foundational texts and poems. The langu\
age of the poem also invokes )Tj
T*
(the )Tj
/TT1 1 Tf
(Oong Kaan Chaeng Nam)Tj
/TT0 1 Tf
(, the Oath of Fealty \(the Water Oath\) and the )Tj
/TT1 1 Tf
(Ramakian)Tj
/TT0 1 Tf
(, the Thai rewriting )Tj
T*
(of the Indian epic Ramayana which is also the foundational text of the C\
hakri dynasty \(the current Thai )Tj
T*
(dynasty\) \(Nitaya, 322\). Angkarn's mythic scene is one of confusion, n\
ot only of the creation myth, but )Tj
T*
(also of all foundational myths. The abundance of myth creates problems f\
or interpretation because the )Tj
T*
(mythic abundance plays as the creation of myth or the technique of myth.\
[12] In order to essay this )Tj
T*
(problem, it is necessary to address myth's presentation \(presence\) in \
language.)Tj
0 -2.557 TD
(At the same time as these myths are evoked, invoked and inverted, the po\
et inserts idiom \(Nitaya, 322\). )Tj
0 -1.2 TD
(Idiom presents an interesting new turn. The idiom itself is a play with\(\
in\) language but Angkarn plays )Tj
T*
(with this play. Angkarn \(bound to poetry\) plays within the play of lan\
guage. This idea bears more )Tj
T*
(analysis. Angkarn's play within the free \(loose\) play of language rein\
forces the abundance of myth with an )Tj
T*
(abundance of sound and sense.)Tj
/T1_1 1 Tf
1.2 -2.513 Td
(Gods bored with celestial mansions swoop to earth to eat shit)Tj
T*
(Praising waste that has a taste wonderful in surplus of wor\
ds)Tj
/TT0 1 Tf
-1.2 -2.601 Td
(The primal myth of creation is bound to slip within language and a surpl\
us of sense-taste which includes )Tj
T*
(the denigration of the earth-essence to bodily waste. This movement whic\
h makes earth-essence equal to )Tj
T*
(shit and seemingly turns away from the myth also speeds the myth up; shi\
t is the result of the materiality )Tj
T*
(of being. The consumption of the sea is a shitty choice based on greed a\
nd as eating will eventually )Tj
T*
(produce itself.)Tj
0 -2.557 TD
(In order to get at the language of myth, it is necessary to consider the\
implications of "a taste wonderful )Tj
0 -1.2 TD
(in surplus of words." There is slippage in language at this moment in th\
e poem. The Thai text creates )Tj
T*
(even more concerns as alternate translations yield "taste most wonderful\
than telling words" and "taste )Tj
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(wonderfully superlative to/at the telling worlds." This moment of indete\
rminacy of language is also the )Tj
0 -1.2 TD
(location of language "at the place of the telling words." Thus Angkarn p\
resents us with a language of )Tj
T*
(confusion and excess. In a telling moment Angkarn reveals his own relati\
on between language and earth:)Tj
/TT1 1 Tf
2.857 -2.505 Td
(We [Angkarn and his mother] would take turns to read out aloud, my mothe\
r and I. Once )Tj
0 -1.2 TD
(when I recited the sad parting of Inao and Busabe, my mother began to cr\
y. I'm very )Tj
T*
(sensitive, you know ... sometimes I cry too. Before my birth, my mother \
had a craving for the )Tj
0 -1.2 TD
(soil. She ate the soil, the earth ... and then I was born ... and the ea\
rth became part of me )Tj
T*
(\(Angkarn, Interview from "A Contemporary Siamese Poet"\).)Tj
/TT0 1 Tf
-2.857 -2.609 Td
(Angkarn, the poet, suffers the words of indescribable taste. Earth and l\
anguage are at the mouth. Is this )Tj
T*
(the mythic unification of time and place, soil, shit and song? At this m\
oment of slippage, the cry is )Tj
T*
(expressed.)Tj
0 -2.557 TD
(The )Tj
/TT2 1 Tf
(Agganna Sutra)Tj
/TT0 1 Tf
( also presents this slippage in language at or around the time of myth. \
In addition to )Tj
0 -1.2 TD
(the repetition of consumption, the myth repeats the slippage of language\
. After a long time of )Tj
T*
(consumption, the earth-essence is exhausted.)Tj
/TT1 1 Tf
2.857 -2.505 Td
(When it had disappeared, they came together and lamented, "Look \()Tj
/TT3 1 Tf
(aho)Tj
/TT1 1 Tf
