Showing posts with label Z - TOPIC. Show all posts
Showing posts with label Z - TOPIC. Show all posts

13/11/2012

Sarumino Monkey's Raincoat

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- Sarumino 猿蓑 Monkey's Raincoat -

a 1691 anthology, considered the magnum opus of Bashō-school poetry.
It contains four kasen renku as well as some 400 hokku, collected by Nozawa Bonchō and Mukai Kyorai under the supervision of Matsuo Bashō. Sarumino is one of the Seven Major Anthologies of Bashō (Bashō Shichibu Shū), and, together with the 1690 anthology, Hisago (The Gourd), it is considered to display Bashō's mature style (Shōfū) at its peak.
Bashō's influence on all four of the kasen in Sarumino was profound and when he sat with Bonchō, Okada Yasui and Kyorai at Yoshinaka Temple to write "Kirigirisu", he extolled them,
"Let's squeeze the juice from our bones."

Preface by Takarai Kikaku
Hokku
Book 1: Winter (94 hokku)
Book 2: Summer (94 hokku)
Book 3: Autumn (76 hokku)
Book 4: Spring (118 hokku)
Book 5: Kasen
Hatsushigure (Winter Rain), by Kyorai, Bonchō, Bashō, Fumikuni
Natsu no Tsuki (Summer Moon), by Bonchō, Bashō, Kyorai
Kirigirisu (Autumn Cricket), by Bonchō, Bashō, Yasui, Kyorai
Ume Wakana (Grass and Plum), by Bashō, Otokuni, Chinseki, Sonan, Hanzan, Tohō, Enpū, Bonchō and others
Book 6: Notes to "Record of an Unreal Dwelling"

Natsu no Tsuki (Summer Moon) - (Tr. Donald Keene)

In the city
What a heavy smell of things!
The summer moon.
(Bonchō)


How hot it is! How hot it is!
Voices call at gate after gate.
(Kyorai)


The second weeding
Has not even been finished,
But the rice is in ear.
(Bashō)


Brushing away the ashes,
A single smoked sardine.
(Bonchō)


In this neighborhood
They don't even recognize money—
How inconvenient!
(Bashō)


He just stands there stupidly
Wearing a great big dagger.
(Kyorai)

© More in the WIKIPEDIA !



此筋は銀も見しらず不自由さよ
kono suji wa gin mo mishirazu fujiyuusa yo

In this place
people don’t even know silver coins —
how awkward!

Tr. Peipei Qiu

. WKD : Monkey 猿 saru .


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Monkey's Straw Raincoat

Le Manteau de pluie du Singe

(Tr. René Sieffert 1986)


quote
MONKEY'S RAINCOAT (SARUMINO):
Linked Poetry of the Basho School
translated from the Japanese by Lenore Mayhew Rutland,
Vermont: 1985 895.61 SAR

Monkey's Raincoat came about in 1690 when the poet Basho and a friend, Otokuni, made a trip to the capital city of Edo (now Tokyo). The two invited other poets to help them celebrate the occasion by composing a renga. As the haikai master, Basho wrote the lead verses.
"Let's squeeze the juice from our bones", Basho enthused.

Winter's first rain
Monkey needs
A raincoat too.

The renga has been compared to the verse debates conducted by medieval troubadours. Called partumens, these debates provided entertainment for aristocratic gatherings. At about the same time in Japan, Lady Murasaki in her masterpiece The Tale of Genji described the members of court passing the time by making a renga. It would be the great poet Basho (1644-1694) who transformed the renga from a game to a profound art.
source : fearlessreader.blogspot.com


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Haiku by Basho from the SARUMINO collection



Sarumino zuka 猿蓑塚 stone memorial


初しぐれ猿も小蓑をほしげ也
hatsushigure saru mo komino o hoshige nari

first winter shower -
even the monkeys would want
a straw raincoat

(Tr. Gabi Greve)


the first cold shower
even the monkey seems to want
a little coat of straw

Tr. Etsuko Yanagibori


First rain of winter -
the monkey too seems to want
a little straw raincoat

Tr. wikipedia


The first rain in late autumn,
even a monkey seems to want
komino

Tr. weblio


First winter rain
The monkey also seems to wish
For a little straw cloak

Tr. ecoling. Suzuki


. WKD : hatsu shigure 初時雨 first winter shower .
first cold rain after the 8th of November
first winter drizzle


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CLICK for more photos !



