Kimura Hiroko

[ . BACK to WORLDKIGO TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Kimura Hiroko 木村浩子


quote
Building a world without barriers, borders
Disabled trailblazer Hiroko Kimura
has waged a lifelong battle to build bridges,
break down boundaries




COURTESY OF THE INTERNATIONAL ASSOCIATION
OF MOUTH AND FOOT PAINTING ARTISTS

I Love People,
I Love The Earth,
I Love Myself !


Born in 1937, Kimura was diagnosed at an early age with cerebral palsy, which racked her body with spasms and left her with firm control over only her left foot. When she was a young girl, her father was killed in World War II and her mother raised her in poverty in Yamaguchi Prefecture.
For a while, her mother's love insulated her from many of the prejudices against disabled people, but when Kimura was 13, her mother died and she was taken in by relatives. For the next three years, she was treated in a manner all too familiar to disabled people in the 1950s: Regarding her as a guilty secret to be hidden out of sight, her relations shut her in a cupboard-size room where summer saw her defenseless against clouds of mosquitoes, and winter left her shivering beneath thin blankets.

Abandoned like this for over two years, her thoughts grew increasingly dark until Kimura came up with a plan.
snip
Due to her palsied limbs, doctors maintained that she would never be able to stand, let alone move by herself. Kimura was determined to prove them wrong. It took her 11 full days to rise out of her wheelchair, then three months of hard practice to totter a meter. Her constant falls left her covered in cuts, scars and orange splashes of antiseptic cream, but one year later, she was able to walk unassisted — an achievement that broadened her world infinitely and allowed her to pursue the focus of the next stage of her life: poetry.

If only they used for the handicapped
The money spent on just one rocket . . .
My friend said smiling a wry smile
And rubbing her benumbed leg



The smell of the soap
Makes me feel a pain
Tonight on my breasts
That have never known caress


In 1964, she spotted an ad for a haiga class and decided to attend. Haiga, a form of art that combines poetry and painting, was not entirely new to Kimura, who was already an accomplished writer. However, painting was a skill she'd never attempted before.
snip
One afternoon in the mid-1980s, Hiroko Kimura was taking a rest from sightseeing on a park bench in Adelaide, southern Australia. As she was enjoying the warm sunshine, she spotted the words "Japs go home" carved into the wood.
snip
Through the efforts of Jellie and his wife, Phylis, Rogers and countless other volunteers and helpers, Kimura navigated the plethora of planning permissions, fire inspections and red tape necessary for opening a bed and breakfast in Australia. It would take over two decades, and they encountered several near-calamitous setbacks along the way, but finally in 2004 an Australian branch of Tsuchi no Yado opened in the Adelaide Hills.

Read more here :
source : Japan Times, September 28, 2010


::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::




PEACE ON WHEELS - IKIRU (TO LIVE)
http://www.peaceonwheels.net/

. . . Hiroko's Paintings . Gallery

... Kokoro ... The Heart





Tsuchi no yado - Inn of the Earth

Tsuchi No Yado Okinawa was set up by Hiroko in 1984 as a guest house catering for people with or without disabilities, shortly after she decided to make the blue watered islands of Okinawa her home.

Okinawa
. . .www.peaceonwheels.net / okinawa

Australia
http://www.tsuchinoyado.com.au/



Tsuchi no Yado


::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Japanese Reference

木村 浩子（きむら ひろこ）


*****************************
Related words

***** Introducing Japanese Haiku Poets　


[ . BACK to WORLDKIGO . TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::　

Tagami Kikusha

[ . BACK to WORLDKIGO TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Tagami Kikusha 田上菊舎

The Nun Kikusha Kikusha Ni 菊舎尼

Tagami Kikusha (1753, August 23 -1826, September 24)

whose pen name literally means "Chrysanthemum Hut" was born in Chofu in Nagato (present-day Yamaguchi prefecture) 下関市豊北町田耕.
She began to seriously devote herself to poetry after her husband's early death (Kikusha was twenty-four) and, like Basho, travelled widely for the remainder of her life.
She also visited many places in honor of Saint Shinran 親鸞聖人, the founder of the True Pure Land School of Buddhism.

She had no home for herself any more and lived day by day intensely with the daily encounters on the road, relying on the help of others and the whims of nature.
She studied haikai with Chobo-en Sankyo (1726-92 朝暮園傘狂 (Chooboen Sankyoo).
She also visited Kaga in memory of the famous haiku poet nun Chiyo-Ni.
Through haiku she learned to observe everything carefully, the clouds, the small weeds on the road side ... anything ...

