Shayo Shioe Shayoo - Hirose Izen

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Shayo (Shayoo) 潮江車要
車庸（しやよう）

The exact dates of his life are not known.
He was a pupil of Matsuo Basho. He met Basho in 1691, while Basho stayed at the temple Temple Gichuji 義仲寺 and Katada / Katata 堅田 on the shores of lake Biwa.

His real name was Shioe Chohei 潮江長兵衛,
he was from Osaka.


In the year 1694 (Genroku 7, on the 21st day of the ninth lunar month),
there was a haikai meeting in the home of Shayo, with Basho the guest of honor.

On this evening more haikai poets had come to discuss haiku with Matsuo Basho, and meybe even discuss the legacy of the Great Master. They also wrote a linked verse, see below.

Some of the names are known:

Enju Fuchiku (Fuuchiku) 槐諷竹（えんじゅ・ふうちく）(? - 1711)
Medicine merchant in Osaka. He cared for Basho when he fell ill in the tenth lunar month Osaka.
. Shadoo, Shadō 洒堂 Shado - Hamada Chinseki 浜田珍夕/珍碩 .
（～元文2年（1737）9月13日）
Hirose Izen 広瀬維然 （see below)
Kagami Shikoo 各務支考 （寛文5年 1665 ～享保16年(1731.2.7)）from Mino, one of the 10 important disciples of Basho (jittetsu)
Yuutoo 膳所游刀 from Omi

. Hamada Shado in Numazu .



They kept talking and talking, ignoring the quietude of the autumn night, and had a good time. Or maybe they started quarreling about this and that whilst getting drunk? Who knows?
And the host, Shayo, could not go to bed before his honorable visitors.
Eventually, Basho himself and his host Shayo slept late the next morning.


During this haikai meeting,
Basho wrote the following autumn haiku in the home of Shayo:


秋の夜を打ち崩したる咄かな
aki no yo o uchikuzushitaru hanashi kana

this autumn night
brought to naught
by our storytelling


The autum night is treated like a thing, that can be broken down.
(for the use of the verb, see below)

Nowadays, people rarely sit outside and enjoy a long, cool autum night, chattering away and having a good time.
The long pleasant nights of autumn, spent in good company, have been "destroyed" by electricity, neon lights and television.


On the next morning after this party,
Matsuo Basho wrote the following haiku, lovingly commenting on his host and his habit of sleeping in after a meeting.


おもしろき秋の朝寝や亭主ぶり
omoshiroki aki no asane ya teishuburi

how funny of the host
to sleep late
on this autumn morning



Matsuo Basho 松尾芭蕉 died in 1694,
on the 12th day of the tenth lunar month, not long after he had written the haiku above.

. Basho Memorial Day (Basho-Ki 芭蕉忌)


quote
Basho and His Translators by John Carley

aki | no | yo | o || uchi | kuzushitaru || hanashi | kana

autumn night -
striking and making it crumble
this jovial chat

- Ueda 1992

the autumn night
brought to nothingness
by our chatter ---

- Carley 2010

Again, the impression is of a standard construction in which the fragment autumn night is set off by a cutting word against the image of the jovial chatter. Unlike the previous example there is a cutting word in the source text, but rather than being a device which seperates one metrical and semantic unit from another, it is actually the terminal intensifier kana which combines the functions of demonstrative adjective, ellipsis points, and wistful exclamation. No wonder Ueda settled on the em dash!
source : John Carley


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


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Haiku by Shayo

起しせし人は逃けり蕎麥の花
（『續猿蓑』）



山茶花は元より開く帰り花
（『續猿蓑』）



うかうかと海月に交るなまこ哉
（『續猿蓑』）




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Japanese Reference

潮江車要


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What was Basho trying to imply when using this verb?

uchikuzushi 打ち崩し
uchikuzusu うちくずす【打（ち）崩す】
考え方・雰囲気などをこわす kangaekata, funiki o kowasu
says the YAHOO online dictionary.
you can "destroy" a situation, a way of thinking.
It is also used for an army to destroy the enemy or the happiness of someone etc.

kowasu こわす【壊す】to break, destroy, damage
for example, destroy a building


One Japanese comment says:

Basho was about to uchikuzushi, break down the old social ranking of waka, renga and haikai, trying to bring haikai to the same level.

