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- Kashima Kikoo 鹿島紀行 - A Visit to the Kashima Shrine
Kashima Moode 鹿島詣 Kashima Mode - A Pilgrimage to Kashima.
The Kashima shrine is dedicated to the deity
Takemikazuchi no mikoto (武甕槌大神) - Kashima Daijin (鹿島大神) "Great God at Kashima".
a patron of the martial arts and related to earthquakes.
The "Great God of Kashima" rode on a white deer from Kashima all the way to the Kasuga shrine in Nara as a divine messenger, and the deer became the symbol of Nara.
arare furi 霰ふり hail falls
is a special word (makurakotoba) to denote the God of Kashima in the Manyoshu poetry.
quote
Kashima Shinko 鹿島信仰 -
It is possible to think of Kashima faith as the sect based at Kashima Jingū in Kashima-machi, Ibaraki Prefecture, but it can broadly be divided into beliefs related to water, "tutelary of roads" (sae no kami 障の神(さえのかみ)), and Kashima shrines. Many regions and shrines bear the name "Kashima," and since these are usually found in river, stream, lake, or swamp areas, we can assume that the origins of Kashima faith are profoundly connected with water.
snip
. WKD : Kashima Jinguu 鹿島神宮 Shrine Kashima Jingu and its kigo .
..........................................................................
A Pilgrimage to Kashima.
From the 8th to the 12th month of 1687 Basho took a short trip to the Kashima Shrine to see the harvest moon. The night of the viewing was rainy and overcast, but he was able to visit with the Zen Buddhist priest with whom he had studied in Edo.
- English reference -
- Japanese Reference -
Click on the hyperlinks for further discussions of the poems by Basho.
under construction
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The Narrow Road to the Deep North and Other Travel Sketches
Matsuo Basho (Author), Nobuyuki Yuasa (Translator)
A VISIT TO THE KASHIMA SHRINE
Tr. Nobuyuki Yuasa
Visiting the Suma Beach on the night of the autumnal full moon, Teishitsu 洛の貞室, a poet from Kyoto, is said to have written,
松かげや月は三五夜中納言
Crouching under a pine
I watched the full moon,
Pondering all night long
On the sorrow of Chunagon.
Having for some time cherished in my mind the memory of this poet, I wandered out on to the road at last one day this past autumn, possessed by an irresistible desire to see the rise of the full moon over the mountains of the Kashima Shrine. I was accompanied by two men. One was a master- less youth and the other was a wandering priest. The latter was clad in a robe black as a crow, with a bundle of sacred stoles around his neck and on his back a portable shrine containing a holy image of the Buddha-after-enlightenment. This priest, brandishing his long staff, stepped into the road, ahead of all the others, as if he had a free pass to the World beyond the Gateless Gate.
I, too, was clad in a black robe, but neither a priest nor an ordinary man of this world was I, for I wavered ceaselessly like a bat that passes for a bird at one time and for a mouse at another. We got on a boat near my house and sailed to the town of Gyotoku, where, landing from our boat, we proceeded without hiring a horse, for we wanted to try the strength of our slender legs.
Covering our heads with cypress hats, which were a kind gift of a certain friend in the province of Kai, we walked along, till, having passed the village of Yahata we came to the endless grass-moor called Kamagai-no-hara. In China, it is said, there is a wide field where one can command a distance of one thousand miles by a single glance, but here our eyes swept over the grass unobstructed, till finally they rested upon the twin peaks of Mount Tsukuba soaring above the horizon. Rising into heaven, like two swords piercing the sky, these peaks vie with the famous twin peaks of Mount Rozan 廬山 in China.
雪は申さずまづむらさきのつくば哉
. yuki wa mosazu mazu murasaki no Tsukuba kana .
Not to mention
The beauty of its snow,
Mount Tsukuba shines forth
In its purple robes.
This is a poem written by Ransetsu, my disciple, upon his visit here. Prince Yamatotakeru also immortalized this mountain in his poem, and the first anthology of linked verse was named after this mountain. Indeed such is the beauty of the mountain that few poets have found it possible to pass by it without composing a poem of their own, be it waka or haiku.
Scattered all around me were the flowers of bush-clover. As I watched them in amazement, I could not help admiring Tamenaka who is said to have carried sprays of bush-clover in his luggage all the way to Kyoto as a souvenir. Among the bush-clover were other wild flowers in bloom, such as bellflower, valerian, pampas large and small, all tangled in great confusion. The belling of wild stags, probably calling their mates, was heard now and then, and herds of horses were seen stepping proudly as they trampled upon the grass.
We reached the town of Fusa on the banks of the River Tone towards nightfall. The fishermen of this town catch salmon by spreading wickerwork traps in the river, and sell it in the markets in Edo. We went into one of the fishermen's huts and had a short sleep amidst the fishy smell. Upon waking, however, we hired a boat, and, descending the river under the bright beams of the moon, arrived at the Kashima Shrine.
On the following day it started to rain in the afternoon, and in no way could we see the rise of the full moon. I was told that the former priest of the Komponji Temple was living in seclusion at the foot of the hill where the shrine was situated. So I went to see him, and was granted a night's shelter. The tranquillity of the priest's hermitage was such that it inspired, in the words of an ancient poet, 'a profound sense of meditation' in my heart, and for a while at least I was able to forget the fretful feeling I had about not being able to see the full moon.
Shortly before daybreak, however, the moon began to shine through the rifts made in the hanging clouds. I immediately wakened the priest, and other members of the household followed him out of bed. We sat for a long time in utter silence, watching the moonlight trying to penetrate the clouds and listening to the sound of the lingering rain. It was really regrettable that I had come such a long way only to look at the dark shadow of the moon, but I consoled myself by remembering the famous lady who had returned without composing a single poem from the long walk she had taken to hear a cuckoo.
The following are the poems we composed on this occasion:
おりおりにかはらぬ空の月かげもちぢのながめは雲のまにまに
Regardless of weather,
The moon shines the same;
It is the drifting clouds
That make it seem different
On different nights.
(by the priest 和尚)
月はやし梢は雨を持ながら
. tsuki hayashi kozue wa ame o mochinagara .
Swift the moon
Across the sky,
Treetops below
Dripping with rain.
寺にねてまことがほなる月見かな
. tera ni nete makoto gao ni naru tsukimi kana.
Having slept
In a temple,
I watched the moon
With a solemn look.
(Two by Tosei 桃青 - Basho) - at temple 根本寺 Konpon-Ji
雨にねて竹おきかへる月見かな
Having slept
In the rain,
The bamboo corrected itself
To view the moon.
(by Sora 曽良)
月さびし堂の軒端の雨しづく
How lonely it is
To look at the moon
Hearing in a temple
Eavesdrops pattering.
(by Soha 宗波)
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Poems composed at the Kashima Shrine 神前 :
此松の実ばえせし代や神の秋
. kono matsu no mibae seshi yo ya kami no aki .
In the days
Of the ancient gods,
A mere seedling
This pine must have been.
(by Tosei 桃青 - Basho)
ぬぐはばや石のおましの苔の露
Let us wipe
In solemn penitence
Dew-drops gathered
On the sacred stone.
(by Soha 宗波)
膝折やかしこまりなく鹿の声
In front of the shrine
Even stags kneel down
To worship,
Raising pitiful cries.
(by Sora 曽良)
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Poems composed at a farm-house 田家:
かりかけし田面の鶴や里の秋
karikakeshi tazura no tsuru ya sato no aki
A solitary crane
In the half-reaped paddies,
The autumn deepens
In the village.
(by Tosei 桃青 - Basho)
夜田かりに我やとはれん里の月
Under this bright moon
Over the village,
Let me help the farmers
Harvest rice.
(by Soha 宗波)
賤の子や稲すりかけて月をみる
. shizu no ko ya ine surikakete tsuki o miru .
A farmer's child
Hulling rice
Arrests his hands
To look at the moon.
(by Tosei 桃青 - Basho)
芋の葉や月まつ里の焼ばたけ
imo no ha ya tsuki matsu sato no yakibatake
Potato leaves
On incinerated ground,
I awaited tiptoe
The rise of the moon.
(by Tosei 桃青 - Basho)
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Poems composed in a field 野:
ももひきや一花すりの萩ごろも
Dyed a gay colour
My trousers will be
By the bush-clovers
In full bloom.
(by Sora 曽良)
花の秋草にくひあく野馬かな
In mid-autumn
Horses are left to graze
Till they fall replete
In the flowering grass.
(by Sora 曽良)
萩原や一夜はやどせ山の犬
hagihara ya hito-yo wa yadose yama no inu
Bush clovers,
Be kind enough to take in
This pack of mountain dogs
At least for a night.
(by Tosei 桃青 - Basho) at 北総
Barnhill, in discussing this hokku, references an earlier version:
ookami mo hitoyo wa yadose hagi ga moto
even wolves:
be their shelter for a night:
within the bush clover
trans. David Barnhill
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Poems composed at Jijun's house where we stopped on our way home 帰路自準に宿す:
塒(ねぐら)せよわら干宿の友すずめ
Friend sparrows,
Sleep, if you please,
Haystack-enclosed
At my house.
(Written by the host 主人)
秋をこめたるくねのさし杉
Surrounded by a thick foliage of cedars,
Your house stands, pregnant with autumn.
(Written by a guest 客)
月見んと汐ひきのぼる舟とめて
We started out
On our moon-viewing trip,
Calling to halt
A boat ascending the river.
(by Sora 曽良)
The twenty-fifth of August, the Fourth Year of Jyokyo. 貞享丁卯仲秋末五日
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. priest Sooha 宗波 Soha of the Obaku Zen school .
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karikakeshi tazura no tsuru ya sato no aki
in the half harvested
rice paddies, a crane —
autumn in the village
Tr. Barnhill
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imo no ha ya tsuki matsu sato no yakibatake
taro leaves—
awaiting the moon
on the village’s burnt field
Tr. Barnhill
. WKD : imo 芋 (いも) Taro .
Colocasia antiquorum
The word imo is also used in combination for all kinds of other potatoes.
The translations for potatoe in Japan get mixed up easily.
....................................................................................................................................................
萩原や一夜はやどせ山の犬
hagihara ya hito-yo wa yadose yama no inu
hagi-hara ya
field of bush clovers —
be their shelter for a night:
mountain dogs
Tr. Barnhill
Bush clovers,
Be kind enough to take in
This pack of mountain dogs
At least for a night.
Tr. Yuasa
Basho is praying to the wolves, messengers of the Mountain Deity, not to come to this place tonight and let him sleep safely. He assures them that he also would not do anything to pollute their sacred field of residence.
. yama no inu, yama-inu, yamainu 山犬 "mountain dog", wolf .
As a messenger of the Mountain Deity, they protect the fields by chasing deer and wild boars, which often harm the fields.
They also protect travelers, by walking behind them in a good distance - 送り狼 okuri-ookami. If the traveler comes to a human settlement after walking in the woods, he would place one of his straw sandals on the ground with an offering of rice.
Other lonely travelers might be attacked by a pack of wolves and spent a night hanging high in the branches of a tree.
this field of bush clovers -
let it be my place of rest for one night,
you honorable wolves
Tr. Greve
Tsukioka Yoshitoshi 月岡芳年 (1839 – 1892)
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On a stone memorial in the Kashima Shrine compound
Photo by Rob Geraghty
名月や鶴脛高き遠干潟
meigetsu ya tsuru hagi takaki too higata
It is the full moon!
