Seta at Lake Biwako

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- Seta 瀬田 -




Seta no Oohashi 瀬田の大橋 The Big Bridge of Seta at the Lake Biwa　琵琶湖.
One of the eight sights of Omi. Seta is the only river that flows out of the lake Biwa.


. WKD : Seta shijimi 瀬田蜆 corbicula from Seta .



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五月雨に隠れぬものや瀬田の橋
samidare ni kakurenu mono ya Seta no hashi

in the summer rains
one thing unhidden —
the bridge of Seta
Tr. Barnhill


in the endless rain of June
this one is not hidden -
the great bridge of Seta
Tr. Gabi Greve

samidare ... rain during the rainy season, now in June.





There is a stone with this haiku in Otsu. 大津市瀬田唐橋公園


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Hiroshige - Evening Glow In Seta


橋桁の忍は月の名残り哉　
hashigeta no shinobu wa tsuki no nagori kana

along the bridge beam
endures the fern of recollection:
farewell moon
Tr. Barnhill


along the bridge beam
the fern of longing survives
as the moon departs
Tr. Chilcott


Written on the 13th day of the 9th lunar month 1691. 元禄4年9月13日
Basho was at temple Ishiyamadera 石山寺 with 車要 Shayo and Shido 之道 and left for Edo about 10 days later. So this was a good-bye party of sorts for them.
Maybe he was thinking about the Seta no Karahashi 瀬田の唐橋 Great Bridge of Seta.

The cut marker KANA is at the end of line 3.


tsuki no nagori - the moon's farewell
. WKD : nagorizuki 名残月 .
kigo for autumn


. WKD : shinobugusa 忍草 weeping fern, hare's foot fern .
Lepisorus thunbergianus. - kigo for all autumn


. Basho visiting temple Ishiyamadera 石山寺 .

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- - - - -  Fireflies from Seta


目に残る吉野を瀬田の蛍哉
me ni nokoru yoshino o seta no hotaru kana

held in my eye:
with Yoshino's blooms
Seta's fireflies

Basho recalls spring blossoms at Yoshino as he sees summer's fireflies at Seta.
Tr. and comment : Barnhill


"my eyes recall Yoshino's sakura in Seta's fireflies"

held in my eye:
with Yoshino's blooms
Seta's fireflies
Tr. Dennis Kawaharada



still before my eyes
cherry blossoms of Yoshino
fireflies of Seta
Tr. Reichhold

It seems that Basho must have seen a LOT of fireflies at Seta to make such a comparison: a 'cloud' of fireflies as it were, to match the 'clouds' of cherry blossoms.

- - - - - Further discussion of this poem and

蛍見や船頭酔うておぼつかな
hotarumi ya sendoo yoote obotsukana

. WKD : Fireflies from Seta .



この螢田毎の月にくらべみん
kono hotaru tagoto no tsuki ni kurabemin

these fireflies,
like the moon
in all the rice paddies
Tr. Barnhill

Written in 1688 at temple Ishiyamadera 元禄元年大津石山寺, looking at the fireflies of Seta.
They are a large variety of the Genjibotaru 源氏蛍.


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source :　blog.goo.ne.jp/uo4/e

- With a man heading to Zeze - 膳所へ行く人

獺の祭見て来よ瀬田の奥
kawauso no matsuri mite koyo Seta no oku

let's go see
the Festival of the Otter:
deep in the hills of Seta
Tr.Barnhill

Written in the first lunar month of 1690 元禄3年1月.

dassai だっさい / 獺祭 "otter festival" - osomatsuri 獺祭り

The otter has the habit of catching fish and lining it up on the riverbank or his nest for a while to look at it. This is called "Dassai". It also means a person who likes to get a lot of books in front of him/her and enjoys the sight before beginning to study in depth.
Masaoka Shiki used to call himself "Dassai".

Here Basho reminds his companion that on his way to Zeze he might as well enjoy a trip along the upper region (oku) of the river Setagawa 瀬田川 and see some of the many otters living there.

. WKD : kawauso uo o matsuru 獺魚を祭る otter festival .
kigo for early spring - kawa-uso
One of the 72 seasonal points of the lunar calendar.


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名月はふたつ過ぎても瀬田の月
meigetsu wa futatsu sugite mo Seta no tsuki

this harvest moon
now even for the second time -
the moon of Seta
Tr. Gabi Greve

Written on the 18th day of the 8th lunar month, 1691 元禄4年閏8月18日.
In this year the full moon was seen twice because of an intercalary month. So Basho could enjoy the full moon of autumn twice.

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. WKD : Seta shijimi 瀬田蜆 corbicula and more about Seta .


. Cultural Keywords used by Basho .

. - KIGO used by Matsuo Basho 松尾芭蕉 - .


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shirazu, shiranu - I do not know

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- shirazu, shiranu 知らず/　知らぬ　- I do not know -

. - - - Basho about Basho - - - .



source : diana/sekido

ほととぎすなくや皐月のあやめ草　
あやめも知らぬ恋もするかな

hototogisu naku ya satsuki no ayamegusa
ayame mo shiranu koi mo suru kana

In the month of June
When the little cuckoo cries,
Sweet flag everywhere:
Oh, sweet tangle of my love
That knows no weave or pattern!
Edwin A. Cranston


Kokinshu poetry collection, author unknown
yomibito shirazu 古今集　よみびとしらず


. Kai-awase 貝合わせ clam-shell game .


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- - - - - shirazu 知らず I do not know - - - - -


あこくその心も知らず梅の花
. Akokuso no kokoro mo shirazu ume no hana .
阿古久曾 - Ki no Tsurayuki 紀貫之 . I do not know his heart (mind).



何の木の花とはしらず匂かな
何の木の花とは知らず匂ひ哉
. nani no ki no hana to wa shirazu nioi kana .
I do not know which tree



うち山や外様しらずの花盛り
宇知山や外様しらずの花盛り
. Uchiyama ya tozama shirazu no hana zakari .
(spring) cherries in full bloom. temple Uchiyama. no outsiders are known
Uchiyama refers to the temple Eikyuuji 永久寺 Eikyuji in Yamato



魚鳥の心は知らず年忘れ
. uo tori no kokoro wa shirazu toshi wasure .
(winter) "forget the year". the heart of fish and birds. I do not understand.
remembering Kamo no Choomei 鴨長明 Kamo no Chomei



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- - - - - shiranu 知らぬ I do not know - - - - -


朝顔は酒盛知らぬ盛り哉
. asagao wa sakamori shiranu sakari kana .
(autumn) morning glories. we drink sake and make merry


冬知らぬ宿や籾摺る音霰
. fuyu shiranu yado ya momi suru oto arare .
(autumn) hulling rice. winter is not known. sound like hail
- Momi suru Oto 籾する音 The Sound of Hulling Rice -



この宿は水鶏も知らぬ扉かな
. kono yado wa kuina mo shiranu toboso kana .
not even the water rail comes to knock at this door . . .
for Kosen 湖仙亭 in Otsu in 1694.



