WKD - Matsuo Basho Archives: Z

Showing posts with label Z - TOPIC. Show all posts

01/11/2014

Cultural Keywords

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- Cultural Keywords used by Basho -

During his many travels around Japan, Basho came to know different places, different regional food, different legends, customs and festivals.

He also wrote about animals and plants, implying his friends or famous people from the past.

In his hokku and travel diaries he introduced many items casually, since they were usually known to his fellow poets of the Edo period.
Some of the themes he introduced are kigo.

But for readers coming from other cultures, most of these words need a special explanation before the hokku can be understood in its proper cultural environment.

Here I will try to list the most important ones,
Basho being my guide to Japanese Culture and the early Edo period.

This is the most important collection
of my Basho Archives of the WKD.

. Basho travelling / traveling in Japan .
utamakura 歌枕 place names used in Japanese poetry

Mit Basho durch die Kultur Japans reisen!

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quote
In one of his most famous theoretical statements, Basho says,
“Learn about pines from the pine, and about bamboo from the bamboo.”
Each pine exhibits pineness but is not pineness itself: each pine alludes to, or is symbolic of, the essence of pine.

Contemporary writers may find Basho’s statement confusing. To use the Western terminology of essence we see in Reichhold and many modern Western haiku commentators, even the essence of pine is not the same as the essence of being. The essence of things is not located within the thing itself. The is-ness of a thing is not to be gained through attention to the thing alone. Indeed, is-ness is not the same as the “thingness” of a thing.

Barnhill says that in his travels Basho pursued
“the wayfaring life in order to embody physically and metaphorically the fundamental character of the universe.”
He visits places “loaded” with cultural and spiritual significance and his sense of “nature” is bound up with these traditions of place. This intertwining of place and significance, the local and the transcendental, is basic to Basho’s experience. The centrality of “place names” or utamakura is basic to Basho’s outlook.
Barnhill says,
“Basho tended to write of places in nature handed down through literature,
giving cultural depth to his experience of nature.”
source : JAMIE EDGECOMBE, 2011

. learn from the pine - - - said my American haiku friends. . 　

This is a still growing list. Please come back again.
under construction
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Join with your own cultural keywords!

. Haiku - Culture Magazine - .

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20/12/2013

haikai and uso

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. Hokku and Haikai 発句と俳諧 - Introduction .
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- haikai　俳諧 Haikai and uso - a poetic "lie" - lying skillfully

Matsuo Basho 松尾芭蕉　advises his disciples

"The poetic mind must always remain detached (mujo) and eccentric (kyoken).
The thematic materials must be chosen from ordinary life.
The diction must be entirely from everyday language."
source : Peipei Qiu: Basho and the Dao

. Hokku and Haikai 発句と俳諧 - Introduction .

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The new discussion started on facebook with a quote by Makoto Ueda and the quest for its Japanese origin.

- source : facebook.com/ michael.dylan.welch/ posts -

“The art of poetry lies simply in the skillful telling of a lie.”

Bashō (translated by Makoto Ueda, from
“The Nature of Poetry: Japanese and Western Views,”
Yearbook of Comparative and General Literature #11, supplement, 1962, 142–148)
- Graceguts - How Do You Write Haiku?
- source : Graceguts -

The original Japanese is attributed to Matsuo Basho.
There are variousJapanese versions to be found googeling.
(I have no library close at hand and rely on google,
so this is not a scholarly treatise, but a little snooping around, which anyone can do.)

俳諧といふは別の事なし. 上手に迂詐（うそ）をつくことなり.
haikiai to iu wa betsu no koto nashi. joozu ni uso o tsuku koto nari.

This (abbreviated) quote is attributed to Basho, in a publication by his disciple Shiko
Haikai juuron 俳諧十論 Haikai Juron, Ten arguments about Haikai
published in 1719 by 支考 Shiko.
The full quote is the following:

此故に吾翁は、
俳諧といふは別の事なし、上手に迂詐をつく事なり、
とは例に俳諧の端的底にして、虚実不自在の人には知らすまじき
芭蕉門下の一振刀なり.