(\) the \(earth\) )Tj
0 -1.201 TD
(essence \()Tj
/TT3 1 Tf
(rasam)Tj
/TT1 1 Tf
(\) \(has disappeared\), look.the essence." So nowadays, when people have\
)Tj
T*
(tasted something good they say, "Oh the taste, oh the taste!" \()Tj
/TT3 1 Tf
(aho rasam)Tj
/TT1 1 Tf
(\). They recall the )Tj
T*
(original primary word\(s\), but they don't understand what they mean \(C\
ollins, 630\).)Tj
/TT0 1 Tf
-2.857 -2.609 Td
(Nancy's definition of mythic language and mythic scene bears more on thi\
s moment in the text than, )Tj
0 -1.2 TD
(perhaps, the recounting of the myth itself. It is at the moment of absen\
ce that language \(and song\) )Tj
T*
(becomes most present within the myth. The cry becomes a language of unio\
n in the myth and the sound )Tj
T*
(of lamentation. The cry and utterance are related to the withdrawal of a\
bundance. The remnant of the )Tj
T*
(mythic scene lies within language, but it is a language that slips from \
meaning and emerges from sense.)Tj
0 -2.557 TD
(The final lines of Angkarn's poem mirror this union based upon absence a\
nd abundance. Throughout the )Tj
0 -1.2 TD
(poem, there is a vacillation in address. The poem begins with an elusive\
address. The statement \(or )Tj
T*
(command\) 'scoop the sea' does not refer to the reader or a figure in th\
e poem. This ambiguity is followed )Tj
T*
(up with lines of descriptive chaos with the figures identified by name: \
chameleon and toad, apsara and )Tj
T*
(angel. This descriptive frame alters the immediacy of the first lines an\
d converts them into a retelling of )Tj
T*
(mythic events. This determined chaos is upset by the final stanza.)Tj
0 -2.557 TD
(The first two lines of the final stanza begin with an open address which\
is also the question: "who?" It is )Tj
0 -1.2 TD
(important to note that this 'who' could also be 'anyone who?' The poem u\
psets the determined )Tj
T*
(description of the world as retelling and potentially makes the poem a r\
ecreation \(or creation\). 'You' )Tj
T*
(could be the 'who' of which the poet speaks and the poem addresses. It c\
ould be you who scoop sea and )Tj
T*
(dines but it could also be anyone. The final lines \(a translation night\
mare\) are filled with hortatory )Tj
T*
(\(command\) participles but with no term of address and superlatives. In\
to this drunken world of )Tj
T*
(consumption a strong command is given to the yet ambiguous addressee. Th\
e final line is one of union )Tj
T*
(and cry. Each syllable is a command to consume the excellent abundance o\
f the mad world and is the )Tj
T*
(equivalent of 'now,' 'hurry,' and 'let's.' The union is implicit in the \
mad rush of intoxication and greed and )Tj
T*
(ends with a breathy cry. The final syllable euy is a stable component of\
poetry and the complement of )Tj
T*
(meter. It is often used to fill out metrical forms, but is often ignored\
in translation. This syllable is used to )Tj
T*
(show endearment and intimacy to most nouns and names. )Tj
/TT2 1 Tf
(Euy)Tj
/TT0 1 Tf
( elicits union and lament. Thus the poem )Tj
ET
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(ends with the soft sounds of intimate abundance.a final cry and gasp.)Tj
0 -2.557 TD
(Returning to the )Tj
/TT1 1 Tf
(Agganna Sutta)Tj
/TT0 1 Tf
(, the withdrawal of meaning continues throughout the sutra as the world \
)Tj
0 -1.2 TD
(gets ordered and takes shape. In two more instances meaning withdraws, b\
eings come together and cries )Tj
0 -1.2 TD
(are uttered. The second cry again occurs around consumption while the fi\
nal cry is uttered around )Tj
T*
(intimate union.)Tj
/TT2 1 Tf
2.857 -2.505 Td
(When it had disappeared, they came together and lamented, "We've had it,\
the creeper has )Tj
0 -1.2 TD
(given out on us!" So nowadays, when people are touched by some hardship,\
they say, )Tj
T*
("we've had it, it's given out on us!" They recall the original, primary \
word\(s\), but they don't )Tj
T*
(understand what they mean \(Collins, 630\).)Tj