松茸や知らぬ木の葉のへばり付く
. matsutake ya shiranu ko-no-ha no nebaritsuku .
(autumn), Matsutake mushroom. unknown leaf. sticking to it
(matsudake)



幼名や知らぬ翁の丸頭巾
. osana na ya shiranu okina no maruzukin .
(winter) hood. name for a boy. round hood of an old man I never met
for Matsunaga Teitoku 松永貞徳
and Soogi 宗祇 Sogi （1421―1502)



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. - - - Basho about Basho - - - .


. Cultural Keywords used by Basho .


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soo Monk, Priest

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- soo, sō 僧 Monk, Priest -

. Priest, Monk (oshoo 和尚) .




under construction
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朝茶飲む僧静かなり菊の花
. asacha nomu soo shizuka nari kiku no hana .
(autumn) chrysanthemum. morning tea. quietude



初雪や聖小僧の笈の色　
. hatsuyuki ya hijiri kozoo no oi no iro .
(winter) first snow. mendicant monk. color of his backpack


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いづく時雨傘を手に提げて帰る僧
izuku shigure kasa o te ni sagete kaeru soo

where has been this winter drizzle?
with an umbrella in hand
the monk returns

Written in 延宝8年, Basho age 37.

The cold winter drizzle, shigure, as a sign of coming winter, combined with the image of a poor priest, umbrella in hand, evokes a feeling of absolute destitude and sabi.


. - shigure 時雨 winter drizzle, sleet - .

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水取りや氷の僧の沓の音　
水とりや氷の僧の沓の音
. Mizutori ya koori no soo no kutsu no oto .
O-Mizutori, Omizutori, お水取り, Drawing Sacred Well Water,




僧朝顔幾死に返る法の松　
. soo asagao ikushi ni kaeru nori no matsu .
(autumn) morning glories. monks. to die. Dharma pine
at temple Taimadera 当麻寺



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. Priest, Monk (oshoo 和尚) .


. Cultural Keywords used by Basho .

. - KIGO used by Matsuo Basho 松尾芭蕉 - .


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sode and kosode - sleeve

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- sode 袖 sleeve, kosode 小袖 short-sleeved kimono -
tamoto 袂 long sleeve of a kimono

spring kimono, haru kosode 春小袖
new year kimono, shoogatsu kosode 正月小袖
kashi kosode 貸小袖 lending a robe

. kigo with kimono Japanese robes .



source :　ameblo.jp/ee-kimono


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借りて寝ん案山子の袖や夜半の霜
karite nen kakashi no sode ya yowa no shimo
- - - - - 借りて寝む karite nemu

to sleep I want
to borrow the sleeve of a scarecrow -
frost at midnight

Written between 1688 貞亨元年 and his death, probably as a text on a painting.
Sleeping on the road, Basho was depending on the offers of his host family or lodging.

sode 袖 can also mean the whole robe of the scarecrow.


This is an allusion to a waka of the 古今集 Kokinshu collection .

きりぎりす鳴くや霜夜の狭筵に衣片敷き独りかも寝む
kirigirisu naku ya shimo-yo no samushiro ni
koromo kata-shiki hitori kamo nemu

When the crickets
cry in the frosty night,
on the cold reed-mat,
spreading out my robe just for one
must I sleep alone?
Tr. Joshua S. Mostow


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無き人の小袖も今や土用干
. naki hito no kosode mo ima ya doyoo boshi .
at the death of Mukai Chine 向井千子



猿引は猿の小袖を砧哉
. saruhiki wa saru no kosode o kinuta kana .
little coat for a trained monkey



袖よごすらん田螺の海士の隙を無み
. sode yogosuran tanishi no ama no hima o nami .
dirty sleeves of fishermen


語られぬ湯殿にぬらす袂かな
. katararenu Yudono ni nurasu tamoto kana .
my wet sleeve

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in memoriam of the father of Senka 仙化が父追善

袖の色よごれて寒し濃鼠　
sode no iro yogorete samushi koi nezumi

the color of his sleeve
dirty and so cold
in dark gray

Written between 1688 貞亨元年 and his death.

Senka was his disciple in Edo and author of the collection Kawazu Awase 蛙合 (1686).


koinezu color code #4f455c, actually a shade of dark purple
koinezu color code #4f455c, actually a shade of dark purple
koinezu color code #4f455c, actually a shade of dark purple
- source : www.colordic.org

. WKD : nezu-iro 鼠色 the color gray / grey and haiku .




Kawazu Awase 蛙合 (1686)

- - - Senka 仙化

Not much is known about this poet. Some of his hokku:

一葉散音かしましきばかり也　（『あら野』Arano ）

起起の心うごかすかきつばた　（『猿蓑』Sarumino ）

おぼろ月まだはなされぬ頭巾かな　（『炭俵』Sumidawara ）
氣相よき青葉の麥の嵐かな　
みをのやは首の骨こそ甲なれ　
螢みし雨の夕や水葵　
一枝はすげなき竹のわかば哉　

三尺の鯉はねる見ゆ春の池　（『續猿蓑』Zoku Sarumino ）


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. Yosa Buson 与謝蕪村 in Edo .

紙子の袖 - kamiko no sode
. hanken no shayoo kamiko no sode no nishiki kana .

たもとして払ふ夏書の机哉
. tamoto shite harau ge-gaki no tsukue kana .

ゆきたけを聞で流人の袷哉 / 裄丈
. yukitake o kikade runin no awase kana .

夕雲雀鎧の袖をかざしかな
. yuuhibari yoroi no sode o kazashi kana .


秋の夕べ 袂して鏡拭く女
aki no yuube tamoto shite kagami fuku onna

autumn evening -
with the sleeve a woman
wipes her mirror



雛の燈にいぬきが袂かかるなり
雛の燈にいぬきが袂かかるなり
hina no hi ni inuki ga tamoto kakaru nari

Lamps of ‘hina’ dolls,
Inuki's sleeves
Screen.

"Inuki" is a young girl, called Inukimi(犬君), who serves Murasaki, one of the female leading characters in The Tale of Genji (in the Heian Period) (794-1192). In the Tale the girl is so full of curiosity that she sets free a caged bird and makes Murasaki feel so sad.
- source : Shoji Kumano


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. kigo with kimono Japanese robes .


. Cultural Keywords used by Basho .

. - KIGO used by Matsuo Basho 松尾芭蕉 - .


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Shrines visited

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- Shinto Shrines visited - Shinto Schreine

Basho visited many Shinto shrines and
sometimes used the name of them in the haiku itself.

It is helpful to know a bit about the history and legends around these shrines and temples to be able to understand his poems better. I try to add as much information for you as I can find.

His visits including names of temples and other places are listed in entries of their own.
See the tabs on the right side.


. - - - - - Matsuo Jinja 松尾神社 - - - - - .
This shrine is not related to the Basho, the poet, but to the Matsuo Shrines of Japan.
The main Matsuo shrine is
. Matsu no o Taisha 松尾大社 "Matsuo Taisha" Grand Shrine -. - Kyoto
formerly Matsunoo-jinja 松尾神社
The deity of the shrine is known as a God of Japanese sake.





source :　blog/sendai
Basho and Sora on the road

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. Atsuta Jinguu 熱田神宮 Atsuta jingu .


