15/06/2012

Family Ties

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His Wife ? Jutei-Ni 寿貞尼
His Son ? Jirobei 二郎兵衛

His nephew Tooin 桃印 Toin
 





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- Jutei-Ni 寿貞尼 Juteini, the Nun Jutei -
(? - 1694)
(生年不詳~元禄7年6月2日)

Much is unclear about this woman and her relation to Basho.

She is said to have been the wife or mistress of Matsuo Basho in his younger days.
She was maybe the only woman Basho ever loved.

Or she was the wife of his nephew Toin.
Toin had stayed at Basho-an for more than 17 years, and died of tuberculosis.
His son might have been Jirobei.

Most probably she was from Iga, Ueno, like Basho himself.
Maybe she followed Basho to Edo and lived with him there.

She had three children, one boy Jirobei 二郎兵衛
and two girls Masa まさ and Fuu ふう

quote
For five years Matsuo resided in Kyoto (returning now and again to Ueno). Little is known of the details of his life during this period; but his artistic and scholarly pursuits would seem to have been coupled with a bohemian existence. A woman named Jutei is believed to have been his mistress for a time.
Then Kigin—having found employment with the Shogun— moved to Edo; and Matsuo decided to follow him there.
- snip
The literary scene in Edo was thriving; and he was its star.
But he began to yearn for solitude—and for relief from responsibilities. For he was contributing now to the support of several persons: his former mistress Jutei and her children, and an ailing nephew.
Finally this worldly involvement became too much for him. So Basho locked his gate and became a recluse.
Yuasa
source : terebess.hu/english


Juteini became a nun (NI 尼) later in life. But this seems speculation too.

She died in Edo, at Basho-An in 1694, where she had lived taking care while Basho was traveling.
元禄7年6月2日.

Basho heard of her death later in the on the 8th day 6月8日, when he was in Saga, Kyoto, at Rakushisha 落柿舎.

In other records in a temple in Iga there is a record of a death of
Matsuo Jutei 松誉寿貞
元禄7年6月2日


Basho himself died in the same year in the 10th lunar month.



秋近き心の寄るや四畳半
. aki chikaki kokoro no yoru ya yojoohan .

His friends Bokusetsu, Hirose Izen and Kagami Shiko were trying to console him at a tea ceremony on the 21st day of the 6th lunar month, when he had gotten the news of her death.

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子に飽くと申す人には花もなし
ko ni aku to moosu hito ni wa hana mo nashi

For one who says,
"I am tired of children,"
there are no blossoms.


When love is absent, cherry blossoms go unappreciated ...

Robert Aitken ... more
source : books.google.co.jp


for one who says
"I 'm weary of my children"
there are no blossoms

Tr. Barnhill


Written about 1684 貞亨元年, Basho age 41 or later.
(Other sources state it was written by someone else.)
Blossom, short for "cherry blossoms", well loved by all in spring.

Maybe it was written after he had begun to take care of the children of Jutei-Ni 寿貞尼.



. WKD : Kodomo 子供 children .

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- - - - - The last hokku in her memory





数ならぬ身となおもひそ玉祭
数ならぬ身とな思ひそ玉祭
kazu naranu mi to na omoi so tama matsuri

do not think
you did not count:
Festival of Spirits

Tr. Barnhill


never think of yourself
as someone who did not count -
festival of the souls

Tr. Ueda


Written in 元禄7年, Basho age 51.
Basho had to celebrate her first O-Bon festival.
The hokku shows how important this woman had been in his life and how deeply he mourned her death.


Tamamatsuri - the Bon Festival
. Bon Festival お盆 O-Bon, Obon .

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芭蕉と寿貞尼(じゅていに)
source : intweb.co.jp/basyou_jutei

寿貞尼
source : itoyo/basho


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- His Son ? Jirobei 二郎兵衛 -

quote
. . . . in the summer of 1694 Basho traveled westward on the familiar road along the Pacific coast, taking with him one of Jutei's children, Jirobei.
He rested at Ueno for a while, and then visited his students in Kyoto and in town near the southern coast of Lake Biwa. Jutei, who had been struggling against ill health at the Basho Hut, died at this time and Jirobei temporarily returned to Edo. Much saddened, Basho went back to Ueno in early autumn for about a month's rest. He then left for Osaka with a few friends and relatives including his elder brother's son Mataemon as well as Jirobei.

Yuasa
source : terebess.hu/english


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- His nephew Tooin 桃印 Toin, To-In  -
(?1661 - 1693)

(生年不詳~元禄6年3月)
芭蕉の甥

When Toin was about 6 years old, Basho was 23. Toin might have been the son of his sister, who either was divorced or her husband had died and she came back to the main Basho family.
Basho's Brother Hansaemon 半左衛門 was too poor to care for them.

When Basho was rich enough to make a living in Edo he called Toin to come live with him. Toin became the adopted son of Basho.
But Toin died young, of tuberculosis, at age 33.
This made Basho think about his own mortality and life in general.
Basho may also have been forced to borrow money to care for the medical bills of his nephew.

It is not clear if Toin was the husband of Jutei and the three children were his.

Yuushi Tooin 猶子桃印 Yushi Toin

yuushi means an adopted child.



When Toin died in 1693, Basho was very upset and wrote the following two poems to overcome his pain:


郭公声横たふや水の上
hototogisu koe yokotau ya mizu no ue

一声の江に横たふやほとゝぎす
hito-koe no e ni yokotau ya hototogisu


. Matuo Basho - hototogisu 郭公 / ほととぎす - .


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父母のしきりに恋し雉の声
. chichi haha no shikiri ni koishi kiji no koe .   
his parents, father and mother


Matsuo Yozaemon 松尾与左衛門 (? - 1656)
his father
The family is said to date back to the Heike.


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kokeshi dolls of Issa and Basho on the road



- - - His elder brother
. Matsuo Hanzaemon 松尾半左衛門 .



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Katano Boosui 片野望翠 Katano Bosui / 井筒屋新蔵
(? - 1705) died at the age of 49

Said to be the husband of the sister of Basho.
He lived in Iga Ueno. Basho stayed with Bosui in 1694.