The crane's lower legs are tall
On far tidal flats
Tr. Rob Geraghty
With a photo of cranes :
source : www.pentaxforums.com
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鹿島紀行 - Kashima Kiko Sweets
source : www.bokuden.or.jp
Sweets made from sweet chestnuts from Mount Tsukuba and
autumn buckwheat of Hitachi.
筑波栗と常陸(金砂郷)秋そば
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. WKD : Kashima Jinguu 鹿島神宮 Shrine Kashima Jingu .
. Cultural Keywords used by Basho .
. - KIGO used by Matsuo Basho 松尾芭蕉 - .
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Matsuo Basho - featured in the
World Kigo Database
Gabi Greve, Darumapedia, Daruma Museum Japan
14/10/2012
12/10/2012
Moto no Mizu collection
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- Moto no Mizu もとの水 - 句集 - A Hokku Collection -
Published in 1787 by Inoue Juukoo 井上重厚 and Ookawa Ryuusa 大川立砂 at temple Gichu-Ji.
A collection of about 180 (or 170 or 95) poems attributed to Basho.
. Matsuo Basho - List of his Works .
..........................................................................
Inoue Juukoo 井上重厚 Inoue Juko (1738 - 1804)
He was a student of haikai master Goshoo-An Choomu 五升庵蝶夢 Chomu (Butterfly Dream) (1732 - 1796) in Kyoto.
In 1770 he moved to Sagano and tried to revive the home of Kyorai,
. Rakushisha 落柿舎 "Hermitage of the fallen persimmon".
He traveled a lot to pick up more hokku by Matsuo Basho on the road.
In 1780 he went to Edo via the Kiso route.
In 1782 he visited Morioka in Tohoku.
In 1782 he visited Shunshuu-An 春秋庵 Shunshu-An, the haikai poet Kaya Shirao 加舎白雄.
In 1787 he stayed with Chomu in Edo.
In 1787 Ryusa visited him and they begun the compilation of Basho's hokku.
In 1788 he visited Morioka again and stayed 4 years.
In 1792 he visited the merchant and haikai poet Kikkawa Gomei 吉川五明 (1731 - 1803) in Akita.
In 1792 he became the 7th master of the Mumyo-An 無名庵 at . - Gichuuji 義仲寺 Temple Gichu-Ji - .
In 1793 he celebrated the 100th death anniversary of Basho with Chomu.
In 1795 he bagan publishing his version of "Moto no Mizu" 重厚編.
In 1800 he erected a memorial stone for Kyorai.
In 1800 on the second day of the fourth lunar month he received a letter from Kobayashi Issa.
He was 67 when he died on the 18th day of the 1st lunar month in 1804 - 文化元年1月18日
- reference : michiko328
. Choomu 蝶夢 Chomu (1732 - 1796) .
..........................................................................
Ookawa Ryuusa 大川立砂 Okawa Ryusa
- - and his son Toyuu 斗囿 Toyu, who looked after Issa after the death of his father.
from Matsudo Town, Mabashi, Chiba 松戸市馬橋. His name was Ookawa Hei-emon 大川平右衛門.
His haikai names were 糸瓜坊, Hakujitsu-An 栢日庵, 油平. . .
In 1782 he made his name as a haikai poet, as Hakujitsu-An 栢日庵.
Kobayashi Issa was quite fond of Ryusa.
In 1787 he visited Juko at Rakushisha and they compiled "Moto no Mizu".
In 1799 he had to say Good-Bye to Issa, who started a trip to Kai 甲斐.
Ryusa's grave is at temple Manman-Ji 万満寺.
- - - - Some hokku by Ryusa about Edo :
日本橋
霞もる蓬莱城や日本橋
品川
海苔取りよ礒に置なば砂付かん
大磯
持ふるす杖のひかりや西行忌
小田原
笑ひ合ふ夕立晴れや二子山
- reference : michiko328
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The Narrow Road to the Interior and the Hōjōki 方丈記 Hojoki:
ゆく河の流れは絶えずして、しかももとの水にあらず
yuku kawa no nagare wa taezu shite shikamo moto no mizu ni arazu
The flow of the river is endless and its water is never the same.
. Kamo-no-Chōmei 鴨長明 Kamo no Chomei - 方丈記 Hojoki .
under construction
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冬枯れや世は一色に風の音
fuyugare ya yo wa hito iro ni kaze no oto
all the withered plants -
the sound of wind
in a world of one color
Tr. Gabi Greve
Comment by Chris Drake
- Translating Haiku - Forum
I think this interesting hokku has not been recognized by Basho scholars as authentic, although there are several stones with the hokku carved on it standing here and there.
The hokku first appeared in 1787, long after Basho's death, in a collection called Moto no mizu (もとの水), but modern scholars doubt that about 90% of the hokku in that collection are actually by Basho.
There were many hokku forgeries that claimed to be by the famous Basho floating around in the late Edo period. The fuyugare hokku is interesting, but it is not included in any standard modern editions of Basho's hokku. I think it's best to list this hokku as "attributed to Basho."
Actually, I doubt that there's much chance of it actually being by Basho. It would be interesting to know who actually wrote it, since it's a nice hokku.
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- - - - - Hokku attributed to Basho in "Moto no Mizu"
Selectled by Juukoo 重厚撰
The selection included 95 poems.
- - 遁世のとき tonsei (recluse)
雲とへたつ友にや鴈の活わかれ
- - 猿雖に對して - for Kubota Ensui
もろもろの心柳にまかすへし
哥よみの先達多し山さくら
- - 贈杜國 - for Tsuboi Tokoku
笠の緒に柳綰る旅出かな
- - 嵐やま - at Arashiyama
花の山二町のほれは大悲閣
花の陰硯にかはるまる瓦
春かせやきせるくはへて船頭殿
古寺の桃に米ふむ男かな
暮遅き四谷過けり帋艸履
- - 芳野を下る時 - leaving Yoshino
飯貝や雨に泊りて田螺聞
- - しなのの洗馬 - washing horses at Shinano
つゆはれのわたくし雨や雲ちきれ tsuyu hare no
子規なくや黒戸の濱ひさし
姨石に啼かはしたる雉子哉
名月や鶴脛高き遠干潟
淋しさや釘に懸たるきりきりす
- - みちのくにて - in Michinoku (Tohoku)
くりからや三度起ても落し水 kurikara ya
- - 中秋のころ敦賀に止宿雨ふりければ - watching the moon at Tsuruga
月いつこ鐘は沈ミて海のそこ tsuki izuko
一疋のはね馬もなし川千鳥 ippiki no hane uma
冬かれや世は一色に風の音 fuyugare ya
ゆく年や薬に見たき梅のはな yuku toshi ya
夏成美校正并書
天明七年初冬 - 今日菴安袋
source : michiko328
....................................................................................................................................................
飯貝や雨に泊まりて田螺聞く
飯貝や雨に泊りて田螺聞く
iigai ya ame ni tomarite
貝寄る風の手じなや若の浦 (wakanoura 和歌浦)
kaiyoru kaze (kaiyose kaze)
いたゞいておち穂拾む関の前
itadaite
一疋のはね馬もなし川千鳥
ippiki no hane-uma mo nashi
一休が土器買む年の市
. Ikkyuu ga kawarake kawanu toshi no ichi .
source : kigosai.sub.jp 「もとの水」
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川舟やよい茶よい酒よい月夜 (?)
kawabune ya yoi cha yoi sake yoi tsukiyo
芭蕉・其角の酒落句 洒落 share-ku by Basho and Kikaku
source : jofuan/myhaiku
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. Matsuo Basho - List of his Works .
. Cultural Keywords used by Basho .
. - KIGO used by Matsuo Basho 松尾芭蕉 - .
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[ . BACK to WORLDKIGO . TOP . ]
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- Moto no Mizu もとの水 - 句集 - A Hokku Collection -
Published in 1787 by Inoue Juukoo 井上重厚 and Ookawa Ryuusa 大川立砂 at temple Gichu-Ji.
A collection of about 180 (or 170 or 95) poems attributed to Basho.
. Matsuo Basho - List of his Works .
..........................................................................
Inoue Juukoo 井上重厚 Inoue Juko (1738 - 1804)
He was a student of haikai master Goshoo-An Choomu 五升庵蝶夢 Chomu (Butterfly Dream) (1732 - 1796) in Kyoto.
In 1770 he moved to Sagano and tried to revive the home of Kyorai,
. Rakushisha 落柿舎 "Hermitage of the fallen persimmon".
He traveled a lot to pick up more hokku by Matsuo Basho on the road.
In 1780 he went to Edo via the Kiso route.
In 1782 he visited Morioka in Tohoku.
In 1782 he visited Shunshuu-An 春秋庵 Shunshu-An, the haikai poet Kaya Shirao 加舎白雄.
In 1787 he stayed with Chomu in Edo.
In 1787 Ryusa visited him and they begun the compilation of Basho's hokku.
In 1788 he visited Morioka again and stayed 4 years.
In 1792 he visited the merchant and haikai poet Kikkawa Gomei 吉川五明 (1731 - 1803) in Akita.
In 1792 he became the 7th master of the Mumyo-An 無名庵 at . - Gichuuji 義仲寺 Temple Gichu-Ji - .
In 1793 he celebrated the 100th death anniversary of Basho with Chomu.
In 1795 he bagan publishing his version of "Moto no Mizu" 重厚編.
In 1800 he erected a memorial stone for Kyorai.
In 1800 on the second day of the fourth lunar month he received a letter from Kobayashi Issa.
He was 67 when he died on the 18th day of the 1st lunar month in 1804 - 文化元年1月18日
- reference : michiko328
. Choomu 蝶夢 Chomu (1732 - 1796) .
..........................................................................
Ookawa Ryuusa 大川立砂 Okawa Ryusa
- - and his son Toyuu 斗囿 Toyu, who looked after Issa after the death of his father.
from Matsudo Town, Mabashi, Chiba 松戸市馬橋. His name was Ookawa Hei-emon 大川平右衛門.
His haikai names were 糸瓜坊, Hakujitsu-An 栢日庵, 油平. . .
In 1782 he made his name as a haikai poet, as Hakujitsu-An 栢日庵.
Kobayashi Issa was quite fond of Ryusa.
In 1787 he visited Juko at Rakushisha and they compiled "Moto no Mizu".
In 1799 he had to say Good-Bye to Issa, who started a trip to Kai 甲斐.
Ryusa's grave is at temple Manman-Ji 万満寺.
- - - - Some hokku by Ryusa about Edo :
日本橋
霞もる蓬莱城や日本橋
品川
海苔取りよ礒に置なば砂付かん
大磯
持ふるす杖のひかりや西行忌
小田原
笑ひ合ふ夕立晴れや二子山
- reference : michiko328
....................................................................................................................................................
The Narrow Road to the Interior and the Hōjōki 方丈記 Hojoki:
ゆく河の流れは絶えずして、しかももとの水にあらず
yuku kawa no nagare wa taezu shite shikamo moto no mizu ni arazu
The flow of the river is endless and its water is never the same.
. Kamo-no-Chōmei 鴨長明 Kamo no Chomei - 方丈記 Hojoki .
under construction
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
冬枯れや世は一色に風の音
fuyugare ya yo wa hito iro ni kaze no oto
all the withered plants -
the sound of wind
in a world of one color
Tr. Gabi Greve
Comment by Chris Drake
- Translating Haiku - Forum
I think this interesting hokku has not been recognized by Basho scholars as authentic, although there are several stones with the hokku carved on it standing here and there.
The hokku first appeared in 1787, long after Basho's death, in a collection called Moto no mizu (もとの水), but modern scholars doubt that about 90% of the hokku in that collection are actually by Basho.