人に家をかはせて我は年忘 

こがらしや頬腫痛む人の顔

住みつかぬ旅のこゝろや置火燵 

雪ちるや穂屋の薄の刈残し 

から鮭も空也の痩も寒の内

人に家をかはせて我は年忘


うき我をさびしがらせよかんこ鳥 

たけのこや稚き時の繪のすさび 

蛸壺やはかなき夢を夏の月

粽結ふかた手にはさむ額髪

夏草や兵共がゆめの跡 

笠嶋やいづこ五月のぬかり道 

日の道や葵傾くさ月あめ 

風流のはじめや奥の田植うた 

眉掃を面影にして紅粉の花 

ほたる見や船頭酔ておぼつかな

頓て死ぬけしきは見えず蝉の聲 

無き人の小袖も今や土用干 




文月や六日も常の夜には似ず 

桐の木にうづら鳴なる塀の内  

病鴈の夜寒に落て旅ね哉 

むざんやな甲の下のきりぎりす

月清し遊行のもてる砂の上 



麥めしにやつるゝ恋か猫の妻 

かげりふや柴胡の糸の薄曇 

不性さやかき起されし春の雨 

闇の夜や巣をまどはしてなく鵆 

ひばりなく中の拍子や雉子の聲

山吹や宇治の焙炉の匂ふ時
yamabuki ya Uji no

うぐひすの笠おとしたる椿哉

猶見たし花に明行神の顔

一里はみな花守の子孫かや

草臥て宿かる比や藤の花  

行春を近江の人とおしみける



一ふき風の木の葉しづまる

あつしあつしと門々の聲

あぶらかすりて宵寝する秋

梅若菜まりこの宿のとゝろ汁



元禄辛未歳五月
source : itoyo/basho


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Haiku about the MINO straw raincoat





降らずとも 竹植る日は 蓑と笠
furazu tomo take uu hi wa mino to kasa

even if it does not rain
they plant on bamboo planting day -
a mino-raincoat and a rain-hat


Basho age 41 or later. from Oi Nikki 笈日記

MORE
. WKD : Bamboo and Haiku  
take uu 竹植う (たけうう) planting bamboo - kigo for summer


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春雨や蓑吹きかへす川柳
harusame ya mino fukikaesu kawa yanagi

this spring rain -
like straw coats back and forth
river willows sway

Tr. Gabi Greve

Written between 1684 and 94  貞亨元年 - 元禄7年.

It must have been quite a bit of wind to move the river willows.


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蓑虫の音を聞きに来よ草の庵
minomushi no ne o kiki ni koyo kusa no io

. WKD : minomushi 蓑虫 bagworm .
case moth, bagworm, basketworm
蓑虫 larva of Psychidae

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たふとさや雪降らぬ日も蓑と笠
tootosa ya yuki furanu hi mo mino to kasa

so respectful !
even on the day when it does not snow
a mino-raincoat and a rain-hat


Written in December 1690 元禄3年
He might have written this when seeing the ragged image of Ono no Komachi, Sotoba Komachi 卒都婆小町 the Beauty Komachi on a grave marker.
It might have reminded him of his own appearance, almost like a ragged beggar.


One of the "seven Komachi"
Read the story and her poem here :
. 7 Sotouba Komachi 卒塔婆小町. .



Haiku about tootosa by
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .


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Das Affenmäntelchen
tr. Geza D. Dombrady

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- - - - - External LINKS


猿蓑(さるみの)は、向井去来と野沢凡兆が編集した、蕉門の発句・連句集。松尾芭蕉は元禄4年(1691年)の 5、6月に京都に滞在し『猿蓑』撰の監修をしている。
source : ja.wikipedia.org/wiki


Monkey's Raincoat:
Sarumino Linked Poetry of the Basho School With Haiku Selections
by Lenore Mayhew, Yakushiji Soseki
source : www.goodreads.com/book


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. WKD : Monkey 猿 saru .


MONKEY DEITIES IN JAPAN
The three wise monkeys
. Amulets with Monkeys .


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08/11/2012

Genju-An

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- Genjuuan Ki 幻住庵記 Genju-an Records -

the Hut of the Phantom Dwelling
Unreal Hut
Hut of the Unreal Dwelling

and its owner,
Suganuma Kyokusui 菅沼曲水




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


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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

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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14/07/2012

kodomo - children

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- kodomo 子供 child, children -

ko 子 child
sutego 捨子 abandoned child
warabe 童部 child

. WKD : kodomo 子供 child, children .


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猿を聞人捨子に秋の風いかに
saru o kiku hito sutego ni aki no kaze ika ni

those who have heard a monkey's cry:
how about this abandoned child
in the autumn wind?
(Tr. Makoto Ueda)


a monkey shriek—
for this abandoned child,
what is the autumn wind like?


or

You who hear the monkey’s cries:
what of an abandoned child
in the autumn wind?