/TT0 1 Tf
-2.857 -2.609 Td
(This second interruption of the myth with language repeats the original \
formula presenting both a new )Tj
0 -1.2 TD
(cry and a poetic convention.)Tj
/TT2 1 Tf
2.857 -2.505 Td
(As they were looking at each other with intense longing passion arose in\
them, and burning )Tj
0 -1.2 TD
(came upon their bodies; because of this burning they had sex. When the \(\
other\) beings saw )Tj
T*
(them having sex, some threw earth \(at them\), some threw ashes, others \
cow-dung, \(saying\) )Tj
T*
("Away with you and your impurity, away with you and your impurity!", "Ho\
w could a being do )Tj
T*
(such a thing to another being?" So nowadays, people in certain areas, wh\
en a bride is being )Tj
T*
(led out, throw dirt, ash or cow-dung. They recall the original primary \(\
actions\) but they don't )Tj
T*
(understand what they mean \(Collins, 631\).)Tj
/TT0 1 Tf
-2.857 -2.609 Td
(This final cry of the )Tj
/TT1 1 Tf
(Agganna Sutta)Tj
/TT0 1 Tf
( returns us to the confusion of Angkarn's poem. The seduction of )Tj
T*
(Asparas \(celestial dancing maidens\) by earthworms and the intoxicated \
cavorting of the animals recreates )Tj
T*
(the burning passion of the beginning of sex. It is important to note the\
terms of these cries. While the first )Tj
T*
(cry was one of the loss of taste \(or words that could correlate to tast\
e\), the second cry is one of hardship )Tj
T*
(and suffering. It appears that with each successive cry meaning and abun\
dance further withdraw into and )Tj
0 -1.2 TD
(away from language. The final cry is both an abundance of passion and th\
e absence of purity and of order, )Tj
T*
(but is yet the next necessary step in the evolution of humanity. This fi\
nal cry \(of sex\) loses even words and )Tj
T*
(language returning to the hoarse cries and actions of passion and intima\
cy. Thus the mythic scene of )Tj
T*
(language is also the poetry of sense, suffering and sensuality. At the m\
ythic scene of language and )Tj
T*
(creation, language is already in withdrawal and already an utterance of \
excess and an interruption.)Tj
0 -2.557 TD
(The )Tj
/TT1 1 Tf
(Agganna Sutta's)Tj
/TT0 1 Tf
( status as sutra presents interesting concerns for this study of myth. T\
hese concerns )Tj
0 -1.2 TD
(stem from the sutra's framing and interpretation. Interestingly, this su\
tra is often considered a humorous )Tj
T*
(lesson from the Buddha, yet it is also a poignant discussion of language\
and creation \(Reynolds, personal )Tj
T*
(interview\). The discourse on what is primary begins with an argument ab\
out class \(about the best caste )Tj
T*
(and the best body\) by those who have renounced caste \(Collins, 627-8\)\
. Thus the myth is already framed )Tj
T*
(\(although perhaps of later addition\) as a sermon on class and caste. T\
he Buddha disrupts \(interrupts\) this )Tj
T*
(argument with a recollection and a telling of how the world came into be\
ing.)Tj
0 -2.557 TD
(The sutra's framing both inserts and strips away the distance of the myt\
hic scene. "At that time there is )Tj
0 -1.2 TD
(nothing but water, \(all\) is darkness, \(just\) deep darkness" \(Collin\
s, 629\). The appearance of the "earth-)Tj
T*
(essence" marks the cycle of creation leading to being and language. Inte\
restingly enough, the appearance )Tj
T*
(of the consumption substance also marks the beginning of seasons and tim\
e.[13])Tj
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(Then, monks, monks these beings started to eat the earth-essence taking \
\(big\) mouthfuls of )Tj
0 -1.2 TD
(it with their hands. As they did so their self-luminosity disappeared. W\
hen their luminosity )Tj
T*
(disappeared, the moon and sun appeared; when the sun and moon appeared, \
the twinkling )Tj
0 -1.2 TD
(stars appeared; when the stars appeared, night and day appeared; when ni\
ght and day )Tj
0 -1.2 TD
(appeared, the seasons and years appeared. Thus far, monks, did the world\
