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- Morikawa Kyoroku / Kyoriku 森川許六 -
1656 - 1715
明暦2年8月14日（1656年10月1日） - 正徳5年8月26日（1715年9月23日））
26th day of the 8th lunar month － he was 60 at his death.
His name was 森川百仲.
He later used the names of Goroosei 五老井 Gorosei
無々居士 / 琢々庵/ 碌々庵 / 如石庵 / 巴東楼 / 横斜庵 / 風狂堂 and others.
source : itoyo/basho
He was a samurai of the Hikone domaine 彦根藩.
His father was the important samurai 森川與次右衛門, who had lived and worked for 7 years in Otsu.
Kyoroku learned all the fighting skills of a samurai, but also traditional Chinese poetry and painting from the Kano school 狩野.
His haiku debut was with Kitamura Kingin. He was part of the Danrin Haikai school.
In 1689 he became a more serious haikai master and studied with Esa Shoohaku 江左尚白 Esa Shohaku ( 1650 - 1722) of the Basho disciples in Omi.
During a trip to Edo in 1691 he studied with Kikaku 宝井其角 and 服部嵐雪 Ransetsu.
In 1692 he met Basho in Fukagawa. Since he was a man of many talents and "six (roku) arts" 六芸 (spear, sword, horse riding, calligraphy, painting and haikai), Basho offered him the haikai name of Kyoroku 許六.
Kyoroku could only study with Basho for about 10 months, before he had to go back to his domaine in Hikone.
Basho wrote for him Saimon no Ji 柴門之辞, with all the secrets of haikai writing.
"The Rustic Gate" (Blyth)
One of the 10 important haiku disciples of Basho.
He was quite close to Basho in his later years. Kyoroku even taught Basho how to paint even better, since Kyoroku was an experienced painter himself of the Kano school of painting.
There are also some co-operations with poems by Basho on paintings by Kyoroku.
When he got news of the death of his beloved master, he cut a cherry tree, carved a statue of Basho and send it to Kawai Chigetsu 河合智月.
Later he opened haikai meetings in memory of the master at the temple Myooshooji 明照寺 Myosho-Ji in Hikone and compiled some volumes of his master's work.
- - - - - Some of Kyoroku's works
Fuzoku monzen 風俗文選
Haikai Mondoo 俳諧問答
Hentsuki 篇突
Infusagi 韻塞
旅ハ風雅の花 旅客・五老井許六 Gorosei Kyoroku
. shoomon jittetsu 蕉門十哲 the 10 most important disciples of Basho .
and one of the important discipled from Omi 近江蕉門.
Kyoroku Ki 許六忌 (きょろくき) Kyoroku Memorial Day
Goroosei Ki 五老井忌（ごろうせいき）Gorosei Memorial Day
kigo for mid-autumn
(now celebrated on September 23)
. WKD : Memorial Days of Famous People - Autumn .
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to the candle
the peony
is as still as death
Tr. Blyth
shizumari kaeru 静まりかえる
. WKD : Candle (roosoku 蝋燭) .
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Sora and Basho
Painting by Kyoroku when they left Edo for "Oku no Hosomichi.
Matsuo Basho send some poems to Kyoroku, knowing his disciple was to leave on to a journey:
旅人の心にも似よ椎の花
. shii no hana no kokoro ni mo niyo Kiso no tabi .
emulate the heart
of pasania blossoms:
a Kiso journey
Tr. Barnhill
憂き人の旅にも習へ木曾の蠅
. ukihito no tabi ni mo narae Kiso no hae .
learn from the journey
of a sorrowing wayfarer:
flies of Kiso
Tr. Barnhill
Written in 元禄6年5月6日, Basho age 50.
潺々 芭蕉・五老井の流れ - Sensen - the development of Basho and Gorosei
by Ishikawa Shuu 石川柊
- quoting Barnhill :
In the haibun “Praise for a Painting of Three Sages,” which was written on a portrait of the renga poet Sōgi and the haikai poets Yamazaki Sokan (16th century) and Arakida Moritake (1473–1549). The portrait was painted by Bashō ’s disciple Morikawa Kyoriku(1656–1715).
. tsuki hana no kore ya makoto no arujitachi .
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許六離別の詞
Written by Basho, when Kyoroku left
(Basho age 50)
去年の秋*，かりそめに面をあはせ，今年五月の初め，深切に別れを惜しむ．その別れにのぞみて，一日草扉をたたいて*，終日閑談をなす．その器*，画を好む．風雅を愛す．予こころみに問ふことあり．「画は何のために好むや」，「風雅のために好む」と言へり．「風雅は何のために愛すや」，「画のために愛す」と言へり．その学ぶこと二つにして，用いること一なり．まことや，「君子は多能を恥づ」といへれば，品二つにして用一なること，感ずべきにや．画はとって予が師とし，風雅は教へて予が弟子となす．されども，師が画は精神徹に入り，筆端妙をふるふ．その幽遠なるところ，予が見るところにあらず．予が風雅は，夏炉冬扇*のごとし．衆にさかひて，用ふるところなし*．
ただ，釈阿*・西行の言葉のみ，かりそめに言ひ散らされしあだなるたはぶれごとも，あはれなるところ多し．後鳥羽上皇の書かせたまひしものにも，「これらは歌にまことありて，しかも悲しびを添ふる」*と，のたまひはべりしとかや．されば，この御言葉を力として，その細き一筋をたどり失ふことなかれ．なほ，「古人の跡を求めず，古人の求めしところを求めよ」と，南山大師の筆の道*にも見えたり．「風雅もまたこれに同じ」と言ひて，燈火をかかげて，柴門の外に送りて別るるのみ．
source : itoyo/basho
- - - - - Hokku by Kyoroku
秋も早 かやにすぢかふ 天の川
うの花に 芦毛の馬の 夜明哉
茶の花の 香や冬枯の 興聖寺
苗代の 水にちりうく 桜かな
水筋を 尋ねてみれば 柳かな
もちつきや 下戸三代の ゆずり臼
寒菊の隣もあれや生け大根 （『笈日記』）
涼風や青田のうへの雲の影 （『韻塞』）
新藁の屋根の雫や初しぐれ （『韻塞』）
新麦や笋子時の草の庵 （『篇突』）
麥跡の田植や遲き螢とき （『炭俵』）
やまぶきも巴も出る田うへかな 『炭俵』）
在明となれば度々しぐれかな 『炭俵』）
はつ雪や先馬やから消そむる 『炭俵』）
禅門の革足袋おろす十夜哉 ( 炭俵』）
出がはりやあはれ勸る奉加帳 （『續猿蓑』）
蚊遣火の烟にそるゝほたるかな （『續猿蓑』）
娵入の門も過けり鉢たゝき （『續猿蓑』）
腸をさぐりて見れば納豆汁 （『續猿蓑』）
十團子も小つぶになりぬ秋の風 （『續猿蓑』）
大名の寐間にもねたる夜寒哉 （『續猿蓑』）
御命講やあたまの青き新比丘尼 （『去来抄』）
人先に医師の袷や衣更え （『句兄弟』）
夕がほや一丁残る夏豆腐 （『東華集』）
木っ端なき朝の大工の寒さ哉 （『浮世の北』）
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. shoomon jittetsu 蕉門十哲 the 10 most important disciples of Basho .
. Cultural Keywords used by Basho .
. - KIGO used by Matsuo Basho 松尾芭蕉 - .
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