There were many hokku forgeries that claimed to be by the famous Basho floating around in the late Edo period. The fuyugare hokku is interesting, but it is not included in any standard modern editions of Basho's hokku. I think it's best to list this hokku as "attributed to Basho."
Actually, I doubt that there's much chance of it actually being by Basho. It would be interesting to know who actually wrote it, since it's a nice hokku.
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - Hokku attributed to Basho in "Moto no Mizu"
Selectled by Juukoo 重厚撰
The selection included 95 poems.
- - 遁世のとき tonsei (recluse)
雲とへたつ友にや鴈の活わかれ
- - 猿雖に對して - for Kubota Ensui
もろもろの心柳にまかすへし
哥よみの先達多し山さくら
- - 贈杜國 - for Tsuboi Tokoku
笠の緒に柳綰る旅出かな
- - 嵐やま - at Arashiyama
花の山二町のほれは大悲閣
花の陰硯にかはるまる瓦
春かせやきせるくはへて船頭殿
古寺の桃に米ふむ男かな
暮遅き四谷過けり帋艸履
- - 芳野を下る時 - leaving Yoshino
飯貝や雨に泊りて田螺聞
- - しなのの洗馬 - washing horses at Shinano
つゆはれのわたくし雨や雲ちきれ tsuyu hare no
子規なくや黒戸の濱ひさし
姨石に啼かはしたる雉子哉
名月や鶴脛高き遠干潟
淋しさや釘に懸たるきりきりす
- - みちのくにて - in Michinoku (Tohoku)
くりからや三度起ても落し水 kurikara ya
- - 中秋のころ敦賀に止宿雨ふりければ - watching the moon at Tsuruga
月いつこ鐘は沈ミて海のそこ tsuki izuko
一疋のはね馬もなし川千鳥 ippiki no hane uma
冬かれや世は一色に風の音 fuyugare ya
ゆく年や薬に見たき梅のはな yuku toshi ya
夏成美校正并書
天明七年初冬 - 今日菴安袋
source : michiko328
....................................................................................................................................................
飯貝や雨に泊まりて田螺聞く
飯貝や雨に泊りて田螺聞く
iigai ya ame ni tomarite
貝寄る風の手じなや若の浦 (wakanoura 和歌浦)
kaiyoru kaze (kaiyose kaze)
いたゞいておち穂拾む関の前
itadaite
一疋のはね馬もなし川千鳥
ippiki no hane-uma mo nashi
一休が土器買む年の市
. Ikkyuu ga kawarake kawanu toshi no ichi .
source : kigosai.sub.jp 「もとの水」
....................................................................................................................................................
川舟やよい茶よい酒よい月夜 (?)
kawabune ya yoi cha yoi sake yoi tsukiyo
芭蕉・其角の酒落句 洒落 share-ku by Basho and Kikaku
source : jofuan/myhaiku
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Matsuo Basho - List of his Works .
. Cultural Keywords used by Basho .
. - KIGO used by Matsuo Basho 松尾芭蕉 - .
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[ . BACK to WORLDKIGO . TOP . ]
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Labels:
A - Introduction,
MMM
10/10/2012
Morikawa Kyoroku
[ . BACK to WORLDKIGO . TOP . ]
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- 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 .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
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) .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
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 .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
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』)
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. 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 - .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- 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 .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
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) .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
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 .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
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』)
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. 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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Labels:
KK KK,
MMM,
P - - - PERSONS
07/10/2012
Basho SAIJIKI - humanity
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- Basho SAIJIKI - category humanity, daily life 生活 seikatsu -
This comprizes seasonal food, cloths, home decorations, work at home and in the fields and many other aspects of daily life in the Edo period.
Some kigo with many hokku get an extra entry, because this list is quite long.
. WKD SAIJIKI : KIGO CATEGORY : HUMANITY .
under construction
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - - - - - - SPRING --
chatsumi 茶摘 picking tea leaves
摘みけんや茶を凩の秋ともしらで
. tsumiken ya cha o kogarashi no aki to mo shirade .
..........................................................................
. - - - - - hanami 花見 cherry-blossom viewing - - - - - .
hanagoromo 花衣 robes for cherry-blossom viewing
hanamori 花守 warden of the cherry trees
hana no yado 花の宿 lodging with cherry blossoms
sakuragari 桜狩 "hunting for cherry blossoms"
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - - - - - - SUMMER --
aozashi 青挿 Aozashi "fresh wheat sweets".
青ざしや草餅の穂に出でつらん
. aozashi ya kusa mochi no ho ni ide tsu ran .
..........................................................................
chimaki 粽 Chimaki ritual rice cakes
あすは粽難波の枯葉夢なれや
. asu wa chimaki Naniwa no kareha yume nare ya .
粽結ふ片手にはさむ額髪
. chimaki yuu katate ni hasamu hitai gami .
..........................................................................
himuro 氷室 ice cellar
水の奥氷室尋ぬる柳かな
mizu no oku himuro tazuneru yanagi kana
..........................................................................
hirune 昼寝 taking a mid-day nap
. hirugao ni hirune seu mo no toko no yama .
ひやひやと壁をふまえて昼寝哉
hiyahiya to kabe o fumaete hirune kana
and - - - - 窓形に昼寝の台や簟
. madonari ni hirune no dai ya take mushiro .
..........................................................................
hoshii-i 乾飯 - doomyooji 道明寺 cold ritual rice, related to temple Domyo-Ji
水むけて跡とひたまへ道明寺
. mizu mukete ato toi tamae doomyooji .
..........................................................................
kaya 蚊帳 mosquito net - from Omi
近江蚊帳汗やさざ波夜の床
. Oomi-gaya / ase ya sazanami yoru no toko .
..........................................................................
koromogae 更衣 changing of robes
ひとつぬひで後に負ぬ衣がへ
. hitotsu nugite ushiro ni oinu koromogae .
..........................................................................
mushiboshi 虫干 - doyooboshi 土用干 airing during dog days.
無き人の小袖も今や土用干
. naki hito no kosode mo ima ya doyoo boshi .
龍宮もけふの塩路や土用干
. ryuuguu mo kyoo no shioji ya doyoo boshi .
..........................................................................
natsubaori 夏羽織 summer Haori coat
別ればや笠手に提げて夏羽織
. wakareba ya kasa te ni sagete natsu-baori .
natsugoromo 夏衣 summer robes
夏衣いまだ虱をとりつくさず
. natsugoromo imada shirami o tori tsukusazu .
natsuzashiki 夏座敷 sitting room in summer
山も庭に動き入るるや夏座敷
. yama mo niwa mo ugokihairuru natsu zashiki .
..........................................................................
nobori 幟 flags for the Boy's Day Festival
笈も太刀も五月に飾れ紙幟(かみのぼり)- kaminobori
. oi mo tachi mo satsuki ni kazare kami nobori .
..........................................................................
oogi 扇 handfan
富士の風や扇にのせて江戸土産
. Fuji no kaze ya oogi ni nosete Edo miyage .
- - - - - and
uchiwa 団扇 folding fan
団扇もてあふがん人のうしろつき
uchiwa mote aogan hito no ushiromuki - Nozarashi
..........................................................................
shirokaku 代掻く tilling the rice paddies
夜を旅に代掻く小田の行き戻り
. yo o tabi ni shiro kaku oda no yuki modori .
..........................................................................
. - suzumi 納涼 to enjoy a cool breeze in summer - .
..........................................................................
takamushiro 簟 mushiro mat
窓なりに昼寝の台や簟 / 窓形に昼寝の台や簟
mado nari ni hirune no dai ya takamushiro
..........................................................................
take uu 竹植う planting bamboo
降らずとも竹植うる日は蓑と笠
. furazu tomo take uu hi wa mino to kasa .
..........................................................................
. - taue, ta-ue, ta ue 田植 rice planting - .
saotome 早乙女 girls planting rice
taue uta 田植唄 song of the rice planters
..........................................................................
tokoroten 心太 Tokoroten jelly
清滝の水汲ませてやところてん
. Kiyotaki no mizu kumasete ya tokoroten .
..........................................................................
ukai 鵜飼 cormorant fishing
おもしろうてやがて悲しき鵜舟かな
. omoshiroote yagate kanashiki ubune kana.
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - - - - - - AUTUMN --
aki no komabiki 秋の駒牽 - / koma mukae 駒迎へ picking up the horses in autumn
桟橋や先づ思い出づ駒迎へ
. kakehashi ya mazu omoi-izu uma mukae .
町医師や屋敷がたより駒迎へ
. machi ishi ya yashikigata yori koma mukae .
..........................................................................
aki oogi 秋扇 handfan in autumn
物書きて扇引きさく余波(なごり)かな
mono okite oogi hikisaku nagori kana (at Tenryu-Ji, Maruoka)
..........................................................................
inekari 稲刈 harvesting rice
世の中は稲刈る頃か草の庵
. yo no naka wa ine karu koro ka kusa no io .
..........................................................................
kiku no sake 菊の酒 chrysanthemum sake rice wine
草の戸や日暮れてくれし菊の酒
. kusa no to ya higurete kureshi kiku no sake .
..........................................................................
kinuta 砧 fulling block
針立や肩に槌うつから衣
haridate ya kata ni tsuchi utsu karakoromo
碪打ちて我に聞かせよや坊が妻
. kinuta uchite ware ni kikase yo ya boo ga tsuma .
声澄みて北斗にひびく砧かな
koe sumite hokutoo ni hibiku kinuta kana
猿引は猿の小袖をきぬた哉
. saruhiki wa saru no kosode o kinuta kana .
..........................................................................
momisuri 籾摺 hulling rice
冬知らぬ宿や籾する音霰
. fuyu shiranu yado ya momi suru oto arare .
..........................................................................
sumoo 相撲 Sumo wrestling
月のみか雨に相撲もなかりけり
. tsuki nomi ka ame ni sumoo mo nakarikeri .
昔聞け秩父殿さへすまふとり
. mukashi kike Chichibu dono sae sumootori .
..........................................................................
takegari 茸狩 collecting mushrooms, harvesting mushrooms
茸狩りやあぶなきことにゆふしぐれ
. takegari ya abunaki koto ni yuu shigure .
..........................................................................
- - - - - . Tanabata 七夕 Star Festival . - - - - -
hoshi-ai, hoshi ai 星合 "the stars are meeting"
..........................................................................
. - tsukimi 月見 viewing the full moon of autumn - .
..........................................................................
wata tori 綿取 picking cotton - wata yumi 綿弓 cotton bow
綿弓や琵琶に慰む竹の奥
. watayumi ya biwa ni nagusamu take no oku .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - - - - - - WINTER --
daikon hiku 大根引 / daikobiki - pulling radish
鞍壺に小坊主乗るや大根引
. kuratsubo ni koboozu noru ya daiko hiki .
..........................................................................
. fuyugomori 冬籠 winter seclusion .
..........................................................................
kamiko 紙子 paper robes
ためつけて雪見にまかる紙衣かな
. tametsuke te yuki mi ni makaru kamiko kana .
..........................................................................
karasake 乾鮭 dried salmon
雪の朝独り干鮭を噛み得たり
. yuki no ashita hitori karazake o kami etari .
..........................................................................
kotatsu 炬燵 Kotatsu heater, brazier
きりぎりすわすれ音になくこたつ哉
. kirigirisu wasurene ni naku kotatsu kana .
住みつかぬ旅のこゝろや置火燵
. sumitsukanu tabi no kokoro ya okigotatsu .
..........................................................................