evolve \(Collins, )Tj
T*
(629\).)Tj
/TT1 1 Tf
-2.857 -2.609 Td
(In this cosmology, the world, time, material and language come into bein\
g with greed and consumption. )Tj
0 -1.2 TD
(This world is not denounced by the Buddha; it is the nature of the unive\
rse to "expand and contract" and )Tj
T*
(to come into being \(Collins, 629\). The emergence of time in the recoun\
ting of creation creates distance )Tj
T*
(between the myth and language.)Tj
0 -2.557 TD
(As a religious text, the sutra is subject to Buddhist hermeneutic and ex\
egetical practices. Whitman's )Tj
0 -1.2 TD
(account of Christian allegory provides some perspective to the interrupt\
ion of this particular myth.)Tj
/TT0 1 Tf
2.857 -2.505 Td
(The word )Tj
/TT2 1 Tf
(allegoria)Tj
/TT0 1 Tf
( also refers frequently in Christian exegesis to one particular transfer\
)Tj
0 -1.201 TD
(among a series of allegorical transfers from the literal sense: the 'all\
egorical' meaning, the )Tj
0 -1.2 TD
('tropological' or 'moral' meaning, and the 'anagogic' meaning \(Whitman,\
267\).)Tj
/TT1 1 Tf
-2.857 -2.609 Td
(In addition to the distance implied in the framing of the 'discourse' an\
d the stripping away of time to the )Tj
T*
(primal myth and its subsequent creation of time, the myth \(and Angkarn'\
s poem\) must now contend with )Tj
T*
(the moral and rhetorical interpretations of the text. The structure of t\
he sutra lends itself to allegorical )Tj
T*
(interpretation, as the Buddha \(in the framing\) is using this myth as a\
parable to demonstrate the creation )Tj
T*
(\(and unimportance\) of class and caste. Morally the world is an impure \
place and caste a product of greed, )Tj
T*
(suffering and sex.)Tj
0 -2.557 TD
(As "the discourse of what is primary" describes the progression into bei\
ng, the question of what is )Tj
0 -1.2 TD
(primary lingers to the end. In the final section of the discourse, what \
is primary turns out not to be what )Tj
T*
(has come to pass, what has come to be past and cried for, but an action \
located in the present:)Tj
/TT0 1 Tf
2.857 -2.505 Td
(Of these four classes, monks, he who is a monk, an Arahant, who has live\
d the \(holy\) life, )Tj
T*
(laid down the burden, attained the true goal, in whom the fetters of exi\
stence are destroyed, )Tj
T*
(who is released by Right Wisdom - he is properly called what is primary \
among them. )Tj
T*
(\(Collins, 634\).)Tj
/TT1 1 Tf
-2.857 -2.609 Td
(The primary of action displaces the primal scene of poem, myth and langu\
age. The ethical interpretation )Tj
T*
(supports the myth's withdrawal into language and "myth as myth" and conv\
erts the creation into a )Tj
T*
(rhetorical device for making disciples less argumentative.)Tj
0 -2.557 TD
(Yet even these ethical interpretations cannot completely distance the in\
terruptions of the poem and the )Tj
0 -1.2 TD
(myth. Angkarn's poem does not make judgements on the moral abuses of the\
world and its wrathful )Tj
T*
(intoxication, instead the final cry of the poem revels in its own ambigu\
ity and abundance. This tension is )Tj
T*
(supported by the final framing of the )Tj
/TT3 1 Tf
(Agganna Sutta)Tj
/TT1 1 Tf
(. The sutra winds down with the verse of a Brahmin )Tj
T*
(which is re-sung by the Buddha \(repeated twice\).)Tj
/TT0 1 Tf
2.857 -2.505 Td
(For those who rely on clan, the Ksatriya is the best in the world; \(but\
\) the person endowed )Tj
T*
(with wisdom and \(good\) conduct is the best in the whole universe \(Col\
lins, 634\).)Tj
ET
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(The sutra ends with a verse, which is not created but is re-sung. Althou\
gh this verse contains moral and )Tj
0 -1.2 TD
(ethical conducts the final words of the sutra mirror Angkarn's last and \
lost cry: rejoice. "The Blessed One )Tj
T*
(said this. Vasettha and Bharadvaja were pleased, and rejoiced in the Ble\
ssed One's words" \(Collins, 634\). )Tj
0 -1.2 TD
