WKD - Matsuo Basho Archives

13/11/2012

- Hosomichi 2007 - BACKUP

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BACKUP only
December 2012

Original

. WKD : Oku no Hosomichi 2007 .

The main entry is now HERE

Oku no Hosomichi - 奥の細道 - おくのほそ道
. Matsuo Basho 松尾芭蕉　Archives of the WKD .

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walking
a long, long path -
haiku

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Oku no Hosomichi 奥の細道　... 2007

月日は百代の過客にして、行かふ年も又旅人也。
つきひははくたいのかかくにして
つきひはひゃくだいのかきゃくにして

tsukihi wa hakutai no kakaku ni shite
(tsukihi wa hyakudai no kakyaku ni shite)
yukikau toshi mo mata tabibito nari.

Days and months are the travellers of eternity.
The years that pass are also but travellers in time.

松尾芭蕉　
Basho was 46 when he started his tour on the 27 of March, 1689. (May 16 in the modern solar calendar.)
His tour took him over 2400 kilometers on foot! It took him five years to complete his report of this walk. It includes 51 hokku and is not a simple diary, but a work of literature, including fiction and philosophy.

He visited many "poetic pillows", uta makura 歌枕, famous places where poets before him had been visiting and writing poetry about.
While he was thus travelling the road of former famous poets like Saigyo, he was also travelling along his own life, even toward the future. He lived in a time when the age of 50 was considered a good time to die!
Jinsei, gojuu nen! 人生五十年！

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................................... Some general information

"All Things Must Pass" , nothing is eternal
sarvasamskara anityah in orignal Sanskrit
Shogyoo Mujoo 諸行無常 (しょぎょうむじょう) Mujo

. Barnhill : the concept of MUJŌ .
impermanence

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"permanence and change",
synthesis between tradition and innovation
Fueki Ryuukoo 不易流行（ふえきりゅうこう）

QUOTE:

fuga no makoto is a result or product of the dynamism of two colliding forces: fueki ryuko, which is another important teaching of Basho.
Fueki simply means "no change" and refers to values of a permanent and enduring nature.

Ryuko, on the other hand, means "changing fashions of the time" and refers to newness, innovation, originality or unconventional values that would break with old ways in a revolutionary manner.

For instance, Beethoven created new and innovative music, ushering in a new age and setting a new trend. However, he did not do so without first having been steeped in classical music of an old tradition. Thus he had fueki ryuko and left legacy of permanent value.
None of us is Beethoven, but all of us can become a little Beethoven! Fueki ryuko is an abbreviation of senzai-fueki ichiji-ryuko (eternal no-change and temporary fashion).

When fueki and ryuko collide and interact in a dynamic explosion of creative haiku writing, the result could be like a newly born baby taking after both parents but different from both. And there is a single ultimate value that lies beyond fueki ryuko, and that is nothing but fuga no makoto.

Susumu Takiguchi, WHR 2005

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Basho edited the haiku presented in "Oku no Hosomichi" according to the rules of RENKU, including moon, cherry blossoms and two about love.
　©　Etsuko Yanagibori

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A first ku (hokku) that can stand alone, usually with a mention of a special area, an independent hokku, is called
jihokku 地発句（じほっく）

The last ku of a linked verse is "ageku　挙句", and there is a popular Japanese proverb, ageku no hate 挙句の果て, at the last ku, meaning "at last".

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The walk starts in Edo.

行く春や鳥啼き魚の目は泪
yuku haru ya tori naki uo no me wa namida

spring is leaving ..
birds sing and the eyes of fish
are full of tears

Basho at Senju 千住
in 1689, taking final leave from his friends.

. Yuku haru - spring is ending .

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江東区芭蕉記念館
KOTO CITY BASHO MUSEUM

Basho-An Homepage
臨川寺 Temple Rinsen-Ji

Nikko Kaido 日光街道
– Ancient Highway from Edo to Nikko

. Urami no Taki 裏見の滝 - 裏見の瀧 Waterfall .
and the summer retreat - ge 夏（げ）

Kurobane, Temple Joho-Ji, Friend Joboji
浄法寺桃雪邸跡

Basho Road at Kurobane, Basho no Michi, 芭蕉の道

Temple Daio-Ji, Kurobane, 黒羽町の大雄寺 Daioo-Ji

Temple Ungan-Ji 雲巌寺

CLICK for more photos of this volcanic landscape !

"Murder Stone" 殺生石 Sesshoseki, a volcanic landscape

Willow Tree in memory of priest Yugyo (Ippen Shonin)

. WKD : 遊行柳 (ゆぎょうやなぎ ) Yugyoyanagi .
One of the famous "utamakura" places of Basho's travel. The tree has been re-planted many times over the years, but the atmosphere is still very much that of the Edo period.

Near Nikko is Mt. Dantai and a group of Jizo stones, called

O-Bake Jizoo 化け地蔵 the monstrous Jizo statues
Every time you count them, you get a different number.
Quite possibly Basho has tried to count them too !

含満ガ淵

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Shirakawa, "White River",
from here the Road to the North finally starts.

Shirakawa no Seki 白河の関 Border Station of Shirakawa

sangatsu ni seki no ashigaru oki-kaete
haiku by Kido (Kidoo 木導)

Oshu Kaido (Oushu Kaido) 奥州街道（おうしゅうかいどう）
– Ancient Highway from Nikko via Shirakawa to Sendai

CLICK for more photos of Sakai no Myojin !

Sakai no Myojin Shrine 境の明神(福島)

Two shrines at the border to the Northern Territories. One on each side of the frontier line. On the inner side a shrine for the female deity (Tamatsushima Myojin 玉津島) to protect the interior. On the outer side a shrine for a male deity (Sumiyoshi Myojin 住吉) to protect from enemies of the outside.　Travellers in the Edo period used to pray here for a safe trip and gave thanks after a trip was finished.

The local daimyo Matsudaira Sadanobu had a stone memorial built in memory of this frontier gate about 100 years after Basho passed the area.

白河小峰城, Shirakawa Komine Castle
Matsudaira Sadanobu was Lord of this castle. Lord Matsudaira (1759 - 1829) was well liked and did a lot for his people. He built the first park for commoners in Japan, the famous South Lake Park, Nanko Koen (Nankoo Kooen) 南湖公園 .

Sogi modoshi 宗祇戻しThe place where Sogi returned his steps

The famous poet Io Sogi (Soogi, Sougi 飯尾宗祇　いいおそうぎ) on his way to a poetry meeting for linked verse in Northern Japan met a poor girl here selling cotton. When he started talking to her, she answered him with a perfect waka verse. He felt quite ashamed at this and went back to Kyoto without attending the poetry meeting.

The waka
「阿武隈の川瀬にすめる鮎にこそ　うるかといえる　わたはありけれ」
Abuka no Kawa

Station 12 : Sukagawa and Asakayama : 安積山 In Memory of a Waka

The waka
安積香山影さへ見ゆる山の井の浅き心をわが思はなくに

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On his way

Waterfall Otsuji-ga-taki

Temple, Ioji (a temple visited by Basho) 医王寺 (Ioo-Ji)

at Station 11, Sukagawa
Memorial Stone, Mojizuri Ishi 文知摺石
English Explanation

Dresses made of paper, kamiko 紙子,紙衣

Paper clothing was used by poor peasants to keep warm in winter. Basho might have used one of these warm robes from Shiroishi.

GOOGLE : 白石　和紙　

In Osaka Kabuki, the main actor wears a robe made of paper, kamiko 紙衣. This does not flow naturally around the body and the actor has to make extra efforts to show a natural pose.

Kabuki and Haiku

GOOGLE : kamiko paper japan kimono

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Matsushima

松島やああ松島や松島や
Matsushima ya aa Matsushima ya Matushima ya

Matsushima!
Aaah! Matsushima!
Matsushima!

The real author of this haiku was ?????

Matsushima is one of the three most beautiful secnic areas of Japan.