The old master said:
Haikai is not something special, it is to tell a lie gracefully / skillfully.
But do not explain this to people who do not understand the real from the fake.
This is only a "swing with one sword" for the disciples of Basho.
Tr. Gabi Greve

. Kagami Shikoo 各務支考 Kagami Shiko .
1665 - 1731

- Other versions of the Japanese found googeling:
俳諧といふは別の事なし,上手に迂詐をつく事なり
俳諧といふは別の事なし, 上手に迂詐（うそ）をつくことなり
俳諧といふは別（格別）の事なし。上手に迂詐（うそ）をつく事なり
連俳といふ物は、上手に嘘をつく事なり
俳諧といふは別のことなし。上手に噓をつくことなり

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- quote by Jeff Robbins -
Basho on How to Make a Haiku
　17 statements from his letters and spoken word
Translations and Commentary by Jeff Robbins / Assisted by Sakata Shoko

1 Settling for standards and searching for reason places one in the middle grade of poets; one who defies standards and forgets reason is the wizard on this path.
2 Without a sense for how to use ordinary words, you will get mixed up in oldness.
3 Poetry benefits from the realization of ordinary words (Haikai wa eki no zokugo o tadasu nari)
4 Know that a poem combines things . . . Poetry is the experience of the heart which goes and returns.
5 “The skillful have a disease; Let a three-foot child get the poem.
6 Only this, apply your heart to what children do.
7 “As I gained some feeling for the rhythm in this verse on blossom-viewing, I made Lightness.”
8 Now in my heart the form of poetry is as looking into a shallow stream over sand with Lightness both in the body of the verse as well as in the Heart’s connection
9 Do not allow your verse to be artificial.
10 　 The verse HOARSE SHRIEK is Kikaku.
‘Gums of salted bream’ is the poetry of my old age.
The lower segment, “A fish store,”saying only that, is my style.
11 In the verses of other poets is too much making and the heart’s immediacy is lost. What is made from the heart is good; the product of words shall not be preferred.
12 A stanza may have extra sounds, 3, 4, even 5 or 7; if the phrase has good resonance, it is okay – however if even one sound stagnates in your mouth, scrutinize the expression.
13 This is a path of a fresh lively taste with aliveness in both heart and words.
14 According to your various talents, make the verse from your heart, whether linked verse or haiku, neither heavy nor merely spinning about.
15 In poetry is a realm which cannot be taught. You must pass through it yourself. Some poets have made no effort to pass through, merely counting things and trying to remember them. There was no passing through the things.
16 “To have the little boy stand out in relation to the daikon-gathering was the making of this verse”.
17 The physical form, first of all, must be graceful, then the musical quality makes a superior verse.

- - - - - read the explanations here:
- source : writersinkyoto.com - Jeff Robbins -

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- - - - - Chris Drake explains :

Shiko on Basho --
From the fourth essay in Ten Essays on Haikai (Haikai jūron 1719) by Kagami Shikō (1665-1731):

Master Basho said, "Haikai is in fact a matter of lying skillfully." He thereby expressed something very basic about haikai. Basho's followers put great stress on this principle, but it should not be taught to those who do not understand how to freely use both emptiness (kyo 虚) and actuality (jitsu 実) in their haikai. It is easy for people to misunderstand when they hear the words emptiness and actuality, so these two terms must be understood in depth during discussions with a haikai teacher. This is essential for those who would follow the Way of haikai. Some people who know nothing of the Way of haikai go out at night to have a good time, and they tell lies they know are not true. These people believe their words are lies and what they think in their minds is the truth, so the lies they tell are nothing more than attempts to trick or deceive people....

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Note: the phrase "a single-swing sword" (一振刀) is a metaphorical expression meaning to put great stress or emphasis on something important or to concentrate all your power on doing something important. Samurai sought to cut down their enemies by concentrating their minds and making a single powerful swing of their carefully sharpened sword. Despite what is shown in samurai movies, samurai swords were extremely sharp only for the first swing, and after a few swings they became too blunt for their purpose. Shiko doesn't seem to be implying anything martial here, since the metaphorical phrase was a common one.