(Poem, myth and sermon are disrupted by language and the call/cry to join\
in. Thus, although it seemed )Tj
0 -1.2 TD
(that the sutra as sutra already presents itself in distance from the myt\
hic scene and as allegory, the )Tj
T*
(eruptions and interruptions of language destabilize its retelling and in\
voke instead a \(re-\) creation of the )Tj
T*
(myth of language and poetry.)Tj
0 -2.557 TD
(For this study, there is one final treatise on the creation of the world\
. )Tj
/TT1 1 Tf
(The Three Worlds According to )Tj
0 -1.2 TD
(King Ruang)Tj
/TT0 1 Tf
(, presents a final step in the stripping away of myth from language. )Tj
/TT1 1 Tf
(The Three Worlds)Tj
/TT0 1 Tf
( is a )Tj
T*
(14th century cosmological treatise on the nature of kingship and righteo\
us behavior. Sulak's nostalgic use )Tj
T*
(of this treatise \(and of Angkarn\) further presents the tension between\
mythopoetics and mythopoesis. For )Tj
T*
(Sulak, the myth exists as a place of critical perspective from which to \
alter the future. Thus, time \(as )Tj
T*
(timeline and separation\) and distance are essential in his understandin\
g of myth. Time, in this account, )Tj
0 -1.2 TD
(precedes creation and language \(Reynolds, 321\). Sulak's desire for cri\
tical perspective needs myth as a )Tj
0 -1.2 TD
(convention \(of ethics and rhetoric\) and not a disruption. )Tj
/TT1 1 Tf
(The Three Worlds)Tj
/TT0 1 Tf
( presents the creation myth as )Tj
T*
(a logistical, geographical and temporal account, but even within this ac\
count, language \(through )Tj
T*
(repetition\) disrupts the necessary distance. This text, more than any o\
ther, is a detailed differentiation of )Tj
T*
(the world \(three worlds\): the divine, the human and the hellish. Withi\
n these three worlds, only at the )Tj
T*
(end does the creation myth rear its disruptive tongue.)Tj
0 -2.557 TD
(This account of the creation is an embedded one. The evolution of materi\
ality and impurity is strictly tied )Tj
0 -1.2 TD
(to ethical and moral concerns. The account of creation begins with a tex\
tual retelling of the digression to )Tj
T*
(materiality \(Reynolds, 321-3\). But another telling disrupts this retel\
ling.)Tj
/TT2 1 Tf
2.857 -2.505 Td
(The peoples see what has happened and are surprised and marvel. They the\
n meet, )Tj
T*
(consult and speak as follows. \(Reynolds, 323\).)Tj
/TT0 1 Tf
-2.857 -2.609 Td
(Again, at this moment in the creation myth, the myth returns to language\
. The communal retelling is )Tj
0 -1.2 TD
(embedded with and repeats almost word for word the textual retelling. Bu\
t in these moments, time is an )Tj
T*
(aspect not a tense \(before, after and already\) disrupts the descriptio\
n of the previous account. This )Tj
T*
(retelling \(and interior recreation\) of the myth is bound to the conver\
sational complaints of the group )Tj
T*
(united in surprise and worry. Their language efforts are disrupted by re\
call and absence, by the )Tj
T*
(disruption of language. It is in these two counts of the myth that the d\
ifference between Sulak's )Tj
T*
(positioning of the past and Angkarn's possession by it reinforce the int\
ersections and interruptions of )Tj
T*
(myth, language and poetry in Angkarn's work.)Tj
0 -2.557 TD
(Throughout this study of Angkarn's poem, language reveals the tensions b\
etween mythopoetics and )Tj
0 -1.2 TD
(mythopoesis. )Tj
/TT1 1 Tf
(WakThalee)Tj
/TT0 1 Tf
( breaks between the conventions of poetry and poetry's play within langu\
age. )Tj
T*
(Angkarn's poem \(and the sutra\) revel in and reveal not the myth of the\
world's creation but language of )Tj
T*
(myth and the myth of language. "It is such because this authentic langua\
ge is a mere semiotic entity open )Tj
T*
(to the radical arbitrariness of any sign system and as such capable of c\
irculation, but which as such is )Tj
T*
(profoundly unreliable" \(de Man, 181\). The final cry of the poem and th\
e eruption of language break down )Tj
T*