. SENDAI
Iris Haiku

あやめ草足に結ん草鞋の緒
ayamegusa ashi ni musuban waraji no o

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Hiraizumi 平泉

夏草や兵どもが夢の跡
natsu-kusa ya tsuwamono domo ga yume no ato

summer grass!
only a trace of dreams
of ancient warriors

　Warriours, Samurai and Haiku

Basho followed in the footsteps of the tragic fate of the warrious Yoshitsune and Benkei (chinkon no nen 鎮魂の念) with this visit. He might also have used the travel to explore and find the depth and tragedy of his own being.

鎮魂の念

Takadachi 「高館(たかだち) at Hiraizumi was a castle that Fujiwara Hidehira had built for Minamoto Yoshitune.
Discussion of Takadachi and Tsuwamono
Haiku Translation Group

The "Shining Hall" is the golden mausoleum of three generations of the Fujiwara Clan. The rain of the rainy season has fallen on it for more than 500 years when Basho visited.

五月雨の降りのこしてや光堂
samidare no furi nokoshite Hikari Doo

unchanged by the rain
of many rainy seasons -
the Golden Hall

More photos from Hiraizumi.

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kenkon no hen 乾坤の変
(the changing of heaven and earth)

The changing of heaven and earth is the heart of the nature spirit in haiku. Catch the changing of nature and you have what you need to write true haiku.

also discussed:
Haikai no makoto 俳諧の誠 (sincerity of haiku)
Koogo kizoku 高悟帰俗 (spiritual sense)
Kusa no Hana Haiku Group

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Natagiri Pass and Obanazawa 山刀伐峠 　

Entering into Dewa, Dewagoe 出羽超え.

The walk over the steep pass takes more than 3 hours. Basho hired a young guide to make sure he would not loose his way. From the top of the pass you can see Mount Gassan in the background.
After the dangerous crossing, Basho stayed with the rich merchant Seifu (Suzuki Michiyu), who had made his fortune with
Safflower, saffron flower (benibana, beni no hana) .

芭蕉山刀伐峠越の図高嶋祥光

Farmers wear a specially shaped straw hat, called "natagiri なたぎり(photo) , in the shape of this pass.

Ginzan Hot Spring, Ginzan Onsen 銀山温泉

This is one of the few hot springs near a silver mine. The workers used to go there and heal their wounds or just rest and relax after the hard work in the mines.

Basho might have stayed there to rest after crossing the pass, before walking on to Obanazawa.

Tendo (Tendoo) 天童
now famous for its Shogi 天童将棋.

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River Mogamigawa, Mount Gassan

The Three Mountains of Dewa used to be part of a famous pilgrimage, representing LIFE (Haguro), DEATH (Gassan) and NEW BIRTH (at Yudono).

"As I sat reflecting thus upon a rock, I saw in front of me a cherry tree hardly three feet tall just beginning to blossom - far behind the season of course, but victorious against the heavy weight of snow which it had resisted for more than half a year.
I immediatley thought of the famous Chinese poem about 'the plum tree fragrant in the blazing heat of summer' and of an equally pathetic poem by the priest Gyoson, and felt even more attached to the cherry tree in front of me. "
Station 30 - Gassan

At Mt. Gassan, Basho saw the Mountaintop Cherry blossoms, minezakura 嶺桜.
They flower much later than the ones down in the valley. That is why on Mt. Gassan you can experience the three ingredients of Japanese ascetics, Snow, Moon and Cherry blossoms, (Setsugetsuka, Setsugekka 雪月花) at the same time.
SETSUGEKKA, Japanese Art and the Japanese View of Nature
by Isamu Kurita, MOA

Basho went on to Mt. Yudono, where it is forbidden to talk about your experiences there. I visited there many years ago.
Dewa Sanzan; 'Three sacred mountains of Dewa'
Gabi Greve

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Some thoughts from Etsuko Yanagibori

Basho made a greeting ku for the ascetic Egaku at Haguro San

arigataya yuki o kaorasu kaze no oto

thanks
for the wind
with the smell of snow

He changed this later and this is the official haiku now.

arigataya yuki o kaorasu minamidani

Thanks
for Minamidani
smell of snow

The original haiku has a kigo for summer, kaze kaoru. Basho visited the temple in early summer, June 4th.

Yudono is a very sacred plate for the Godess of Dewa.
We can read a romantic interpretation from this haiku

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

no speaking
in the place of Yudono-den
wet my cuff

When people enter the place of the goddess to pray the god, they put off their
shoes and walk around the rock of the gods without talking.

the hidden haiku reading ...

no talking
in the bathroom with you
only my cuff a little wet

. . . . .

So holy a place
The snow itself is scented
At southern Valley.

How cool it is here.
A crescent moon faintly hovers
Over Mount Haguro.

kumo no mine ikutsu kuzurete tsuki no yama

The peaks of clouds
Have crumbled into fragments
The moonlit mountain

I cannot speak of
Yudono, but see how wet
My sleeve is with tears.
Tr. Donald Keene

source : Haguro Brochure

"tsuki no yama" this is also the name of the mountain itself
Gassan　月山.

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Tsuruoka and Kisakata 鶴岡　と　象潟
(Kisagata)

Yamagata, Tsuruoka Basho Memorial

Akita, Kisagata

SAKATA

Minden Nasu / Eggplants

mezurashi ya yama o Dewa no hatsu nasubi

Welche Überraschung!
aus den Heiligen Bergen von Dewa kommend
hier die ersten Augerginen

象潟や料理何くふ神祭
Kisakata ya ryoori nani kuu kami matsuri

Oh now Kisakata !
What special food do they eat
at the shrine festival?

Kisakata an einem Festtag!
Was es hier wohl für
Spezialitäten gibt?

Sora 曾良

. Sora, Kawai Sora 河合曾良 . (1649 - 1710)
Basho's companion on the way.

Kisakata is a superb place to take a leisurely countryside walk.
Kanmanji is surrounded by a sacred grove of old-growth laurel trees (tabunoki たぶのき【椨】 Persea thunbergii or Machilus thunbergii).
MORE : Basho in Kisakata

Yamagata, Yamadera 山寺立石寺

閑かさや岩にしみ入る蝉の声
shizukasa ya iwa ni shimiiru semi no koe

oh in this quietude
seeping into the rock
the voices of cicadas

. YAMAGATA - On the path of poets .

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Izumosaki, Oyashirazu, Ichiburi .. Kanazawa

Izumo saki, Izumozaki 出雲崎　is the birthtown of priest Ryokan.
Ryokan memorial day and Haiku

荒海や佐渡によこたふ天河
araumi ya Sado ni yokotau ama no kawa

O'er wild ocean spray,
All the way to Sado Isle
Spreads the Milky Way

Tr. Dorothy Britton

Sado Province, Sado Island, Japan

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Ariso Umi 有磯海 Arisoumi
. . . wase no ka ya wakeiru migi wa Arisoumi

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The difficult part of this journey, Oyashirazu 親不知　 (not minding your parents) and Koshirazu (not minding your children) , refers to an area along the coast between Niigata and Ichiburi where the mountains are right to the sea shore with their sheer cliffs. The waves drone against the base of the cliffs and the only way to get past this is to wait for the moment when the waves receede and then run for your life !

The grand old tree at Ichiburi

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Kurikara Pass 倶利伽羅峠

Kurikara means 'black dragon' in Sanskrit.
The temple Kurikara Fudo-son is located near Kurikara Pass, a place famous for the battle between the Heike Clan and Saso Yoshinaka during the 2nd year of the Eiju period (1183). The statue of Fudo Myo-O is said to be carved by Kobo Daishi.

CLICK for some photos here !

My Details are here
Kurikara, the Sword of Fudo Myo-o

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Komatsu ...... Natadera ..... Daishoji ..... Maruoka ..... Fukui

多太神社
Shrine Tada Jinja in Komatsu

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Tsuruga 敦賀 , Ogaki 大垣

Basho Memorial at Tsuruga

月いづく鐘は沈める海の底
tsuki izuku kane wa shizumeru umi no soko

. The mystery background story
of the bell at the bottom of the sea 　
(This haiku is not included in the Travelogue by Basho.)
Visit to the Shrine Kehi Jingu　気比神宮 with a haiku about the moon.