*********

Kagami Shiko was one of Basho's leading followers and probably the best one at writing poetic theory as opposed to transmitting Basho's own words. This passage is taken out of context in a complex treatise, so my translation adds a few words to fill in the context that Shiko's readers would have had in mind. The word translated as lies (uso) is a common colloquial word for just that, but Shiko argues that there are different kinds of lies and that poetic lies are a form of emptiness (kyo 虚), a concept in Shiko's philosophy that is placed in opposition to actuality (jitsu 実), an opposition that is linked to a whole series of oppositions, including lies and truth, fiction and reality, language and physical reality, the invisible and the visible, infinite and finite, formlessness and form. Shiko practiced Zen, and he sometimes suggests parallels between emptiness (kyo) and Buddhist emptiness (kū 空) as well as 'nothing, none, not, no' (mu 無), a term used in Daoism and Zen. Therefore he also stresses that haikai poets should have empty or emptied minds when they write. Shiko was also trying to develop the distinction between emptiness and actuality that was used in medieval Chinese poetics, especially as represented in the Santeishi (or Santaishi), the Three Forms of Chinese Shi Poetry (Santi shi), an anthology that was popular among Japanese Zen monks and was read by Basho. The poems in this anthology were arranged not only according to their form but also according to how empty or actual they were. In the anthology actual meant poems or lines in poems about the outside world using natural description and concrete details, while empty poems or poetic lines were those that expressed inner feelings, moods, and thoughts with no tangible shape or form. Shiko developed this opposition dialectically and argued that all poems were combinations of both emptiness and actually, although he, and apparently Basho, felt that emptiness was the most important and was the source of creativity for both subjective and objective poetry. Thus haikai poets had to start from selfless feelings or thoughts and, after they had reached a state of selflessness, engage in description or evocation of the world of physical form and objects.

The quote from Shiko refers back to the preceding section of the treatise, which discusses the history of Japanese poetry. Shiko quotes both Chinese poetry as well as the kana preface to the early medieval Kokinshū waka anthology in order to show how waka are able to express deep emotions and move all kinds of readers, and he goes on to discuss two very early waka from the Man'yōshū anthology period. In the first an emperor writes as he were in a rural hut, and in the second an empress writes as if the early summer flowers on a mountain were a great robe. Neither of the waka could be actual, Shiko points out, and they gain their power because the poems are empty -- that is, they are fictional and use figures of speech to achieve their effect. The word Shiko uses for fiction is emptiness (kyo), a word which is used in kyogen (虚言), a Sino-Japanese word for lies, which literally means 'empty words.' Pivoting on this word that Shiko uses to mean both 'lies' and 'verbal fiction,' Shiko quotes Basho as saying that poetry in China and Japan is the art of lying skillfully. Thus, in Shiko's account, Basho is stressing that haikai is one important genre of world and Japanese poetry and not just a playful game indulged in by renga poets in their spare time, as it had been until the middle of the 17th century. Basho isn't talking about haikai's uniqueness here but about what it shares with Chinese poetry, waka, and renga and about its ability to draw on and evoke strong emotions and moods even when it makes realistic descriptions of nature. The end of the passage quoted above clearly distinguishes poetic lies and fictions, including metaphor and allegory, from ordinary lies made to deceive others, and Shiko associates poetic lies with the whole realm of invisible human emotion and thought, which can be suggested with descriptions in "empty" language of the actual world, the realm of form, shape, and visibility. All of these meanings are extensions of the word "lies" in Basho's statement, which also suggests a break with earlier haikai, which Basho felt depended too much on unimaginative "actual" description, artificial concepts, and wordplay rather than on spiritual depth. With Basho, Shiko asserts, haikai has become a high literary art on the same level as other Japanese and Chinese poetic genres.