(language, as communication, into creation. The surge of this mythopoesis\
exposes language as the lost )Tj
T*
(and last cry of suffering in ambiguous \(undifferentiable\) union. The i\
ntersection of poetry, language and )Tj
T*
(myth that Angkarn channels is the crash of language back upon itself.)Tj
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(John Mattioli -- Past Inscription: The Mythopoetics of Angkarn Kalyanapo\
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(One final turn: what are the intersections of the writing of poetry, lan\
guage and the past? In his article )Tj
0 -1.2 TD
("The Sense of the Past in the Poetry of Angkarn Kalayanapong", Chetana N\
agavajara points towards the )Tj
T*
(immediacy of the past in the works of Angkarn. "The past that matters so\
much to poet here is a very )Tj
0 -1.2 TD
(remote one, not of historic, but rather of pre-historic, primordial and \
cosmic dimensions" \(Chetana, )Tj
0 -1.2 TD
("Sense," 15\). The past of Angkarn is in the immediacy of language and i\
ts disruptions. For Chetana, )Tj
T*
(Angkarn's possession and interruption by language yield an unfortunate "\
tyrannical power over the )Tj
T*
(present" \(Chetana, "Sense," 23\). Yet this tyranny is not unfortunate, \
it is the potential making of poetry )Tj
T*
(and language.)Tj
/TT1 1 Tf
2.857 -2.505 Td
(The sense of the past, in this case in not characterized by representati\
onal faithfulness, for )Tj
0 -1.2 TD
(a poet, and not a historian, is at work \(Chetana, "Sense," 23\).)Tj
/TT0 1 Tf
-2.857 -2.609 Td
(The poetry of Angkarn is of the earth and of language and, as such, reve\
als and revels the slippages and )Tj
T*
(interruptions of the myth of language. In bondage to poetry, Angkarn can\
only yield to language. The )Tj
0 -1.2 TD
(inscriptions of poetry and myth are the unmediated and undecipherable in\
terruptions and deceptions of )Tj
0 -1.2 TD
(language from the mythic earth.)Tj
/TT2 1 Tf
18.402 -2.557 Td
(Past Inscription)Tj
/TT0 1 Tf
([14])Tj
/T1_1 1 Tf
-18.402 -2.513 Td
(This world fakes a large library scripts old and new to be read)Tj
T*
(Amusing stories on each leaf of many kinds, under the sea an\
d sky)Tj
T*
(Past inscription hidden in earth in stone all writings of the su\
n)Tj
T*
(The earth-mother is kindhearted teaching more than can be under\
stood)Tj
T*
(Water letters stored in cliff shadows stream scripts tell excessive t\
ales)Tj
T*
(Evolutionary animals dried and dead leave philosophical legacy of t\
hought)Tj
T*
(Much value in every element and grain comparable to brilliant diamond\
s)Tj
T*
(Emeralds would have what value lacking sand and dirt)Tj
T*
(Everything balanced worth weighed on scales to a mote)Tj
0 -1.2 TD
(Earth and sky contest in thought that imaginative spirit exceeds\
)Tj
T*
(Some places beautifully aesthetic hide language, poetry pure)Tj
T*
(rhythmic songs of jungle seas brew immortality gainst ages' t\
ides)Tj
T*
(Hone vision razor sharp choose wisdom skilled and brave\
)Tj
T*
(Study languages of earth, water sky searching for bliss that endure\
s)Tj
T*
(To meet life's meaning written testimonies in smoke)Tj
T*
(Use creation to shine life for immortals conquer death)Tj
T*
(Placed above a minute then supernaturally beyond)Tj
T*
(To be born sacred surplus worth every breath that does no\
t fade)Tj
/TT0 1 Tf
0 -2.601 TD
(The earth tricks itself out in languages immeasurable that possess the p\
oet and propel the poem. The )Tj
0 -1.2 TD
(aged stone chronicles of empire and poetic convention vie against the ag\
eless rhythm of the sea of )Tj
T*
(language crashing upon \(and eroding\) attempts at inscribed meaning.)Tj
/T1_2 1 Tf
14.4281 0 0 14.4281 13.3976 112.202 Tm
(Endnotes)Tj
/TT0 1 Tf
12.5044 0 0 12.5044 13.3976 79.2087 Tm
([1] An initial note on orthography, transcription and references: the Th\
ai poets' names are transcribed )Tj
0 -1.2 TD
(into English following standard practice in Thai literature and other tr\