里古りて柿の木持たぬ家もなし
. sato furite kaki no ki motanu ie mo nashi .

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. Matsuo Basho 松尾芭蕉 - About himself and his life .



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14/06/2012

Kanazawa disciples

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- Disciples from Kanazawa 金沢 -


. shoomon 蕉門 Shomon, Basho disciples .


under construction
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Choomu 蝶夢 ちょうむ)Chomu (1732 - 1796)
. Goshoo-An Choomu 五升庵蝶夢 Chomu (Butterfly Dream) .

Hasui 巴水
Editor of . Komojishi Shuu 薦獅子集 Komojishi Collection - 1693 .
(not much known about him)


Hori Bakusui 堀麦水 (ほりばくすい)


Iijima Karyoo 飯島珈涼 (いいじまかりょう)


Kagami Shikoo 各務支考 (かがみしこう)

Kawai Kenpuu 河合見風 (かわいけんぷう)

Kawanaka Otsuyuu 中川乙由 (なかがわおつゆう)

Kihaku 既白 (きはく)

Kishi Daisui 岸大睡 (きしだいすい)

Kodera Koosen 小寺後川 (こでらこうせん)

Kuroseya Sankoo 黒瀬屋山叩 (くろせやさんこう)


Nakagawa Bakuroo 中川麦浪 (なかがわばくろう)


Ozaki Kookoo 尾崎康工 (おざきこうこう)


Uo jakusui 卯尾若推 (うおじゃくすい)


Sawa Rosen 沢露川 (さわろせん)

Sengoku Rogenboo 仙石廬元坊 (せんごくろげんぼう)

Shi senjo 紫仙女 (しせんじょ)

Soogoya Suejo 相河屋すへ女 (そうごやすえじょ)
Soogoya Shiho 相河屋之甫 (そうごやしほ)


Suma Jo 須磨女 (すまじょ)


Tachiya Johon 館屋如本 (たちやじょほん)


. Takakuwa Rankoo 高桑闌更 Takakuwa Ranko .


Wada Ki-In 和田希因 (わだきいん)

Wada Uchuu 和田宇中 (わだうちゅう)


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. Oku no Hosomichi - Kanazawa .


. Cultural Keywords used by Basho .



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ka fragrance

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- ka 香 fragrance - kaori 薫り

ka, kaori 香り
smell, fragrance, aroma

smell, nioi 匂い

bad smell, kusai 臭い くさい
. WKD : Smell and Fragrance in Haiku .

. koo 香 incense .


under construction
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蓮の香を目にかよはすや面の鼻
. hasu no ka o me ni kayowasu ya men no hana .
the fragrance of lotus


石の香や夏草赤く露暑し
ishi no ka ya / natsukusa akaku / tsuyu atsushi

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- 悦堂(えつだう)和尚の陰室にまゐりて

香を残す蘭帳蘭のやどり哉 
ka o nokosu ranchoo ran no yadori kana / ka o nokosu ranchō ran ga yadori kana

the remaining fragrance
of the room curtain
in a lodging of orchids . . .


written around 貞亨元年 , Basho age 41 to 51.
Basho visited the retired priest Etsudoo 悦堂和尚 Etsudo, while he was still alive or maybe after his death.
It is not quite clear what kind of orchids priest Etsudo kept in his garden or room.
The cut marker KANA is at the end of line 3.

ranchoo 蘭帳, tobari 帳, curtain, hangings, partition of a room
In this poem it might be the curtain in front of a miniature shrine for a statue in a room.

. WKD : ran 蘭 orchid, orchids .


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門に入れば蘇鉄に蘭のにほひ哉
. mon ni ireba sotetsu ni ran no nioi kana .
the fragrance of orchids

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. Oi no Kobumi 笈の小文 1688 .



source : sixstairs.blog87 - 山田尚公


何の木の花とはしらず匂かな
nani no ki no hana to wa shirazu nioi kana


from what tree's
blossoms I know not:
such fragrance!

Tr. Barnhill


from which tree’s bloom
it comes, I do not know––
this fragrance

Tr. Ueda

At Ise Yamada 伊勢山田
Written on the 4th day of the second lunar month, 貞亨5年2月4日
After visiting the outer shrine at Ise.

I don't know from which tree
these blossoms are, -
but such a fragrance !

Tr. Gabi Greve

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


This is in memory of a waka by Saigyo

なにごとのおはしますかは知らねども
かたじけなさに涙こぼるる

nanigoto no owashimasu ka wa shirane domo
katajikenasa ni namida kobururu

What holy being
is there, I do not know
and yet
my heart feels the blessings so,
tears flow out of my eyes.

Tr. Ueda

. Saigyo 西行 and Basho .

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蘭の香や蝶の翅に薫物す
. ran no ka ya choo no tsubasa ni takimono su .
(autumn) fragrance of orchids. butterfly's wings. incense

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memorial stone in Otsu town, at the shore of Lake Biwako


さざ波や風の薫りの相拍子
さざ波や風の薫の相拍子
sazanami ya kaze no kaori no ai byooshi
sazanami ya kaze no kaori no ai byōshi

gentle waves of Lake Biwako -
matching the rhythm
with the fragrant breeze

Tr. Gabi Greve

Written in the 5th lunar month 1694 元禄7年5月, Basho age 51. Oi Nikki 笈日記

Basho was on his last trip to Kamigata and stayed in Zeze at the home of Yuutoo 能大夫游刀
Yuto, the No actor. This is the greeting ku to his host.
ai-byooshi 相拍子 is a technical term from Noh theater.



source : Haiku Sweets from kikyou0123

sazanami さざなみ is a pillow word for lake Biwako 琵琶湖, especially the West side along Shiga.
- - - - - . Temple Gichuuji 義仲寺 Gichu-Ji.

While Basho stayed with Yuto, he also wrote this:

湖や暑さを惜しむ雲の峰
mizuumi ya atsusa o oshimu kumo no mine
mizu-umi ya

this lake -
the billowing clouds
still hold the heat


A cool wind comes along the lake Biwako, but the clouds above Mount Hieizan seem red in the evening sun and still hot.


sazanami ya kaze no kaori no ai byooshi
. - Haiku - the Poetry of Nouns - Matsuo Basho .