. Ise Grand Shrine　伊勢神宮 .
- - - - - and
. tootosa ni mina oshi-ainu gosenguu .
Ise gosenguu 伊勢御遷宮 transposition of the shrine's sanctuary
- - - - - and
. Nehan-e ya shiwade awasuru juzu no oto .
- - - - -
蓬莱に聞かばや伊勢の初便り
. hoorai ni kikabaya Ise no hatsudayori .



. Kashima Jinguu 鹿島神宮 Kashima Jingu .
- Kashima Kikoo 鹿島紀行 - A Visit to the Kashima Shrine -


. Kehi Jingu 気比神宮 Kehi Shrine in Tsuruga .
Kei Shrine (Barnhill)



. Ryuuguu 龍宮 Ryugu Dragon Palace .


. Tada Jinja 多太神社 . 　　Komatsu, Ishikawa


. Usaka jinja 鵜坂神社.
and - Usaka matsuri 鵜坂祭 Usaka Festival


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- - - - - hoya 穂屋 "shrine hut with a thatched wall"

at Shrine Misayama Jinja 御射山神社 and the "Lower Shrine 下社" of Suwa.
In early autumn, there is the hoya matsuri 穂屋祭 "Festival of the thatched hut"



雪散るや穂屋の薄の刈り残し
yuki chiru ya hoya no susuki no karinokoshi

snow falling—
miscanthus for the shrine hut
still uncut
Tr. Barnhill


scattering snowflakes --
tufted reeds left uncut
for the thatched prayer hut
Tr. Chris Drake


Written in 元禄3年作, Basho age 48. at
. Suwa Taisha 諏訪大社 Grand Suwa Shrine .


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- - - - - miyamori 宮守 shrine warden

宮守よわが名を散らせ木葉川
. miyamori yo waga na o chirase konohagawa .

宮人よ我が名を散らせ落葉川 / - - in 笈日記
miyamori yo waga na o chirase ochibagawa


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- - - - - okorago 御子良子 shrine maidens

御子良子の一本ゆかし梅の花　
. okorago no hitomoto yukashi ume no hana .



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. Buddhist Temples visited by Matsuo Basho .

. - Matsuo Basho and Kami 神　- Shinto deities - .



. WKD : Shinto Shrine .


. WKD : Japanese deities (kami to hotoke) .



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tsue walking stick

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- tsue　杖 stick, walking stick - Wanderstab -
cane, staff, Stock

. Travelling with Matsuo Basho .


As a traveller, mostly walking, he depended on his stick quite a lot.
A strong stick in the hand of a samurai was also a weapon against wild animals.
The sticks were made of various material, bamboo was a favorite. But light kinds of strong wood were also used.


Robin Gill tells us:
In the Edo period,
it was a custom with certain people to give a new walking staff to a man above the age of 50.






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- - - - - Mourning for the death of Matsukura Ranran 松倉嵐蘭 - - - - -

秋風に折れて悲しき桑の杖
akikaze ni orete kanashiki kuwa no tsue

in the autumn wind
it lies, sadly broken -
a mulberry stick
Tr. Ueda

Ranran (1647 - 93) was one of Basho's oldest students in Edo . . .
He died suddenly on September 26.

Basho had depended on him, more than upon any other disciple, as his supporting "stick".

"A mulberry bow" is part of an old Chinese phrase wishing future success for a boy. It has its origin in an ancient Chinese ritual, in which the father of a newborn boy would shoot an arrow with a mulberry bow as a token of his good wishes.
source : books.google.co.jp




Written in 1693, on the 27th of the 8th lunar month.
元禄6年8月27
On the death of Ranran 嵐蘭.
(? - 1693 - 元禄6年8月27日)
Ranran lived in Asakusa, Edo.
The mulberry stick has a hole in the middle and now, when broken, is as empty as the heart of Master Basho.

Basho wrote another poem about this great loss
in a message to the younger brother, Ranchiku 嵐竹宛書簡

見しやその七日は墓の三日の月
mishi ya sono / nanuka wa haka no / mika no tsuki


And a hokku by Ranran himself

. tsuki mo naki yoi kara uma o tsurete kite .
From a three-link sequence Basho wrote with Kyoriku and Ranran in 1692

. - Morikawa Kyoroku / Kyoriku 森川許六 - .


quote
Bashô’s admiration for the Seven Worthies of the Bamboo Grove and Tao Qian is clearly evident in his writings.
One essay dedicated to his deceased disciple, Matsukura Ranran (1647–1693), for example, mentions that the Master had named Ranran’s young son after Wang Rong, one of the Seven Worthies. Wang Rong is one of the less famous of the Seven Worthies; Bashô’s choice therefore demonstrates his familiarity with the tradition as a whole.

Bashô, in the same essay, also praises Ranran in light of the Daoist spirit:
“He had the spirit of Lao and Zhuang and dedicated his whole heart to poetry.”
Though a very brief statement, the connection he draws between the Daoist spirit and the dedication to poetry here demonstrates a deep understanding of the Wei-Jin fengliu (風流) tradition.
source : Basho-and-the-Dao - Peipei-Qiu


..........................................................................................................................................................


家はみな杖に白髪の墓参り
. ie wa mina tsue ni shiragami no hakamairi .
his family members with canes and white hair

and one more about his own "white hair"
. shiraga nuku makura no shita ya kirigirisu .
(autumn) crickets. white hair under my pillow

..........................................................................................................................................................


The slope Tsuetsukizaka 杖突坂 "Walking-stick Hill"
Tsuetsuki Pass



鶯やつえつき坂に老を啼

source :　www.humi.keio.ac.jp
Hiroshige


歩行ならば杖突坂を落馬哉
歩行ならば杖つき坂を落馬哉
kachi naraba Tsuetsuki-zaka o rakuba kana


"I rented a horse at the village of Hinaga ... so I could ride up Walking-stick Hill. But my pack-saddle overturned and I was thrown from the horse.

if only I had walked
Walking-stick Hill:
falling from my horse
Tr. Barnhill

Written in 1693 元禄6年, Basho age 50
On his way to Iga Ueno
Other sources quote
Written in 1687 (貞享4年).
. Oi no Kobumi 笈の小文 .

This hokku has no season word. The cut marker KANA is at the end of line 3.
It is difficult to translate, keeping the meaning of the place name understandable without a long footnote.

if I had walked -
I fell from my horse
at (this steep slope) Tsuetsuki-zaka


if only I had walked
the steep slope Tsuetsuki-zaka
(but even though,) I fell from my horse
Tr. Gabi Greve



if only I'd walked --
I fell from my horse
on walking stick slope [Tsuetsuki-zaka*]

* the name of the slope means 'walking stick slope'
Paraphrase Elaine Andre, FB



source :　sekisen_tsurezure


The slope Tsuetsukizaka, "slope to climb with a walking stick"
is in Mie prefecture, Yokkaichi, between the villages Uneme and Ishiyakushi, on the way to the great shrine at Ise　伊勢神宮.
采女町と鈴鹿市石薬師町.

After the legendary hero Yamato Takeru no Kami 日本武尊 had fougt with the wild deities of Mount Ibukisan , he was so tired that he had to use a stick to walk this slope.