- - - - - heating in winter - - - - -
ro 炉 / robiraki 炉開 heater, opening the heater (use for the first time)
五つ六つ茶の子にならぶ囲炉裏哉
. itsutsu mutsu cha no ko ni narabu irori kana .
炉開きや左官老いゆく鬢の霜
. robiraki ya sakan oi yuku bin no shimo .
- - - - - and
hioke 火桶 - Hibachi brazier
霜の後撫子さける火桶哉
shimo no nochi nadeshiko sakeru hioke kana
- - - - - and
keshizumi 消炭 extinguishing the fire with charcoal
消炭に薪割る音か小野の奥
keshizumi ni makiwaru oto ka Ono no oku (at 小野の里 Ono in Kyoto)
- - - - - and
kuchikiri 口切 opening a new jar of green tea
口切に堺の庭ぞなつかしき
. kuchikiri ni Sakai no niwa zo natsukashiki .
- - - - - and
shirosumi 白炭 white charcoal
白炭や彼の浦島が老の箱
shiro zumi ya / ka no Urashima ga / oi no hako
- - - - - and
sumi (tan) 炭 - Onozumi 小野炭 charcoal from the Ono area
小野炭や手習ふ人の灰せゝり
Ono-zumi ya / tenarau hito no / hai zeseri
- - - - - and
uzumibi, uzumi-bi 埋火 "hidden fire", banked fire
埋火も消ゆや涙の煮ゆる音
. uzumi-bi mo kiyu ya namida no niyuru oto .
埋火や壁には客の影ぼうし
uzumi-bi ya / kabe ni wa kyaku no / kagebōshi
. WKD : Charcoal and Kigo .
..........................................................................
seriyaki 芹焼 frying dropwort (Japanese parsley)
芹焼や裾輪の田井の初氷
seriyaki ya susowa no ta-i no hatsu goori . seri yaki ya
..........................................................................
tanbai 探梅 looking for the first plum blossoms
打ち寄りて花入探れ梅椿
uchiyorite hana ire sagure ume tsubaki
..........................................................................
yogi 夜着 bedcloths, quilted night robe
夜着ひとつ祈り出だして旅寝かな
. yogi hitotsu inori-idashite tabine kana .
夜着は重し呉天に雪を見るあらん
. yogi wa omoshi goten ni yuki o miru aran .
..........................................................................
yukimi 雪見 "viewing snow" "snow-viewing party"
いざさらば雪見にころぶ所まで
. iza saraba yukimi ni korobu tokoro made .
ためつけて雪見にまかる紙衣かな
. tametsuke te yukimi ni makaru kamiko kana .
..........................................................................
zukin 頭巾 hood. maru zukin 丸頭巾 - round hood for an old man
米買に雪の袋や投頭巾
kome kai ni / yuki no fukuro ya / nage zukin
をさな名や知らぬ翁の丸頭巾
. osana na ya shiranu okina no maruzukin .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. - toshi no kure 年の暮 end of the year - .
mochitsuki 餅搗 pounding mochi rice-cakes
sekizoro 節季候 Year-End singers
susuharai 煤払 cleaning off the soot (of the ending year)
toshi no ichi 年の市 market at the end and beginning of a year
toshi wasure 年忘 "forget the old year" - party
toshi yooi 年用意 "preparations for the New Year"
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - - - - - - New Year - 新年 shinnen, shin nen --
fudehajime, fude hajime 筆始 first use of the brush
大津絵の筆の始めは何仏
. Ootsu e no fude no hajime wa nani botoke .
..........................................................................
hatsudayori 初便り first news
蓬莱に聞かばや伊勢の初便
. hoorai ni kikabaya Ise no hatsudayori .
..........................................................................
kadomatsu 門松 "pines at the corner", pine decoration
門松やおもへば一夜三十年
. kadomatsu ya omoeba hitoyo sanjuunen .
幾霜に心ばせをの松かざり
. iku shimo ni kokoro baseo no matsukazari .
..........................................................................
nazuna tsumu 齊摘 picking sheperd's purse - なずな【薺】 sheperd's purse
古畑や薺摘み行く男ども / 古畑やなづな摘みゆく男ども
furuhata ya nazuna tsumi yuku otokodomo
nazuna utsu 齊打つ / (nanakusa tataku 七草たたく) sheperd's purse
四方に打つ齊もしどろもどろかな
yomo ni utsu nazuna mo shidoro modoro kana
..........................................................................
ne no hi no asobi 子の日の遊 enjoying the first day of the rat (mouse)
子の日しに都へ行かん友もがな
. ne no hi shi ni miyako e ikan tomo mo gana .
..........................................................................
niwakamado, niwa kamado 庭竈 "garden cooking stove" (for the New Year)
叡慮にて賑ふ民の庭かまど
. eiryo nite nigiwau tami no niwakamado .
..........................................................................
waka Ebisu 若夷 "young Ebisu"
年や人にとられていつも若えびす
. toshi wa hito ni torasete itsumo waka Ebisu .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Matsuo Basho - SAIJIKI : KIGO CATEGORY : OBSERVANCE .
. WKD SAIJIKI : KIGO CATEGORY : HUMANITY .
. Cultural Keywords used by Basho .
. - KIGO used by Matsuo Basho 松尾芭蕉 - .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- Basho SAIJIKI - category humanity, daily life 生活 seikatsu -
This comprizes seasonal food, cloths, home decorations, work at home and in the fields and many other aspects of daily life in the Edo period.
Some kigo with many hokku get an extra entry, because this list is quite long.
. WKD SAIJIKI : KIGO CATEGORY : HUMANITY .
under construction
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - - - - - - SPRING --
chatsumi 茶摘 picking tea leaves
摘みけんや茶を凩の秋ともしらで
. tsumiken ya cha o kogarashi no aki to mo shirade .
..........................................................................
. - - - - - hanami 花見 cherry-blossom viewing - - - - - .
hanagoromo 花衣 robes for cherry-blossom viewing
hanamori 花守 warden of the cherry trees
hana no yado 花の宿 lodging with cherry blossoms
sakuragari 桜狩 "hunting for cherry blossoms"
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - - - - - - SUMMER --
aozashi 青挿 Aozashi "fresh wheat sweets".
青ざしや草餅の穂に出でつらん
. aozashi ya kusa mochi no ho ni ide tsu ran .
..........................................................................
chimaki 粽 Chimaki ritual rice cakes
あすは粽難波の枯葉夢なれや
. asu wa chimaki Naniwa no kareha yume nare ya .
粽結ふ片手にはさむ額髪
. chimaki yuu katate ni hasamu hitai gami .
..........................................................................
himuro 氷室 ice cellar
水の奥氷室尋ぬる柳かな
mizu no oku himuro tazuneru yanagi kana
..........................................................................
hirune 昼寝 taking a mid-day nap
. hirugao ni hirune seu mo no toko no yama .
ひやひやと壁をふまえて昼寝哉
hiyahiya to kabe o fumaete hirune kana
and - - - - 窓形に昼寝の台や簟
. madonari ni hirune no dai ya take mushiro .
..........................................................................
hoshii-i 乾飯 - doomyooji 道明寺 cold ritual rice, related to temple Domyo-Ji
水むけて跡とひたまへ道明寺
. mizu mukete ato toi tamae doomyooji .
..........................................................................
kaya 蚊帳 mosquito net - from Omi
近江蚊帳汗やさざ波夜の床
. Oomi-gaya / ase ya sazanami yoru no toko .
..........................................................................
koromogae 更衣 changing of robes
ひとつぬひで後に負ぬ衣がへ
. hitotsu nugite ushiro ni oinu koromogae .
..........................................................................
mushiboshi 虫干 - doyooboshi 土用干 airing during dog days.
無き人の小袖も今や土用干
. naki hito no kosode mo ima ya doyoo boshi .
龍宮もけふの塩路や土用干
. ryuuguu mo kyoo no shioji ya doyoo boshi .
..........................................................................
natsubaori 夏羽織 summer Haori coat
別ればや笠手に提げて夏羽織
. wakareba ya kasa te ni sagete natsu-baori .
natsugoromo 夏衣 summer robes
夏衣いまだ虱をとりつくさず
. natsugoromo imada shirami o tori tsukusazu .
natsuzashiki 夏座敷 sitting room in summer
山も庭に動き入るるや夏座敷
. yama mo niwa mo ugokihairuru natsu zashiki .
..........................................................................
nobori 幟 flags for the Boy's Day Festival
笈も太刀も五月に飾れ紙幟(かみのぼり)- kaminobori
. oi mo tachi mo satsuki ni kazare kami nobori .
..........................................................................
oogi 扇 handfan
富士の風や扇にのせて江戸土産
. Fuji no kaze ya oogi ni nosete Edo miyage .
- - - - - and
uchiwa 団扇 folding fan
団扇もてあふがん人のうしろつき
uchiwa mote aogan hito no ushiromuki - Nozarashi
..........................................................................
shirokaku 代掻く tilling the rice paddies
夜を旅に代掻く小田の行き戻り
. yo o tabi ni shiro kaku oda no yuki modori .
..........................................................................
. - suzumi 納涼 to enjoy a cool breeze in summer - .
..........................................................................
takamushiro 簟 mushiro mat
窓なりに昼寝の台や簟 / 窓形に昼寝の台や簟
mado nari ni hirune no dai ya takamushiro
..........................................................................
take uu 竹植う planting bamboo
降らずとも竹植うる日は蓑と笠
. furazu tomo take uu hi wa mino to kasa .
..........................................................................
. - taue, ta-ue, ta ue 田植 rice planting - .
saotome 早乙女 girls planting rice
taue uta 田植唄 song of the rice planters
..........................................................................
tokoroten 心太 Tokoroten jelly
清滝の水汲ませてやところてん
. Kiyotaki no mizu kumasete ya tokoroten .
..........................................................................
ukai 鵜飼 cormorant fishing
おもしろうてやがて悲しき鵜舟かな
. omoshiroote yagate kanashiki ubune kana.
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - - - - - - AUTUMN --
aki no komabiki 秋の駒牽 - / koma mukae 駒迎へ picking up the horses in autumn
桟橋や先づ思い出づ駒迎へ
. kakehashi ya mazu omoi-izu uma mukae .
町医師や屋敷がたより駒迎へ
. machi ishi ya yashikigata yori koma mukae .
..........................................................................
aki oogi 秋扇 handfan in autumn
物書きて扇引きさく余波(なごり)かな
mono okite oogi hikisaku nagori kana (at Tenryu-Ji, Maruoka)
..........................................................................
inekari 稲刈 harvesting rice
世の中は稲刈る頃か草の庵
. yo no naka wa ine karu koro ka kusa no io .
..........................................................................
kiku no sake 菊の酒 chrysanthemum sake rice wine
草の戸や日暮れてくれし菊の酒
. kusa no to ya higurete kureshi kiku no sake .
..........................................................................
kinuta 砧 fulling block
針立や肩に槌うつから衣
haridate ya kata ni tsuchi utsu karakoromo
碪打ちて我に聞かせよや坊が妻
. kinuta uchite ware ni kikase yo ya boo ga tsuma .
声澄みて北斗にひびく砧かな
koe sumite hokutoo ni hibiku kinuta kana
猿引は猿の小袖をきぬた哉
. saruhiki wa saru no kosode o kinuta kana .
..........................................................................
momisuri 籾摺 hulling rice
冬知らぬ宿や籾する音霰
. fuyu shiranu yado ya momi suru oto arare .
..........................................................................
sumoo 相撲 Sumo wrestling
月のみか雨に相撲もなかりけり
. tsuki nomi ka ame ni sumoo mo nakarikeri .
