On Nõ journey without a map with only a compass of compassion with inspirations & expressions

"What is the reach and range of our compassion? Through the continuum of communicativeness and responsiveness, all beings, and even the Being of beings itself, can touch and move us... Even at a distance, we can be touched by compassion ... Even at a distance, we can touch others with our compassion." (Levin, 254-268) In the Nõ (theatre of synaesthesia) and Yeats' At Hawks Well does the guardian awareness live taking care of the immortal well of words, web of words, of Language, of still moving water? Was Yeats aware of what he was writing or was he like the Rose an interlocutor5 for the echological?

"The Rose is without why; it blooms because it blooms, It cares not for itself, asks not if it's seen".6 On Being and Blooming, Angelus Sileus posits that the Rose blooms because it blooms while it does not question why. Perhaps it is we who are gifted to be in the presence of Roses and questions of Why. And of Beckett's orphan in All that Fall ... ? ... everyone wonders why the train is running late. Only in the end they realize an orphan fell upon the tracks ... run over by the infinite train ... train of life ... train(s) of thought ... the soul train ... kokoro train. We are each and everyone like that orphan thrown by fate upon on the railway tracks ... the lines of time ... on the time line ... ... going on and over under and through our skin ... reborn continually in Language while Mrs Bloom lives upon the pages where James Joyce blooms his own Rose becoming upon the lines ... Yes ... Yes ... Yes ...

Yeats held the book open touching No thing ... expressing itself through his writing echoing ancient voices with guardian awareness and old tales of Cuchulainn and the Rose. Was the Guardian Hawk of many disguises - Bricrui7, the Trickster / Raven of many forms? Was the old one, the young one and the hawk three and not three8 - without distinction beyond form? Yeats was reading The Tale of Genji, his contact with the eastern philosophy resounding to his Core. And what of "The Double Vision of Michael Robartes" dancing upon the Page? Is the brush that flew out of Kukai's hand to paint caligraphy on the page the same brush that Yeats held to write At the Hawk's Well? Through Yeats there became an introduction to Asian Philosophy, to a still intense bodiliness that echoed Celtic Pantheistic/Mythological celebration/awareness of the Hana - Flower - Rose - Iki of Being.

"The non-naturalistic style, the symbolism, the masks, the costumes, the sylized action,
the use of chorus and musicians, the stage bare except for the drawing of a huge pine tree on the wooden backwall,
and the minimum of properties all coincided with Yeats' own ideas of staging." (Sekine)

The Guardian of the Well in At the Hawk's Well was a Guardian of Awareness of?
of a kokoro sensibility? of kokoric (of choir + echo) of sensitivity to ancient voices of kokori? (plural)
Yeats & Nõ: Yes & Nõ . . . . Nõ & Yeats: Nõ & Yes . . . . Nõ Yes Nõ Yes 0 1 0 1 Nõ Yes Nõ Nõ 0 Nõ Nõ 0 Nõ
Yeats' Poetry and Prose and Theatre Work like Nõ, a total art of accomplishment - synaesthesia
including dance, mask, music, choir, poetry ... dance theatre, music drama, dance poetry ...
where Nõ mask theatre includes 150 types of masks, 5 characters (Teele) with the Hana - Flower -
unfolding via Jo Ha Kyu ... beginning middle end ... Jo Ha Kyu ... slowly rising to cresendoes & falling away slowly ...

with pauses of Ma ... | // | // | // | ... with pauses of Ma ... | // | // | // | ... with pauses of Ma ... Ma ...
Railway Lines in colloquial music theory are 2 diagonal lines that serve as a rest / pause in time | // |
therefore a Musical Ma ... | // | // | // | // | // | // | // | // | ... serving as a pause in time ... Ma | // |

PRESENT . . . A simple chime, that served to time The rhythm of our rowing -

FUTURE . . . (From Through the Looking Glass and What Alice Found There )