Oogaki
CLICK for some photos

Basho's travel with the wind (kaze no tabi) ends here in 1689.

Sora, who had left Basho earlier on the trip, had hurried to Ogaki to gather many haiku friends to celebrate the goal of the travels of Master Basho and make this a memorable ending of the long tour.

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The last haiku, written at Ogaki

蛤のふたみにわかれ行く秋ぞ
hamaguri no futami ni wakarete yuku aki zo

(like) a clamshell
divided in two we depart now
into this autumn . . .

. discussing : futami　二身 - 蓋身 two bodies .

. . . . .

At the end of the journey

Ukimido, 浮御堂 the Floating Hall and
Basho's Grave at Temple Gichu-Ji 義仲寺

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"The Narrow Road to the Deep North"
PDF-File
Translations by Haider A. Kahn and Tadashi Kondo

Reference : Oku no Hosomichi. Nobuyuki Yuasa

Beckoned by the cloud-scattering winds and Dōsojin, the male-female guardian god of the road, longing to see the moon rising over Matsushima, Matsuo Bashō (1644-1694) left Edo for Oku at the end of spring in the second year of Genroku (1689).

Roads of Oku: Travels in Japan
Reference : Utamakura: Storied Places
Dennis Kawaharada, 2011
(very extensive resource)

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Translation by Tim Chilcott
a PDF file.

Travels along the path of Matsuo Basho, Japan’s 17th-century haiku master, help bring his words to life.
On the Trail of a Ghost
©　National Geographic, Howard Norman, January 2008

Haiku by Matsuo, Basho, from "Narrow Road to Oku".
Dr. Donald Keene has generously given to me his permission to use his translation of the Basho's haiku.
I will be showing my haiga of all the haiku in "Narrow Road to Oku"
KUNI from Nara
source : seehaikuhere.blogspot.com

Walking with Basho in Japanese

「ゆるぱそ」ブログ　

Bashomichi
http://bashomichi.com/

Meishochi 名蕉地 100 famous spots walking with Basho
http://bashomichi.com/meisyouchi100/tokyo/

Morimura Seiichi sensei 森村誠一
芭蕉道への旅
http://bashomichi.com/tabi/morimuraseiichi/

http://www.bs-j.co.jp/okunohosomichi/

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Stamps about "Oku no Hosomichi"

Click the image for more !

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Related words

Chen-ou Liu about
. The Narrow Road to the Interior .

***** Basho Memorial Day (Basho-Ki)

***** Matsuo Basho　松尾芭蕉 (1644 - 1694)

***** NHK and Haiku

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. Michinoku, Mutsu 陸奥 region in Tohoku .

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08/11/2012

Genju-An

Basho stayed here after coming back from Oku no Hosomichi,
from Aprli 6 to July 23 in 1690

まづ頼む椎の木もあり夏木立
mazu tanomu shii no ki mo ari natsu kodachi

My temporary shelter,
a pasania tree is here, too,
in the summer grove.

Tr. by Peipei-Qiu
I don’t force myself to love idleness and solitude (kanjaku　閑寂), yet I am like a sick man who is weary of people, or a person who is tired of the world. How is it so? I have not led a clerical life, nor have I engaged in worldly undertakings; I am neither benevolent nor righteous. Ever since I was very young I have liked my eccentric ways, and once I made them the source of a livelihood, only temporarily I thought, I couldn’t put anything else in my mind and, incapable and talentless as I was, I have been bound to this single line of poetry.

In the poetry of Saigyô and Sôgi, the painting of Sesshû, and the tea of Rikyû, despite the differences of their talents, the fundamental principle is one. Without knowing, the autumn has half passed as I was pressing my back, rubbing my belly, and making a wry face. Human life is also like this, short as a brief dream. Again, I feel this must be what is meant by dwelling in unreality.

. yagate shinu keshiki mo miezu semi no koe .

It doesn’t look like
they will die in a short time—
the sounds of cicadas.

source : Basho-and-the-Dao - Peipei-Qiu

under construction
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quote
Genjuan no ki
Beyond Ishiyama, with its back to Mount Iwama, is a hill called Kokub-uyama-the name I think derives from a kokubunji or government temple of long ago. If you cross the narrow stream that runs at the foot and climb the slope for three turnings of the road, some two hundred paces each, you come to a shrine of the god Hachiman. The object of worship is a statue of the Buddha Amida. This is the sort of thing that is greatly abhorred by the Yuiitsu school, though I regard it as admirable that, as the Ryobu assert, the Buddhas should dim their light and mingle with the dust in order to benefit the world. Ordinarily, few worshippers visit the shrine and it's very solemn and still. Beside it is an abandoned hut with a rush door. Brambles and bamboo grass overgrow the eaves, the roof leaks, the plaster has fallen from the walls, and foxes and badgers make their den there. It is called the Genjuan or Hut of the Phantom Dwelling. The owner was a monk, an uncle of the warrior Suganuma Kyokusui. It has been eight years since he lived there-nothing remains of him now but his name, Elder of the Phantom Dwelling.

I too gave up city life some ten years ago, and now I'm approaching fifty. I'm like a bagworm that's lost its bag, a snail without its shell. I've tanned my face in the hot sun of Kisakata in Ou, and bruised my heels on the rough beaches of the northern sea, where tall dunes make walking so hard. And now this year here I am drifting by the waves of Lake Biwa. The grebe attaches its floating nest to a single strand of reed, counting on the reed to keep it from washing away in the current. With a similar thought, I mended the thatch on the eaves of the hut, patched up the gaps in the fence, and at the beginning of the fourth month, the first month of summer, moved in for what I thought would be no more than a brief stay. Now, though, I'm beginning to wonder if I'll ever want to leave.

Spring is over, but I can tell it hasn't been gone for long. Azaleas continue in bloom, wild wisteria hangs from the pine trees, and a cuckoo now and then passes by. I even have greetings from the jays, and woodpeckers that peck at things, though I don't really mind-in fact, I rather enjoy them. I feel as though my spirit had raced off to China to view the scenery in Wu or Chu, or as though I were standing beside the lovely Xiao and Xiang rivers or Lake Dongting. The mountain rises behind me to the southwest and the nearest houses are a good distance away. Fragrant southern breezes blow down from the mountain tops, and north winds, dampened by the lake, are cool. I have Mount Hie and the tall peak of Hira, and this side of them the pines of Karasaki veiled in mist, as well as a castle, a bridge, and boats fishing on the lake. I hear the voice of the woodsman making his way to Mount Kasatori, and the songs of the seedling planters in the little rice paddies at the foot of the hill. Fireflies weave through the air in the dusk of evening, clapper rails tap out their notes-there's surely no lack of beautiful scenes. Among them is Mikamiyama, which is shaped rather like Mount Fuji and reminds me of my old house in Musashino, while Mount Tanakami sets me to counting all the poets of ancient times who are associated with it.

Other mountains include Bamboo Grass Crest, Thousand Yard Summit, and Skirt Waist. There's Black Ford village, where the foliage is so dense and dark, and the men who tend their fish weirs, looking exactly as they're described in the Man'yoshu. In order to get a better view all around, I've climbed up on the height behind my hut, rigged a platform among the pines, and furnished it with a round straw mat. I call it the Monkey's Perch. I'm not in a class with those Chinese eccentrics Xu Quan, who made himself a nest up in a cherry-apple tree where he could do his drinking, or Old Man Wang, who built his retreat on Secretary Peak. I'm just a mountain dweller, sleepy by nature, who has turned his footsteps to the steep slopes and sits here in the empty hills catching lice and smashing them.

Sometimes, when I'm in an energetic mood, I draw clear water from the valley and cook myself a meal. I have only the drip drip of the spring to relieve my loneliness, but with my one little stove, things are anything but cluttered. The man who lived here before was truly lofty in mind and did not bother with any elaborate construction. Outside of the one room where the Buddha image is kept, there is only a little place designed to store bedding.