Although Basho's teaching recalls Aristotle's statement that Homer taught poets how to lie skillfully, it most probably goes back to ancient Chinese Daoism, which recognized that 'allegories,' a term for fiction in general, could suggest deep spiritual truths. Basho's words also show that he recognized haikai were not simply utterances but involved a "willing suspension of disbelief" by both the writer and the reader. Coleridge was writing about prose fiction when he made that description, but in Basho's and Shiko's conception, good haikai, too, required a kind of suspension of ordinary beliefs and common sense in order to achieve the imaginative intensity felt by readers as a sense of being alive or of being present at the site of an action or a moving natural scene. That is why Shiko often stresses that actuality can occur in poetry only after a state or sense of emptiness or fictionality has been achieved first, a relationship summed up by his phrase "emptiness first, actuality later" (虚先実後). Basho himself used a different phrase: fūga no makoto, truth revealed through poetic art. Not all Basho's hokku are fictional to the same degree, of course, but many of his most famous hokku are deeply fictional. Just a couple of examples:

octopus pot --
fleeting dreams beneath
the summer moon

takotsubo ya hakanaki yume o natsu no tsuki

silence --
cicada cries
penetrate the rocks

shizukasa ya iwa ni shimi-iru semi no koe

In the first hokku a special pot lies in shallow water near the shore. Attached to it is a rope, and soon a fisherman will pull up both the pot and the unsuspecting small octopus inside it. The pot is visible in the bright moonlight, and Basho imagines the fate of the small octopus which has entered the pot seeking safety and is now dreaming peaceful dreams, not knowing what will soon happen. The octopus' short dreams and its pitifully short remaining life are even more moving since nights are so short in summer. The short nights and the imagined dreams of the octopus suggest Basho's pity not only for the octopus but also for himself and other mortal humans who are caught in an all too similar situation amid the rapid passage of time and the impermanence of all things and all human activities. While some of the suggestion of this hokku might also be evoked by a painter, with the moon suggesting enlightenment, the hokku has its strongest effects on an "empty" emotional and spiritual level.

The second hokku was written at Ryūshakuji Temple in northern Honshu when Basho made his journey along the narrow roads of the north. The temple is located high on the slope of a mountain and is flanked by several rock cliffs which have many cracks and hollows in them. The hokku is not a naturalistic description of the cliffs, however, but a meditation on emptiness. The cries of the countless cicadas make the mountain silence seem even deeper. The cries no doubt penetrate through Basho as well, and the sound of the cicadas can be felt as a vibration field linking all living and even "non-living" things, such as rocks. Much can be said about this hokku, and it seems to be a good example of the kind of lies or emptiness Basho and Shiko are talking about.

Chris Drake, May 2016

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The Japanese quote talks about haikai 俳諧.
The question is:
Does the English version The art of poetry express this meaning?
At the time of Basho, other kind of poetry was also written in Japan, for example Waka and Court Poetry.

Basho was not talking about Waka or other kinds of poetry.
And the translation of USO 迂詐 is quite problematic, a "poetic falsification,, poetic beautification" . . . maybe.

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uso 迂詐　/ うそ　USO

う【迂】［漢字項目］ - u
［人名用漢字］　［音］ウ（呉）（漢）
１遠回りする。「迂遠・迂回・迂曲・迂路」
２世事にうとい。「迂闊(うかつ)・迂愚」
３自分を謙遜していうときに冠する語。「迂生」
［名のり］とお・ゆき
- source : デジタル大辞泉の解説 -

さ【詐】［漢字項目］- sa
［常用漢字］　［音］サ（漢）　［訓］いつわる　あざむく
うそをいう。だます。「詐欺・詐取・詐称／奸詐(かんさ)」

さぎ【詐欺】sagi
(a) fraud; 〔金などをだまし取ること〕swindling, a swindle; 〔他人を装って〕(an) imposture
詐欺を働く
commit fraud／practice deception ((on a person))
- source : デジタル大辞泉の解説 -