. Yamato Takeru 日本武尊, first Deity of Renku .
Shrine Sakaori no Miya 酒折宮 　



Basho at Mount Ibuki
. Mount Ibuki 伊吹山 Ibuki-yama .


..........................................................................................................................................................


その形見ばや枯木の杖の長
sono katachi miba ya kareki no tsue no take

from its form
I imagine - from withered wood
your long staff
Tr. Gabi Greve

Before the onset of winter in 1688, Basho had promised to meet the Buddhist layman Doo-En 道円居士 Do-En of Daitsu-An Hermitage 大通庵 (Daitsuu-an) .

Written in the 10th lunar month1688, 元禄元年10月
On the 30th day of the 9th lunar month,道円 Do-En had passed away
"like the frost of an early winter night."
The staff must have been extremely long and remarkable, since Basho mentions its form in line 1 and its length in the last line.

This hokku has the cut marker YA in the middle of line 2.


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宿りせん藜の杖になる日まで
yadorisen akaza no tsue ni naru hi made
yadorisemu, yadori sen

I will stay here
until the day this pigweed
has become a walking cane
Tr. Gabi Greve


Summer of 1688, 貞亨5年5月, Oi Nikki 笈日記
Written in Kajikawa, Gifu at temple Myooshooji 妙照寺 Myosho-Ji.
At the home of Kihaku 己百, where Basho stayed for a short while.
This is a greeting hokku for his host. He must have felt very comfortable there.
Kihaku later visited Basho in Kyoto and in Mino.
Kihaku / Shuuboo 己百 / 秋芳 Shubo, priest at Myosho-Ji
Two of his hokku are known.


I would lodge here
until the days the goosefoot
has grown a staff
Tr. Barnhill


Here I'll stay until the day
This goosefoot plant
Into a walking stick is made.
Tr. Saito / Nelson



akaza 藜 / アカザ pigweed
It is used in Asia to make canes, and refers to the Gods of Long Life.
Canes of the thorny shrub. Sometimes seen as a phallic symbol.



source and more photos :　ibikitaro.no-blog.jp

Basho is making a reference to the Chinese poet
. WKD : Du Fu 杜甫 (712–770) .

藜を杖いて 世を嘆ずる者は誰子ぞ

holding an akaza cane
he grieves over this world -
who might he be ?




. akaza 藜 (あかざ) pigweed .
Chenopodium album var. centrorubrum
fat-hen, goosefoot, nickel greens, smearwort
lambsquarters, Lamb's-quarters
- kigo for all summer
. . . . . but
akaza no mi 藜の実 (あかざのみ) fruit of the pigweed
- kigo for early autumn


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His walking stick, mentioned in Oku no Hosomichi　奥の細道　


I wanted to see what remained of the hut, and so,
walking-staff in hand, I set out.

. Station 8 - Unganji 雲岸寺 .


- - - - -


The chestnut is a holy tree, for the Chinese ideograph for chestnut is Tree placed directly below West, the direction of the holy land. The Priest Gyoki is said to have used it for his walking stick and the chief support of his house.

. Station 11 - Sukagawa 須賀川 .

- - - - -



source :　www.intweb.co.jp/basyou

According to the gate-keeper there was a huge body of mountains obstructing my way to the province of Dewa, and the road was terribly uncertain. So I decided to hire a guide. The gate-keeper was kind enough to find me a young man of tremendous physique, who walked in front of me with a curved sword strapped to his waist and a stick of oak gripped firmly in his hand.
I myself followed him, afraid of what might happen on the way.

. Station 24 - Dewagoe　出羽越え .


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Basho Tsue no Ato 芭蕉杖跡 Remains of his walking staff





Basho left his walking stick at tempel 本隆寺 near Irogahama, Tsuruga.
source :　nipponn-daisuki.seesaa.net

小萩散れますほの小貝小盃　
. ko hagi chire Masuho no ko-gai ko sakazuki .


- - - - -



芭蕉の杖跡―おくのほそ道新紀行
森村 誠一　Morimura Seiichi

元禄２（１６８９）年、全行程２４００ｋｍに及ぶ「おくのほそ道」の旅に出た松尾芭蕉。そして３００年余りを経た現在、ミステリー小説の巨匠であり、“写真俳句”で俳句の新たな可能性を追求する森村誠一が「蕉跡」を追う。
芭蕉の時代、東日本大震災以降と何が変わり、何が変わらなかったのか。
How did the Tohoku region change after the great earthquake of March 2011?
What is left from the region which Basho has seen?
Morimura on a quest in Tohoku.
source :　www.yodobashi.com


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henrotsue, henro tsue 遍路杖 Pilgrm's Staff, the alter-ego of Kobo Daishi
kongootsue, kongoo tsue　金剛杖　"diamond staff"
. WKD : Henro 遍路 Shikoku Pilgrimage .



. WKD : Usaka no tsue 鵜坂の杖 Holy Sakaki stick of Usaka .
and a festival hitting the unfaithful ladies . . .

. WKD : kayuzue 粥杖 "rice gruel stick" .


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Exhibition - Daruma to Tsue 達磨と杖

-- Reference --


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. Yosa Buson 与謝蕪村 in Edo .


息杖に石の火を見る枯野哉
ikizue ni ishi no hi o miru kareno kana

from the walking stick
sparks on the stone are seen
in the withered field  . . .
Tr. Gabi Greve

Written in 1778, Buson age 63.
The cut marker KANA is at the end of line 3.


ikizue , lit. "breathing stick", is the walking stick of porters of palanquins or luggage.
Maybe the lower end of the stick was enforced with iron, which made sparks when placed on a stone. This poem shows the love for details observed by Buson.



source :　isenakachans


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. kasezue 鹿杖 "walking stick of deer horn" - shika no tsue 鹿の杖 .
Legend about 小野一万大菩薩 Ono Ichiman Daibosatsu


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. Traveling with Matsuo Basho .

. Cultural Keywords used by Basho .


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[ . BACK to WORLDKIGO . TOP . ]
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One sentence

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- One sentence - one image/theme hokku -

. WKD : One Sentence Haiku - one line .
General Introduction.


. Basho and his use of cut markers 切字　 .


One Theme Hokku
see below

All the hokku that end with the cut marker KANA in line 3 represent one sentence, finished with the "!".
Other hokku end the last line with KERI.
Most of these hokku keep the form of the three segments 5 7 5.


You can find them for now in the ABC files of this archive,
searching for KANA.

If I find the time I will list them here later.

under construction
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- quote -
Traces of Dreams - The Single Object Poem
by Haruo Shirane

In response to Kyoriku’s emphasis on the “combination poem” and his claim that combining separate topics was the central technique of the Basho style, Kyorai argued that, although combining was certainly important, it did not take precedence over other techniques and that Basho also composed “single-object” (ichibutsu shitate) poems, which focused on a single topic and in which the hokku flowed smoothly from start to finish, without the leap or gap found in the combination poem. In Kyoraisho, he noted:

The Master said:
"A hokku that moves smoothly from the opening five syllables to the end is a superb verse.”

Shado remarked: “The master once told me, ‘The hokku is not, as you believe, something that brings together two or three different things. Compose the hokku so that it flows like gold being hit and flattened by a hammer.’” . . .