An eminent monk of Mount Kora in Tsukushi, the son of a certain Kai of the Kamo Shrine, recently journeyed to Kyoto, and I got someone to ask him if he would write a plaque for me. He readily agreed, dipped his brush, and wrote the three characters Gen-ju-an. He sent me the plaque, and I keep it as a memorial of my grass hut. Mountain home, traveler's rest-call it what you will, it's hardly the kind of place where you need any great store of belongings. A cypress bark hat from Kiso, a sedge rain cape from Koshi-that's all that hang on the post above my pillow. In the daytime, I'm once in a while diverted by people who stop to visit. The old man who takes care of the shrine or the men from the village come and tell me about the wild boar who's been eating the rice plants, the rabbits that are getting at the bean patches, tales of farm matters that are all quite new to me. And when the sun has begun to sink behind the rim of the hills, I sit quietly in the evening waiting for the moon so I may have my shadow for company, or light a lamp and discuss right and wrong with my silhouette.

But when all has been said, I'm not really the kind who is so completely enamored of solitude that he must hide every trace of himself away in the mountains and wilds. It's just that, troubled by frequent illness and weary of dealing with people, I've come to dislike society. Again and again I think of the mistakes I've made in my clumsiness over the course of the years. There was a time when I envied those who had government offices or impressive domains, and on another occasion I considered entering the precincts of the Buddha and the teaching rooms of the patriarchs. Instead, I've worn out my body in journeys that are as aimless as the winds and clouds, and expended my feelings on flowers and birds. But somehow I've been able to make a living this way, and so in the end, unskilled and talentless as I am, I give myself wholly to this one concern, poetry. Bo Juyi worked so hard at it that he almost ruined his five vital organs, and Du Fu grew lean and emaciated because of it. As far as intelligence or the quality of our writings go, I can never compare to such men. And yet we all in the end live, do we not, in a phantom dwelling?
But enough of that-I'm off to bed.

Among these summer trees,
a pasania-
something to count on

From the Country of Eight Islands. New York: Columbia University Press, 1960. - tr. by Nobuyuki Yuasa
source : terebess.hu

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quote
Genjuan no Ki: Basho's Phantom Hut
Matsuo Basho (1644-1694) is best known for standardizing the formula and art of the haiku in Japanese poetry, which he mastered. His haiku are read as individual poems, though he wrote them in the context of several travel journals as an itinerant influenced by Zen Buddhist philosophy in a culture that intensely valued literary expression.

Basho's wry and personable journals include Journals of a Weather-Beaten Skeleton, Notes in My Knapsack, and Narrow Road to the Far North. But perhaps his most famous travel piece is a brief narrative of his last dwelling place, Genjuan no Fu, translated by Burton Watson as "Record of the Hut of the Phantom," and by Donald Keene more evocatively as "The Unreal Dwelling."

Like Chomei before him, Basho's piece is the work of a world-weary observer of vanity, pretension, and human folly. He is sensitive to nature and the cycle of the seasons, honest and content with himself. There is no hint of a tumultuous life or a bitter maturity. The refreshing candor of Basho is not mingled with the social commentary of Chomei.

My body, now close to fifty years of age, has become an old tree that bears bitter peaches, a snail which has lost its shell, a bagworm separated from its bag. It drifts with the winds and clouds that know no destination.

This formulaic modesty, necessary for the cultivator of solitude, opens the narrative , quickly followed by a description of the hut where he now lives. The little thatched dwelling is perched on a mountainside next to an old shrine "which so purifies my senses that I feel cleansed of the dust of the world."

The hut was the retreat of a warrior who likewise had abandoned the world years before, and now the hut stands abandoned "at the crossroads of unreality."

The stands in an idyllic setting between two mountains, as Basho elaborates:

From the lofty peaks descends a fragrant wind from the south, and the northern wind steeped in the distant sea is cool. It was the beginning of the fourth moon when I arrived, and the azaleas were still blossoming. Mountain wisteria hung on the pines. Cuckoos frequently flew past, and there were visits from the swallows.

Basho compares the view to a scene from China. He can see lofty pine forest shrouded in mist and can glimpse a castle. One mountain reminds him of Fuji and an old cottage in which he once lived. On the other mountain, Basho constructed a look-out he calls a monkey perch, where he can spread out a straw mat and enjoy a spectacular view -- and pick lice.

Simplicity, even austerity, are hallmarks of the Japanese Zen hermits, and Basho is pleased that the former occupant of the hut had "most refined tastes and did not clutter up the hut even with objects of art." The hut is a single room with a niche for a household shrine and another for hanging nightclothes. A plaque over the latter niche describes the hut in a single brushstroke: "Unreal Dwelling."

Having lived an itinerant life in the company of other like-minded poets, Basho still enjoys a little socializing. Of course, the villagers are farmers, not poets. They talk of rice planting and rabbits in their plots, and a noisome boar. When more sophisticated visitors find him the night is passed in quiet conversation, moon-watching.

Basho has no regrets for past mistakes - chasing after government office in his youth, not having become a formal Zen monk when he had the chance, or thinking he could match the two great Chinese poets, Po Chu-i and Tu Fu, who shaped his own sensibilities.

In this hut where I live as a hermit, as a passing traveler, there is no need to accumulate household possessions. ... But I should not have it though from what I have said that I am devoted to solitude and seek only to hide my traces in the wilderness. Rather, I a m like a sick man weary of people, or someone who is tired of the world.. What is there to say? ... I labor without results, am worn of spirit and wrinkled of brow. Now, when autumn is half over, and every morning and each evening brings changes to the scene, I wonder if that is not what is meant by dwelling in unreality. And here too I end my words.

What more is there to say? The characteristic self-effacement of Japan's greatest poets testifies to his simple wisdom: that we all, at every moment of our lives, are dwelling in a phantom hut, an unreal dwelling. He leaves us a haiku, though not his last one, for he dies (at fifty) four years later)....

Among these summer trees,
a pasania --
something to count on.

(The pasania is a majestic and ancient tree with spreading trunk and splendid canopy, hence "something to count on.")
source : www.hermitary.com

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An Authentic Portrait of Bashō (Bashō Shōzō Shinseki)
Painted by Watanabe Kazan

source : tokyo metropolitan museum

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quote
In Search of the Plum’s Fragrance
(A Brief Examination of Hermitage Literature)
by Marjorie A Buettner
. . . . .
... Sometimes this idea of a hermetic life becomes a permanent way of living: “my heart in middle age found the way, / and I came to dwell at the foot of this mountain.” (Wang Wei (699-759) Basho (1644-1694), inspired no doubt by Saigyo (1118-1190), had many huts throughout the end of his life: “The Basho Hut” (1680-83), the “Unreal Hut” or “Hut of the Phantom Dwelling” (1690) near Lake Biwa, and additionally the “House of Fallen Persimmons” 1691, (a country house of his disciple Mukai Kyorai in Saga where he wrote The Saga Diaries and The Monkey’s Cloak). In 1692 Basho returned finally to the newly rebuilt hut by the Sumida River after the original one burned down. Basho craved that thatched hut on a mountain side “which so purifies my senses that I feel cleansed of the dust of the world.” (from Records of the Hut of the Phantom Dwelling) When cleansed of the dust of the world the poet is then able to attune himself to the universe:

... And even though Basho compares his “phantom hut” to the nest of the grebe (a water bird that attaches its floating home to a reed so that it will not be washed away), the hermit-poet adapts, survives, and thrives knowing that all of our huts, all of our homes are built of the same fragile material, the same material of which dreams are made.

“In this hut where I live as a hermit, as a passing traveler, there is no need to accumulate household possessions . . . But I should not have it though from what I have said that I am devoted to solitude and seek only to hide my traces in the wilderness. Rather, I am like a sick man weary of people, or someone who is tired of the world. What is there to say? I labor without results, am worn of spirit and wrinkled of brow. Now, when autumn is half over, and every morning and each evening brings changes to the scene, I wonder if that is not what is meant by dwelling in unreality. And here too I end my words.”
(Basho from Record of the Hut of the Phantom Dwelling)
source : Simply Haiku 2012

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夏草や我先達ちて蛇狩らん
natsukusa ya ware sakidachite hebi karan

summer grass -
I will go first
and hunt for snakes
Tr. Gabi Greve

Written in 1690 元禄3年4月16日

Snakes were a common sight at the hermitage. Basho is inviting a friend to come and have a look. Basho is sure to catch a snake or two in the grass to boast with his catch.
A hokku with a light touch.