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uso 嘘うそ【嘘】
1 〔真実でないこと〕a lie, an untruth; 〔軽いうそ〕a fib うその｜false; untrue 見え透いた［もっともらしい］うそ｜a transparent [plausible] lie
- - - - - more English samples on this page.
- source : kotobank.jp/jeword -

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うそ / 嘘 uso
もっとも悪い意味でいえば、相手を欺く意図をもって架空の事態をつくりだし、言語、表情その他の手段を用いて迫真的に表現し、この架空情報により相手を誤らせ、なんらかの利己的目的を達成し利得を収める行為がうそである。その点では、詐欺事件などに現れるうそが典型的なうそといえる。
しかし、前述の要件をすべて備えていなければうそといわないかといえば、かならずしもそうではない。たとえば、意図したわけではないが、結果的にうそになる場合もある。積極的悪意をもって行うこともあれば、追い詰められてやむをえずうそをつくこともある。精神分析学者のフロイトは、『日常生活の精神病理』（1904）のなかで多くの言い損ないや記憶錯誤の事例を分析し、なんらかの無意識の願望が充足を求めてこうした錯覚をつくりだすことを論証した。うそと錯覚（抑圧された願望）とは意図の自覚性の有無によって判別されることになるが、その境界は微妙といわねばならない。証言の研究では、緊急事態における目撃証言の一致度はきわめて低いこと、また暗示刺激によって容易に誘導されることなどが実証されている。このように一つ一つ吟味していくと、うその必要条件として日常もっとも重視されている架空の状態をつくるという点は、実際は根拠薄弱といわねばならない。真実はかならずしも一つではなく、また事象の判別基準も人ごとに異なる。.....
..... ゾウや小人などの想像上の友だちと空想のなかで遊ぶ（イマジナリー・コンパニオンimaginary companion）という例も子供では珍しくないが、これも願望充足に属するものであろう。
- - - - - continue reading here
- source : kotobank.jp/word -

デジタル大辞泉の解説
うそ - uso - related to usu, thin
［接頭］《「うす（薄）」の音変化》名詞・形容詞・動詞などに付く。
１薄い意を表す。「うそ霞(がすみ)」「うそ雲」
２少し、少ない、の意を表す。「うそ黄」「うそ暗い」「うそ笑む」
３なんとなく、どことなく、の意を表す。「うそ寒い」「うそ寂しい」「うそ腹立つ」
- source : kotobank.jp/word -

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昭：あきらか (to make clear and visible)
昭＝日を召す（まねく）、太陽を招き、まわりを明るく照らし、明らかにする
- source : koseibiken.cocolog-nifty.com/blog -

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. Hokku and Haikai 発句と俳諧 - Introduction .

. Cultural Keywords used by Basho .

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

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- #haikai #usolies #makotoueda -
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30/11/2012

Oku no Hosomichi

source with haiku :　basho/footmark

In 1689 - 元禄2年3月27日 - 9月6日

He leaves for "Oku no Hosomichi"奥の細道
on the 27th day of the 3rd lunar month and reaches Ogaki
on the 6th day of the 9th lunar month.

The dates for the Gregorian calendar are given with varying dates,
starting from May 6 to May 24.

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Road measurements are given in ri　理.
1 ri - 36 choo　町　- about 3,9 km.
Most official roads of the Edo period had a stone marker and tree on a mound at each ri.

ichirizuka 一里塚 mound at each RI
(equivalent of a milestone)

These mounds were a mark for a restplace, travelers could rest in the shade of the tree.
Usually they were pine (sugi　杉 or matsu　松), or
. enoki 榎 nettletree, Chinese hackberry tree . .

Basho's trip took 600 Ri in 150 days,
about 2400 kilometers of walking.

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. Oku no Hosomichi - NHK 2007 .

. Was Basho a ninja or onmitsu spy? .
Onmitsu : Oku no Hosomichi 隠密 - 奥の細道
Sora, Kawai Sora 河合曾良

奥 OKU - what does this stand for?
. Michinoku, Mutsu 陸奥 region in Tohoku .