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年の市線香買ひに出でばやな
. toshi no ichi senkoo kai ni idebayana .
(winter) Year-End Market. I go out to buy some incence



. - ume ga ka 梅が香 plum fragrance - .



早稲の香や分け入る右は有磯海
わせの香や分入右は 有磯海
. wase no ka ya wakeiru migi wa Arisoumi .
fragrance of early rice Ariso-umi


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清く聞かん耳に香焼いて郭公
kiyoku kikan / mimi ni kō taite / hototogisu

burning incense
Written in 天和3年, Basho age 40.

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. WKD : Smell and Fragrance in Haiku .

. koo 香 incense .



. Cultural Keywords used by Basho .


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Kumasaka

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- Kumasaka Choohan 熊坂長範 Kumasaka Chohan -

Oku no Hosomichi
. - - - Station 33 - Echigo 越後路 - - - .

- quote
Kumasaka Chohan was the head of a gang of robbers in feudal Japan of the 12th century. He became famous more by the guy who finally knocked him out. It was no lesser than Yoshitsune, then 15 years old. Yoshitsune was a small, thin boy. But he had learned sword fighting and other martial arts from the tsengu, legendary beings - half humans, half birds.
- source : www.artelino.com


Kumasaka, lit. "Bear Slope"

. WKD : Noo 能 Noh-Theater .

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Kumasaka fighting Yoshitsune

© More images in the Japanese WIKIPEDIA !


. Minamoto no Yoshitsune 源の義経 (1159 - 1189) .
- Introduction -

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KUMASAKA
A Play in two Acts, by Ujinobu, adopted son of Motokiyo
CHARACTERS
A Priest.
First Shite, or Hero, the apparition of Kumasaka in the form of an old priest.
Second Shite, the apparition of Kumasaka in his true form.
Chorus. This chorus sometimes speaks what the chief characters are thinking, sometimes it describes or interprets the meaning of their movements.
PLOT. -- The ghost of Kumasaka makes reparation for his brigandage by protecting the country. He comes back to praise the bravery of the young man who had killed him in single combat.
- - - Read the text here :
- source : etext.virginia.edu




KUMASAKA - By ZENCHIKU UJINOBU (1414-1499?)
A PRIEST FROM THE CAPITAL.
A PRIEST OF AKASAKA (really the ghost of the robber KUMASAKA NO CHOHAN).
CHORUS.
KUMASAKA :
To-day is some one's birthday. I beg of you to pray for the salvation of his soul.
- - - Read the text here :
- source : www.sacred-texts.com

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Famous places related to the Noh theater in Kaga, Ishikawa
source : mugiya/kaga-2.

熊坂長範出生地 〔加賀市熊坂町〕Kaga, Kumasaka village

With a special Noh theater to appease the souls of Kumasaka.


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sword guard with Kumasaka 熊坂長範の図の鍔



With more images about Kumasaka in Ishikawa :
- source : kelu-cafe/e


. tsuba 鍔 sword guard .

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Kumasaka Camellia - Camellia japonica 'Kumasaka'



Kumasaka camellia
evergreen accent for the shade
native to Asia


- Shared by Gennady Nov -
Haiku Culture Magazine, 2013


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- - - - - Matsuo Basho - - - - -

熊坂がゆかりやいつの玉祭
Kumasaka ga yukari ya itsu no tama matsuri

remembering Kumasaka
right here - the festival
for the souls

Tr. Gabi Greve

Written on the way from Echuu to Kaga, on the 15th day of the 7th lunar month 1689,元禄2年7月15日.
Kumasaka is said to have been born in Ishikawa prefecture 石川県国江沼郡三木村.
This is an allusion to the Noh song (yookyoku 謡曲) about him.

In the records of his companion Sora, it reads

熊坂がその名やいつの玉祭 - Kumasaka ga sono na ya itsu no tama matsuri

The cut marker YA is in the middle of line 2.

. WKD : tama matsuri 玉祭 festival for the souls, O-Bon.


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- - - - - Kobayashi Issa - - - - -

熊坂が大長刀を秋の風
kumasaka ga oonaginata o aki no kaze

blowing on Kumasaka's
great halberd ...
autumn wind

Tr. David Lanoue



熊坂が大長刀をあられ哉
kumasaka ga oonaginata o arare kana

hailstones
on the great halbeard
of Kumasaka . . .

Tr. Gabi Greve

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



熊坂が長刀にちる螢哉
kumasaka ga naginata ni chiru hotaru kana

fireflies
scattered by the halberd
of Kumasaka . . .

Tr. Gabi Greve

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

. Kobayashi Issa 小林一茶 in Edo .



by Utagawa Kuniyoshi 歌川国芳
Click for more images !


. naginata 薙刀 / 長刀 / 眉尖刀 Japanese halberd .

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霞みけり物見の松に熊坂が
kasumikeri monomi no matsu ni kumasaka ka

spring haze
at the "Lookout Pine"
is that Kumasaka ?


. Natsume Soseki 夏目漱石 .

monomi no matsu 物見松 the lookout pine


by Ichieisai Yoshitsuya

At the Lookout Pine Tree, the Bandits Plot against the Kaneuri Brothers
(Gôzokura no monomi no matsu ni Kaneuri kyôdai o hakaran to su):
The Story of Ushiwakamaru and Kumasaka Chôhan
source : www.mfa.org/collections


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熊蝉の熊坂長範啼き出すよ
kumazemi no kumasaka choohan nakidasu yo

Takazawa Ryooichi 高澤良一 Takazawa Ryoichi


kumazemi 熊蝉 bear cicada, Cryptotympana japonensis


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Oku no Hosomichi
. - - - Station 33 - Echigo 越後路 - - - .


. Cultural Keywords used by Basho .

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


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kokoro - heart, mind, soul

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- kokoro こころ - 心  "heart", mind, soul  -

kokoro - one of the most difficult terms to translate in poetry.
in combination, it is also read ...gokoro.