anslations. There is inconsistency )Tj
T*
(within cited texts as I have stayed faithful to the citation -- this ind\
iscrepancy indicates a certain )Tj
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(indeterminacy in contemporary scholarship regarding Thai writers and poe\
ts. In transcribing Thai titles )Tj
0 -1.2 TD
(into English I have endeavored to follow vowel lengths and consonants, f\
ollowing Haas. Thai poets, )Tj
T*
(writers and scholars are cited by their given name and listed in the bib\
liography given name first followed )Tj
0 -1.2 TD
(by family name as is the accepted style for Thai authors within Chicago \
style and the Library of Congress.)Tj
0 -2.557 TD
([2] The term mythopoetics, in this work, stands for the intersection of \
poetic conventions \(language and )Tj
0 -1.2 TD
(meter\), myth and the rewriting or recreation of myth. For this study, i\
t is a working term for the )Tj
T*
(exploration of the tensions in language and poetry that appear around th\
e invocation of myth.)Tj
0 -2.557 TD
([3] Angkarn's poetry offers an excellent initial model of the contempora\
ry use of myth in poetry because )Tj
0 -1.2 TD
(of his high standing as a contemporary poet and that Angkarn's rewriting\
s seem to be independent of the )Tj
T*
(political and social motivations of other contemporary poets. In additio\
n, Angkarn's poetry is often 'put )Tj
T*
(to use' by different political and social movements, highlighting the im\
portance of myth and poetry in )Tj
T*
(Thailand.)Tj
0 -2.557 TD
([4] The poet Khomthuan Khanthanu uses the meter of this inscription and \
rewrites its definition of the )Tj
0 -1.2 TD
(Thai state in the poem )Tj
/TT1 1 Tf
(PharaSawathi)Tj
/TT0 1 Tf
( \(City of Devils\). This poem mimes the meter and language of the )Tj
T*
(original inscription but converts it into social critique of the inequit\
ies of Bangkok \(Krungtheep -- City of )Tj
T*
(Angels\). The title of the poem comes from Buddhist scripture outlining \
improper \(unvirtuous\) city life.)Tj
0 -2.557 TD
([5] The )Tj
/TT1 1 Tf
(interruption of myth)Tj
/TT0 1 Tf
( is Nancy's response and interpretation of Bataille's absence of myth.)Tj
T*
([6] Manas Chitakasem's "Poetic Conventions and Modern Thai Poetry" place\
s Angkarn \(and Naowarat )Tj
0 -1.2 TD
(Phonpaiboon and Khomthuan Khanthanu\) within and in response to the genr\
es and traditions of )Tj
T*
(classical Thai poetry. His study points towards a need for further inves\
tigation into the core poetic texts )Tj
T*
(of the Thai tradition and the rewriting and recreation of this tradition\
by contemporary Thai poets. Texts )Tj
T*
(of special importance to this study are the )Tj
/TT1 1 Tf
(Cindamanii)Tj
/TT0 1 Tf
(, a treatise on versification, and the )Tj
/TT1 1 Tf
(Klon Konlabot )Tj
T*
(Siriwibunkiti)Tj
/TT0 1 Tf
(, a )Tj
/TT1 1 Tf
(klon)Tj
/TT0 1 Tf
( poem which constructs and outlines the possibilities and potentials of \
the klon as a )Tj
0 -1.2 TD
(verse form.)Tj
0 -2.557 TD
([7] Angkarn is known for his manipulation of the )Tj
/TT1 1 Tf
(klon 8)Tj
/TT0 1 Tf
( form of Thai poetry. Although the style calls for )Tj
0 -1.2 TD
(meters of eight syllables, Angkarn often uses 7-11 syllables in each lin\
e although still adhering to the )Tj
T*
(exterior and interior rhyming conventions.)Tj
0 -2.557 TD
([8] This interview has already been translated into English and I do not\
have access to the Thai copy, yet I )Tj
0 -1.2 TD
(suspect that the word translated as written may be the word ')Tj
/TT1 1 Tf
(taeng)Tj
/TT0 1 Tf
(' which has special implications for )Tj
T*
(poetry and song. It implies to create not just to write.)Tj
0 -2.557 TD
([9] This etymological approach and the following readings of Angkarn's p\
oetry and the )Tj
/TT1 1 Tf
(Agganna Sutta)Tj
/TT0 1 Tf
( )Tj
0 -1.2 TD
(are influenced by the methodology of Agamben's )Tj
/TT1 1 Tf
(Language and Death)Tj
/TT0 1 Tf
(.)Tj
0 -2.557 TD