Reference : translations of this haiku


those who listen for the monkeys:
what of this child
in the autumn wind?

Tr. Barnhill
with further discussion of "mono no aware" .


. Nozarashi Kiko  野ざらし紀行 . "Journal of Bleached Bones in a Field"



The story of a mother monkey ready to give her life for her baby is told in a Chinese classic, 世説新語. Shi-shuo Xin-yu.
The book tells the story of a mother monkey who runs along a riverbank following a boat carrying her captured baby. When she reaches the boat she is so exhausted that she dies with her strong emotions of love and longing.

The Japanese proverb danchoo no omoi 断腸の思い , a "bowls-rending thought", is based on this.


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霜を着て風を敷き寝の捨子哉 
shimo o kite kaze o shikine no sutego kana

it wears frost
and has the wind for a blanket,
this abandoned child . . .


Written in 延宝5年, Basho age 34.
Basho did not see an abandoned child.
But he presents the situation as if he was heartbroken (danchoo no omoi 断腸の思い )lit. "a bowles-rending thought".
The cut marker KANA is at the end of line 3.


This is a parody of a waka poem by Fujiwara Ryookei 良経 Ryokei (1169-1206) .

きりぎりす鳴くや霜夜のさむしろに - 衣かたしきひとりかもねむ

The crickets are singing and the mist is rising on this cool night.
Am I to sleep alone on the sleeve of my kimono on this rough straw mat?

source for waka : www.shigureden.or.jp


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いざ子供走りありかん玉霰
. iza kodomo hashiri arikan tamaarare (tama-arare) .
At a Haikai meeting in Iga Ueno, at the home of 良品 Ryobon.
Maybe Basho is seeing his haikai friends as the "children" and wants to go out with them playing.


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子ども等よ昼顔咲きぬ瓜むかん
. kodomora yo hiragao sakinu uri mukan .
come on, children, I'll peel a melon !

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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


MORE
. Matsuo Basho - Family Ties .
His Wife ? Jutei-Ni 寿貞尼
His Son ? Jirobei 二郎兵衛
His nephew Tooin 桃印 Toin

The above hokku is (most probably) for the three children of his wife.


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里の子よ梅折り残せ牛の鞭 
sato no ko yo ume orinokose ushi no muchi

hey village kids,
leave some plum branches:
ox whips

Tr. Barnhill

Written in 1687 貞亨4年春, while Basho was living in Edo.

The image might be of a boy leading an ox or a cow, using a branch as a whip.

There is also an earlier version

里の子よ鞭折り残せ梅の花
sato no ko yo muchi ori-nokose ume no hana


. WKD : ume 梅 (うめ) plum (blossom) .
kigo for spring


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賎の子や稲摺りかけて月を見る
. shizu no ko ya ine surikakete tsuki o miru .
children of low folks, farmer's children, peasant children . . .

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月十四日今宵三十九の童部 
tsuki juuyokka koyoi sanjuu ku no warabe

moon on day fourteen -
tonight I am still thirty-nine
and a child


Written in 天和2年, Basho age 39.
Written at a haikai meeting in the village Kuniyamura in Kaii 甲斐國谷村 at the home of Takayama Biji 高山麋塒.

The full moon was on day fifteen of each lunar month. So on day 14 it is still incomplete.
A man was considered a "full man" at age 40. Since Basho was just 39 years of age, he considers himself still a "child".

. 高山繁文 Takayama Shigefumi - Biji 麋塒 .


There is also a famous children's song about the moon:



お月さま幾つ、十三七つ、まだ年ア若い / お月さまなんぼ十三、七つ そりゃまんだ若いな . . .
O-tsuki sama ikutsu sanjuu nanatsu

Mister Moon, how old are you? Thirty-seven? That is still so young. . .

Listen to the song here:
source : www.youtube.com

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mago 孫 grandchildren

祖父親孫の栄えや柿蜜柑
. ooji oya mago no sakae ya kaki mikan .


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- Matsuo Basho - Blessings unto Kasane -


source : unizaru.blog.ocn.ne.jp - cat


. Matsuo Basho 松尾芭蕉 - Archives of the WKD .
Oku no Hosomichi - Station 6 - Nasu 那須 -

So I mounted the horse and started off, when two small children came running after me. One of them was a girl named kasane, which means manifold. I thought her name was somewhat strange but exceptionally beautiful.

If your name, Kasane,
Means manifold,
How befitting it is also
For a double-flowered pink.