Many temples and some shrines in Japan feature a pond in the shape of the Chinese character HEART, kokoro 心 toward the exit of the temple grounds. Thus, the heart, mind, soul is washed clean as you leave.
. Kokoro no Ike 心の池 Heart Pond .



. Flower-Heart (hanagokoro, hana gokoro 花心) .
... that expression seems already been used in Heian poetry ... the heart of a lady in love, but also the heart changing as fast as cherry blossoms fall ...
onna-gokoro 女心 is another version.


BTW, the biological heart of a living being is
shinzoo 心臓 heart


Matsuo Basho wrote a few hokku about his own "kokoro" and that of others.


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秋近き心の寄るや四畳半
. aki chikaki kokoro no yoru ya yojoohan .
our hearts are drawn together in the small tea room


あこくその心も知らず梅の花
. Akokuso no kokoro mo shirazu ume no hana .
I do not know his heart



朝よさを誰松島ぞ片心
. asayosa o taga Matsushima zo katagokoro .
asa yosa o taga Matsushima zo kata kokoro


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葉にそむく椿の花やよそ心
ha ni somuku tsubaki no hana ya yosogokoro

the camellia blossom
goes against the leaf -
absentmindedness


Written after 貞亨元年, Basho age 41 or later




yoso gokoro, yoso-gokoro ... the heart goes astray . . .

. WKD : tsubaki つばき - 椿 camellia .


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幾霜に心ばせをの松飾り
. iku shimo ni kokoro baseo no matsukazari .
my mind is always "Baseo"


君や蝶我や荘子が夢心
. kimi ya cho ware ya Sooji ga yumegokoro .
the dream-heart of a butterfly


この心推せよ花に五器一具
. kono kokoro suiseyo hana ni goki ichigu .
this my heart you will know


まづ祝へ梅を心の冬籠り
. mazu iwae ume o kokoro no fuyu-gomori / fuyugomori .
winter seclusion of the soul


なかなかに心をかしき臘月哉
. naka naka ni kokoro okashiki shiwasu kana .
I feel quite at ease here.
For his host Suganuma Kyokusui 菅沼曲水 to thank for a barrel of New Year sake.



野ざらしを心に風のしむ身かな
. nozarashi o kokoro ni kaze no shimu mi kana .
piercing wind in my mind
Nozarashi Kiko 野ざらし紀行


住みつかぬ旅の心や置火燵
. sumitsukanu tabi no kokoro ya okigotatsu .
my traveling mind


七夕の逢はぬ心や雨中天
. Tanabata no awanu kokoro ya uchuuten .
At Tanabata, the hearts can't meet because of a rainy sky.


魚鳥の心は知らず年忘れ 
. uo tori no kokoro wa shirazu toshi wasure .
the heart of fish and birds. I do not understand.


義朝の心に似たり秋の風
. Yoshitomo no kokoro ni nitari aki no kaze .
the soul of Yoshitomo


四つ五器のそろはぬ花見心哉
. yotsu goki no sorowanu hanami gokoro kana .
my mind enjoys cherry blossom viewing



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- - - - - haiku including the words

. - tabi 旅 travel, travelling - .
- - - tabine 旅寝 sleeping on the road
- - - tabi no kokoro 旅の心, tabigokoro 旅心 "the mind of a traveler"


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. Kokoro no Ike 心の池 Heart Pond .


. Cultural Keywords used by Basho .



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Mukai Kyorai

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- Mukai Kyorai 向井去来 -

1651 - 1704
慶安4年(1651年) - 宝永元年9月10日(1704年10月8日)




応々といへど敲くや雪の門
oo to iedo tataku ya  yuki no mon

'Yes, yes!' I answered,
But someone still knocked
At the snow-mantled gate

Tr. Blyth


and his home,
Rakushisha 落柿舎 "Hermitage of the fallen persimmon"

. WKD : Persimmon (kaki) .


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Kyoraisho, Kyorai-sho, Kyorai Sho 去來抄
Writing of Kyorai, Conversations with Kyorai

one of the most important studies of Basho. A record of conversions of Basho with his disciples.

さびは句の色なり。 閑寂なる句をいふにあらず。 たとへば、老人の甲冑をたいし 戦場に働き、
錦繍をかざり御宴に侍りても、老の姿有るがごとし。

sabi wa ku no iro nari.
kanjaku naru ku wo iu ni arazu. tatoeba, roujin no katchuu wo taishi senjou ni hataraki,
kinshuu wo kazari goen ni haberitemo, oi no sugata aru ga gotoshi.

Sabi is the color of haiku.
It is different from tranquility.
For example, if an old man dresses up in armour and helmet and goes to the battlefield,
or in colorful brocade kimono, attending (his lord) at a banket, [sabi] is like this old figure.

Tr. Zoltan Barczikay


quote
‘Yamei asked me, what the "sabi" of a poem was?
I said that sabi was in the colour of a poem, not in its subject, however sombre it may be. It is like an old man in armour fighting in a battle, or a man drinking and feasting in his best clothes, and yet looking aged. It can be found in both gay poems and sad poems.
I gave a poem of my own as an example:

hanamori ya shiroki kashira o tsukiawase

The flower keepers —
They put their heads together,
Frosted with white hair.

My master praised this poem, saying that the colour of sabi is well described in it.’
source : Yuasa in haijinx




去來抄 - 口語訳
source : sasa.org/library

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Rakushisha 落柿舎(らくししゃ)
"Hermitage of the fallen persimmon"

is the cottage of Genroku poet Mukai Kyorai 向井去来.
Kyorai was one of ten disciples of the haiku poet, Matsuo Basho.

quote
The cottage was listed in the Shui Miyako Meisho Zue, an Edo period travel book that listed famous places to see in Kyoto. The name of the place is derived from a story of how Kyorai achieved enlightenment.
As the story goes, Kyorai had forty persimmon (kaki) trees planted around the hut. One autumn, when they were heavy with fruit, he had arranged to sell the persimmons. But during the night before they were to be picked, a great storm arose. The following morning, not a single persimmon remained on the trees. As a result Kyorai was enlightened and from that point forward called the hut and garden, Rakushisha or 'the cottage of the fallen persimmons'.
The poem he wrote for the occasion is inscribed on a stone in the garden:

かきぬしや こずえはちかき あらしやま
柿主や梢はちかきあらし山
kakinushi ya kozue wa chikaki Arashiyama

Master of Persimmons
Treetops are close to
Arashiyama


There's a bit of word play here. Arashiyama is a mountain near Kyoto but it means literally 'Storm Mountain'.