Kyorai: “If a poet composes by combining separate things, he can compose many verses and composed them quickly. Beginning poets should know this. But when one becomes an accomplished poet, it is no longer a question of combining or not combining. (NKBZ 51: 498)29
In Travel Lodging Discussion (Taibneron; 1699), Kyorai even went so far as to say that all hokku are single-object poems.

Generally speaking, all hokku focus on a single object. Allow me to explain and give some examples. First of all, the following verse is on a single object.

warmly wrapped
in its feathered robe––
feet of the wild duck
––the late Master

kegoromo | ni | tsutsumite | kamo | no | ashi
feathered-robe | in | wrap | warm | wild-duck | ‘s | feet

They say that the Master took delight in this poem and told Shiko, “This hokku was deliberately composed on a single object.” Other examples include:

well, then,
let us go snow-viewing
until we tumble over!
––the late Master

iza | saraba | yukimi | ni | korobu | tokoro | made
well | then | snow-viewing | for | tumble | place | until

scratching
its beautiful face––
the pheasant’s spurs
––Kikaku

utsukushiki | kao | kaku | kiji | no | kezume | kana
beautiful | face | scratch | pheasant | ‘s | spurs | !

Someone might say that the “feet of the wild duck” and “the feathered robe” form a combination or that the poet combines “the pheasant’s spurs” with “face,” but what could they say “snow-viewing” was combined with? When the late Master spoke about combining objects, he appeared to make a distinction between those that worked within the boundary and those that worked outside it. Kyoriku, it seems, defined the combination poem as something that went outside the boundary. But there are poems that combine within the boundary just as there are those that combine without.

spring
gradually takes shape––
moon and plum blossoms
––the late Master

These poems all combine within the boundary. (KHT 10:206-7)

Kyorai was arguing that since the combination poem can be composed quickly and relatively easily, it is suited for beginners, but that the more accomplished poet will not be limited to this particular technique. Furthermore, a number of good combination poems, especially impromptu ones, remain within the “boundary” or circle of established poetic associations. In Kyoraisho (NKBZ 51: 498), Kyorai suggested that beginners should compose distant combinations: as Kyoriku pointed out, going outside the established boundary makes it easier to find new material and avoid plagiarism. The rule, however, does not apply to accomplished poets who, as Basho’s examples suggest, can either discover new connections within the boundary of established associations or approach the traditional associations in new ways. For example, “spring,” “moon,” and “plum blossoms,” which appear together in Basho’s hokku, were closely associated in classical poetry, especially as a result of The Tale of Genji, where the scent of the plum blossoms in the light of the misty evening moon represented one of the beauties of spring.
The haikai character of Basho’s hokku lay not in the combination, which was purely classical, but in the manner of the expression, especially in the rhythm. The middle phrase––which comes to a slow stop, ending on three, drawn out, successive “o” sounds, the last sliding into the vowel “u”–– suggests the gradual vernal movement that brings together the moon and the plum blossoms.

In contrast to the combination poem, which combined different topics, a single-object poem focused on a single topic, but on closer examination even single-object poems can usually be broken down into two parts, consisting of a traditional seasonal topic, which established a horizon of expectations, and the description or presentation, which often worked against those expectations. A good example is the “wild duck” hokku cited above, which Basho composed in Edo in the winter of Genroku 6 (1693-94) and which Kyorai considered a single-object poem. In the classical tradition, the wild duck (kamo) was often found floating on a winter pond or ocean, and its figure and voice were associated with loneliness, longing for home, uncertainty, and, most of all, with coldness. In a haikai reversal, this wild duck appears “warm” (nukushi), its feel tucked beneath its “feathered robe” (kegoromo). The circular movement, the “going and returning,” in such a single-object poem occurs not between the two parts of the hokku so much as between the implied topic (wild duck) and the unusual, haikai-esque approach, between the text and the horizon of expectations raised by the seasonal topic.

Both the combination and the single-object approach had a profound influence on the course of modern haiku. Both Masaoka Shiki (1867-1902) and his successor Takahama Kyoshi (1874-1959) pressed for mimetic poetry, which tended to focus on a single object that could be depicted directly, through the senses. On the other hand, the notion of the combination poem found new life with other modern poets. In the Taisho period (1912-26), for example, Osuga Otsuji (1881-1920) stressed the importance of placing the cutting word or the break in the middle of the haiku, thereby causing the part with the seasonal word to interact with the other half. In the Showa period Yamaguchi Seishi (1910-94), harking back to Basho and spurred on by the notion of Eisenstein’s montage (re-imported to Japan), believed that haiku should focus on the interrelationship between different objects of nature, a relationship that must “leap beyond” the predictable.

- - - - - Haruo Shirane
- source : books.google.co.jp - (pages 111-114) -

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行く春を近江の人と惜しみける

. yuku haru o Oomi no hito to oshimikeru .

spring is departing
and with the people (friends) of Omi
I lament its passing . . .


Here Basho chooses to use the first line to end with o to show that the sentence is continuing.

He does not end line 1 with the more frequently used cut marker YA

yuku haru ya.

He must have his reasons to write one sentence with three segments 5 7 5 for this special occasion.


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秋の色糠味噌壷もなかりけり
aki no iro nukamiso tsubo mo nakarikeri

not even a pot
in the colors of autumn
for fermented miso paste




. hatsu yuki ni usagi no kawa no hige tsukure .
(winter) first snow. rabbit, fur. beard
Basho makes a snowman with the children of Iga.



. shio-dai no haguki mo samushi uo no tana .
cold gums of the sea bream in the fish shop


yo ga fuuga wa karo toosen no gotoshi .
(winter) handfan in winter. my elegance. fireplace in summer
same as - no gotoshi


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盃の下ゆく菊や朽木盆
. sakazuki no shita yuku kiku ya Kitsuki bon .
sakazuki no shita yuku kiku NO Kitsuki bon

Here the cut marker YA can be replaced by NO to make it one sentence.

.............................................................................


桜狩り奇特や日々に五里六里
. sakuragari kidoku ya hibi ni go ri roku ri .
The cut marker YA is in the middle of line 2 - all about "hunting for cherry blossoms2



涼しさを我が宿にしてねまるなり
suzushisa o / waga yado ni shite / nemaru nari


月のみか雨に相撲もなかりけり　
. tsuki nomi ka ame ni sumoo mo nakarikeri .
no moon and no Sumo at Tsuruga beach



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鴬や竹の子薮に老を鳴く
. uguisu ya take no ko yabu ni oi o naku .
the uguisu sings of his old age in a bamboo grove


more TBA

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. WKD : One Sentence Haiku - one line .


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Haiku and hokku with one theme, one scene

. WKD : ichibutsu jitate 　一物仕立て　
haiku with only one theme .

They come with or without a cut marker.

The most famous one is the old pond hokku

. furu ike ya kawazu tobikomu mizu no oto .
(spring) frog. old pond, frog jumps, sound of water

- - - - -

このあたり目に見ゆるものは皆涼し
. kono atari me ni miyuru mono wa mina suzushi .
all that meets the eye here is cool



むざんやな　甲の下の　きりぎりす
. muzan ya na kabuto no shita no kirigirisu .
(autumn) grasshopper, in memory of the helmet of Saito Sanemori 斉藤実盛
The cut marker YA before the end of line 1 works like an exclamation mark.
How pitiful!