On the same day, he also wrote the following:

夏草に富貴を飾れ蛇の衣
natsukusa ni fuuki o kazare hebi no kinu

in the summer grass
what a precious decoration -
the skin of a snake
Tr. Gabi Greve

This time Basho was lucky to find the skin of a snake in the grass.

. WKD : snake skin, hebi no kinu 蛇の衣 .
kigo for early summer

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「石山の奥、岩間のうしろに山あり、国分山といふ」

quote
... It is called Genjuan, or Hut of the Phantom Dwelling.
The owner was a monk, an uncle of the warrior Suganuma Kyokusui.
It has been eight years since he lived there - nothing remains of him now but his name, Elder of the Phantom Dwelling.

Tr. Haruo Shirane
source : books.google.co.jp

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Suganuma Kyokusui 菅沼曲水
had offered the 幻住庵 Genju-An to Basho, in the name of 勇士曲水.
His name is also written 曲翠. also 外記, 馬指堂
His exact dates are not known. ～享保二年（? - 1717)
or 享保2年7月20日 (1659 - 1717)

His name was 菅沼定常,, an official of the Zeze domaine 膳所藩 in Omi.
He became a disciple of Basho during one of his stays in Edo.

The Genju-An was the hermitage of his grandfather, 菅沼修理定知.

In 1717 he killed the chief senior retainer of his domaine, Soga Gondayu 曽我権太夫, because Gondayu had been dishonest with the domaine affairs, but was difficult to bring to trial.
So Kyokusui killed him (without official trial) with one hit of his spear.
To attone for this deed, he then commited seppuku suicide himself.
His grave is at the temple 義仲寺 Gichu-Ji.

When Kyokusui was out of town on domaine business, his younger brother Dosui took good care of Master Basho.

. Takahashi Dosui 高橋怒誰 .
(? - 1743)

. Basho and - Gichuuji 義仲寺 Temple Gichu-Ji - .

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To thank his host for a barrel of sake to celebrate the New Year, Matsuo Basho wrote

なかなかに心をかしき臘月哉
naka naka ni kokoro okashiki shiwasu kana

here and now
I feel quite at ease -
Twelfth Month

shiwasu 師走 - The Japanese is a pun on SHI HASU 師走, calling the monks together to read the sutras for the End of the Year.
In the last month of the year, everyone is usually busy with preparations, but Basho is quite comfortable in his lodging.

Written in 1692, Genroku 元禄5年12月

. WKD : December, "end of year month", shiwasu 師走 (しわす) .
roogetsu 臘月（ろうげつ）"month holding the years together"

MORE - about - kokoro こころ　－　心　 "heart", mind, soul -
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .

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埋火や壁には客の影法師　
uzumi-bi ya kabe ni wa kyaku no kagebooshi

banked charcoal—
against the wall,
the guest’s shadow
Tr. Barnhill

MORE - about charcoal and discussion about this poem -
Another explanation is a visit by his friend Kyokusui 曲水 and both of them sit around the fireplace.
In this case the kage shadow is Kyokusui's.

. Matsuo Basho 松尾芭蕉 - Archives of the WKD .

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. - Suganuma Gon-emon 菅沼権右衛門 - Koogetsu 菅沼耕月 Kogetsu - .

. Matsuo Basho Travelling 松尾芭蕉 .

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[ . BACK to WORLDKIGO . TOP . ]

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06/11/2012

His Works

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- His Work -

under construction

. Timeline of his life .

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hyperlinks to the WKD

- - - - - ABC order

Arano あら野 (Wasteland) (1689)

Bashō no Utsusu Kotoba (On Transplanting the Banana Tree)

Betsuzashiki (The Detached Room)

Edo Sangin (江戸三吟) (1678)

Fukagawa Shū (Fukagawa Anthology)

Fuyu no Hi　冬の日 (Winter Days) (1684)

- Genjuuan　Ki 幻住庵記 Genju-an Records -
(1690)
Hut of the Phantom Dwelling
Unreal Hut
Hut of the Unreal Dwelling

Haru no Hi 春の日　(Spring Days) (1686)

. Heikan no Setsu 閉関の説 On Seclusion (1692 / 1963).

Hisago (The Gourd) (1690)

Inaka no Kuawase (田舎之句合) (1680)

. Juuhachiro no Ki 十八楼ノ記 Tower of Eighteen .
Juhachiro no Ki (1688)

. Kai Ōi (The Seashell Game) .
(1672) Kai Oi
kite mo miyo jinbe ga haori hanagoromo
meoto jika ya ke ni ke ga soroute ke muzukashi

. - Kashima Kikoo 鹿島紀行 - A Visit to the Kashima Shrine . (1687)
Kashima Mairi 鹿島詣 - Kashima Moode 鹿島詣 Kashima Mode - A Pilgrimage to Kashima.

Kawazu Awase 蛙合　(Frog Contest) (1686)
. Compiled by Senka 仙化 .

. Komojishi Shuu 薦獅子集 / Hasui Edition 巴水編 (1693) .
Record of hokku offered at Sumiyoshi Shrine 住吉神社.
Hasui is a disciple from Kanazawa.

. Minashiguri 虚栗 "A Shriveled Chestnut" .
(1683)

. Momi suru Oto 籾する音 The Sound of Hulling Rice .
(1684)

. Nozarashi Kikō 野ざらし紀行　Record of a Weather-Exposed Skeleton .
(1684) Nozarashi Kiko

. Oi no Kobumi 笈の小文 .
or Utatsu Kikō - Record of a Travel-Worn Satchel (1688)

. Oku no Hosomichi 奥の細道 Narrow Road to the Interior .
(1689)

. Saga Nikki 嵯峨日記 Saga Diary .
(1691)

. Sarashina Kikō 更科紀行 - 更級紀行 Sarashina Kiko
A Visit to Sarashina Village.

. Sarumino 猿蓑 The Monkey's Raincoat .
(1691)

Sumidawara 炭俵　(A Sack of Charcoal)
Japanese : itoyo/basho

. Ubune 鵜舟 Cormorant Fishing Boat .
(1688) 元禄1年

. Ume Ga Ka 梅が香 Plum Blossom Scent. 　
(1694)

Tokiwaya no Kuawase (常盤屋句合) (1680)

Tōsei Montei Dokugin Nijū Kasen (桃青門弟独吟廿歌仙) (1680

Zoku Sarumino (The Monkey's Raincoat, Continued) (1698)
- - - Seven Major Anthologies of Bashō (Bashō Shichibu Shū 芭蕉七部集)

. Saigo no Tabi 芭蕉最後の旅 His Last Trip .

1787 - edited by Juko and Ryusa
. - Moto no Mizu もとの水 - 句集 -　A Hokku Collection - .
A collection of about 180 poems attributed to Basho.

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1726
. - Nijugoo kajoo 二十五箇条 On Haikai: Twenty-Five Points - . 芭蕉翁廿五箇条
- - - - - hakuba kyoo 白馬経 "Sutra of the White Horse"
Published by Kagami Shikoo 各務支考 Shiko

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- - - - - External LINKS

- Reference - WIKIPEDIA !