Tr. Yuasa

Sora 曽良

かさねとは八重撫子の名成べし
kasane to wa yae nadeshiko no naru beshi



"Double"
must be another name
for "Eightfold Pink"


. WKD - Nadeshiko - Comment by Ad Blankenstijn .


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quote
- Matsuo Basho - Blessings unto Kasane -
Translations and Commentary by Jeff Robbins
With Assistance from Sakata Shoko

Introduction
In his world famous travel journal Oku no Hosomichi, Basho tells of being lost among the fields of Tochigi in the summer of 1689 and finding a kind, considerate farmer who loans them his horse as a guide – ―When the horse will go no further, just let it return‖. As Basho rides and his traveling companion Sora walks away, the farmer‘s two small children, fascinated to see the strange, funny man riding their daddy‘s workhorse:

(From A Narrow Path in the Heartlands)

Two small persons
come running after the horse,
one a little girl
who says her name is
“Kasane”.


Chisaki mono futari ちいさきものふたり
Uma no ato shitaite hashiru 馬の跡したひてはしる
Hitori wa ko-hime nite ひとりは小娘にて
Na o Kasane to iu 名を「かさね」と云


This is ordinarily not a name, but rather a word for - "to pile up in layers, one on top of another".
Furthermore, in the dimension of time, Kasane means - "to reoccur, again and again, in succession"

snip the drawing

The travelers went north, then west, then south; summer passed, then autumn and winter. Now with the cherry blossoms of 1690 in bloom, Basho is in Zeze (Otsu City) near the southern tip of Lake Biwa. (Here Basho requested he be buried, so in Gichuji Temple he remains.)

Someone has asked Basho to choose a name for a newborn baby girl. Basho remembers the Kasane in the Deep North, and passes her name on to the newborn. The following haibun (haiku-like essay) ending in a tanka (the classical form for Japanese poetry) is his prayer for the child‘s happiness and longevity.

(Basho‘s haibun Blessings Unto Kasane)

During my pilgrimage to the Deep North, in one of the villages was a little girl who looked no more than five years old.
She was so small and indescribably charming that I asked her name, and she said “Kasane”.
What an interesting name! In Kyoto rarely is it heard so I wonder how has it has passed down
and what is that “layers, again and again”?


The farmer and his wife wanted a special name for their daughter, not just a name fashionable in Kyoto. What were they thinking of when they linked her heritage and destiny to this lovely multi-faceted word?

“If I had a child this name she would receive,”
I remember saying in jest to my traveling companion and now, unexpectedly, through an acquaintance I have been called on to be Name-giving Parent.


Without being biological parent, Basho gets the magical opportunity to give life through a name and through a poem.

Blessings unto Kasane
Spring passes by
Again and again in layers
Of blossom-kimono
May you see wrinkles
Come with old age


Basho

The words of the tanka may seem simple, however the double and triple meanings:

・the springs shall pass by again and again…
・the layers of kimono, lining and under kimono…
・as the years of your life pile up, the succession of your blossom kimono from bright to sedate…
・each kimono passing onto your daughter,the next layer of yourself…
・wrinkles in the kimono and wrinkles on your face…

weave together to form a web of Blessing and Hope for Kasane and all female children.

- Kasane o gasu
Iku haru o kasane gasane no hana-goromo
shiwa yoru made no oi mo miru beku
Basho

- 賀重
いく春をかさねがさねの花ごろも
しはよるまでの老もみるべく

ばせを

A formal kimono is a two-layer silk robe worn over an under robe, meticulously folded and tucked around the body in flat, even layers. The colors and pattern are chosen in harmony with the woman‘s age. A "blossom-kimono" for a girl entering womanhood might be a soft pink with bold cherry blossom design on the lower portion. A thick brocade sash of a darker contrasting color encircles her waist. The red inner robe shows at the neckline, and where the left side of the skirt covers the right, margins of the kimono lining appear and disappear as she walks.

Kasane, now your time begins, stretching to infinity before unfocused eyes. Soon you‘ll be laughing and playing in the sunshine – that is if no wars come and natural disasters, fatal illness, and financial ruin stay away too. One spring in youth, you shall be given your first "blossom-kimono", an exquisite robe to be worn just once a year to view cherry blossoms, then folded up and stored away until the next time to celebrate Spring under cherry blossoms.