Basho visited here three times, in 1689, 1691 and 1694.
source : jgarden.org : Rakushisa


quote
Having been born into a Samurai family, Kyorai was a man of exemplary character and held a spirit worthy of bushi (warrior) all through his life. Not a few of his hokku reflect such personality of his.
For example:

元日や家にゆずりの太刀帯ん 
Ganjitsu ya ie ni yuzuri no tachi hakan

New Year’s Day...
today I shall wear the special sword
handed down for generations


Kyorai was a brave man. One episode which is testimonial to his bravery is to be found in a book entitled “Rakushi-sha Kyorai-Sensei Jijitsu” (Facts of Master Kyorai of Rakushi-sha) written by Genchu Mukai

Susumu Takiguchi
source : worldhaikureview2


It is possible that Kyorai began to practice haikai shortly before the compilation of Ichiro-Fu in the summer of 1685. A year before that, namely the first year of Jokyo (1684), Kikaku came up to Kyoto and stayed there for some time during which he had kukai meetings with local haikai poets. This resulted in the compilation of the anthology Shimi-Shu. Kyorai’s name was not yet found in it.
...
The second year of Jokyo (1685) was very important for Kyorai in another way. That is to say that in this year Kyorai had a second home built in Saga area of Western Kyoto. This was the detached house which was to become Rakushi-Sha (Falling Persimons Pavillion) when in 2 Genroku (1689) Kyorai came back from his visit to Nagasaki. There were as many as forty persimmon trees in this second house which indicates that it was quite a sizable estate.

Kyorai’s main house is said to have been situated near Shogo-in in Okazaki. He must have been a man of substance if in addition to this main house he could afford to buy a large estate even if it was in the countryside. There were forest lands in Shogo-in. The area where Kyorai’s main house was located is held to have been called Okazaki Village. Kyorai’s family was a rich family with successful medical doctors. However, Kyorai was not a doctor himself and quite how he amassed wealth is a moot point.

Susumu Takiguchi
source : worldhaikureview2 - 2012



quote
After Bashô’s journey, which he recorded in The Narrow Road to the Depths (Oku no hosomichi), the Shômon haikai witnessed a stylistic change in the 1690s, as Bashô’s disciple Kyorai observed:

"When the late Master came back to the capital from his journey to the far North, our school’s style changed drastically. We all carried a knapsack to see the Master at the Unreal Dwelling, or attended his lectures at the Fallen Persimmons Cottage.
Most of us learned the essentials of the Master’s teaching during that time. Hisago and Sarumino were the results."

Hisago (Gourd, 1690) and Sarumino (Monkey’s straw raincoat, 1691)
are two haikai collections compiled under Bashô’s direct supervision.

The collections, particularly Sarumino, are generally considered representative of the Shômon style of the 1690s, which Bashô describes as karumi (lightness). In karumi, Bashô called for naturalness and spontaneity in haikai composition as opposed to the heavy conceptual implications of earlier haikai.

“Naturalness” does not seem to be a very unique characteristic in literary theories, but to achieve naturalness in haikai is not so easy. As we have seen, the strict compositional rules inherited from renga predetermined the occurrence of seasons and themes at certain locations of a sequence and required poets to compose on cherry blossoms and the moon at particular places and limited times. They also restricted the mention of specific topics to a number of successive links, and even prescribed in what form a line cuts and a link ends.
Clearly, these regulations made it extremely difficult to achieve naturalness in haikai composition.
Moreover, in order to transform haikai from an entertaining pastime to a high art, for more than a decade Bashô and his followers tried to infuse it with a greater cultural and literary import.
Their adaptation of Daoist themes in the 1680s was a major part of this effort.

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

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Mukai Kyorai 向井去来 (むかい きょらい)
1651~1704
Reference : Mukai Kyorai



. Mukai Chine 向井千子 . (? - 1688)
his sister, who died very young, age 25 only.

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- - - - - NAGASAKI - - - - -



quote
Nagasaki no nagaki mo towan kumo-gasumi

wishing to know
how long the spring mist extends
over Nagasaki


This poem is said to be one which Kyorai wrote wistfully longing to return to his hometown, Nagasaki. This actually came true in Genroku 2 (1689).

When he was only 8 years old, his father, Gensho, took the whole family from Nagasaki to live in Kyoto. It was in Manji 1 (1658). This means that Kyorai was away from his birth place for 31 long years. He was already 38 years old.

He arrived there in summer which quickly turned autumn when he had to leave back for Kyoto already. He left behind a poem which since has become one of his most celebrated haiku:

kimi ga te mo majiru naru beshi hana-susuki

your waving hand
must be mingled among
the pampas grass


His family and friends did not want him to go and came as far as the hill called Himi, the boundary, to see him off, where there were pampas grass waving in the autumn wind as they said the final goodbye to the departing traveller. This haiku was published in the famous Sarumino(The Monkey’s Straw Raincoat) and the kotoba-gaki (a kind of note) says “Departing Ushichi at the Himi Hill when coming back from Chikushi (the Province of Nagasaki)”. Ushichi was a relative of his, said to be either his nephew or cousin or cousin-in-law, and was very close to Kyorai in that he discussed haikai with Kyorai a lot and had tutorial from him.

The Himi Hill is now part of the administrative district of the City of Nagasaki and calledSusuki-zuka-cho. There is a stone monument there which was erected in Tenmei 4 (1784), bearing this haiku. To reach there you follow the old Nagasaki Gaido and climb up to the Himi-toge which will lead to Yagami-mura and Susuki-zuka can be found there. It is very picturesque and it commands a fine view of the Mount Unzen. In the past one could not enter or come out Nagasaki except for passing this particular route. It is believed that this haiku was the only known poem Kyorai wrote in commemoration of his first return to his homeland.