At age 64, she returned to the home where she had been born in Nagato. Her mother had died shortly before she arrived. Kikusha now decided to stay there and not travel any more ... there was no difference between travelling and staying on ... you can not take anything with you anyway, so just

play with the clouds
雲遊



"Tagami Kikusha:
Bohemian Nun, Haikai Poet, and Poet-Painter"
Patricia Fister
Simply Haiku , December 2004



Haiga for Haiku, Kikusha Ni The Green Leaf Gallery



Read her haiku in Hungarian Translation Terebess Online


Click HERE to see some photos ! Haiku Stone Memorials and more.

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::




雲遊の尼　田上菊舎




© 菊舎顕彰会
More books about her in Japanese

菊舎顕彰会会長
Oka Masako 岡昌子


*****************************
HAIKU

Both the Chinese origin and flair of the temple Manpuku-Ji and the famous tea fields in the area of Uji are commemorated in the haiku written in Spring of 1788, after leaving the temple grounds :

山門を出れば日本ぞ茶摘うた
sanmon o dereba nihon zo chatsumi uta

Passed through the temple gate
Japan in front of me
Tea picking song.

More : When visiting Temple Manpuku-Ji


one step outside
the temple gate, it's Japan --
a tea-picker's song

"The temple is Manpuku Temple, in Uji, near Kyoto. Headquarters of the Obaku sect of Zen Buddhism, the temple was built with Ming-style architecture and so gave the impression of being in China. Uji was-- and still is--famour for producing green tea."
Haiku by Japanese Women, by MAKOTO UEDA


Leaving the temple's gate,
I found Japan, indeed -
The song of the tea leaf pickers.
Tr. Fumiko Yamamoto


Coming out of the temple gate,
The song of the tea-pickers:
It is Japan!
Tr. Blyth


outside the temple gate
it's Japan again!
song of the tea pickers
Tr. Gabi Greve


Click HERE for some photos !
Girls picking tea leaves, dressed in special kimono and headgear.



. WASHOKU - Fucha ryori 普茶料理
Chinese monk quisine at Manpukuji 　


:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


asagao ya yoi wa tsubomi ni tanoshimase

morning glories --
in the evening, they let us
admire their buds
Tr. Makoto Ueda
http://groups.yahoo.com/group/translatinghaiku/message/1412



morning glories -
in the evening we delight
in the buds
Tr. Gabi Greve


:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


kumo kasumi ... imbibing clouds and mist
nomitsutsu koen ... I cross the chrysanthemum
kiku no yamaji ... mountain-path



月を傘にきて遊ばばや旅の空

tsuki o kasa ni kite ... to wander with the moon
asobaba ya ... as a hat –
tabi no sora ... traveller’s sky


tsuki to ware ... the moon and I
bakari nokorinu ... alone remain;
hashi suzumi ... cooling on the bridge

Tr. Michael Haldane



月と吾 ばかり残りぬ 橋涼み
tsuki to ware bakari nokorinu hashi suzumi

The moon
and just myself remain . . .
evening coolness on the bridge.

Tr. and further discussion
Hugh Bygott, Translating Haiku Forum


:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Tr. Gabi Greve






山中や笠に落葉の音ばかり
sanchuu ya kasa ni ochiba no oto bakari

in the mountains -
on my straw hat only the sound
of falling leaves

On the way from Sendai, crossing the pass
Futaguchi Toge 二口峠.
This is a strenous walk even for a man, and there are bears in the deep woods.




しばらくは罪も忘れて月涼し
shibaraku wa tsumi o wasurete tsuki suzushi

for a while
I forget there are sins -
this cool moon




薦(こも)着ても好な旅なり花の雨　　
komo kite mo suki na tabi nari hana no ame

even wearing a staw raincoat
I like to travel -
rain on the blossoms




the parents of Kikusha

source, with more photos
http://kikusha.com/bojo_1.htm



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




よしあしに渡り行く世や無一物
yoshiashi ni watari-yuku yo ya mu ichibutsu




this world
we pass on a rush leaf -
not one thing


. "Rush-leaf Daruma" (royoo Daruma 芦葉達磨)


:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


Contribution from Larry Bole
Translating Haiku Forum

I recently had occasion to look at an art exhibit catalog I have, "Japanese Women Artists: 1600-1900," organized by Patricia Fister (Spencer Museum of Art, 1988), and there I got caught up reading about the haiku poet and haiga painter, Tagami Kikusha.
I will provide some more information, taken from an essay by Fumiko Yamamoto in the catalog.