昔聞け秩父殿さへすまふとり
. mukashi kike Chichibu dono sae sumootori .
..........................................................................
takegari 茸狩 collecting mushrooms, harvesting mushrooms
茸狩りやあぶなきことにゆふしぐれ
. takegari ya abunaki koto ni yuu shigure .
..........................................................................
- - - - - . Tanabata 七夕 Star Festival . - - - - -
hoshi-ai, hoshi ai 星合 "the stars are meeting"
..........................................................................
. - tsukimi 月見 viewing the full moon of autumn - .
..........................................................................
wata tori 綿取 picking cotton - wata yumi 綿弓 cotton bow
綿弓や琵琶に慰む竹の奥
. watayumi ya biwa ni nagusamu take no oku .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - - - - - - WINTER --
daikon hiku 大根引 / daikobiki - pulling radish
鞍壺に小坊主乗るや大根引
. kuratsubo ni koboozu noru ya daiko hiki .
..........................................................................
. fuyugomori 冬籠 winter seclusion .
..........................................................................
kamiko 紙子 paper robes
ためつけて雪見にまかる紙衣かな
. tametsuke te yuki mi ni makaru kamiko kana .
..........................................................................
karasake 乾鮭 dried salmon
雪の朝独り干鮭を噛み得たり
. yuki no ashita hitori karazake o kami etari .
..........................................................................
kotatsu 炬燵 Kotatsu heater, brazier
きりぎりすわすれ音になくこたつ哉
. kirigirisu wasurene ni naku kotatsu kana .
住みつかぬ旅のこゝろや置火燵
. sumitsukanu tabi no kokoro ya okigotatsu .
..........................................................................
- - - - - heating in winter - - - - -
ro 炉 / robiraki 炉開 heater, opening the heater (use for the first time)
五つ六つ茶の子にならぶ囲炉裏哉
. itsutsu mutsu cha no ko ni narabu irori kana .
炉開きや左官老いゆく鬢の霜
. robiraki ya sakan oi yuku bin no shimo .
- - - - - and
hioke 火桶 - Hibachi brazier
霜の後撫子さける火桶哉
shimo no nochi nadeshiko sakeru hioke kana
- - - - - and
keshizumi 消炭 extinguishing the fire with charcoal
消炭に薪割る音か小野の奥
keshizumi ni makiwaru oto ka Ono no oku (at 小野の里 Ono in Kyoto)
- - - - - and
kuchikiri 口切 opening a new jar of green tea
口切に堺の庭ぞなつかしき
. kuchikiri ni Sakai no niwa zo natsukashiki .
- - - - - and
shirosumi 白炭 white charcoal
白炭や彼の浦島が老の箱
shiro zumi ya / ka no Urashima ga / oi no hako
- - - - - and
sumi (tan) 炭 - Onozumi 小野炭 charcoal from the Ono area
小野炭や手習ふ人の灰せゝり
Ono-zumi ya / tenarau hito no / hai zeseri
- - - - - and
uzumibi, uzumi-bi 埋火 "hidden fire", banked fire
埋火も消ゆや涙の煮ゆる音
. uzumi-bi mo kiyu ya namida no niyuru oto .
埋火や壁には客の影ぼうし
uzumi-bi ya / kabe ni wa kyaku no / kagebōshi
. WKD : Charcoal and Kigo .
..........................................................................
seriyaki 芹焼 frying dropwort (Japanese parsley)
芹焼や裾輪の田井の初氷
seriyaki ya susowa no ta-i no hatsu goori . seri yaki ya
..........................................................................
tanbai 探梅 looking for the first plum blossoms
打ち寄りて花入探れ梅椿
uchiyorite hana ire sagure ume tsubaki
..........................................................................
yogi 夜着 bedcloths, quilted night robe
夜着ひとつ祈り出だして旅寝かな
. yogi hitotsu inori-idashite tabine kana .
夜着は重し呉天に雪を見るあらん
. yogi wa omoshi goten ni yuki o miru aran .
..........................................................................
yukimi 雪見 "viewing snow" "snow-viewing party"
いざさらば雪見にころぶ所まで
. iza saraba yukimi ni korobu tokoro made .
ためつけて雪見にまかる紙衣かな
. tametsuke te yukimi ni makaru kamiko kana .
..........................................................................
zukin 頭巾 hood. maru zukin 丸頭巾 - round hood for an old man
米買に雪の袋や投頭巾
kome kai ni / yuki no fukuro ya / nage zukin
をさな名や知らぬ翁の丸頭巾
. osana na ya shiranu okina no maruzukin .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. - toshi no kure 年の暮 end of the year - .
mochitsuki 餅搗 pounding mochi rice-cakes
sekizoro 節季候 Year-End singers
susuharai 煤払 cleaning off the soot (of the ending year)
toshi no ichi 年の市 market at the end and beginning of a year
toshi wasure 年忘 "forget the old year" - party
toshi yooi 年用意 "preparations for the New Year"
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - - - - - - New Year - 新年 shinnen, shin nen --
fudehajime, fude hajime 筆始 first use of the brush
大津絵の筆の始めは何仏
. Ootsu e no fude no hajime wa nani botoke .
..........................................................................
hatsudayori 初便り first news
蓬莱に聞かばや伊勢の初便
. hoorai ni kikabaya Ise no hatsudayori .
..........................................................................
kadomatsu 門松 "pines at the corner", pine decoration
門松やおもへば一夜三十年
. kadomatsu ya omoeba hitoyo sanjuunen .
幾霜に心ばせをの松かざり
. iku shimo ni kokoro baseo no matsukazari .
..........................................................................
nazuna tsumu 齊摘 picking sheperd's purse - なずな【薺】 sheperd's purse
古畑や薺摘み行く男ども / 古畑やなづな摘みゆく男ども
furuhata ya nazuna tsumi yuku otokodomo
nazuna utsu 齊打つ / (nanakusa tataku 七草たたく) sheperd's purse
四方に打つ齊もしどろもどろかな
yomo ni utsu nazuna mo shidoro modoro kana
..........................................................................
ne no hi no asobi 子の日の遊 enjoying the first day of the rat (mouse)
子の日しに都へ行かん友もがな
. ne no hi shi ni miyako e ikan tomo mo gana .
..........................................................................
niwakamado, niwa kamado 庭竈 "garden cooking stove" (for the New Year)
叡慮にて賑ふ民の庭かまど
. eiryo nite nigiwau tami no niwakamado .
..........................................................................
waka Ebisu 若夷 "young Ebisu"
年や人にとられていつも若えびす
. toshi wa hito ni torasete itsumo waka Ebisu .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Matsuo Basho - SAIJIKI : KIGO CATEGORY : OBSERVANCE .
. WKD SAIJIKI : KIGO CATEGORY : HUMANITY .
. Cultural Keywords used by Basho .
. - KIGO used by Matsuo Basho 松尾芭蕉 - .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
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Labels:
A - Introduction,
SSS
06/10/2012
Shado - Hamada Chinseki
[ . BACK to WORLDKIGO . TOP . ]
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- Shadoo, Shadō 洒堂 Shado - - Hamada Chinseki 浜田珍夕/珍碩 -
Takamiya Shadoo 高宮洒堂 Takamiya Shado
(? - 1737) -元文2年 9月13日
Shado was a doctor in Zeze, Omi, and an important member of the Omi Disciples of Basho 近江蕉門, which he joined in 1689.
He lived in a hermitage called 洒楽堂 Sharakudo.
There is a text in its praise : 洒楽堂の記 "Pure Heart Dwelling".
His first haikai name was 珍夕, later he changed to Shado.
He was a very active man and visited Basho in Edo in 1692. The text 江戸に上って "Traveling to Edo" tells about his discussions about haikai matters.
Basho had just one hokku to answer him
青くてもあるべきものを唐辛子
. aokute mo aru beki mono o toogarashi .
green was just right
and yet now it's
a red pepper
Tr. Barnhill
better
to have stayed green -
the pepper
Tr. Addiss
Written in 1692. 元禄5年9月
Shado later moved to Osaka to become a professional haikai master. He lived in rivalry with haikai master Shidoo 之道 Shido and Basho traveled to Osaka to make peace between the two in 1694.
Basho wrote 洒堂の鼾 "Shado no Ibiki" about this affair. - see below -
But Basho died later in this year.
Shado suffered from an eye disease in later years.
He was also the editor of the collection "Hisago" 『ひさご』 "Gourd".
Haruo Shirane about Bashō and Shadō
source : books.google.co.jp
. Enomoto Shidoo 槐本之道 Shido .
Tookoo - 東湖 - Toko "East Lake" . from Osaka
. Matsuo Basho and his friends .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - Matsuo Basho wrote for his disciple
難波津や田螺の蓋も冬ごもり
Naniwazu ya tanishi no futa mo fuyugomori
Naniwa Lagoon !
the lid of the mudsnail too
closed for hibernation
Tr. Gabi Greve
Written in 1693, 元禄6年10月
for Hamada Chinseki - Shadoo 浜田珍夕/珍碩(洒堂) Shado.
Shado had decided to become a professional haikai master in the summer before and left his rural home in Zeze, Omi (where Basho sees him as a tanishi) in summer to make it in the lively town of Osaka.
But now in winter, this tanishi could close its lid and enjoy some solitude.
. WKD : tanishi 田螺 たにし paddie snails, mud snails . Cipango paludina. Teichschnecke
- kigo for late spring
....................................................................................................................................................
柳行李片荷は涼し初真桑
yanagigoori katani wa suzushi hatsu makuwa
his wicker box
carries the coolness
of the first Makuwa melon
Written in Genroku 5, 22 of the fifth lunar month
元禄7年閏5月22日. At Rakushisha 落柿舎 in Kyoto.
His disciple 洒堂 Shado had come to visit and brought Makuwa melons from Osaka in one box.
The other side of his luggage was probably a melon from Kyoto.
Maybe the men just started a haikai session right away with this hokku.
Hamada Chinseki / Shadoo 浜田珍夕/珍碩(洒堂)
(? - 1737, 9月13日)
Makuwa melons were a favorite of Matsuo Basho.
Travelling with
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .
koori 行李 box to carry luggage, a wicker trunk
. WKD : yanagi goori 柳行李 box from willow tree .
. makuwa uri 真桑瓜 makuwa melon .
....................................................................................................................................................
秋に添うて行かばや末は小松川
aki ni soute yukaba ya sue wa Komatsugawa
traveling with autumn
I would go all the way to
Komatsu River
Komatsu-gawa is a name for a river as well as a village along its banks.
Basho and his disciples Tokei 桐奚 and Shado 洒堂 were boating along the Onagizawa canal 女木沢, which connected the Sumida and Komatsu rivers in Edo.
Tr. and comment by Barnhill
source : itoyo/basho
Onagizuka Memorial Stone 小名木塚
Written in 1692 元禄5年9月.
Onagigawa 小名木川 is the name of a small canal. It connects the village Komatsu-Mura 小松川村 with the Sumida river.
....................................................................................................................................................
猪の床にも入るやきりぎりす
inoshishi mo toko ni mo iru ya kirigirisu
penetrating even
the lair of a wild boar—
cricket’s cry
Tr. Barnhill
another version has the title “Shado snoring by my pillow”
洒堂が、予が枕元にて鼾をかき候を
床に来て鼾に入るやきりぎりす
toko ni kite ibiki ni iru ya kirigirisu
coming to my bed
mixing with the snoring:
a cricket
Tr. Barnhill
Written in 元禄7年9月, Basho age 51.