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Shoomon Disciples

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Basho jittetsu 芭蕉十哲 (ばしょうじってつ)
shoomon jittetsu 蕉門十哲

The 10 most important disciples of Matsuo Basho

source :　gyokueido.jimbou.ne
Painting by Toyoaki 豊秋舎亀泉

始に｢神無月のはじめ空さだめなきけしき身は風葉の行末なき心地して｣、各句
｢旅人と我名よばれんはつ時雨　芭蕉｣
｢笠捨てて　塚をめぐるや夕しぐれ　北枝｣
｢うらやましおもひきるとき猫の恋　越人｣
｢葉かくれてみても蕣の浮世かな　野坡｣
｢山吹も巴も出田植かな　許六｣
｢春の夜は誰かはつ瀬の堂こもり　曾良｣
｢雪曇り身の上をなく嘉羅寿かな　丈草｣
｢蒲団着て寝たるすがたや東山　嵐雪｣
｢歌書よりも軍書に悲しよしの山　支考｣
｢須磨の浦うしろに何を閑古鳥　其角｣
｢魂棚の奥なつかしや親の顔　去来｣

Enomoto Kikaku 榎本其角
Hattori Ransetsu 服部嵐雪
Mukai Kyorai 向井去来
Morikawa Kyoroku 森川許六
Kagami Shiko　(Kagami Shikoo) 名務支考
Naito Joso (Naitoo Joosoo) 内藤丈草
Ochi Etsujin 越智越人
Shida Yaba 志田野坡
Sugiyama Sanpuu 杉山杉風 Sanpu, Sampu.
Sora, Kawai Sora 河合曾良
Tachibana Hokushi 立花北枝

They all have an entry in their own name in the WKD:
. WKD : Introducing Japanese Haiku Poets .

. Iga Shoomon 伊賀蕉門 Basho students of Iga province.

Haiseiden 俳聖殿 Haisei-Den Hall of the Haiku Saint
near Iga Ueno Castle, with a life-size statue of Basho

The Haisei-den, the great haiku poet's hall,
was built inside Ueno-koen Park in 1942 to commemorate the 300th anniversary of his birth. The building itself is shaped like the figure of Basho attired in a traveling clothes. The round roof symbolizes his sedge hat, the octagonal eaves his surplice, the pillar is his cane, and the frame of the Haisei-den is in the shape of his face. Other Basho-related facilities include the Minomushi-an, or bagworm hermitage, and the venerable Basho Memorial Hall, Basho Kinen-kan Museum.
source :　www.jnto.go.jp

shoomon 蕉門 Shomon, Basho students, Basho's school
shoofuu 蕉風 Shofu, Basho-style haiku

.- Disciples from Kanazawa　金沢 - .

Karumi occupies a very important position in the development of what is known as Shofu, or the style of the Basho School.
Karumi
Matsuo Basho's Ultimate Poetical Value, Or was it?
. WKD : Essay by Susumu Takiguchi .

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俳句αあるふぁ:２０１２年１２−２０１３年１月号
source :　mainichi.jp/feature

There are the 10 most important disciples
and then there are 70 more to come.

under construction

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Some concepts that Basho introduced to his disciples:

bonga ichinyo 梵我一如 (Aham Brahma Asmi, I am Brahman)
as written in the Bhagavad Gita
butsuga ichinyo 仏我一如 "the Buddha and I are one"

butsuga ichinyo 物我一如 'object and self are one'
- Read Haruo Shirane -

fueki ryuukoo, fueki ryûkô 不易流行 Fueki ryuko - permanent values and change, the unchanging and the fluid

fuukyoo 風狂 Fukyo - poetic eccentricity, arbiter of taste, connoisseur
fuuryuu 風流 Furyu - 'wind and stream', 'in the way of the wind and stream'. elegant, accomplished

fuu 諷 allegoric reference
..... fuuei 諷詠 poetic composition
..... soeuta 諷歌, soeku 諷句 suasive poem

guugen 寓言 parable, "imputed words"
guugensetsu　寓言説　parabolical phraseology

koogo kizoku 高悟帰俗 Kogo kizoku - "obtaining high enlightenment but coming back to the populace", awakening to the lofty and coming back to the common

mujoo　無常　(mujo) heartless, without feeling. Impermanence.
Implies detachment and distance between object and poet. the mujo (transience) of life

sanshi kyuushi 三思九思 think three times, then thing nine times, before uttering something important.

shizen mu-i 自然無為　Shizen Mui - Mui Shizen 無為自然 abandoning artifice and just being oneself, naturalness and non-interference
(The concept of SELF in Zen Buddhism : jibun　自分　"myself" is short for -
shizen no bunshin　自然の分身 -I am the same as nature - nature is the same as me. In an extended interpretation
"I am part of the zooka, zooka　造化 is a part of myself, the human being in its cultural environment."

shigen しげん　goblet words
shooyooyuu 逍遥遊 Shoyoyu - carefree wandering

. zooka, zōka 造化 Zoka - Creation (and transformation) .
the marvels of nature

quote
- - - Kyorai records:
The Master said that some haikai styles remain unchanging for thousands of years while others are fluid with the passing of time. Although these two are spoken of as opposite sides, they are one at the base.
“They are one at the base” means that both are based on the sincerity of poetry (fûga no makoto). If one does not understand the unchanging, his poetry has no base; if one does not learn the fluid, his poetry has no novelty. He who truly understands the fluid will never stop moving forward. He who excels at a transitory fashion can only have his verse meet a momentary taste; once the fashion changes, he becomes stagnated.

- - - Hattori Dohô records:
The Master’s poetry has both the unchanging (fueki) that remains for thousands of years and the ever-changing (henka) that lasts only momentarily. These two, in the final analysis, are one at the base. This “one at the base” is the sincerity of poetry (fûga no makoto).

If one does not understand what the unchanging is, one cannot understand the sincerity of poetry. The unchanging does not depend on the old or the new, nor is it affected by changes and fashions; it is firmly rooted in the sincerity of poetry. Looking at the poetry of poets from different generations, one finds it changes with each generation. Yet, there are many poems that stay beyond the old and the new, many poems that are as deeply touching to us as they were in the eyes of ancients. These belong to the unchanging poetry one should understand.

On the other hand, it is the rule of the Natural (ji’nen　自然) that everything undergoes countless changes and transformations. If haikai does not go through changes, it cannot be renewed. If one does not seek change, one can only gain popularity in a transitory fashion, but never reach the sincerity of poetry.

Those who are not determined to pursue the sincerity of poetry cannot grasp the change rooted in it. They can only follow behind the footsteps of others. Those who pursue sincerity never stop at where they have arrived and naturally step forward. No matter how many changes and varieties haikai may have in the future, if it is change rooted in sincerity, it belongs to the Master’s poetic tradition.
The Master said:
“Don’t ever lick the dregs of the ancients. All things constantly renew themselves as the shifts of four seasons, and this is true of haikai.”

“The Master said:
‘The changes of Heaven and earth are the seeds of poetry.’
What is still is the stance of unchanging (fuhen). What is in motion is change (hen).” Kyorai compares fueki and ryûkô to inaction and movement; Dohô defines fuhen and hen as “what is still” and “what is in motion.”
Both pairs of terms find their parallels in the Zhuangzi.

Fueki and ryûkô represent the dialectic aspects of Bashô’s poetics of the Natural, which constitutes the substance of the “sincerity of poetry.” The ambiguous terms Kyorai and Dohô use, in this context, are logically meaningful: “inaction” and “stillness” designate the constant principle of the Natural and the noninterference with its expression in poetic creation, and “movement” and “motion” the adherence to the ever-changing nature of the universe and to its novel manifestations in poetry.

MORE
source : Basho-and-the-Dao - Peipei-Qiu

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Basho taught his disciples:

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

". . . behold the clouds over the east bank of the Yangzi River
when you are looking at the moon above the Kasai shore. "

The "East Bank of the Yangzi River" refers to Huiji, where Li Bo spent time composing poetry.

. Chinese roots of Japanese kigo .

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On composing haiku the Master once commented:
“If you get a flash of insight into an object,
put it into words before it fades away in your mind.”
He also said: “
Toss out the feeling to the surface of your poem.”

These teachings mean that one should set his poetic feeling into form instantly after he gets into the realm, before the feeling cools off.
In composing haiku there are two ways: “becoming” and “making”.
When a poet who has always been assiduous in pursuit of his aim applies himself to an external object, the color of his mind naturally becomes a poem. In the case of a poet who has not done so, nothing in him will become a poem; he, consequently, has to make out a poem through the act of his personal will.8
source : terebess.hu

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MUJO
The basic tenet of Buddhism, that of mujo, or impermanence, is naturally reflected in most haiku, Chiyo-ni's as well. This follows Basho's edict on the importance of becoming one with nature and capturing its fleeting quality. Althought every culture have an awareness of the mutability of life, in Japanese culture there is language for it that is both artistic and religious.