Excerpts from Fumiko Yamamoto's essay:
Kikusha [was] in her youth called Tagami Michi... . She was the daughter of Tagami Yoshinaga and his wife Tane. Yoshinaga was a poet of Chinese-style verse, and since Kikusha was an only child until her brother was born when she was sixteen, she is believed to have received a good education which included composition of poetry. She married into the Murata family when she was sixteen, but her husband died eight years later. They did not have children, and Kikusha soon went back to her parents' home. It is not certain when Kikusha started creating haiku, but in 1780 at the age of twenty-seven, she decided to travel to the Oou and Tookai areas to search for poetic inspiration, following the tradition of many poets in the past, including Basho. ...

[Kikusha received the haiku name Ichijian from her teacher Sankyoo.]

When Kikusha reached Niigata [on a journey following Basho's 'Oku no hosomichi' in reverse]...she studied calligraphy with a local master named Goshoo (Five Pines) who is believed to have influenced the development of her strong and free brushwork. From the northern tip of the main island, she went across to the Pacific Ocean side and finally reached Edo, where she stayed for three years. Her name must have been known to the poets in the new capital, because she was invited to many poetry meetings and tea gatherings. In 1784 she left Edo, taking the Tookaidoo (Eastern Coastal Way) to return home. Before she reached Choofu, she stopped at Mino again. There she formally learned the art of tea ceremony under Itoo Munenaga, and was thereafter frequently invited to attend many elegant tea parties.

...Kikusha set off for Kyoto again in 1790 to participate in the centennial ceremony on the anniversary of Basho's death. ...

During this trip to Kyoto, Kikusha started composing 'waka' poetry in addition to haiku. [more on this later]

In 1793 Kikusha revisited Edo, and at this time Kikuchi Toogan taught her to play the seven-stringed 'ch'in', an instrument traditionally beloved by Chinese poets and sages.

Kikusha sought almost avariciously to develop her talents, and when she was in Kyoto she furthered her 'ch'in'-playing skills by studying with a courtier, Lord Hiramatsu. Through the art of 'ch'in' playing, Kikusha must have come to be well-known in Kyoto's high society. A former minister invited her to his musical gatherings and gave her personal 'ch'in' the name 'Ryuusui' (Flowing Water).

Kikusha spent many years traveling until she died in Choofu in 1826 at the age of seventy-three. It is believed that she visited the Kyoto area seven times and Kyuushuu four times, in addition to numerous trips to neighboring areas. On each journey, she met poets and atended poetry gatherings, musical performances, and tea ceremonies. One of her most memorable experiences occurred when she visited the temple Hooryuuji in Nara in 1812. She was allowed to play an ancient Chinese 'ch'in' which was one of the temple's treasures. Kikusha played before the statue of Prince Shootoku, who had founded the temple in 607, and she honored the happy occasion with a haiku:

Kaoru kaze ya morokoshi kakete nana no o ni

A fragrant breeze
Is blowing from China
Over these seven strings
[trans. Fumiko Yamamoto]

It must have been indeed an unusual opportunity for a commoner to touch this precious instrument. This event was obviously an unforgettable highlight in her life and Kikusha concluded her published collection of poems, 'Taorigiku' (Handpicked Chrysanthemums) with this experience. Printed in 1813 by the Kyoto publisher Tachibana Jihei, the 'Taorigiku' consists of four sections: the first part contains a travelogue with haiku that Kikusha composed during her first trip to the Oou and Tookai areas; the second part includes haiku and paintings of some of the Tookaidoo's fifty-three stations made during her 1793 journey; the third and fourth parts consist of Chinese poems with related haiku.
[end of excerpt]


So, given the kind of visibility she had, why isn't she as well-known as Chiyo to the English-language haiku community?

In Blyth's 4-vol. "Haiku", there are only two haiku by Kikusha, and in Blyth's 2-vol. "History of Haiku," she isn't mentioned at all!