Basho had come to Osaka to reconcile his two disciples. He stayed partly with Shido, partly with Shado, who's snoring was quite a nuisance for Basho.
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - Hokku by Shado
草取のはれに染めなす柿苧哉
杉原の上に筆ちる星の陰
いろいろの名もむつかしや春の草 in Hisago ひさご
in Sarumino 猿蓑
神迎水口だちか馬の鈴
知恵の有る人には見せじけしの花
人に似て猿も手を組秋のかぜ
鳩ふくや澁柿原の蕎麥畠
高土手に鶸の鳴日や雲ちぎれ
日の影やごもくの上の親すゞめ
細脛のやすめ處や夏のやま
in Sumidawara 炭俵
いそがしき春を雀のかきばかま
さうぶ懸てみばやさつきの風の音
名月や誰吹起す森の鳩
とうきびにかげろふ軒や玉まつり
碪ひとりよき染物の匂ひかな
神送荒たる宵の土大根
in follow-up Sumidawara 続猿蓑
花散て竹見る軒のやすさかな
春雨や簔につゝまん雉子の聲
山吹も散るか祭のふかなます
腰かけて中に凉しき階子哉
名月の海より冷る田簔かな
秋空や日和くるはす柿のいろ
in Kyoraisho 去来抄
唐黍にかげろふ軒や玉まつり
source : itoyo/basho
- Reference - matsuo basho shado -
- Reference - 浜田 洒堂 -
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Matsuo Basho and his friends .
. Cultural Keywords used by Basho .
. - KIGO used by Matsuo Basho 松尾芭蕉 - .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- Shadoo, Shadō 洒堂 Shado - - Hamada Chinseki 浜田珍夕/珍碩 -
Takamiya Shadoo 高宮洒堂 Takamiya Shado
(? - 1737) -元文2年 9月13日
Shado was a doctor in Zeze, Omi, and an important member of the Omi Disciples of Basho 近江蕉門, which he joined in 1689.
He lived in a hermitage called 洒楽堂 Sharakudo.
There is a text in its praise : 洒楽堂の記 "Pure Heart Dwelling".
His first haikai name was 珍夕, later he changed to Shado.
He was a very active man and visited Basho in Edo in 1692. The text 江戸に上って "Traveling to Edo" tells about his discussions about haikai matters.
Basho had just one hokku to answer him
青くてもあるべきものを唐辛子
. aokute mo aru beki mono o toogarashi .
green was just right
and yet now it's
a red pepper
Tr. Barnhill
better
to have stayed green -
the pepper
Tr. Addiss
Written in 1692. 元禄5年9月
Shado later moved to Osaka to become a professional haikai master. He lived in rivalry with haikai master Shidoo 之道 Shido and Basho traveled to Osaka to make peace between the two in 1694.
Basho wrote 洒堂の鼾 "Shado no Ibiki" about this affair. - see below -
But Basho died later in this year.
Shado suffered from an eye disease in later years.
He was also the editor of the collection "Hisago" 『ひさご』 "Gourd".
Haruo Shirane about Bashō and Shadō
source : books.google.co.jp
. Enomoto Shidoo 槐本之道 Shido .
Tookoo - 東湖 - Toko "East Lake" . from Osaka
. Matsuo Basho and his friends .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - Matsuo Basho wrote for his disciple
難波津や田螺の蓋も冬ごもり
Naniwazu ya tanishi no futa mo fuyugomori
Naniwa Lagoon !
the lid of the mudsnail too
closed for hibernation
Tr. Gabi Greve
Written in 1693, 元禄6年10月
for Hamada Chinseki - Shadoo 浜田珍夕/珍碩(洒堂) Shado.
Shado had decided to become a professional haikai master in the summer before and left his rural home in Zeze, Omi (where Basho sees him as a tanishi) in summer to make it in the lively town of Osaka.
But now in winter, this tanishi could close its lid and enjoy some solitude.
. WKD : tanishi 田螺 たにし paddie snails, mud snails . Cipango paludina. Teichschnecke
- kigo for late spring
....................................................................................................................................................
柳行李片荷は涼し初真桑
yanagigoori katani wa suzushi hatsu makuwa
his wicker box
carries the coolness
of the first Makuwa melon
Written in Genroku 5, 22 of the fifth lunar month
元禄7年閏5月22日. At Rakushisha 落柿舎 in Kyoto.
His disciple 洒堂 Shado had come to visit and brought Makuwa melons from Osaka in one box.
The other side of his luggage was probably a melon from Kyoto.
Maybe the men just started a haikai session right away with this hokku.
Hamada Chinseki / Shadoo 浜田珍夕/珍碩(洒堂)
(? - 1737, 9月13日)
Makuwa melons were a favorite of Matsuo Basho.
Travelling with
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .
koori 行李 box to carry luggage, a wicker trunk
. WKD : yanagi goori 柳行李 box from willow tree .
. makuwa uri 真桑瓜 makuwa melon .
....................................................................................................................................................
秋に添うて行かばや末は小松川
aki ni soute yukaba ya sue wa Komatsugawa
traveling with autumn
I would go all the way to
Komatsu River
Komatsu-gawa is a name for a river as well as a village along its banks.
Basho and his disciples Tokei 桐奚 and Shado 洒堂 were boating along the Onagizawa canal 女木沢, which connected the Sumida and Komatsu rivers in Edo.
Tr. and comment by Barnhill
source : itoyo/basho
Onagizuka Memorial Stone 小名木塚
Written in 1692 元禄5年9月.
Onagigawa 小名木川 is the name of a small canal. It connects the village Komatsu-Mura 小松川村 with the Sumida river.
....................................................................................................................................................
猪の床にも入るやきりぎりす
inoshishi mo toko ni mo iru ya kirigirisu
penetrating even
the lair of a wild boar—
cricket’s cry
Tr. Barnhill
another version has the title “Shado snoring by my pillow”
洒堂が、予が枕元にて鼾をかき候を
床に来て鼾に入るやきりぎりす
toko ni kite ibiki ni iru ya kirigirisu
coming to my bed
mixing with the snoring:
a cricket
Tr. Barnhill
Written in 元禄7年9月, Basho age 51.
Basho had come to Osaka to reconcile his two disciples. He stayed partly with Shido, partly with Shado, who's snoring was quite a nuisance for Basho.
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - Hokku by Shado
草取のはれに染めなす柿苧哉
杉原の上に筆ちる星の陰
いろいろの名もむつかしや春の草 in Hisago ひさご
in Sarumino 猿蓑
神迎水口だちか馬の鈴
知恵の有る人には見せじけしの花
人に似て猿も手を組秋のかぜ
鳩ふくや澁柿原の蕎麥畠
高土手に鶸の鳴日や雲ちぎれ
日の影やごもくの上の親すゞめ
細脛のやすめ處や夏のやま
in Sumidawara 炭俵
いそがしき春を雀のかきばかま
さうぶ懸てみばやさつきの風の音
名月や誰吹起す森の鳩
とうきびにかげろふ軒や玉まつり
碪ひとりよき染物の匂ひかな
神送荒たる宵の土大根
in follow-up Sumidawara 続猿蓑
花散て竹見る軒のやすさかな
春雨や簔につゝまん雉子の聲
山吹も散るか祭のふかなます
腰かけて中に凉しき階子哉
名月の海より冷る田簔かな
秋空や日和くるはす柿のいろ
in Kyoraisho 去来抄
唐黍にかげろふ軒や玉まつり
source : itoyo/basho
- Reference - matsuo basho shado -
- Reference - 浜田 洒堂 -
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Matsuo Basho and his friends .
. Cultural Keywords used by Basho .
. - KIGO used by Matsuo Basho 松尾芭蕉 - .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Labels:
P - - - PERSONS,
SSS
Sarashina Village
[ . BACK to WORLDKIGO . TOP . ]
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- Sarashina Kikoo, Sarashina Kikō 更科紀行 - 更級紀行 -
Sarashina Kiko -- Sarashina Journal -
A Visit to Sarashina Village -
source : basho/footmark
1688 貞享5年 Basho age 45
To view the full moon, in the 8th lunar month
. Poetic Travelling with Matsuo Basho.
His companion was
. Ochi Etsujin 越智越人 .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
於毛可けや姥ひとりなく月の友
omokage ya oba hitori naku tsuki no tomo
her face--
an old woman weeping alone
moon as companion
Tr. Barnhill
"An Account of the Moon at Mount Obasute in Sarshina"
Sarashinayama さらしなやま【更科山】
is the old name of a mountain in Nagano prefecture,
now called Kamurikiyama 冠着山. It is 547 meters high.
Ubasuteyama (姨捨山) is the common name of Kamurikiyama (冠着山), a mountain in Chikuma, Nagano, Japan.
Ubasute (姥捨, abandoning an old woman)
. - Sarashinayama, Kamurikiyama in Chikuma, Nagano - .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - in ABC order of the Japanese
あの中に蒔絵書きたし宿の月
. ano naka ni maki e kakitashi yado no tsuki .
吹き飛ばす石は浅間の野分かな
. fukitobasu ishi wa Asama no nowaki kana.
ひよろひよろと尚露けしや女郎花
hyorohyoro to nao tsuyukeshi ya ominaeshi
A yellow valerian
With its slender stalk
Stands bedecked
In droplets of dew.
Tr. Yuasa
十六夜もまだ更科の郡かな
. izayoi mo mada Sarashina no koori kana .
"I am still here at Sarashina"
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
manju sweets made from Kiso chestnuts
木曽のとち浮世の人の土産かな
木曽の栃浮世の人のみやげかな
Kiso no tochi ukiyo no hito no miyage kana
chestnuts from Kiso
as souvenirs for those
of the floating world . . .
The chestnuts of Kiso were famous. The poor farmers used to prepare the horse chestnuts in a way to make mochi ricecakes out of them to have some food in the winter months. This was also a souvenir at the time of Basho.
source : itoyo/basho
. tochi no mi 橡の実/ 栃の実 horse chestnut .
.......................................................................................................................................................
source : bonjour/sarasinakikou
身にしみて大根からし秋の風
mi ni shimite daikon karashi aki no kaze
pungent radish and cold wind, Aida village
送られつ別れつ果ては木曽の秋
. okuraretsu wakaretsu hate wa Kiso no aki .
seeing friends off - autumn in Kiso
俤や姥ひとり泣く月の友
omokage ya oba hitori naku tsuki no tomo
(see above)
桟橋や命をからむ蔦葛 / 桟はしや命をからむ蔦かつら
. kakehashi ya inochi o karamu tsuta katsura .
- - - - - and
桟やまづ思ひ出づ馬迎へ
kakehashi ya mazu omoi-izu uma mukae
- The Hanging Bridge at Kiso 木曽の架け橋 / 木曽のかけはし Kiso no Kakehashi
月影や四門四宗もただ一つ
. tsuki kage ya shimon shishuu mo tada hitotsu .
(autumn) moon. four Buddhist sects are One. at temple Zenko-Ji 善光寺, Nagano
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - Translation by Yuasa
A Visit to Sarashina Village
The autumn wind inspired my heart with a desire to see the rise of the full moon over Mount Obasute. That rugged mountain in the village of Sarashina is where the villagers in the remote past used to abandon their ageing mothers among the rocks. There was another man filled with the same desire, my disciple, Etsujin, who accompanied me, and also a servant sent by my friend Kakei to help me on the journey, for the Kiso road that led to the village was steep and dangerous, passing over a number of high mountains. We all did our best to help one another, but since none of us were experienced travellers, we felt uneasy and made mistakes, doing the wrong things at the wrong times. These mistakes, however, provoked frequent laughter and gave us the courage to push on.