Mujo embodies people's thinking and is an aesthetic term pervarding the poetry as well. Perhaps the cataclysmic naature of Japanese archipelago - with its head quarters, tidal waves, and volcanic eruptions - made people more acutely aware of the passing of things. This awareness became a natural part of haiku, in a poignant way. Haiku, which usually refers to nature, depicts it not as "fallen", as in the West, but transient; there is an acceptance and appreciation of its evanescence.
In Japanese aesthetics this is called "aware", or sad beauty.
source : Julia Manach -

. WKD : Japanese aesthetics .

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俳人百家撰 - 100 Haikai Poets

Click the image for more !

Genroku (元禄) was a Japanese era name after Jōkyō and before Hōei.
This period spanned the years from 1688 through 1704.
Matsuo Basho died in 1694 - Genroku 7 元禄7.
. Genroku Haikai Poets 元禄俳諧.

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. Ishikawa Senten 石川山店 .
dates unknown

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External LINKS

蕉門十哲 with more names considered to be
the IMPORTANT disciples
Amano Toorin 天野桃隣（あまのとうりん）
Hirose Inen 広瀬惟然（ひろせいねん）
Hattori Tohoo 服部土芳（はっとりとほう）

or

以下のような説もある。

俳人百家撰（与謝蕪村・編）:
其角、嵐雪、去来、丈草、支考、北枝、許六、曾良、野坡、越人
芭蕉と蕉門十哲図（對雲・筆）:
其角、嵐雪、去来、丈草、支考、北枝、許六、曾良、野坡、杉風
芭蕉と蕉門十哲図（南峯・筆）:
其角、嵐雪、去来、丈草、支考、北枝、許六、曾良、越人、杉風

©　More in the Japanese WIKIPEDIA !

山口素堂と松尾芭蕉の俳論 Yamaguchi Sodo
source : haikaisi basyou

. - Yamaguchi Sodoo 山口素堂 Yamaguchi Sodo - (1642 - 1716) .

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蕉風俳諧の成立 Shoofuu Haikai no Seiritsu

俳諧は、江戸時代の始めに、遊びや滑稽を旨として、ことば遊びとして普及しました。
先の人の作った上の句(発句といった)に、次の人が下の句を付ける連歌から始まり、発句だけを独立して作るようになります。
俳諧はやがて経済的実力を高めた上層の町人や農民にも広まってゆきました。

16世紀の終わり頃、松尾芭蕉は、滑稽の俳諧から離れて、さび、しおり、ほそみ、などの考え方を取り入れ、幽玄閑寂な風を作りだしました。これによって、発句は文学に高められました。
芭蕉の「蕉風の俳諧」は、急速に全国に広まりました。

立花北枝と加賀俳壇
千代女以前の松任俳壇
千代女のおいたち
千代女の師　北潟屋大睡
加賀俳壇と女流俳人
- - - - - and more
source : haikukan.city.hakusan.ishikawa.jp

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Yosa Buson 　与謝蕪村　wrote

"Basho once gone,
we have no master to teach us,
whether the year begins or ends."

芭蕉去てその後いまだ年暮れず
Basho satte sono nochi imada toshi kurezu - Basho sarite

Since Basho left the world,
Not yet has
"The year drawn to its close."

"Rushing along in the road to fame and riches, drowning in the sea of desire, people torture their ephemeral selves. Especially on New Year's Eve their behavior is unspeakable. Despicably walking about knocking at doors, treating everyone with contempt unnecessarily, insanely vulgar behavior, and so on, is not decent. Even so, we foolish mortals can hardly escape from this world of dust and sin.

The year draws to its close;
I am still wearing
My kasa and straw sandals.

Reading this poem quietly in a corner of the room, my mind becomes clear; were I living Basho's life, how good it would be! The verse is uplifting to me, and it may be called a Great Rest-and-Enlightenment as far as I am concerned.

Basho once gone,
we have no master to teach us,
whether the year begins or ends."

Basho, the traveller :
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .

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. Matsubaya Fuubaku 松葉屋風瀑 Fubaku - Ise　伊勢　.
and 伊勢屋　Iseya in Edo

. Edo Haikai 江戸俳諧　Basho disciples in Edo .
Bokuseki　卜尺
Fukaku　不角
Ikeda Rigyuu 池田利牛 Rigyu
Kikaku, Enomoto Kikaku (1661-1707) Takarai Kikaku
Koizumi Kooku 小泉孤屋
Kusakabe Kyohaku 草壁挙白
Murata Toorin 村田桃隣 Torin
Ogawa Haritsu 小川破笠
Ooshuu 奥州 Oshu
Ranran　嵐蘭
Ransetsu, Hattori Ransetsu (1654-1707)
Senbo せんぼ　？
Shisan 子冊 ?
Shiyoo　子葉
Sora, Kawai Sora 河合曾良 (1649 - 1710)
Sooha　宗波
Sugiyama Sanpu 杉山杉風 (Sampu) （1647 - 1732）

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under construction

. WKD : Tachibana Hokushi .

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[ . BACK to WORLDKIGO . TOP . ]

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02/11/2012

- Timeline -

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- Timeline of Basho's Life 　松尾芭蕉　 -

Hyperlinks to
. His Works - Archives .

under construction

The dates vary considerably,
according to the lunar months or the modern calendar.

Basho Stamp at Tokyo Station

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寛永21年（1644年） - 元禄7年10月12日（1694年11月28日）
Basyo Matuo, Baseo Matuo 　1644-1694.10.12

1644 - Kanei 21 寛永21 Born in Iga, Ueno.

1655 - Meireki 明暦 1

1656 - Death of his father. He becomes a samurai-servant to Todo Yoshitada, the "Cicada poet"..

1659 - Manji 万治 1

1661 - Kanbun 寛文 1

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

1662 or 1663 寛文二年
His first known hokku at age 19:

春や来し年や行きけん小晦日
haru ya koshi toshi ya yukiken kotsugomori

has spring come
or has the year gone?
second-to-last-day
Tr. Barnhill

what is spring that came
or was it the year that went?
the Second Last Day
Tr. Ueda

Ist das Frühjahr gekommen
oder das Jahr vergangen?
Der vorletzte Tag.
Tr. Udo Wenzel

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

1666
Death of his young master
. Sengin 蝉吟 "Cicada poet" .
Todo Yoshitada Shinshichiro

1672 - Kanbun 12 寛文12
Kai Ōi 貝おほひ　The Seashell Game (1672)

1673 - Enpoo 延宝1 Enpo

1676
Edo Ryoogin Shuu 江戸両吟集 Two Poets in Edo
linked verse

1677 - 延宝5
Works for the Waterwork Department of Edo for four years.
. Basho and Sora .

1678 - Enpoo 6 延宝6 Enpo 8
Edo Sangin (江戸三吟)

1678 - 延宝6 (some sources quote 1677)
He becomes a free-lance haikai master. 頃俳諧宗匠として立机

1679 - Enpoo 7 延宝7 New Year

発句なり松尾桃青宿の春
. hokku nari Matsuo Toosei yado no haru .
this is a hokku -
Matsuo Tosei's
home on New Year

1679 - Enpoo 7 延宝7
He becomes a koji 居士 Buddhist Lay Monk.

1680 - Enpoo 8 延宝8
Inaka no Kuawase 田舎之句合 (1680)
Tōsei Montei Dokugin Nijū Kasen 桃青門弟独吟廿歌仙 (1680)
Tokiwaya no Kuawase 常盤屋句合 (1680)

1681 - 延宝9
A banana tree is planted, the Bashooan 芭蕉庵 Basho-An hermitage is born.
. - Bashō-An, 芭蕉庵 Basho-An in Fukagawa　深川　- .
The Basho-An burns down in 1683.
He studies Zen with Master Butchoo 仏頂和尚 Butcho (1643– 1715).
He studies Chinese Taoism.
. Basho and Daoism .