Unless there were scholarly articles written about her in specialty journals, the first appearance of her haiku in English translation in any appreciable number is in the exhibition catalog, "Japanese Women Artists: 1600-1900", pubished in 1988. In this catalog, there are sixteen of Kikusha's haiku translated.

As far as I know, Kikusha's next appearance in English translation is in Faubion Bower's "The Classic Tradition of Haiku: An Anthology," 1996. In a footnote there, Bowers writes, "A Buddhist nun and friend of Issa [!].

Then English-language readers got twenty of Kikusha's haiku translated in Makoto Ueda's "Far Beyond the Field: Haiku by Japanese Women" 2003.

There is also a chapter on Kikusah in Hiroaki Sato's "Japanese Women Poets: An Anthology," 2008. But I don't have that book, so I don't know how many of her haiku are translated there.

The haiku I particularly wanted to look at is about Mt. Yoshino. Here is an excerpt from Fumiko Yamamoto's essay:

One of [Kikusha's] first 'waka' was created when she visited Mount Yoshino, renowned for its masses of cherry blossoms which had been extolled in poetry for centuries. It was summer when Kikusha went to the mountain, and there were no traces left of the cherry blossoms. Remembering that in Basho's book, 'Oi no kobumi' (Notes in a Straw Satchel, circa 1690), the haiku master had expressed a poetic vision in which "anywhere a poet looks, there are flowers," Kikusha composed the following 'waka':

Natsu kitemo
Hana ka to miete
Yoshinoyama
Mine no aoba ni
Kakaru shirakumo

Even though I've come to summer,
They appear like flowers
On Mount Yoshino;
Over the green-leafed peak--
Draping white clouds.

She succeeded the 'waka' with a haiku:

Natsuyama ni kumo mite sumasu Yoshino kana

Above the summer mountain--
Satisfied by clouds
Here at Yoshino.
[both translations by Fumiko Yamamoto]

Yamamoto goes on to say:
The 'waka' solemnly explains the logic behind the artistic composition, while the terse haiku reveals the poet's stance in a brief flash: the anticipated occasion of flower viewing is supplanted by a complete absorption in the beauty of the clouds. The haiku presents a casual connoisseur's approach to the heavy traditional canon of beauty. Because of its fresh and light quality, the haiku is more appealing than the 'waka'.
[end of excerpt]

Here is Makoto Ueda's take on the same haiku:

on the summer hills
I saw a cloud--that's all
there was in Yoshino
trans. Ueda

Ueda says in a footnote:
The haiku is accompanied by an additional note: "Someone once observed, 'Are we to look at cherry blossoms only when they are in full bloom ['Tsurezuregusa' (Essays in Idleness)]?' While I agree with him, I also feel that it is disappointing to see something well past its prime. On the other hand, I know someone else said, 'There is nothing you have in mind that cannot be turned into a flower ['Oi no kobumi' (The record of a travel-worn satchel)].'" Yoshino is renowned for its cherry blossoms.
[end of footnote]

The two different translations of the same haiku each suggest a distinctly different mood. One is upbeat, the other one is kind of downbeat. I wonder which one is more true to the original.


In the exhibit catalog, "Japanese Women Artists: 1600-1900," Fumiko Yamamoto also wrote an essay on Chiyo. In Yamamoto's essay on Kikusha, Yamamoto points out some differences between Kikusha and Chiyo:

In contrast to Chiyo, who seems to have preferred to pose herself quietly before an object and to then observe it until she became assimilated into it, Kikusha was an individual of action who rigorously sought out the source of her interest.

quote
Both Chiyo and Kikusha pursued the beauty of flowers in each season, yet their poetic stance and consequently their artistic products [haiga & calligraphy] are quite different. Chiyo envisioned a wren as a winter flower, and Kikusha took snow for winter blossoms. Chiyo's view is modest and intuitive, while Kikusha's vision is grand and cerebral. In spite of the differences, however, both poets are similar in one respect: they both achieved fame during their lifetimes through their intense devotion to art in a period when freedom of expression was restricted for women.
[end of excerpt]

Here is Chiyo's poem envisioning a wren as a winter flower, and a description of the haiga on which it is written (from the catalog):

"Wren and Pestle"
Hanging scroll, ink on paper, 38.1 x 49.5 cm.

