Grammar

Opening

The fourth gate.

This gate is the hardest.

The first three were visible.

Color is seen.
Line is seen.
The void is seen as something empty.

Grammar is not seen.

Grammar is not a thing but a relation.

What is placed where.
What is made large and what is made small.
Which is put in front and which behind.

These are on the surface and are not seen.

It is like the grammar of speech.

We speak without thinking about grammar.

We do not settle the word order separately.
It simply comes out that way.

It is not known by learning but taken in while growing.

So grammar is the deepest place.

Color can be changed.
Change the paint.

Line can be changed.
Change the brush.

Grammar is hard to change.

Because it is inside the body.

The question of this part is this.

What is placed where.

And where did that way of placing come from.

Three people stand before this gate.

Picasso broke the grammar and put it together again.

Levitan settled the meaning with the height of a single horizon.

Gauguin placed things exactly and belonged nowhere.

So Gauguin is the witness for the other side in this part.

A case where the grammar did not come out of that land.

In the earlier parts the witness for the other side shook one place in the proposition.

Munch said color comes from within.
Chusa said form comes out even when fūdo is cut off.
Kapoor said a void can be manufactured.

Gauguin says something else.

One can live in that land and the grammar of that land may still not come.

It is the most painful counter-evidence.