At a certain point on the road, we met an old priest - probably more than sixty years of age - carrying an enormously heavy load on his bent back, tottering along with short, breathless steps and wearing a sullen, serious look on his face. My companions sympathized with him, and, taking the heavy load from the priest's shoulders, put it together with other things they had been carrying on my horse. Consequently, I had to sit on a big pile. Above my head, mountains rose over mountains, and on my left a huge precipice dropped a thousand feet into a boiling river, leaving not a tiny square of flat land in between, so that, perched on the high saddle, I felt stricken with terror every time my horse gave a jerk.
We passed through many a dangerous place, such as Kakehashi, Nezame, Saru-ga-baba, Tachitoge, the road always winding and climbing, so that we often felt as if we were groping our way in the clouds. I abandoned my horse and staggered on my own legs, for I was dizzy with the height and unable to maintain my mental balance from fear. The servant, on the other hand, mounted the horse, and seemed to give not even the slightest thought to the danger. He often nodded in a doze and seemed about to fall headlong over the precipice.
Every time I saw him drop his head, I was terrified out of my wits. Upon second thoughts, however, it occurred to me that every one of us was like this servant, wading through the ever-changing reefs of this world in stormy weather, totally blind to the hidden dangers, and that the Buddha surveying us from on high, would surely feel the same misgivings about our fortune as I did about the servant.
When dusk came, we sought a night's lodging in a humble house. After lighting a lamp, I took out my pen and ink, and closed my eyes, trying to remember the sights I had seen and the poems I had composed during the day. When the priest saw me tapping my head and bending over a small piece of paper, he must have thought I was suffering from the weariness of travelling, for he began to give me an account of his youthful pilgrimage, parables from sacred sutras, and the stories of the miracles he had witnessed.
Alas, I was not able to compose a single poem because of this interruption. Just at this time, however, moonlight touched the corner of my room, coming through the hanging leaves and the chinks in the wall. As I bent my ears to the noise of wooden clappers and the voices of the villagers chasing wild deer away, I felt in my heart that the loneliness of autumn was now consummated in the scene.
I said to my companions. 'Let us drink under the bright beams of the moon,' and the master of the house brought out some cups. The cups were too big to be called refined, and were decorated with somewhat uncouth gold-lacquer work, so that over-refined city-dwellers might have hesitated to touch them. Finding them in a remote country as I did, however, I was pleased to see them, and thought that they were even more precious than jewel-inlaid, rare-blue cups.
Seeing in the country
A big moon in the sky,
I felt like decorating it
With gold-lacquer work. - - - - - ano naka ni maki e kakitashi yado no tsuki
On to a bridge
Suspended over a precipice
Clings an ivy vine,
Body and soul together. - - - - - kakehashi ya inochi o karamu tsuta katsura
Ancient imperial horses
Must have also crossed
This suspended bridge
On their way to Kyoto. - - - - - kakehashi ya mazu omoi-izu uma mukae
Halfway on the bridge,
I found it impossible
Even to wink my eye,
When the fog lifted.
(by Etsujin)
A poem composed at Mount Obasute:
In imagination,
An old woman and I
Sat together in tears
Admiring the moon. - - - - - omokage ya oba hitori naku tsuki no tomo
The moon is already
Sixteen days old,
And yet I linger In
Sarashina Village. - - - - -izayoi mo mada Sarashina no koori kana
Three days have passed,
And three times I have seen
The bright moon
In the cloudless sky.
(by Etsujin)
A yellow valerian
With its slender stalk
Stands bedecked
In droplets of dew. - - - - - hyorohyoro to nao tsuyukeshi ya ominaeshi
Hot radish
Pierced my tongue,
While the autumn wind
Pierced my heart. - - - - - mi ni shimite daikon karashi aki no kaze
Horse-chestnuts
From the mountains of Kiso
Will be my presents
To city-dwellers. - - - - - Kiso no tochi ukiyo no hito no miyage kana
Bidding farewell,
Bidden good-bye,
I walked into
The autumn of Kiso. - - - - - okuraretsu wakaretsu hate wa Kiso no aki
A poem composed at Zenkoji Temple:
Four gates
And four different sects
Sleep as one
Under the bright moon. - - - - - tsuki kage ya shimon shishuu mo tada hitotsu .
A sudden storm
Descends on Mount Asama,
Blowing stones
All over me. - - - - - fukitobasu ishi wa Asama no nowaki kana
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
External LINKS
Kuniharu Shimizu Haiga
source : seehaikuhere.blogspot.jp
.......................................................................................................................................................
Manga Sarashina Kiko まんが松尾芭蕉の更科紀行
source : naganoblog.jp
- Further Reference -
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
The Sarashina Diary
A Woman's Life in Eleventh-Century Japan
A thousand years ago, a young Japanese girl embarked on a journey from the wild East Country to the capital. She began a diary that she would continue to write for the next forty years and compile later in life, bringing lasting prestige to her family.
Some aspects of the author's life and text seem curiously modern. She married at age thirty-three and identified herself as a reader and writer more than as a wife and mother. Enthralled by romantic fiction, she wrote extensively about the disillusioning blows that reality can deal to fantasy. The Sarashina Diary is a portrait of the writer as reader and an exploration of the power of reading to shape one's expectations and aspirations.
As a person and an author, this writer presages the medieval era in Japan with her deep concern for Buddhist belief and practice. Her narrative's main thread follows a trajectory from youthful infatuation with romantic fantasy to the disillusionment of age and concern for the afterlife; yet, at the same time, many passages erase the dichotomy between literary illusion and spiritual truth. This new translation captures the lyrical richness of the original text while revealing its subtle structure and ironic meaning. The introduction highlights the poetry in the Sarashina Diary and the juxtaposition of poetic passages and narrative prose, which brings meta-meanings into play. The translators' commentary offers insight into the author's family and world, as well as the fascinating textual legacy of her work.
- source : cup.columbia.edu/book -
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Kobayashi Issa 小林一茶 Issa in Edo .
Tr. and comments by David Lanoue
Mount Sarashina is another name for Ubasute or Obasute: a mountain in Issa's home province of Shinano (today's Nagano Prefecture) where old people were, according to legend, "thrown away": left to die. Today it is called Kamurikiyama.
Bashô visited Sarashina Village in 1688, writing in his Visit to Sarashina Village (Sarashina kikô).
更しなの蕎麦の主や小夜砧
sarashina no soba no aruji ya sayo-ginuta
the lord of Sarashina's
buckwheat fields...
pounding cloth at night
In Japan and Korea, fulling-blocks were used to pound fabric and bedding. The fabric was laid over a flat stone, covered with paper, and pounded, making a distinctive sound.
Though he lords over fields of "buckwheat" (soba), the landowner, too, must dry his clothes.
一度見度さらしな山や帰る雁
ichi do mitaki sarashina yama ya kaeru kari
all eager to see
Mount Sarashina...
departing geese
我恋はさらしな山ぞかへる雁
waga koi wa sarashina yama zo kaeru kari
"My love
is at Mount Sarashina!"
the goose departs
行雁や更科見度望みさへ
yuku kari ya sarashina mitai nozomi sae
geese fly north--
how they yearn to see
Mount Sarashina
....................................................................................................................................................
sarashina no soba no aruji ya sayo-ginuta
night in Sarashina --
fulling cloth for the owner
of a buckwheat farm
Tr. Chris Drake
This hokku was written on 7/28 (Sept. 13) in 1803, when Issa was living in and around Edo. Issa seems to have been thinking hard about Sarashina, an area not far from his hometown, and after a long visit to his hometown two years earlier, a visit during which his father had died, he had begun to seriously want to return to his rural Shinano province to live. Buckwheat for making soba or buckwheat noodles was grown in the area around Issa's hometown, but some of the most delicious buckwheat noodles in all of Japan were grown a few miles to the south in an area called Sarashina. Noodles made from Sarashina buckwheat were extremely popular in the big city of Edo, so Issa no doubt ate Sarashina noodles often while he was living in Edo.
In the hokku the volume of the sound of cloth being fulled at night seems to indicate that it comes from the house of the owner of a big buckwheat farm in Sarashina. Fulling was a method of pressing recently washed clothing and other cloth by striking the cloth with large round wooden mallets as the cloth was slowly wound around a wooden roller. A simpler method was simply to beat the cloth on a wooden block or low table. Striking the cloth not only got rid of wrinkles and tightened the fibers of the fabric, it also gave cloth an attractive sheen. Usually two women struck the cloth and kept to a steady 1-2 beat. The mallets produce a fairly loud smack-smacking sound in the night, a sound that was often associated with loneliness, especially with the loneliness of a traveler trying to tell where s/he was by the sounds of fulling mallets out in the darkness.
In this hokku, however, Issa seems to be evoking a non-traditional fulling sound. One of the few ways to become rich in rural Sarashina was to become a big buckwheat farmer or a wholesaler who delivered the local flour to restaurants and individuals in Edo and other cities. Perhaps the rich farmer in Issa's hokku also grinds and sells his own flour. In any case, he no doubt lives in a big house, and he and his wife probably have many fancy clothes, so in his house fulling is no ordinary chore. A group of servants must beat on several fulling rollers or blocks until late in the evening to get the job done. The stream of slap-slapping sounds is so loud and steady that people who hear it know right away that it's coming from the farm owner's house.
Chris Drake
. kinuta 砧 (きぬた) fulling block, washing mallet .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Poetic Travelling with Matsuo Basho.
. Kaido 日本の街道 The Ancient Roads of Japan .
. Cultural Keywords used by Basho .
. - KIGO used by Matsuo Basho 松尾芭蕉 - .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
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- Sarashina Kikoo, Sarashina Kikō 更科紀行 - 更級紀行 -
Sarashina Kiko -- Sarashina Journal -
A Visit to Sarashina Village -
source : basho/footmark
1688 貞享5年 Basho age 45
To view the full moon, in the 8th lunar month
. Poetic Travelling with Matsuo Basho.
His companion was
. Ochi Etsujin 越智越人 .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
於毛可けや姥ひとりなく月の友
omokage ya oba hitori naku tsuki no tomo
her face--
an old woman weeping alone
moon as companion
Tr. Barnhill
"An Account of the Moon at Mount Obasute in Sarshina"
Sarashinayama さらしなやま【更科山】
is the old name of a mountain in Nagano prefecture,
now called Kamurikiyama 冠着山. It is 547 meters high.
Ubasuteyama (姨捨山) is the common name of Kamurikiyama (冠着山), a mountain in Chikuma, Nagano, Japan.
Ubasute (姥捨, abandoning an old woman)
. - Sarashinayama, Kamurikiyama in Chikuma, Nagano - .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - in ABC order of the Japanese
あの中に蒔絵書きたし宿の月
. ano naka ni maki e kakitashi yado no tsuki .
吹き飛ばす石は浅間の野分かな
. fukitobasu ishi wa Asama no nowaki kana.
ひよろひよろと尚露けしや女郎花
hyorohyoro to nao tsuyukeshi ya ominaeshi
A yellow valerian
With its slender stalk
Stands bedecked
In droplets of dew.
Tr. Yuasa
十六夜もまだ更科の郡かな
. izayoi mo mada Sarashina no koori kana .
"I am still here at Sarashina"
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
manju sweets made from Kiso chestnuts
木曽のとち浮世の人の土産かな
木曽の栃浮世の人のみやげかな
Kiso no tochi ukiyo no hito no miyage kana
chestnuts from Kiso
as souvenirs for those
of the floating world . . .