The bold line of the pestle which diagonally cuts across the surface of the painting is balanced by the calligraphy which is divided into two parts, below and above the pestle. Chiyo's poem reads:

surikogi ni fuyu no hana saku ya misosazai

On the pestle
A winter flower is blooming
But only a wren.
[trans. Fumiko Yamamoto]

As in all of Chiyo's works, her use of space is masterly. The word 'hana' (flower) appears above the wren which seems to be singing homage to the word. The wren is aware that it is the point of brightness in Chiyo's vision. The last word, 'misosazai' (wren), is written in small characters suggestive of the bird's tiny frame.
[end of excerpt]


And here is Kikusha' haiku taking snow for winter blossoms, which is written on a hanging scroll as one of four haiku depicting the four seasons, each season being associted with a flower (from the catalog):

"Four Haiku"
Hanging scroll, ink on paper, 24.8 x 56.7 cm.
[the scroll has only calligraphy on it]

Having something which I believe in and enjoy even at the end of the seasons [headnote]:

tada tanomu takara no yama ya mutsu no hana

My only creed--
The mountain of treasure
The six-petaled flowers of snow.

Kikusha's brushwork occupies the entire space with force and vitality. At the beginning of each poem the brush was dipped anew, and the strong ink tones create acccents which strengthen the total composition. Some of her lines fluctuate dramatically in width, adding vigor to the calligraphy. ... From both the poems and the calligraphy emerges the figure of the poetess who willfully directed her life beyond the narrow frame of activities imposed on many women during an era of constrictive feudalism.
[end of excerpt]


At one point early in her career as a haiku poet, Kikusha paid a visit to Chiyo's home. According to Yamamoto (from the catalog):

Chiyo had passed away seven yeas earlier, but Kikusha became acquainted with Chiyo's adopted son, Hakuu 白雨. At his house, Kikusha wrote a poem with Chiyo's graceful figure in mind:

hana miseru kokoro ni soyoge natsu-kodachi

To reveal the flower
Of your heart
Sway, you summer grove.
[trans. Yamamoto]

To this poem, Hakuu added the next two lines to commemorate Kikusha's moonlike visit to his humble house.

yabureshi kaya ni
utsuru tsukikage

To the tattered mosquito net
Shifts the light of the moon.
[end of excerpt]



*****************************
More external LINKS

Haiku by Japanese Women : Haiku Spirit


田上菊舎 . Japanese Links
宝暦3年10月14日（1753年11月8日） - 文政9年8月23日（1826年9月24日)

List of her haiku from various temples


Stone Memorials

Her Life and Poetry

Scrolls with her Poetry Click on the LINKS given.

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::　

[ . BACK to WORLDKIGO . TOP . ]
[ . BACK to DARUMA　MUSEUM　TOP . ]

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::　

Hasegawa Kanajo

[ . BACK to WORLDKIGO TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Hasegawa Kanajo 長谷川かな女

1887年10月22日-1969年9月22日
1887 - 1969



She was born near Nihonbashi, in the center of Tokyo.
Her grandson is the novelist Mita Kan (1956 - )

She entered the Mitsui Family in 1903 to learn about proper housekeeping and the virtues of a good wife (gyoogi minarai 行儀見習), but could not continue due to a heart disease. In 1909 she married her private English teacher, the haiku poet 富田諧三, who later was known as 長谷川零余子 Hasegawa Rsishi (1888 - 1928, July 27), who was a member of Hototogisu.

She begun to write haiku herself and on request of Takahama Kyoshi joined a Woman's Haiku Group 婦人俳句会.

Shortly after the death of her husband in 1928 her home in Shinjuku burned down and she moved outside to Urawa town, Saitama, where she died of lung infection at the age of 81.

In 1930 she started the haiku magazine 水明.
龍胆 in 1929
雨月 in 1939
胡笛 in 1955
定本かな女句集 in 1964
牟良佐伎 in 1969


In 1966 she received the
Medal with a Purple Ribbon 紫綬褒章受章.


::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


Ryu Yotsuya wrote:
Director of Hototogisu magazine, Kyoshi Takahama intended to propagate haiku to women. He instituted the section "The Kitchen songs" where were published women's haikus; there were published such excellent poets as Kanajo Hasegawa (1887 ~ 1969) and Midorijo Abe (1886 ~ 1980).

Sugita Hisajo 杉田久女


She was of a gentle and elegant character and showed great talent in keeping the female haiku poets of her time under her guidance.

Takahama Kyoshi said about her to his own daughters, whe were also haiku poets:

かな女さんを見習いなさい

Learn from Kanajo!