五月雨を集めてはやし最上川
. samidare o atsumete hayashi Mogamigawa .
(summer) rain during the rainy season, river Mogamigawa　最上川, Hiraizumi


塩にしてもいざ言伝ん都鳥
. shio ni shite mo iza kotozuten Miyako-dori .
(winter) hooded gull. pickled in salt. message


当帰よりあはれは塚の菫草
. tooki yori aware wa tsuka no sumiregusa / sumire-gusa .
(spring) violet. pitiful. Angelica-type parsley. his grave mound
On the death of his disciple Kondoo Romaru 近藤呂丸 / 露丸.


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. WKD : One Sentence Haiku - one line .

. WKD : ichibutsu jitate 　一物仕立て　
haiku with only one theme .


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[ . BACK to WORLDKIGO . TOP . ]

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sss

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- s s s -

quote from

WikiSource :
Complete Basho Haiku in Japanese
source : en.wikisource.org


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淋しさや釘に掛けたるきりぎりす　（さびしさやくぎにかけたるきりぎりす） sabishisa ya / kugi ni kaketaru / kirigirisu (HS-713)
寂しさや須磨に勝ちたる浜の秋　（さびしさやすまにかちたるはまのあき） sabishisa ya / Suma ni kachi taru / Hama no aki (HS-574)
西行の庵もあらん花の庭　（さいぎやうのいほりのあらんはなのには） Saigyō no / iori mo ara n / hana no niwa (HS-952)
西行の草鞋もかかれ松の露　（さいぎやうのわらぢもかかれまつのつゆ） Saigyō no / waraji mo kakare / matsu no tsuyu (HS-585)
盛りぢや花に坐浮法師ぬめり妻　（さかりぢやはなにそぞろうきぼふしぬめりづま） sakari ja hana ni / sozoro ukibōshi / numeri zuma (IB-127, HS-138, JR-131) 1681 Ru
盛りなる梅にす手引く風もがな　（さかりなるうめにすでひくかぜもがな） sakari naru / ume ni sude hiku / kaze mogana (IB-9, HS-25, JR-25) 1667 Ru
盃に泥な落しそ群燕　（さかづきにどろなおとしそむらつばめ） sakazuki ni / doro na otoshi so / mura tsubame (HS-371)
盃にみつの名を飲む今宵かな　（さかづきにみつのなをのむこよひかな） sakazuki ni / mitsu no na o nomu / koyoi kana (HS-259)
盃の下ゆく菊や朽木盆　（さかづきのしたゆくきくやくつきぼん） sakazuki no / shita yuku kiku ya / kutsuki bon (IB-66, HS-57, JR-57) 1676 Ru

盃や山路の菊と是を干す　（さかづきややまぢのきくとこれをほす） sakazuki ya / yamaji no kiku to / kore o hosu (IB-106, HS-108, JR-110) 1679 Ru

酒飲めばいとど寝られぬ夜の雪　（さけのめばいとどねられぬよるのゆき） sake nomeba / itodo nerarene / yoru no yuki (HS-281)
酒飲みに語らんかかる滝の花　（さけのみにかたらんかかるたきのはな） sakenomi ni / katara n kakaru / taki no hana (HS-383)
咲き乱す桃の中より初桜　（さきみだすもものなかよりはつざくら） saki midasu / momo no naka yori / hatsu-zakura (HS-929)
桜より松は二木を三月越し　（さくらよりまつはふたきをみつきごし） sakura yori / matsu wa futaki o / mitsuki goshi (HS-511)
桜狩り奇特や日々に五里六里　（さくらがりきどくやひびにごりろくり） sakura-gari / kidoku ya hibi ni / go ri roku ri (HS-388)
さまざまの事思ひ出す桜かな　（さまざまのことおもひだすさくらかな） sama zama no / koto omoidasu / sakura kana (HS-376)


五月雨も瀬踏み尋ねぬ見馴河　（さみだれもせぶみたずねぬみなれがは） samidare mo / sebumi tazune nu / Minare-gawa (IB-37, HS-37, JR-39) 1671 Ru
五月雨に隠れぬものや瀬田の橋　（さみだれにかくれぬものやせたのはし） samidare ni / kakure nu mono ya / Seta no hashi (HS-415)
五月雨に鳰の浮巣を見にゆかん　（さみだれににほのうきすをみにゆかん） samidare ni / nio no uki su o / mi ni yuka n (HS-302)
五月雨に御物遠や月の顏　（さみだれにおんものどほやつきのかほ） samidare ni / on mono dō ya / tsuki no kao (IB-18, HS-7, JR-9)1666/7
Ru: Дождь всё льёт и льёти…
五月雨に鶴の足短くなれり　（さみだれにつるのあしみじかくなれり） samidare ni / tsuru no ashi / mijikaku nareri (IB-132, HS-143, JR-136) 1681
Ru: Ох, как коротки…
五月雨の降り残してや光堂　（さみだれのふりのこしてやひかりだう） samidare no / furi nokoshite ya / hikari dō (HS-516)
五月雨の空吹き落せ大井川　（さみだれのそらふきおとせおおいがわ） samidare no / sora fukio otose / Ōi-gawa (HS-864)
五月雨をあつめて早し最上川　（さみだれをあつめてはやしもがみがわ） samidare o / atsume te hayashi / Mogami-gawa (HS-523)
五月雨は滝降り埋むみかさ哉　（さみだれはたきふりうづむみかさかな） samidare wa / taki furi uzumu / mikasa kana (HS-508)
五月雨や蚕煩ふ桑の畑　（さみだれやかひこわづらふくわのはた） samidare ya / kaiko wazurau / kuwa no hata (HS-861)
五月雨や桶の輪切るる夜の声　（さみだれやをけのわきるるよるのこゑ） samidare ya / oke no wa kiruru / yoru no koe (HS-300)

五月雨や龍燈あぐる番太郎　（さみだれやりゆうとうあぐるばんたろう）76
## samidare ya / ryūtō aguru / Bantarō (IB-74, HS-76, JR-76) 1877

五月雨や色紙へぎたる壁の跡　（さみだれやしきしへぎたるかべのあと） samidare ya / shikishi hegitaru / kabe no ato (HS-703)