([10]My translations of these poems and the research of this article emer\
ge from my dissertation \(in )Tj
0 -1.2 TD
(progress\). I was first initiated into the study of contemporary Thai po\
etry as a research assistant with the )Tj
T*
(Thailand Research Fund's Research Program: "Poetry as an Intellectual an\
d Spiritual Force" from )Tj
T*
(January to September of 1998.)Tj
0 -2.557 TD
([11] Interestingly enough, the end lines of these poems appear different\
ly in different poetical and critical )Tj
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(John Mattioli -- Past Inscription: The Mythopoetics of Angkarn Kalyanapo\
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(editions. It seems as if the poem is of uncertain ending.)Tj
0 -2.557 TD
([12] The mythic abundance and surplus of language become increasingly im\
portant openings into the )Tj
0 -1.2 TD
(study of contemporary and classical Thai poetry.)Tj
0 -2.557 TD
([13] It is at this intersection of sacred, language, poetry, and myth th\
at yield Rimbaud and Holderlin as )Tj
0 -1.2 TD
(excellent companion works for an appreciation of the poetry of Angkarn a\
nd provide avenues for future )Tj
T*
(comparative work.)Tj
0 -2.557 TD
([14] For comparison please consult alternative translations of both poem\
s )Tj
/TT1 1 Tf
(WakThalee)Tj
/TT0 1 Tf
( and )Tj
/TT1 1 Tf
(Caaruk Adiit)Tj
/TT0 1 Tf
(. )Tj
0 -1.2 TD
(Alternative translations of )Tj
/TT1 1 Tf
(WakThalee)Tj
/TT0 1 Tf
( are available in Manas \(pg 48\), Three Thai Poets \(pg 15\) and )Tj
T*
(Angkarn \(pg 41\). An alternative translation of )Tj
/TT1 1 Tf
(Caaruk Adiit)Tj
/TT0 1 Tf
( is available in "A Sense of the Past in the )Tj
T*
(Poetry of Angkarn Kalayanaphong" by Dr. Chetana Nagavajara.)Tj
/T1_1 1 Tf
14.4281 0 0 14.4281 13.3976 536.2726 Tm
(Bibliography)Tj
/TT0 1 Tf
12.5044 0 0 12.5044 13.3976 503.2773 Tm
(Agamben, Giorgio, )Tj
/TT1 1 Tf
(Language and Death: The Place of Negativity)Tj
/TT0 1 Tf
(, trans Karen E. Pinkus, University of )Tj
0 -1.2 TD
(Minnesota Press, Minneapolis, c. 1991.)Tj
0 -2.557 TD
(Angkarn Kalyanapong, )Tj
/TT1 1 Tf
(A Contemporary Siamese Poet)Tj
/TT0 1 Tf
(, ed Michael Wright, Sathirakoses-Nagapradipa )Tj
0 -1.2 TD
(Foundation, Bangkok, c, 2529 \(BE\).)Tj
0 -2.557 TD
(Chetana Nagavajara, "The Sense of the Past in the Poetry of Angkarn Kaly\
anapong," )Tj
/TT1 1 Tf
(Comparative )Tj
0 -1.2 TD
(Literature from a Thai Perspective)Tj
/TT0 1 Tf
(, Chulalonkorn University Press, c. 1996.)Tj
0 -2.557 TD
(Chetana Nagavajara, "Art in the Place of Nirvanna: Western Aesthetics an\
d the Poetry of Angkarn )Tj
0 -1.2 TD
(Kalayanaphong," )Tj
/TT1 1 Tf
(Comparative Literature from a Thai Perspective)Tj
/TT0 1 Tf
(, Chulalonkorn University Press, c. )Tj
T*
(1996.)Tj
0 -2.557 TD
(Collins, Steven, )Tj
/TT1 1 Tf
(Nirvanna and Other Buddhist Felicities: Utopias of the Pali Imaginaire)Tj
/TT0 1 Tf
(, Cambridge )Tj
0 -1.2 TD
(University Press, Cambridge, U.K., c. 1998.)Tj
0 -2.557 TD
(de Man, Paul, )Tj
/TT1 1 Tf
(Aesthetic Ideology)Tj
/TT0 1 Tf
(, University of Minnesota Press, Minneapolis, c. 1996.)Tj
T*
(Haas, Mary, )Tj
/TT1 1 Tf
(Thai English Students Dictionary)Tj
/TT0 1 Tf
(, Stanford University Press, Stanford, c. 1964.)Tj
T*
(Manas Chitakasem, "Poetic Conventions and Modern Thai poetry," )Tj
/TT1 1 Tf
(Thai Constructions of Knowledge)Tj
/TT0 1 Tf
(, ed )Tj
0 -1.2 TD
(Turton and Chitakasem, SOAS, London, c. 1991.)Tj
0 -2.557 TD
(Nancy, Jean-Luc, )Tj
/TT1 1 Tf
(The Inoperative Community)Tj
/TT0 1 Tf
(, trans. Peter Connor, University of Minnesota Press, )Tj
0 -1.2 TD
(Minneapolis, c. 1991.)Tj
0 -2.557 TD
(Nitaya Masawisuth, )Tj
/TT1 1 Tf
(Thailand Research Fund's Research Program: Poetry as an Intellectual and\
)Tj
0 -1.2 TD
(Spiritual Force)Tj
/TT0 1 Tf
(, TRF, Bangkok, c, 1998.)Tj
0 -2.557 TD
(Reynolds, Frank and Mani B. Reynolds, )Tj
/TT1 1 Tf
(Three Worlds According to King Ruang: A Thai Buddhist )Tj
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