Basho traveled to the Tohoku region, where he had less friends than in Kansai, but could visit places in memory of
. Priest Saigyo Hoshi 西行法師 .
and
. Priest Noin Hoshi 能因法師 (Nooin Hooshi)　 .
(988-1051)

. - His outfit as a traveler in the Edo time - . 　　

with 23 pairs
source : www.yumekougei.com

- - - - -

蕪村筆「奥の細道画巻」
Paintings by Yosa Buson
- Reference with paintings -

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The first poem of the trip begins with

yuku haru 行く春 spring is ending

The last poem ends with

yuku aki 行秋 autumn is ending

This shows Basho's keen appreciation of the seasons.

quote
In the actual journey that Basho took in the spring of 1689, he had extremely limited success in finding new disciples in Michinoku.
- snip -
Basho, in short, made no significant new contacts in the northeast, the original destination of the journey, and his style and school did not take root in this area (Yamagata).
By contrast, Dewa and the area facing the Japanese Sea, particularly the Shonai region (northwest Yamagata. . .) and the Hokuriku area - Echigo, Etchu, Kaga and Echizen (Fukui) - proved to be a haikai goldmine.
Although Basho had almost no connections in the Shonai region, he encountered a number of young and talented poets:
- snip -
- Shirane, Traces of Dreams, page 250
source : books.google.co.jp

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Kuniharu Shimizu
source : tfship.net/bookstore

西本鶏介

天野吉則 Amano paintings on the way

芦原伸
taking the train, Basho on my weekends
CLICK for more samples of Japanese books !

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Oku no Hosomichi - Karuta 奥の細道かるた

Basho karuta -
study your culture
while you play

. WKD : HAIKU KARUTA .

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Basho speaks paradoxically about how the gods have motivated his decision to travel.
He refers to two types of gods.

The first is Sozorogami, the other are the Dosojin　道祖神.

Vom Kofferpacken und dem Gott des Fernwehs.

sozorogami そぞろ神 / そヾろ神 / 漫ろ神
suzurugami すずろがみ / 漫神
sowasowa no kami　そわそわの神
. WKD : Aruki-gami 歩行神 God of Wandering .

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"Unfortunately, Japanese haiku loses a lot in translation ... "

おくのほそ道: Oku No Hosomichi - Professor Donald Keene
- source : http://books.google.co.jp

Narrow Road to the Interior:
And Other Writings
Bashō Matsuo, Sam Hamill

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Oku no Hosomichi - Haiku and Senryu
おくのほそ道・俳句・川柳
田中貴子

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External LINKS - ENGLISH

Notes to the transalations
source : terebess.hu/english

Barnhill, David Landis Barnhill
Basho's Journey: The Literary Prose of Matsuo Basho - 2005
- source : books.google.co.jp

Britton, Dorothy Britton (1941 - September 16, 2014)
- source : http://books.google.co.jp

Cid Corman and Kamaike Susumu
Back Roads To Far Towns:
Basho's Travel Journal (Companions for the Journey)
- Full Text - PDF file -

Sato, Hiroaki Sato - Bashō's Narrow Road: Spring & Autumn Passages : Two Works
- source : http://books.google.co.jp

Yuasa, Nobuyuki Yuasa
Matsuo Basho's "Narrow Road to the Deep North"
with extensive literature links
source : terebess.hu/english

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Chilcott, Translation - bilingual by Dr Tim Chilcott
source : Simply Haiku

Utamakura: Storied Places
Bashō’s Oku no Hosomichi (Narrow Roads of Oku)
with google map and all !
source : Dennis Kawaharada

Oku no hosomichi - Wikipedia
With a long list of all the publications, books etc.
source : en.wikipedia.org

Oku no Hosomichi - Wiki Travel
Narrow Road to the Deep North
source : http://wikitravel.org/en/Narrow_Road

- Further Reference -

Basho in Akita Prefecture　秋田県
source : Akita International Haiku Network

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JAPANESE

The Text of Basho's Oku no hosomichi
source : etext.virginia.edu

Detailed Itinerary with all the dates and distances
source : itoyo/basho/okunohosomichi