寒からぬ露や牡丹の花の蜜　（さむからぬつゆやぼたんのはなのみつ） samukara nu / tsuyu ya botan no / hana no mitsu (HS-853)
寒けれど二人寝る夜ぞ頼もしき（さむけれどふたりぬるよぞたのもしき） samukeredo / futari nuru yo zo / tanomoshiki (HS-324)
三尺の山も嵐の木の葉かな　（さんじやくのやまもあらしのこのはかな） san jaku no / yama mo arashi no / ko no ha kana (HS-674)
早苗とる手もとや昔しのぶ摺　（さなえとるてもとやむかししのぶずり） sanae toru / temoto ya mukashi / shinobu zuri (HS-509)
皿鉢もほのかに闇の宵涼み　（さらばちもほのかにやみのよひすずみ） sara bachi mo / honokani yami no / yoi suzumi (HS-882)
さればこそ荒れたきままの霜の宿　（さればこそあれたきままのしものやど） sareba koso / are taki mama no / shimo no yado (HS-331)
猿引は猿の小袖を砧哉　（さるひきはさるのこそでをきぬたかな） saru hiki wa / saru no kosode o / kinuta kana (HS-953)
猿を聞く人捨子に秋の風いかに　（さるをきくひとすてごにあきのかぜいかに） saru o kiku hito / sutego ni aki no / kaze ikani (HS-194)
篠の露袴に掛けし茂り哉　（ささのつゆはかまにかけししげりかな） sasa no tsuyu / hakama ni kakeshi / shigeri kana (HS-796)
さし籠る葎の友か冬菜売り　（さしこもるむぐらのともかふゆなうり） sashi komoru / mugura no tomo ka / fuyu na uri (HS-472)
里古りて柿の木持たぬ家もなし　（さとふりてかきのきもたぬいえもなし） sato furite / kaki no ki mota nu / ie mo nashi (HS-896)
里の子よ梅折り残せ牛の鞭　（さとのこようめをりのこせうしのむち） sato no ko yo / ume orinokose / ushi no muchi (HS-288)
里人は稻に歌詠む都かな　（さとびとはいねにうたよむみやこかな） sato-bito wa / ine ni uta yomu / miyako kana (HS-401)
五月の雨岩檜葉の緑いつまでぞ（さつきのあめいはひばのみどりいつまでぞ） satsuki no ame / iwahiba no midori / itsumade zo (IB-112, HS-115, JR-116) 1680
Ru: Ранний летний ливень…
さざ波や風の薫りの相拍子　（さざなみやかぜのかほりのあひびやうし） sazanami ya / kaze no kaori no / ai byōshi (HS-884)
さざれ蟹足這ひのぼる清水哉　（さざれがにあしはひのぼるしみずかな） sazaregani / ashi hainoboru / shimizu kana (HS-307)
さぞな星ひじき物には鹿の革　（さぞなほしひじきものにはしかのかは） sazo na hoshi / hijikimono ni wa / shika no kawa (IB-?? [95a], HS-131, JR-101) 1678 Ru
関守の宿を水鶏に問はうもの　（せきもりのやどをくひなにとはうもの） seki mori no / yado o kuina ni / toou mono (HS-507)
節季候の来れば風雅も師走哉　（せきぞろのくればふうがもしはすかな） sekizoro no / kure ba fūga mo / shiwasu kana (HS-665)
節季候を雀の笑ふ出立かな　（せきぞろをすずめのわらふでたちかな） sekizoro o / suzume no warau / detachi kana (HS-786)

芹焼きや裾輪の田井の初氷　（せりやきやすそわのたゐのはつごほり）
##seri yaki ya / suso wa no ta i no / hatsu gōri (HS-833)

せつかれて年忘れする機嫌かな　（せつかれてとしわすれするきげんかな） setsukare te / toshi wasure suru / kigen kana (HS-945)
柴の戸に茶を木の葉掻く嵐哉　（しばのとにちやをこのはかくあらしかな） shiba no to ni / cha o konoha kaku / arashi kana (IB-121, HS-123, JR-118) 1680 Ru
柴の戸の月やそのまま阿弥陀坊　（しばのとのつきやそのままあみだばう） shiba no to no / tsuki ya sono mama / Amida bō (HS-926)
柴付けし馬のもどりや田植樽　（しばつけしうまのもどりやたうゑだる） shiba tsukeshi / uma no modori ya / taue daru (HS-870)
しばらくは花の上なる月夜かな　（しばらくははなのうへなるつきよかな） shibaraku wa / hana no ue naru / tsukiyo kana (HS-689)
暫時は滝に籠るや夏の初め　（しばらくはたきにこもるやげのはじめ） shibaraku wa / taki ni komoru ya / ge no hajime (HS-491)
しばし間も待つやほととぎす千年　（しばしまもまつやほととぎすせんねん） shibashi ma mo / matsu ya hototogi- / su sen nen (IB-23, HS-12, JR-12) 1666/7 Ru
時雨をやもどかしがりて松の雪　（しぐれをやもどかしがりてまつのゆき） shigure o ya / modokashi gari te / matsu no yuki (IB-7, HS-20, JR-21) 1666 Ru
しぐるるや田の新株の黒むほど　（しぐるるやたのあらかぶのくろむほど） shigururu ya / ta no arakabu no / kuromu hodo (HS-659)
四方より花吹き入れて鳰の波　（しほうよりはなふきいれてにほのなみ） shihō yori / hana fuki irete / nio no nami (HS-623)
鹿の角まづ一節の別れかな　（しかのつのまづひとふしのわかれかな） shika no tsuno / mazu hito fushi no / wakare kana (HS-399)
島々や千々に砕きて夏の海　（しまじまやちぢにくだきてなつのうみ） shimajima ya / chiji ni kudakite / natsu no umi (HS-514)
霜枯に咲くは辛気の花野哉　（しもがれにさくはしんきのはなのかな） shimo gare ni / saku wa shinki no / hana no kana (IB-33, HS-23, JR-20) 1666/7 Ru
霜の後撫子咲ける火桶哉　（しもののちなでしこさけるひおけかな） shimo no nochi / nadeshiko sakeru / hioke kana (HS-661)
霜を踏んでちんば引くまで送りけり　（しもをふんでちんばひくまでおくりけり） shimo o fun de / chinba hiku made / okuri keri (IB-107, HS-110, JR-113) 1679 Ru
霜を着て風を敷き寝の捨子哉　（しもをきてかぜをしきねのすてごかな） shimo o kite / kaze o shikine no / sutego kana (IB-83, HS-87, JR-88) 1677 Ru
新藁の出初めて早き時雨哉　（しんわらのでそめてはやきしぐれかな） shin wara no / de some te hayaki / shigure kana (HS-903)
死にもせぬ旅寝の果てよ秋の暮　（しにもせぬたびねのはてよあきのくれ） shini mo senu / tabine no hate yo / aki no kure (HS-212)
忍さへ枯れて餅買ふ宿り哉　（しのぶさへかれてもちかふやどりかな） shinobu sae / kare te mochi kau / yadori kana (HS-221)

塩鯛の歯ぐきも寒し魚の店　（しほだひのはぐきもさむしうをのたな）
##shio dai no / haguki mo samushi / uo no tana (HS-780)