　江戸時代にあっては、和歌、連歌、俳諧の順が社会的通念であり、芭蕉はこれを打ち崩し、同等の立場に立つ俳諧観を形成、樹立することを生涯の目的とする。
芭蕉が「かるみ」「日常のごくありふれた事柄を平易に表現した俳諧」を考えたのはその意図に沿ったものだが、「おくのほそ道」「猿蓑」に具体化している。

１６８９年３月、「行春や、鳥啼き、魚の目は泪」を発句とし、曽良を同行者に、およそ２年８か月におよぶ「おくのほそ道」への旅に出る。

「夏草や、兵（つわもの）どもが、夢の跡」は平泉にて、その他、「象潟や、雨に西施の、ねぶの花」、「汐越や、鶴はぎ濡れて、海涼し」、「五月雨を、集めて早し、最上川」、「荒波や、佐渡に横たふ、天の川」など多数の句を残し、多くが現代にも膾炙している。

「おくのほそ道」の価値は卓抜な表現技術にある。一字も増補の余地がなく、一語も置き換えることができないほどに練り上げられた珠玉の名文である」と、作者は強調する。さらに、「このような文章は芭蕉以前にも、以後にもない」と。

しかも、「おくのほそ道」が出版され、世に出たのは芭蕉の死後である。

以下の三句は、芭蕉が没した同じ年の句。

「秋ちかき、心の寄るや、四畳半」

「此の道や、行く人なしに、秋の暮」

「秋深き、隣は何を、する人ぞ」　

同年、大阪に旅し、その地で没した。
辞世の句は、「旅に病で、夢は枯野を、かけ廻る」。
source : ameblo.jp/hustler

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Fujita Honsoodoo 藤田本草堂
Edobanashi 江戸噺 Stories of Old Edo


The hankasen 半歌仙 linked verse written that night
at the home of Shayo

①　　秋の夜を打ち崩したる話（咄）かな　　　　　　　翁 (Basho)
aki no yo o uchikuzushitaru hanashi kana

②　　　月待つほどは蒲団身に巻く　　　　　　　　　　　車庸 (Shayo)

③　　西の山二端三端雁鳴て　　　　　　　　　　　　　　酒堂
④　　　仕換ゆる牛の能動くなり　　　　　　　　　　　　 游刀
⑤　　舅の名をまんまと貰ふ真性者　　　　　　　　　　 諷竹
⑥　　　　小袖出して寝たる大年　　　　　　　　　　　　 惟然
⑦　　使やる所をはたとうち忘れ　　　　　　　　　　　　 支考

⑧　　　代へても医者の見廻れにけり　　　　　　　　翁 (Basho)
⑨　　拭立つ惣々の柱きらきらと　　　　　　　　　　車庸 (Shayo)

⑩　　　寄って揃ゆる弁当の椀　　　　　　　　　　　洒堂
⑪　　糺より黒谷かけて暮かゝり　　　　　　　　　　 游刀
⑫　　　薄がなくは野は見られまい　　　　　　　　　 支孝
⑬　　鹿の来ぬ夜は宿賃が百の損　　　　　　　　　　 惟然

⑭　　　　雨気の月の細き川筋　　　　　　　　　　　 車庸 (Shayo)
⑮　　火燈して薬師を下る誰が嚊　　　　　　　　　　　翁 (Basho)

⑯　　　　七種まではよろづ隙なき　　　　　　　　　　　　游刀
⑰　　見せ馬の荷鞍の茜花やかに　　　　　　　　　　　 車庸 (Shayo)
⑱　　　小館ならぶ金杉の春　　　　　　　　　　　　　　　 惟然

source : natsu uguisu



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Here is another linked verse report
from Summer 1962, as reported by Shayo.
with poems from Basho and Kikaku.

己が火を木々の蛍や花の宿 　
己が火を木々に蛍や花の宿
ono ga hi o kigi ni hotaru ya hana no yado
Basho 芭蕉

蛍見や鯉も胴うつ五間の間 　
hotarumi ya koi mo doo utsu gokan no ma
Shayo 車庸

『己が光』（車庸編）
http://members.jcom.home.ne.jp/michiko328/onogahikari.html




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Related words

Hirose Izen 広瀬維然
（～正徳1年（1711）2月9日）

His real name was Gen no Joo 源之丞（げんのじょう).
His haiku names were Motoushi 素牛
fuuradoo 風羅（ふうら）堂 Furado
鳥落人 and others.
He lived in Mino.


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Matsuo Basho wrote this hokku for him :

藤の実は俳諧にせん花の跡
fuji no mi wa haikai ni sen hana no ato

fuji seed pods
as theme for our haikai -
after the flowers


For Hirose Izen 広瀬維然.
1689 Oku no Hosomichi, at Ogaki, 元禄2年9月, ninth lunar month

The town of Seki 関 in Gifu was quite famous for its wisteria flowers, but when Basho arrived at Ogaki, it was autumn. So he composed this poem for his host, Hirose Izen 広瀬維然 from Seki.
(Maybe Izen was insecure about the various possibilities of haikai and this was an instruction for him.)

For Basho, anything at hand was worth a subject for a greeting poem and a haikai session.
This shows his true haikai spirit.