. . . . . Are there any other stone monuments in Nagasaki with inscriptions of Kyorai’s poems? The answer is in the affirmative.

MORE
source : Susumu Takiguchi


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Arashiyama 嵐山 "Storm Mountain"
is a district on the western outskirts of Kyoto, Japan. It also refers to the mountain across the Ōi River, which forms a backdrop to the district. Arashiyama is a nationally-designated Historic Site and Place of Scenic Beauty.



Iwatayama Monkey Park
"Moon Crossing Bridge" (渡月橋,Togetsukyō), Togetsukyo
tombstone of the Heike courtesan Kogo of Sagano
hamlet of Kiyotaki and Mt Atago
Kameyama koen
© More in the WIKIPEDIA !


六月や峯に雲置あらし山
rokugatsu ya mine ni kumo oku Arashiyama

Matsuo Basho 松尾芭蕉


the six month -
clouds are laying on the summit
of Mount Arashiyama

Tr. Gabi Greve



the sixth month --
with clouds laid on its summit
Mount-Arashi

Tr. Ueda Makoto

Basho is referring to the sixth lunar month.

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

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徳山の蕎麦白妙や綿もふく
Tokuyama no soba shirotae ya wata mo fuku

. Tokuyama Kaido 徳山街道 Tokuyama Highway / Gifu .

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. WKD : Persimmon (kaki 柿) .


. Cultural Keywords used by Basho .

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


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kaze no oto

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- kaze no oto 風の音 the sound of wind -

voice of autumn (aki no koe 秋の声, shuusei 秋声)
"sound of autumn" (aki no oto 秋の音)
particularly at night: wind in trees, plants; patter of leaves, rain; insect cries; and so on

. WKD : Wind in various kigo (kaze 風) .





under construction
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jinen, shizen 自然

quote
In Bashô’s writings, the same Chinese compound (read as shizen or ji’nen in Japanese) implies a meaning identical to its Chinese counterpart in Daoist discourse. Bashô’s use of the term in his early writings reflects a clear awareness of the literary significance of Daoist principles, and this awareness paved the way for his theoretical emphasis to “follow zôka and return to zôka” in his later years.

An early occurrence of ji’nen in Bashô’s writings is found in “Eulogy on a Kasen,” in which Bashô uses the term to praise a linked-verse sequence.

"The stormy wind from Pine Mountain in Iyo has blown upon the withered leaves of the Plantain Tree Hollow. Its sound sings poems. “Yeee!” The sounds of the tossing and trembling wind are like the jiggling of jade and the whistling of metals, sometimes strong and sometimes soft, bringing people to tears and touching man’s heart.
The meaning of each verse is distinct, as if ten thousand hollows are howling while each has a different sound—only such can be called an author of the piping of Heaven (tenrai) and spontaneity (ji’nen). The plantain leaves are torn, floating along the wind."

This eulogy is a response to a haikai sequence sent to Bashô by a poet from Matsuyama (Pine Mountain) in the Iyo area. “Plantain Tree Hollow” is one of Bashô’s literary names. The short prose piece strikes the reader with its unusual image and expressions, particularly the use of “the sounds of wind” as a metaphor for the superb quality of poetry and the juxtaposition of two kanji words, tenrai and ji’nen—“the piping of Heaven and spontaneity”—toward the end of the eulogy. But once we place this short quotation in the context of early Daoist sources, their implications are no longer ambiguous.

At the beginning of the second chapter of the Zhuangzi, “Discussion on Making All Things Equal,” we find very similar images and expressions in a dialogue between Nanguo Ziqi and Yancheng Ziyou:

Ziqi of South Wall sat leaning on his armrest, staring up at the sky and breathing—vacant and far away, as though he’d lost his companion. Yancheng Ziyou, who was standing by his side in attendance, said,
“What is this? Can you really make the body like a withered tree and the mind like dead ashes? The man leaning on the armrest now is not the one who leaned on it before!”
Ziqi said,
“You do well to ask the question, Yan[cheng]. Now I have lost myself. Do you understand that? You hear the piping of men, but you haven’t heard the piping of earth. Or if you’ve heard the piping of earth, you haven’t heard the piping of Heaven!”
Ziyou said,
“May I venture to ask what this means?”
Ziqi said,
“The Great Clod belches out breath and its name is wind. So long as it doesn’t come forth, nothing happens. But when it does, then ten thousand hollows begin crying wildly. Can’t you hear them, long drawn out? ... They roar like waves, whistle like arrows, screech, gasp, cry, wail, moan, and howl, those in the lead calling out yeee! Those behind calling out yuuu! In a gentle breeze they answer faintly, but in a full gale the chorus is gigantic. And when the fierce wind has passed on, then all the hollows are empty again. Have you never seen the tossing and trembling that goes on?”
Ziyou said,
“By the piping of earth, then you mean simply [the sound of] these hollows, and by the piping of man [the sound of] flutes and whistles. But may I ask about the piping of Heaven?”
Ziqi said,
“Blowing on the ten thousand things in a different way, so that each can be itself — all take what they want for themselves, but who does the sounding?”

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


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source : ttetsuo_2005


冬枯れや世は一色に風の音
. fuyugare ya yo wa hito iro ni kaze no oto .
(attributed to Basho)

all the withered plants -
the sound of wind
in a world of one color

Tr. Gabi Greve


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西か東かまづ早苗にも風の音
nishi ka higashi ka mazu sanae ni mo kaze no oto

from the west? from the east?
above all in the rice sprouts
the sound of the wind

Tr. Barnhill


from the east or west?
among the first rice-sprouts now
the sound of the wind

Tr. Chilcott

Written in the fourth lunar month of 1689. 元禄2年4月
At Shirakawa, on the trip

Oku no Hosomichi - - - - Station 10 - Shirakawa no Seki 白川の関 - - -
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .


. WKD : The Four Directions "Tozai Nanboku 東西南北". .