塩にしてもいざ言伝てん都鳥　（しほにしてもいざことづてんみやこどり） shio ni shi te mo / iza kotozute n / miyako-dori (IB-101, HS-101, JR-104) 1678 Ru
汐越や鶴脛ぬれて海涼し　（しほごしやつるはぎぬれてうみすずし） shiogoshi ya / tsuru hagi nure te / umi suzushi (HS-536)
しをらしき名や小松吹く萩薄　（しをらしきなやこまつふくはぎすすき） shiorashiki / na ya komatsu fuku / hagi susuki (HS-549)
萎れ伏すや世はさかさまの雪の竹（しをれふすやよはさかさまのゆきのたけ） shiore fusu ya / yo wa sakasama no / yuki no take (IB-31, HS-21, JR-22) 1666/7 Ru
白露もこぼさぬ萩のうねり哉　（しらつゆもこぼさぬはぎのうねりかな） shira tsuyu mo / kobosa nu hagi no / uneri kana (HS-805)
白魚や黒き目を明く法の網　（しらうをやくろきめをあくのりのあみ） shira uo ya / kuroki me o aku / nori no ami (HS-791)
白髪抜く枕の下やきりぎりす　（しらがぬくまくらのしたやきりぎりす） shiraga nuku / makura no shita ya / kirigirisu (HS-648)
白芥子に羽もぐ蝶の形見哉　（しらげしにはねもぐてふのかたみかな） shira-geshi ni / hane mogu chō no / katami kana (HS-252)
白芥子や時雨の花の咲きつらん　（しらげしやしぐれのはなのさきつらん） shira-geshi ya / shigure no hana no / saki tsu ran (HS-182)
白菊の目に立てて見る塵もなし　（しらぎくのめにたててみるちりもなし） shira-giku no / me ni tatete miru / chiri mo nashi (HS-919)

白菊よ白菊よ恥長髪よ長髪よ（しらぎくよしらぎくよはじながかみよながかみよ） shira-giku yo shira-giku yo / hiji naga kami yo / naga kami yo (HS-177)

城跡や古井の清水まづ訪はん　（しろあとやふるいのしみづまづとはん） shiro ato ya / furui no shimizu / mazu towa n (HS-429)
白炭やかの浦島が老の箱　（しらずみやかのうらしまがおひのはこ） shiro zumi ya / kano Urashima ga / oi no hako (IB-85, HS-89 JR-90) 1677 Ru
賎の子や稲摺りかけて月を見る　（しづのこやいねすりかけてつきをみる） shizu no ko ya / ine suri kakete / tsuki o miru (HS-312)
閑かさや岩にしみ入る蝉の声　（しづかさやいはにしみいるせみのこゑ） shizukasa ya / iwa ni shimi iru / semi no koe (HS-522)
少将の尼の咄や志賀の雪　（しやうじやうのあまのはなしやしがのゆき） Shōshō no / ama no hanashi ya / Shiga no yuki (HS-604)
初春まづ酒に梅売る匂ひかな　（しよしゆんまづさけにうめうるにほひかな） shoshun mazu / sake ni ume uru / nioi kana (HS-234)
秋海棠西瓜の色に咲きにけり（しうかいどうすいくわのいろにさきにけり） shūkaidō / suika no iro ni / saki ni keri (HS-708)
僧朝顔幾死に返る法の松　（そうあさがおいくしにかへるのりのまつ） sō asagao / iku shini kaeru / nori no matsu (HS-203)
蕎麦も見てけなりがらせよ野良の萩　（そばもみてけなりがらせよのらのはぎ） soba mo mite / kenarigara seyo / nora no hagi (HS-723)
蕎麦はまだ花でもてなす山路かな　（そばはまだはなでもてなすやまじかな） soba wa mada / hana de motenasu / yamaji kana (HS-904
袖の色よごれて寒し濃鼠　（そでのいろよごれてさむしこいねずみ） sode no iro / yogorete samushi / koi nezumi (HS-975)
袖よごすらん田螺の海士の隙を無み　（そでよごすらんたにしのあまのひまをなみ） sode yogosu ran / tanishi no ama no / hima o na mi (HS-153)
蒼海の浪酒臭し今日の月　（さうかいのなみさけくさしけふのつき） sōkai no / nami sake kusashi / kyō no tsuki (IB-105, HS-107, JR-109) 1679 Ru
その形見ばや枯木の杖の長　（そのかたちみばやかれきのつゑのたけ） sono katachi / mi baya kareki no / tsue no take (HS-467)
そのままよ月もたのまじ伊吹山　（そのままよつきもたのまじいぶきやま） sono mama yo / tsuki mo tanoma ji / Ibuki-yama (HS-580)
その匂ひ桃より白し水仙花　（そのにほひももしろしすいせんくわ） sono nioi / momo yori shiroshi / suisen ka (HS-739)
その玉や羽黒にかへす法の月　（そのたまやはぐろにかへすのりのつき） sono tama ya / Haguro ni kaesu / nori no tsuki (HS-530)
水学も乗物貸さん天の川　（すいがくものりものかさんあまのがわ） Suigaku mo / norimono kasa n / Ama-no-gawa (IB-94, HS-97, JR-99) 1678 Ru
水仙や白き障子のとも移り　（すいせんやしろきしやうじのともうつり） suisen ya / shiroki shōji no / tomo utsuri (HS-738)
須磨の海士の矢先に鳴くか郭公　（すまのあまのやさきになくかほととぎす） Suma no ama no / yasaki ni naku ka / hototogisu (HS-407)
須磨の浦の年取り物や柴一把　（すまのうらのとしとりものやしばいちは） Suma no ura no / toshitori mono ya / shiba ichiwa (HS-956)
須磨寺や吹かぬ笛聞く木下闇　（すまでらやふかぬふえきくこしたやみ） Suma-dera ya / fuka nu fue kiku / koshita yami (HS-408)
住みつかぬ旅の心や置火燵　（すみつかぬたびのこころやおきごたつ） sumi tsukanu / tabi no kokoro ya / okigotatsu (HS-667)
駿河路や花橘も茶の匂ひ　（するがじやはなたちばなもちやのにほひ） Suruga ji ya / hana tachibana mo / cha no nioi (HS-862)
煤掃は己が棚つる大工かな　（すすはきはおのがたなつるだいくかな） susu haki wa / ono ga tana tsuru / daiku kana (HS-836)
煤掃は杉の木の間の嵐哉　（すすはきはすぎのこのまのあらしかな） susu haki wa / sugi no ko no ma no / arashi kana (HS-668)
雀子と声鳴きかはす鼠の巣　（すずめことこゑなきかはすねずみのす） suzume ko to / koe naki kawasu / nezumi no su (HS-949)
硯かと拾ふやくぼき石の露　（すずりかとひろふやくぼきいしのつゆ） suzuri ka to / hirou ya kuboki / ishi no tsuyu (HS-591)
涼しさを絵にうつしけり嵯峨の竹（すずしさをゑにうつしけりさがのたけ） suzushisa o / e ni utsushi keri / Saga no take (HS-872)
涼しさを飛騨の工が指図かな　（すずしさをひだのたくみがさしづかな） suzushisa o / hida no takumi ga / sashizu kana (HS-867)
涼しさを我が宿にしてねまるなり（すずしさをわがやどにしてねまるなり） suzushisa o / waga yado ni shite / nemaru nari (HS-519)
涼しさやほの三日月の羽黒山　（すずしさやほのみかづきのはぐろやま） suzushisa ya / hono mikazuki no / Haguro-yama (IB-539, HS-527)
涼しさや直に野松の枝の形（すずしさや すぐにのまつの えだのなり） suzushisa ya / sugu ni no matsu no / eda no nari (IB-871)



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