The chestnuts of Kiso were famous. The poor farmers used to prepare the horse chestnuts in a way to make mochi ricecakes out of them to have some food in the winter months. This was also a souvenir at the time of Basho.
source : itoyo/basho
. tochi no mi 橡の実/ 栃の実 horse chestnut .
.......................................................................................................................................................
source : bonjour/sarasinakikou
身にしみて大根からし秋の風
mi ni shimite daikon karashi aki no kaze
pungent radish and cold wind, Aida village
送られつ別れつ果ては木曽の秋
. okuraretsu wakaretsu hate wa Kiso no aki .
seeing friends off - autumn in Kiso
俤や姥ひとり泣く月の友
omokage ya oba hitori naku tsuki no tomo
(see above)
桟橋や命をからむ蔦葛 / 桟はしや命をからむ蔦かつら
. kakehashi ya inochi o karamu tsuta katsura .
- - - - - and
桟やまづ思ひ出づ馬迎へ
kakehashi ya mazu omoi-izu uma mukae
- The Hanging Bridge at Kiso 木曽の架け橋 / 木曽のかけはし Kiso no Kakehashi
月影や四門四宗もただ一つ
. tsuki kage ya shimon shishuu mo tada hitotsu .
(autumn) moon. four Buddhist sects are One. at temple Zenko-Ji 善光寺, Nagano
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - Translation by Yuasa
A Visit to Sarashina Village
The autumn wind inspired my heart with a desire to see the rise of the full moon over Mount Obasute. That rugged mountain in the village of Sarashina is where the villagers in the remote past used to abandon their ageing mothers among the rocks. There was another man filled with the same desire, my disciple, Etsujin, who accompanied me, and also a servant sent by my friend Kakei to help me on the journey, for the Kiso road that led to the village was steep and dangerous, passing over a number of high mountains. We all did our best to help one another, but since none of us were experienced travellers, we felt uneasy and made mistakes, doing the wrong things at the wrong times. These mistakes, however, provoked frequent laughter and gave us the courage to push on.
At a certain point on the road, we met an old priest - probably more than sixty years of age - carrying an enormously heavy load on his bent back, tottering along with short, breathless steps and wearing a sullen, serious look on his face. My companions sympathized with him, and, taking the heavy load from the priest's shoulders, put it together with other things they had been carrying on my horse. Consequently, I had to sit on a big pile. Above my head, mountains rose over mountains, and on my left a huge precipice dropped a thousand feet into a boiling river, leaving not a tiny square of flat land in between, so that, perched on the high saddle, I felt stricken with terror every time my horse gave a jerk.
We passed through many a dangerous place, such as Kakehashi, Nezame, Saru-ga-baba, Tachitoge, the road always winding and climbing, so that we often felt as if we were groping our way in the clouds. I abandoned my horse and staggered on my own legs, for I was dizzy with the height and unable to maintain my mental balance from fear. The servant, on the other hand, mounted the horse, and seemed to give not even the slightest thought to the danger. He often nodded in a doze and seemed about to fall headlong over the precipice.
Every time I saw him drop his head, I was terrified out of my wits. Upon second thoughts, however, it occurred to me that every one of us was like this servant, wading through the ever-changing reefs of this world in stormy weather, totally blind to the hidden dangers, and that the Buddha surveying us from on high, would surely feel the same misgivings about our fortune as I did about the servant.
When dusk came, we sought a night's lodging in a humble house. After lighting a lamp, I took out my pen and ink, and closed my eyes, trying to remember the sights I had seen and the poems I had composed during the day. When the priest saw me tapping my head and bending over a small piece of paper, he must have thought I was suffering from the weariness of travelling, for he began to give me an account of his youthful pilgrimage, parables from sacred sutras, and the stories of the miracles he had witnessed.
Alas, I was not able to compose a single poem because of this interruption. Just at this time, however, moonlight touched the corner of my room, coming through the hanging leaves and the chinks in the wall. As I bent my ears to the noise of wooden clappers and the voices of the villagers chasing wild deer away, I felt in my heart that the loneliness of autumn was now consummated in the scene.
I said to my companions. 'Let us drink under the bright beams of the moon,' and the master of the house brought out some cups. The cups were too big to be called refined, and were decorated with somewhat uncouth gold-lacquer work, so that over-refined city-dwellers might have hesitated to touch them. Finding them in a remote country as I did, however, I was pleased to see them, and thought that they were even more precious than jewel-inlaid, rare-blue cups.
Seeing in the country
A big moon in the sky,
I felt like decorating it
With gold-lacquer work. - - - - - ano naka ni maki e kakitashi yado no tsuki
On to a bridge
Suspended over a precipice
Clings an ivy vine,
Body and soul together. - - - - - kakehashi ya inochi o karamu tsuta katsura
Ancient imperial horses
Must have also crossed
This suspended bridge
On their way to Kyoto. - - - - - kakehashi ya mazu omoi-izu uma mukae
Halfway on the bridge,
I found it impossible
Even to wink my eye,
When the fog lifted.
(by Etsujin)
A poem composed at Mount Obasute:
In imagination,
An old woman and I
Sat together in tears
Admiring the moon. - - - - - omokage ya oba hitori naku tsuki no tomo
The moon is already
Sixteen days old,
And yet I linger In
Sarashina Village. - - - - -izayoi mo mada Sarashina no koori kana
Three days have passed,
And three times I have seen
The bright moon
In the cloudless sky.
(by Etsujin)
A yellow valerian
With its slender stalk
Stands bedecked
In droplets of dew. - - - - - hyorohyoro to nao tsuyukeshi ya ominaeshi
Hot radish
Pierced my tongue,
While the autumn wind
Pierced my heart. - - - - - mi ni shimite daikon karashi aki no kaze
Horse-chestnuts
From the mountains of Kiso
Will be my presents
To city-dwellers. - - - - - Kiso no tochi ukiyo no hito no miyage kana
Bidding farewell,
Bidden good-bye,
I walked into
The autumn of Kiso. - - - - - okuraretsu wakaretsu hate wa Kiso no aki
A poem composed at Zenkoji Temple:
Four gates
And four different sects
Sleep as one
Under the bright moon. - - - - - tsuki kage ya shimon shishuu mo tada hitotsu .
A sudden storm
Descends on Mount Asama,
Blowing stones
All over me. - - - - - fukitobasu ishi wa Asama no nowaki kana
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
External LINKS
Kuniharu Shimizu Haiga
source : seehaikuhere.blogspot.jp
.......................................................................................................................................................
Manga Sarashina Kiko まんが松尾芭蕉の更科紀行
source : naganoblog.jp
- Further Reference -
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
The Sarashina Diary
A Woman's Life in Eleventh-Century Japan
A thousand years ago, a young Japanese girl embarked on a journey from the wild East Country to the capital. She began a diary that she would continue to write for the next forty years and compile later in life, bringing lasting prestige to her family.
Some aspects of the author's life and text seem curiously modern. She married at age thirty-three and identified herself as a reader and writer more than as a wife and mother. Enthralled by romantic fiction, she wrote extensively about the disillusioning blows that reality can deal to fantasy. The Sarashina Diary is a portrait of the writer as reader and an exploration of the power of reading to shape one's expectations and aspirations.
As a person and an author, this writer presages the medieval era in Japan with her deep concern for Buddhist belief and practice. Her narrative's main thread follows a trajectory from youthful infatuation with romantic fantasy to the disillusionment of age and concern for the afterlife; yet, at the same time, many passages erase the dichotomy between literary illusion and spiritual truth. This new translation captures the lyrical richness of the original text while revealing its subtle structure and ironic meaning. The introduction highlights the poetry in the Sarashina Diary and the juxtaposition of poetic passages and narrative prose, which brings meta-meanings into play. The translators' commentary offers insight into the author's family and world, as well as the fascinating textual legacy of her work.
- source : cup.columbia.edu/book -
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. Kobayashi Issa 小林一茶 Issa in Edo .
Tr. and comments by David Lanoue
Mount Sarashina is another name for Ubasute or Obasute: a mountain in Issa's home province of Shinano (today's Nagano Prefecture) where old people were, according to legend, "thrown away": left to die. Today it is called Kamurikiyama.
Bashô visited Sarashina Village in 1688, writing in his Visit to Sarashina Village (Sarashina kikô).
更しなの蕎麦の主や小夜砧
sarashina no soba no aruji ya sayo-ginuta
the lord of Sarashina's
buckwheat fields...
pounding cloth at night
In Japan and Korea, fulling-blocks were used to pound fabric and bedding. The fabric was laid over a flat stone, covered with paper, and pounded, making a distinctive sound.
Though he lords over fields of "buckwheat" (soba), the landowner, too, must dry his clothes.
一度見度さらしな山や帰る雁
ichi do mitaki sarashina yama ya kaeru kari
all eager to see
Mount Sarashina...
departing geese
我恋はさらしな山ぞかへる雁
waga koi wa sarashina yama zo kaeru kari
"My love
is at Mount Sarashina!"
the goose departs
行雁や更科見度望みさへ
yuku kari ya sarashina mitai nozomi sae
geese fly north--
how they yearn to see
Mount Sarashina
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sarashina no soba no aruji ya sayo-ginuta
night in Sarashina --
fulling cloth for the owner
of a buckwheat farm
Tr. Chris Drake
This hokku was written on 7/28 (Sept. 13) in 1803, when Issa was living in and around Edo. Issa seems to have been thinking hard about Sarashina, an area not far from his hometown, and after a long visit to his hometown two years earlier, a visit during which his father had died, he had begun to seriously want to return to his rural Shinano province to live. Buckwheat for making soba or buckwheat noodles was grown in the area around Issa's hometown, but some of the most delicious buckwheat noodles in all of Japan were grown a few miles to the south in an area called Sarashina. Noodles made from Sarashina buckwheat were extremely popular in the big city of Edo, so Issa no doubt ate Sarashina noodles often while he was living in Edo.
In the hokku the volume of the sound of cloth being fulled at night seems to indicate that it comes from the house of the owner of a big buckwheat farm in Sarashina. Fulling was a method of pressing recently washed clothing and other cloth by striking the cloth with large round wooden mallets as the cloth was slowly wound around a wooden roller. A simpler method was simply to beat the cloth on a wooden block or low table. Striking the cloth not only got rid of wrinkles and tightened the fibers of the fabric, it also gave cloth an attractive sheen. Usually two women struck the cloth and kept to a steady 1-2 beat. The mallets produce a fairly loud smack-smacking sound in the night, a sound that was often associated with loneliness, especially with the loneliness of a traveler trying to tell where s/he was by the sounds of fulling mallets out in the darkness.
In this hokku, however, Issa seems to be evoking a non-traditional fulling sound. One of the few ways to become rich in rural Sarashina was to become a big buckwheat farmer or a wholesaler who delivered the local flour to restaurants and individuals in Edo and other cities. Perhaps the rich farmer in Issa's hokku also grinds and sells his own flour. In any case, he no doubt lives in a big house, and he and his wife probably have many fancy clothes, so in his house fulling is no ordinary chore. A group of servants must beat on several fulling rollers or blocks until late in the evening to get the job done. The stream of slap-slapping sounds is so loud and steady that people who hear it know right away that it's coming from the farm owner's house.
Chris Drake
. kinuta 砧 (きぬた) fulling block, washing mallet .
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. Poetic Travelling with Matsuo Basho.
. Kaido 日本の街道 The Ancient Roads of Japan .
. Cultural Keywords used by Basho .
. - KIGO used by Matsuo Basho 松尾芭蕉 - .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
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