The priest Soogi 宗祇 Sogi (1421 - 1502) is famous for his waka about wisteria blossoms.


- - - Station 43 - Ogaki 大垣 - - -
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .


. Basho, Hokku and Haikai - Theory - .

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うめのはな赤いは赤いはあかいはな

Japanese plum flowers
red, red
red, indeed


水鳥やむかふの岸へつういつうい

A water bird
sliding to the other bank
straight, swift and quiet

source : akitahaiku.wordpress.com



Ume no hana akai wa akai wa akai wa na

Plum blossoms, they are
Very red, indeed, very red,
Very red they are.



Wakaruru ya kaki kuinagara saka no ue

I say my goodbye,
Eating persimmons, standing
At the top of a slope.


Laughter in Japanese Haiku
source : Tr. Nobuyuki Yuasa

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花さけや惟然が鼾止るやら
hana sake ya Izen ga ibiki tomaru yara

bloom, cherry trees!
Izen's snoring
may stop

Kobayashi Issa
Tr. David Lanoue


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Comment by Chris Drake

bloom, blossoms!
priest Izen's snoring
seems to have stopped

hana sake ya izen ga ibiki tomaru yara

Hirose Izen (d. 1711)
is famous as Basho's most "eccentric" follower. He was born as the third son of a rich sake brewery owner, but he lost his inheritance, and when he saw a plum blossom petal fall from the force of the breeze created by a passing bird, he decided to become a Buddhist priest and devote his life to haikai. In the middle of the night he left his sleeping wife and children and became a mendicant priest, traveling around Japan for the rest of his life. He became a follower of Basho and often helped him as an assistant toward the end of Basho's life, and after Basho's death his strong, direct style became even more individualistic and full of fuukyou (風狂), or conscious madness amid holy poverty, one of Basho's ideals taken from Ikkyu and other Zen writers when he was younger. This hokku by Izen is a famous example:

plum blossoms --
how red, how red
how incredibly red

ume no hana akai wa akai wa akai wa na

Especially after Basho's death, Izen often used strong, colloquial expressions, onomatopoeia, and emotional rhythms, causing some of Basho's leading disciples to claim he was besmirching the sacred reputation of Master Basho, yet because Basho had always publicly respected him, Izen was able to ignore these criticisms, which was lucky, since some of his hokku are among the best written by Basho's followers. For instance, this 1694 hokku from Zoku-Sarumino about saying farewell to Basho:

separating --
at the top of the slope
I eat a persimmon

wakaruru ya kaki kuinagara saka no ue

In a headnote Izen writes that he said farewell to Basho at the bottom of the slope, so some time has passed, and at the top of the slope he stops and gazes at Basho's back side growing smaller in the distance. Probably unconsciously, his strong emotion translates itself into a desire to eat something, perhaps to make up for the emptiness he now feels, and he finds himself eating a persimmon he was holding or carrying. The taste of Basho disappearing and the taste of the sweet persimmon disappearing yet lingering in his mouth are uncannily similar, and both are closely connected at a deep place in Izen's mind and no doubt in the minds of most readers. The fact that Izen uses a colloquial, inelegant word (kui-) for "eat" makes the total effect even more direct and moving.

Izen continued to write freely to the end of his life, often addressing and sympathizing with plants, trees, and animals and expressing common, often subjective emotions. Issa was strongly drawn to Izen's free spirit and wandering lifestyle, and he learned much from him about using non-literary, ordinary language and onomatopoeia and using hokku to explore his daily life. In Issa's hokku above, Izen may be a kind of double for Issa himself. Like Izen, Issa addresses the trees and asks them strongly to hurry up and begin to bloom before Izen wakes up. And Izen seems to have stopped snoring, so he may be waking up already. Like Izen, Issa himself must have often made himself at home and slept beneath plum and cherry trees when he was traveling or just going blossom-viewing, and he understands how deeply Izen would be moved if he woke up and saw fellow-traveler blossoms blooming above him. Since Izen has died nearly a century earlier, Issa may be suggesting to the trees that Izen's spirit is snoring away inside him and will now come alive and wake again through Issa.

Izen, as Issa knew, wrote many more hokku about plum blossoms than about cherry blossoms, so the unspecified blossoms in Issa's hokku might be plum blossoms. The hokku is from the second month, so if this is a hokku of direct observation, the trees are more likely to be cherry trees, but they could be late-blooming plums. Issa may mean the blossoms to be either or both plum and cherry, depending on the reader -- or perhaps cherries from a literal perspective and plums from Izen's perspective. Usually unspecified blossoms in renga and haikai refer to cherry blossoms, but because of Izen's presence here, Issa's hokku, like many of Izen's hokku, may be deviating from the norm. Issa's hokku verges on literary shamanism.

Chris Drake

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

***** Introducing Japanese Haiku Poets　

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