The springs shall come and go with clouds of pink blossoms filling the treetops to fall in a shower of petals as you blossom into a young lady elegant in your impeccably layered kimono. Each year you sit with legs folded under you on the straw mat at a blossom viewing party, creases shall form in the fabric. Carefully, as your mother shows you restore its silky smoothness for another year. I pray the day comes for you to pass this youthful kimono onto your daughter, while you wear one more moderate in color and pattern – and this too passes onto her, and you to the dark and sedate colors of an older woman.

So Kasane, may our nation remain at Peace and the happiness in your family pile up layer upon layer until wrinkles in the fabric no longer smooth out, and you see wrinkles of old age cross your face. Do not despair, my child, for you live again and again as spring passes by and your granddaughters laugh and chatter in their blossom kimono.


The haibun Blessings Unto Kasane and the tanka SPRING PASSES BY offer hope to the smallest females—hope for a childhood without misfortune, hope that she will grow into womanhood and see grandchildren—yet this Message of Hope has been swept under the rug.

A few comprehensive Basho anthologies do give the tanka (e.g. Nihon Koten Bungaku Zenshu volume 71, page 284-85) buried among six hundred pages where nobody notices it. Since I discovered Blessings Unto Kasane thirty years ago I have searched through hundreds of books on haiku, Basho,, or Japanese literature, both English and Japanese, and found no mention of this work. The few male scholars who know of it find it trivial, not worth discussing.

Women, when they know of this work, may see it differently. In the few simple light words of the Tanaka, Basho speaks of what concerns women the succession of life, the happiness of children—the conditions of Peace, both social and family peace, in which little girls can dress up and party with relatives and friends, and life goes on generation after generation. The poem encapsulates the entire life of one woman from newborn to wrinkles in five lines. Has any poet ever reached so deeply into the heart of life.

snip

If you wish to help spread the awareness of Basho‘s poem, - - feel free to download this essay from our home page.

Email: basho4women2youth@yahoo.com
URL: http://www.basho4women2youth.join-us.jp

Basho on women and children 芭蕉:女性と子ども
The warm affectionate Basho  暖かく、感情込った芭蕉 

- - - - - Manuscripts
①  Blessings Unto Kasane
②  かさねを賀す
③  Icons of the Feminine
④  芭蕉における女性像 

Women and Girls: The Feminine Works of Matsuo Basho

By Jeff Robbins – Basho Researcher
Assisted by Sakata Shoko – Certified Japanese Language Instructor
- - - - - source : www.basho4women2youth.



. yanagi gasane 柳重 Kasane willow robes for spring .

. Matsuo Basho Archives - His Life and Works .

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. Cultural Keywords used by Basho .

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


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11/07/2012

nagori - remains

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- nagori 余波 - 余韻- 余風 - 余情
remains, memories, lingering -


. WKD - nagori 名残 lingering, at the end of a season .




. Basho Kinen Kan 芭蕉記念館 - Basho Memorial Hall .
in Fukagawa, Tokyo
near shrine Basho Inari Jinja - 東京都江東区


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牡丹蘂深く分け出づる蜂の名残り哉
. botan shibe fukaku wake-izuru hachi no nagori kana .
(summer) peony. pistils the bee withdraws regretfully
for - Hayashi Tooyoo 桐葉 Hayashi Toyo -


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Hiroshige - Evening Glow In Seta


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

along the bridge beam
endures the fern of recollection:
farewell moon

Tr. Barnhill


along the bridge beam
the fern of longing survives
as the moon departs

Tr. Chilcott


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

This hokku has the cut marker KANA at the end of line 3.


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


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


. Basho visiting temple Ishiyamadera 石山寺 .


MORE - about the Seta no Oohashi 瀬田の大橋 Seto no Ohashi, Great Bridge of Seta
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .


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入りかかる日も糸遊の名残りかな
. irikakaru hi mo itoyuu no nagori kana .
(spring) heat shimmers. threads. smoke
At Muro no Yashima 室の八嶋



物の名をまづ問ふ芦の若葉哉
. mono kakite oogi hikisaku nagori kana .
(summer) handfan. I write a poem. to leave things behind
for Tachibana Hokushi 立花北枝


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- after a hot bath - at  Nakayama Onsen 山中温泉

湯の名残り幾度見るや霧のもと
yu no nagori iku tabi miru ya kiri no moto


湯の名残り今宵は肌の寒からん
yu no nagori koyoi wa hada no samukaran


Oku no Hosomichi - - - - Station 37 - Natadera 那谷寺 - - - and Yamanaka Hot Spring 山中温泉
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .


. WKD - onsen 温泉 hot spring .


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. - wakare 別れ Basho parting with friends  - .   


. WKD - nagori 名残 lingering, at the end of a season .


. Cultural Keywords used by Basho .



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