1681 - Tenna 天和1 from the 9th month

1683 - Tenna 3, Tenwa 3天和3
Minashiguri 虚栗 "A Shriveled Chestnut"
His mother in Ueno died.

1684 - Tenna 4 天和4
Nozarashi Kikō 野ざらし紀行　Record of a Weather-Exposed Skeleton
*Fuyu no Hi (Winter Days, The Winter Sun) (1684)

1684 - Jyookyoo 貞享 Jokyo from the second month

1685 - 貞亨2
Visit to Iga Ueno, his hometown.

1686 - Jookyoo 3 貞亨3 貞享 - Jokyo 3
Haru no Hi 春の日　Spring Days (1686)*
Kawazu Awase かわず合せ　Frog Contest (1686)

1687 - Jokyo 4 貞亨4
Kashima Kikō、Kashima Mairi 鹿島参り　A Visit to Kashima Shrine
He visits his old Master Butcho.

1688 - Jokyo 5 貞亨5
Oi no Kobumi　笈の小文, or Utatsu Kikō (Record of a Travel-Worn Satchel) (1688)
Sarashina Kikō 更科紀行 A Visit to Sarashina Village

- Genroku started in the 9th month of 1688

1689 - Genroku 2 元禄2
Arano (Wasteland) (1689)*

He leaves for "Oku no Hosomichi"奥の細道
on the 27th day of the 3rd lunar month and comes back
on the 6th day of the 9th lunar month.
元禄2年3月27日 - 9月6日

1690 - Genroku 3 元禄3
Hisago 瓢　The Gourd (1690)*
He lives in Genjuuan 幻住庵 "The Unreal Hut" and writes his diary　幻住庵記
Oku no Hosomichi　奥の細道.

1691 - Genroku 4 元禄4
Sarumino 猿蓑 The Monkey's Raincoat (Monkey's Cloak) (1691)*
Saga Nikki 嵯峨日記 Saga Diary (1691)
Bashō no Utsusu Kotoba (On Transplanting the Banana Tree) (1691)

He lives for a while with Kyorai
. at the hermitage Rakushisha 落柿舎 . in Kyoto.

1692 - Genroku 5 元禄5
He is back in Edo, in another Basho-An hermigage.
Fukagawa Shū (Fukagawa Anthology)

Heikan no Setsu 閉関の説 On Seclusion, Statement of closure
some sources place this in 1693, 元禄6年7月

1693 - Genroku 6 元禄6
His nephew Tooin 桃印 Toin "Peach Seal" dies at Basho-An.

1694 - Genroku 7 元禄7
- - - -元禄7年10月12日
He travells to Western Japan and dies on the road.

Day 12 of the 10th lunar month, given as
October 12, November 8, November 25 or November 28 of 1694

- - - - -

Anthologies published by his students:
Sumidawara 炭俵　A Sack of Charcoal (1694)*
Betsuzashiki 別座敷　The Detached Room (1694)

1698 - Genroku 11 元禄11
Zoku Sarumino 続猿蓑　The Monkey's Raincoat, Continued (1698)*

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

1694 - Genroku 7 元禄7
元禄七年陰暦十月十二日
12th day of the 10th lunar month of Genroku 7
November 28, 1694 （1694年11月28日）
November 25 or November 28, Gregorian

. Basho Memorial Day (Basho-Ki 芭蕉忌) .

Winter Drizzle Anniversary (shigure ki 時雨忌, shigure-e 時雨会)
Old Master's Day (Okina no hi 翁の日)
Green Peach Day (Toosei ki 桃青忌）　
'Green Peach' was Basho's pen name before he choose the Banana plant, Basho.

. Matsuo Basho - His Legacy .
shoomon 蕉門 Shomon, Basho's school - Basho disciples
shoomon jittetsu 蕉門十哲
Basho jittetsu 芭蕉十哲

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* Denotes the title is one of the Seven Major Anthologies of Bashō
(Bashō Shichibu Shū)
source : Wikipedia

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. External LINKS - English .

. External LINKS - Japanese .

Matsuo Basho Biography
source : famouspoetsandpoems.com

芭蕉年表 - 伊藤洋
source : itoyo/basho

松尾芭蕉（1644～94）
source : www.senjumonogatari.com

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The various facts of his life and travel are sometimes given with different dates.
Even the date of his death is not quite clear.

. WKD : Calendar Systems .

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01/11/2012

Buildings in Honor of Basho

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. Cultural Keywords used by Basho .

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

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20/10/2012

emptiness - nothingness

Mushin (無心; (English translation "without mind") is a mental state into which very highly trained martial artists are said to enter during combat.They also practice this mental state during everyday activities. The term is shortened from mushin no shin (無心の心), a Zen expression meaning the mind without mind and is also referred to as the state of "no-mindness". When we realize our own nothingness then we realize the power of our true being.
Steve Weiss

Matsuo Basho and MU
The practice of Zen shaped Basho's thinking and established some life principles. R. H. Blyth, a well-known British theoretician of haiku poetry, linked loneliness, a strong theme of Basho's poetry, with the notion of mu in Zen, a state of absolute spiritual poverty, in which not possessing a thing, one can possess everything.
Susumu Takiguchi

. WKD : MU, Nothingness, the Void .

under construction
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Journal of Bleached Bones in a Field

I set out on a journey of a thousand leagues, packing no provisions.
I leaned on the staff of an ancient who, it is said,
entered into nothingness under the midnight moon.
It was the first year of Jokyo, autumn, the eighth moon.
As I left my ramshackle hut by the river,
the sound of the wind was strangely cold.
Tr. Barnhill

野ざらしを心に風のしむ身かな
nozarashi o kokoro ni kaze no shimu mi kana

bleached bones
on my mind, the wind pierces
my body to the heart
Tr. Barnhill

. Nozarashi Kiko 　野ざらし紀行 .

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quote
Tracing the application of a cluster of Daoist terms, such as zôka, shizen/j’inen, tenkô (heaven’s work), tenrai (the piping of heaven),
kyo 虚 (emptiness), and ki 気　(the primal breath),
back to Chinese critical tradition, this chapter examines how Bashô adapted these notions, particularly the principles regarding the operation of the poetic mind and the criteria of poetic quality, in forming his compositional theories. In both areas, Bashô emphasizes the importance of following zôka to poetic creativity.

In his famous haibun, Oi no kobumi (Essays in my pannier, 1687), Bashô declares that zôka is the single most important principle that runs through all arts.
snip

Zhuangzi says,
“It is only through the Way that one can gather emptiness.”
The “emptiness” is the fasting of the mind (xinzhai 心齊).
According to Lin’s notes, “emptiness” as the mental condition of apprehending the Dao designates a state totally free of subjectivity. An important path toward this state is to let the natural substratum—the primal breath—lead contemplation and expression.
The Zhuangzi afirrms that supreme cognition occurs when one has completely eliminated subjectivity and let the self become one with the cosmos:

He sees in the darkest dark, hears where there is no sound.
In the midst of darkness, he alone sees the dawn;
in the midst of the soundless, he alone hears harmony.
Therefore, in depth piled upon depth he can spy out the thing;
in spirituality piled upon spirituality he can discover the essence.

kyojitsu 虚実
Interpreted variously as emptiness and substantiality, falsehood and truth, fabrication and verisimilitude, and so forth, this pair of concepts is used widely in Chinese philosophical, literary, medicinal, and military strategic discourses.

The Master has said:
“Learn about pine from pines and learn about bamboo from bamboos.”
By these words he is teaching us to eradicate subjectivity.
One will end up learning nothing with one’s subjective self even if one wants to learn. To learn means to enter the object, to find its subtle details and empathize with it, and let what is experienced become poetry. For instance, if one has portrayed the outer form of an object but failed to express the feelings that flow naturally out of it, the object and the author’s self become two, so the poem cannot achieve sincerity. It is merely a product of subjectivity.
source : Basho-and-the-Dao - Peipei-Qiu

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. Learn from the pine .

. Cultural Keywords used by Basho .

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

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