::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


摩利支天の露店の上や春の月
Marishiten no roten no ue ya haru no tsuki

above the shops
at the Marishiten Festival -
the spring moon


. Marishiten 摩利支天 　



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



五色に塗る餅柔かしお命講
goshiki ni nuru mochi yawarakashi o-meikoo

the mochi cakes
in five colors and so soft ...
memorial for Saint Nichiren


. Goshiki 五色 Five Colors and Saint Nichiren 　


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



大橋を恵方へ渡り詣りけり
oohashi o ehoo e watari mairi keri

crossing the Great Bridge
in the auspicious direction
for the New Year


. auspiciuos direction, ehoo 恵方 　　


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


重陽や椀の蒔絵のことごとし
chooyoo ya wan no makie no koto gotoshi

Chrysanthemum Festival -
in the bowl this laquer image
almost the same


. Maki-e (蒔絵) sprinkled lacquer pictures .


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


Musashino no tori kuru matsu no shin mugen

birds of Musashino plain
coming to the pine candles -
infinity


. Pine (matsu 松) 　


::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


御所人形の稚児輪ふくらむ牡丹の芽
gosho ningyoo no chigowa fukuramu botan no me

the fluffy hairdo
of this Gosho doll -
bud of a peony


. Gosho ningyoo 御所人形
Gosho dolls from the Imperial Palace, Kyoto .


::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


西鶴の女みな死ぬ夜の秋
Saikaku no onna mina shinu yoru no aki

the heroines of Saikaku
are all going to die -
autumn night


. The writer Ihara Saikaku 井原西鶴 　　


. . . . .


Translation suggestions and discussion by Mariko Shimizu:


the heroines of Saikaku
all die in the end
autumn night

or

the heroines of Saikaku
are all to die
autumn night


::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


Japanese Reference

長谷川かな女


*****************************
Related words

***** Introducing Japanese Haiku Poets　


[ . BACK to WORLDKIGO . TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::　

Shinohara Hosaku

[ . BACK to WORLDKIGO TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Shinohara Hosaku 篠原鳳作
Shinohara Hoosaku
1905-1936 / 明治38年10月29日～昭和11年9月17日
or born in
明治３９年（１９０６）

Born in Kagoshima.




His mother was Asa. His real name was 国堅.
His earlier haiku names were 未踏 and 雲彦.

When he was stationed at a school in Miyakojima, Okinawa, he had a difficult time to find appropriate kigo, so he started writing haiku without.
He was one of the first to do so.

Now there are haiku meetings in his honor at the school in Miyakojima.


:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


Hoosaku Ki 鳳作忌 (ほうさくき) Hosaku Memorial Day

September 17, 1936. He was only 30 years old.

. KIGO : Memorial Days for Autumn 　



::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::




しんしんと肺碧きまで海のたび
shinshin to hai aoki made umi no tabi

the deep blue
penetrates deep into my lungs -
travelling on the open sea


He wrote this at Miyakojima 宮古島, Okinawa.

Hosaku had been nominated a teacher at the Island Miyakojima, at the high times of WWII.

The memorial stone is located at Kamama-mene Park カママ嶺公園,
in a position so that the poem faces toward Kagoshima, the birthplace of the poet.


(肺までしんしんと碧くなるような船旅)


Blyth wrote about this haiku:

By the 10th year of Shoowa, the whole of the haiku world had been permeated by the idea of verses without a season word. Most poets, except a few redoutable opponents, tended to accept the idea, but not many actually put it into practice.
One of these was Hoosaku, 1906-1936, and the following verse was much appreciated:

Shin-shin to hai aoki made umi no tabi

Sailing over the sea,
Until our lungs feel
Blue and cool.


. . . . .