Translation into modern Japanese - Rodoku
with sound track to listen to roodoku　おくのほそ道」の朗読
source : hosomichi.roudokus.com

source :　www.e-hon.ne.jp

神社仏閣一覧 shrines and temples visited during Oku no Hosomichi
source : komichan/tanbou

みちのくの足跡
source : www.bashouan.com

おくのほそ道芭蕉・曽良句集 - with beautiful images
source : www.bashouan.com kushuu

私の芭蕉紀行 - 私の「おくのほそ道」
source : intweb.co.jp/miura

walking along, drawing paintings . . .
source : hide-tabi.blog

- Further Reference - おくのほそ道

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External LINKS - DEUTSCH - GERMAN

Auf schmalen Pfaden durchs Hinterland
Geza S. Dombrady and Ekkehard May - Dieterich’sche Verlagsbuchhandlung Mainz 1985
(Vollstaendiger Text)
http://www.k5.dion.ne.jp

Bashô (1644 - 1694) und sein Tagebuch "Oku no Hosomichi"
Hans Ueberschaar
source : books.google.co.jp

Landschaft und Erinnerung: Zu Bashōs Oku no Hosomichi
Robert F. Wittkamp
- - - - - mit Holzschnittbildern aus dem Bashō-ō Ekotoba-den
source : deutsche-ostasienstudien.de

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source : www.yasudaya-kagu.com

Paper Umbrella with Basho and Sora
wagasa from Gifu 和傘 - 岐阜

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. Enpitsu de Oku no Hosomichi - えんぴつで奥の細道 .
Tracing the Narrow Road to the Deep North with a Pencil

. Oku no Hosomichi - NHK 2007 .

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Izakaya Oku no Hosomichi 居酒屋おくのほそ道 - 太田和彦, 村松誠 -

. Sake no Hosomichi のほそ道 "The Narrow Roads of Ricewine".
Manga by Razuweru Hosoki ラズウェル細木 Rozwell Hosoki

Mochi no Hosomichi　もちの細道 in Memory of Basho
. Mochi Rice Cakes　餅　 .

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Novel by Richard Flanagan

The Narrow Road to the Deep North
by Roger Pulvers
The time line of Richard Flanagan’s new novel, “The Narrow Road to the Deep North,” slips back and forth from prewar Tasmania, Melbourne and Adelaide to postwar Sydney, among other locations. Yet there is only one stark, unrelenting and everlasting present — “the Line,” the 415-km-long Burma-Thailand railway that was built between June 1942 and October 1943 by more than 300,000 prisoners of war under the command of the Japanese. One in three prisoners’ lives was lost on that arch-brutal forced march. Of those who perished, 90 percent were Asian, primarily Burmese and Malayans, but also Chinese, Tamils, Thais and Javanese. Nearly 3,000 Australians were among those killed. Richard Flanagan’s father was one of the lucky POWs who survived.
snip
This being a newspaper published in Japan, it seems appropriate to mention that some of the haiku appearing in the novel are badly mistranslated. (The novel’s title comes from Basho’s classic and, as such, haiku play a key role in the narrative.)

The translation of Issa’s haiku about “the world of dew” that forms a chapter heading in the novel renders kenka as “struggle,” when what the poet means here is “quarrel.” Issa was commenting on a dispute of inheritance he had with his family. “Struggle” might be more meaningful in the context of wartime suffering, but it’s not what the original expresses and it sends the wrong signals.

The first chapter of the novel is preceded by Basho’s haiku about a bee emerging from the depths of a peony. The translation used has the bee “staggering out” of the peony, while in the original, from “Nozarashi Kikō,” tells us that the bee is coming out of the flower not staggering but with reluctant regret. Basho (the bee) is expressing gratitude to his hosts who took such good care of him on the road, telling them how sad he is to leave them.
- source : /www.japantimes.co.jp - November 2013

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kojiki no yo 乞食の世　 "A Beggar's world"
. Travels by Kobayashi Issa 小林一茶　.

. WKD : Calendar Systems .

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