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秋来にけり耳を訪ねて枕の風 
aki ki ni keri mimi o tazunete makura no kaze

autumn has come -
the wind has come to visit
my ear at the pillow


Written in 延宝5年, Basho age 34
This hokku is in the style of the Danrin school, with a personification of the autumn wind.

There is also a waka by Fujiwara no Toshiyuki 藤原敏行

秋来ぬと目にはさやかに見えねども
風の音にぞ驚かれぬる

aki kinu to me ni wa sayaka ni miene domo
kaze no oto nizo odorokaenuru

Autumn has come
Without realizing clearly
With eyes, however,
The sound of wind
Surprises us.


MORE about the pillow on the road
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .



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. WKD : Wind in various kigo (kaze 風) .


. Cultural Keywords used by Basho .

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


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Kyoto Miyako

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- Kyooto 京都 Kyoto, Kyo - Miyako 都 / みやこ -


. WKD : Kyoto (Hana no Miyako 花の都) .





Paintings about Basho from the Kyoto Museum Collection
京都国立博物館所蔵
source : www.bashouan.com


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京まではまだ半空や雪の雲
. Kyoo made wa mada nakazora ya yuki no kumo .
(winter) snow, clouds, half-way


. Kyoo mo tooku Narumi ga taharukeki
umi o naka ni hedatete .

alone at the beach of Narumi


京に飽きてこの木枯や冬住ひ
. Kyoo ni akite kono kogarashi ya fuyuzumai .
(winter) winter storm. I am bored by Kyoto. lodging in winter
for - Suganuma Gon-emon 菅沼権右衛門 耕月 Kogetsu -


京にても京なつかしやほととぎす
. Kyoo ni te mo Kyoo natsukashi ya hototogisu . Kyoo nite mo
(summer) little cuckoo, longing for Kyoto


京は九万九千くんじゆの花見哉
. Kyoo wa kuman kusen kunju no hanami kana .
(spring) ninety-nine thousand (people). watching cherry blossoms


天秤や京江戸かけて千代の春
. tenbin ya Kyoo Edo kakete chiyo no haru .
comparing Edo and Kyoto


梅が香やしらら落窪京太郎 
. Ume ga ka ya Shirara Ochikubo Kyōtarō .
Kyootaroo. Allusion to the story Jōruri-hime Monogatari.


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- - - - - Miyako - - - - -


雁聞きに京の秋に赴かん
kari kiki ni miyako no aki ni omomukan

to listen to the geese
in the autumn of the capital
I will set out


Written in autumn of 1690 元禄3年秋.
It is not clear weather this is a hokku by Basho himself.

In a letter to
. Takahashi Dosui 高橋怒誰 .


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都出でて神も旅寝の日数哉
. miyako idete kami mo tabine no hikazu kana .
I left the capital


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 / nenohi.
(New Year) day of the rat. capital Kyoto. no friend


里人は稻に歌詠む都かな
. (satobito) sato-bito wa ine ni uta yomu miyako kana .
(summer) rice plant. the local people. to sing. the capital Kyoto



塩にしてもいざ言伝てん都鳥 
. shio ni shite mo iza kotozuten Miyako-dori .
"bird of the capital"

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瓜の皮剥いたところや蓮台野 
. uri no kawa muita tokoro ya Rendaino .

Rendaino was a famous graveyard in Kyoto.
The word is also used for graveyards elsewhere.

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たんだすめ住めば都ぞ今日の月
tanda sume sumeba miyako zo kyoo no tsuki
Tanda sume sumeba miyako zo kyô no tsuki

Only live and let it be clear!
If you live in the capital Kyô,
today’s full moon so clear


Basho played with homonyms: “sume” means “clear” and “live”; “kyô” means “Kyoto” and “today”. His haiku at this time was far from his later work that developed a mental depth that was non-existent in haiku before. The above poem followed the examples by haiku school called Danrin which was quite popular at that time. This school was most characterized by playing with words and humor and lacked mental or emotional substance. Basho’s rhetorical skill at this point in his career is not so excellent, though it was far from mediocre.
His haiku writing was not based on the particulars of reality experienced by himself. Basho was a mere young countryman of poetry imitating the days’ fashion of haiku writing.

Modernity and anti-urbanism in Basho Matsuo
. Ban’ya Natsuishi .


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. WKD : Kyoto (Hana no Miyako 花の都) .

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- quote -
Cooling off by the River at Shijo (1690)
The custom Basho describes in the following haibun and haiku began in the late 12th century as part of the Gion Festival; a temporary bridge was set up for portable shrines to cross the Kamo River near Gion Shrine (now Yasaka shrine), and eventually tearooms proliferated at the foot of this bridge.
By Basho’s time in the late 17th century platforms were built over the river and people flocked there to enjoy the river coolness. There are famous paintings of “Cooling off by the River at Shijo” by both Ando Hiroshige (1835) and his son-in-law Ando Hiroshige II (1860).



Cooling off by the river at Shijo
is a custom from the time of the evening moon till it passes through the dawn sky.
People line up on a platform over the river to pass the night drinking, eating, and having a good time.

The women’s kimono sashes are extravagant, the men’s haori jackets long in the formal style, Buddhist priests mingle with old folks, and even the blacksmith’s and bucket maker’s apprentices, their faces smiling with leisure, sing loud rowdy songs.
It is a scene to be expected in Kyoto.

River breeze —
wearing pale persimmon
in evening cool


- Read the full article here:
- source : writersinkyoto.com Jeff Robbins -


四條の「河原涼み」とて、夕月夜のころより有明過ぐるころ*まで、川中に床を並べて、夜すがら酒飲み物食ひ遊ぶ。女は帯の結び目いかめしく、男は羽織長う着なして、法師・老人ともに交り、桶屋・鍛冶屋の弟子子まで、いとま得顔に*、うたひののしる。さすがに都のけしきなるべし。

. 川風や薄柿着たる夕涼み .
kawakaze ya usugaki kitaru yuusuzumi - river breeze


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. Cultural Keywords used by Basho .



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kami - Shinto deities

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- kami 神 Shinto deities -

How to translate KAMI?
It may be one or more. In a Shinto shrine, more than one deity is usually enshrined.