Out at sea,
lungs ride
cold blue.
Tr. Lucien Stryk



:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


セロ弾けば月の光のうづたかし
sero hikeba tsuki no hikari no uzutakashi

while I played my cello
the moon climbed so high
up in the sky

Haiku about the Cello


::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


ルンペン晩餐図
Haiku about lumpen, tramp, loafer, bum, hobo


ルンペンに今宵のベンチありやなし
runpen ni koyoi no benchi ari ya nashi

for the tramp
a bench tonight -
maybe yes, maybe not




ルンペンのうたげの空に星一つ
runpen no utage no sora ni hoshi hitotsu

at the banquet
of the tramps high in the sky
just one star






. runpen ルンペン　"Lumpen", tramp, loafer, bum, hobo


::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


ままごとの子等が忘れしぬかご哉
　　秋の蝶とじてはひらく翅しづか
　　春月を仰げる人の懐手
　　大いなる柱のもとの蟻地獄
　　探梅の馬車ゆるることゆるること
　　満天の星に旅ゆくマストあり
　　幾日はも青うなばらの円心に

http://www5e.biglobe.ne.jp/~haijiten/haiku-sa-2.htm



::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Japanese Reference

篠原鳳作


*****************************
Related words

***** Introducing Japanese Haiku Poets　


[ . BACK to WORLDKIGO . TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::　

Den Sutejo

[ . BACK to WORLDKIGO TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Den Sutejo (1633-1698)

田捨女 でんすてじょ / Suteme
寛永十一 / 元禄十一(1634-1698)　
寛永11年（1634年） - 元禄11年8月10日（1698年9月13日

号：嶺南・妙融尼・Teikan Ni 貞閑尼

Kaibara Sutejo 栢原捨女 かいばらすてじょ

Born in the province of Tanba as daughter of the samurai Den Rishige 田季繁.
She married and had five sons and one daughter. When she was 42, her husband died. Very soon after, she became a nun.


© PHOTO minamikun

She became a student of Bankei Eitaku, 盤珪永琢, a Zen master (1622 - 1693). She built her temple Futai An 不徹庵 beside his temple Ryuumon-Ji 龍門寺, where she lived with about 30 other ladies. Her grave is at the temple Ryuumon-Ji.


. Bankei Yōtaku 盤珪永琢 Bankei Yotaku .
Bankei Eitaku (1622-1693) and temple 寶雲山玉龍寺 Gyokuryu-Ji




Japanische Haiku-Dichterinnen


*****************************
HAIKU


© PHOTO ribon2ss.exblog.jp

nure iro ya ame no shita teru hime tsutsuji

adorned with raindrops
from the shower, a sparkling
princess azelia

Tr. Makoto Ueda


colored by wetness -
a princess azalea sparkling
under the rain
Tr. Gabi Greve
(trying for a version without a comma in line 2)

Azalea (tsutsuji)

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

White Layered Robe, shiragasane

natsu matade baika no yuki ya shiragasane

too impatient to wait
for summer, plum blossoms
in a white suit of snow

Tr. Makoto Ueda


not waiting for summer
the plum blossoms in snow -
white layered robes
(Tr. Gabi Greve)



© Photo 風俗博物館


shiragasane 白襲 :
a white robe worn as underwear to absorb the sweat. It was another layer (kasane) of the robes worn by the nobility and by Buddhist priests and nuns in summer, starting from April 8 (old lunar calendar). This kind of layered robe is already mentioned in the Tale of Genji.

Courtiers underwear, shitagasane下襲（したがさね）was preferred in the colors white and indigo (futa ai 二藍) in summer, whereas in winter they used "azalea red" (tsutsuji 躑躅), cherry pink (sakura 桜), dark red (su ou 蘇芳) and other colored silken robes.
shirokasane, shirakasane, sirokasane


© PHOTO Kobe Kikusui Wagashi

Here we have a Japanese sweet with the name "Shiragasane". It refers to the name of the white robe used in Noh costumes.


white layered robe, shiragasane 白重, 白襲
..... white robe, shira-e, shira e 白衣（しらえ）
kigo for early summer

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

let us start picking --
don't drop herbs from your basket
or anything else!

The Japanese "young herbs" (wakana) can also mean "my name" (waga na). This is an allusion to an 8th century poem where the poet is asking a maid who is picking herbs for her name.

Tr. Makoto Ueda


:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

雪の朝二の字二の字の下駄の跡
yuki no asa ni no ji ni no ji no geta no ato

snowy morning -
tracks of wooden sandals
two lines, two lines again
Tr. Gabi Greve


As you can see, these sandals have two wooden blocks to walk on. They leave a print that looks like the Chinese character for TWO 二. This is rather difficult to translate literally.


© PHOTO Getaya

*****************************
Related words

***** Tagami Kikusha (1753-1826)


***** Sweets from Japan (wagashi)

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::　

[ . BACK to DARUMA　MUSEUM　TOP . ]
[ . BACK to WORLDKIGO . TOP . ]

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::