In Japan, a variety of deities are known, usually peacefully side by side, starting with ancient animistic believes of "Gods of Mountains, Waterfalls, Rocks" and so on, leading to the concept of KAMI in Shintoism and later the influence of Buddhism with its manyfold HOTOKE.

Christianity came with the Portugese Missionaries, so we have
Deus sama デウスさま
Jesus, Iesu sama イエスさま
(the pronounciacion GODDO ゴッド is seldom used when talking about God.)

God of Christianity キリスト教の神 (kirisutokyo no kami)

To distinguish the Christian God, with a capital letter, from the other gods of other religions,
we can use the capital G !
In German, we can distinguish between Gott and Gottheiten, deities.

. WKD - Japanese deities (kami to hotoke) and haiku .






. WKD : Introducing Japanese Deities .


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quote
Bashô is concerned with God
as he sees himself in the mind of the poet before flowers and fields.
. . .

The rice-pounder,
Cooling himself by the convolvulus flowers,—
A sight of pathos.

The rice-pounder is exhausted, and sits in the shade mopping his brow. Along the fence the convolvulus flowers are blooming because of and in spite of the heat. The half-obliviousness of the flowers on the part of the man, and the complete obliviousness on the part of the flowers, gives Bashō a feeling which, like God, is nameless.
source : R. H. Blyth on Bashō



under construction
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半日は神を友にや年忘れ
hanjitsu wa kami o tomo ni ya toshi wasure

half a day
I spent in the company of these deities -
year-end party


half a day
I spent in the company of the Kami gods -
year-end party


half a day
in the company of the Kami gods -
year-end party

Tr. Gabi Greve


Written in 1690 元禄3年, Basho age 47
Basho spent the last day of the year with the priest Ogurusu Yuugen 小栗栖祐玄 Yugen
at the shrine Kami Goryoo Jinja 上御霊神社 in Kurama, Kyoto.
This shrine houses a lot of Japanese deities.

. WKD : Kami Goryoo Jinja 上御霊神社 Upper Goryo Shrine .


for half a day,
companions to the gods -
setting the year off

Tr. Barnhill


for half a day
my friend turns into a god
end-of-the-year party

Tr. Chèvrefeuille


For half a day long,
We have a god as our friend
In our year-end party!

Tr. Oseko




A Basho Haiku Sweet 芭蕉俳諧 by Kikyo san, Iga Ueno
source : kikyou0123



. WKD : toshi wasure 年忘 "forget the old year" .

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神垣や思ひもかけず涅槃像
. kamigaki ya omoi mo kakezu Nehanzoo .
the "fence of the Gods" at Ise Shrine 伊勢神宮
and the statue of Buddha lying down to die

quote
This was composed at the Ise Shrines, on the 15th day of the Second Month, and Bashō is expressing his surprise (and pleasure) at something which, however much sanctioned by ancient custom, is still astonishing, namely, the fusion of Shintō and Buddhism. This amalgamation took place at the beginning of the 9th century a.d., when the Shington Sect developed the doctrine of Ryōbu-Shintō,1 or Shimbutsu-Kongō2 by which the gods of Shintō were recognised as manifestations or incarnations of the Buddhist divinities.
source : Blyth on Basho

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この松の実生えせし代や神の秋
. kono matsu no mibae seshi yo ya kami no aki .
Autumn of the Gods - at Kashima Shrine 鹿島神宮



都出でて神も旅寝の日数哉 
. miyako idete kami mo tabine no hikazu kana .
sharing nights on the road with the gods .
Hiyoshi Shrine 日吉大社 Hiyoshi taisha



なほ見たし花に明け行く神の顔
. nao mitashi hana ni ake yuku kami no kao .
"the face of God" - the deity Hitokotonushi 一言主



留守のまに荒れたる神の落葉哉
. rusu no ma ni aretaru kami no ochiba kana .
the "Gods are absent", the 10th lunar month, when the Gods assemble at Izumo


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月に名を包みかねてや痘瘡の神
. tsuki ni na o tsutsumi kanete ya imo no kami .
Imo no Kami 痘瘡の神 God of Smallpox - a pun with Imo Meigetsu moon


. WKD special : The Deity of Smallpox .


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source :keifusa.exblog.jp
Tenmangu shrine at Hoofu, Yamaguchi 防府の天満宮


我も神のひさうや仰ぐ梅の花
ware mo kami no hisoo ya aogu ume no hana

me too I look up
to god - in the blue sky -
these plum blossoms

Tr. Gabi Greve


Written in 1676 延宝4年, Basho age 33
The cut marker YA is in the middle of line 2, but lines 1 and two are one sentence
ware mo kami no hisoo o aogu

There are two kanji for HISO : 秘蔵 and 彼蒼

秘蔵 refers to the "secret storehouse" of the Tenmangu shrine in honor of Sugawara Michizane.

彼蒼 refers to the "sky" in an old poem in the collection
Kanke Kooshuu 菅家後集 Kanke kōshū from the Heian period, about 903,
with poems of Sugawara no Michizane 菅原道真.

Here Michizane writes about his feelings on the way to exile in Dazaifu,
having left his home three or four months ago.
It still feels like a dream when he looks at the blue sky.

家を離れて三四月 落涙百千行万事皆夢の如し
時々彼蒼<ひそう>を仰ぐ

Ça fait trois ou quatre mois que je suis parti de chez moi
Je verse des larmes de cent ou mille lignes
Tout ce qui est arrivé, c'est comme une rêve
Je me lève souvent les yeux au ciele bleu
(Le ciel bleu connaît son inocence et il ne peut dire sa tristesse sauf au ciel ...)
source : ameblo.jp/yubazzz


. Michizane and the Plum Blossoms .


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

The first is Sozorogami, the other are the Dosojin.

Vom Kofferpacken und dem Gott des Fernwehs.

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


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. WKD - Japanese deities (kami to hotoke) .



. Shinto Shrines visited by Basho .

. Buddhist Temples visited by Basho .
and hokku with HOTOKE.


. Cultural Keywords used by Basho .


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