Iida Ryuta Dakotsu

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Iida Ryuta (Iida Ryouta) 飯田龍太

1920-2007
1920年7月10日 - 2007年2月25日
Ryuta Iida, Iida Ryuuta, Iida Ryûta




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observance kigo for mid-autumn

Dakotsu Ki 蛇笏忌 (だこつき) Dakotsu Memorial Day
Sanro Ki 山廬忌（さんろき）Sanro Memorial Day

. Memorial Days in Autumn 　


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He was the fourth son of the Haiku Poet Iida Dakotsu 飯田蛇笏.
He graduated from university in 1947, with an article about Matsuo Basho.
His brothers died when they were still young and his father Dakotsu died in 1962. So he had to take over the family tradition of 300 years of the Iida Family in Yamanashi prefecture, while being active in the Modern Haiku Movement.

Since 1951 he worked at the library of Yamanashi prefecture in Kofu city.
In 1954 he published his first haiku volume 百戸の谿.




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Haiku poet Iida dies at 86

Ryuta Iida, a well-known modern haiku poet, died of pneumonia Sunday evening at a hospital in Kofu, Yamanashi Prefecture, his family said Tuesday. He was 86.

Born as the fourth son of Dakotsu Iida who was also a haiku poet, Ryuta Iida helped his father edit the prestigious haiku magazine ''Ummo 雲母 '' and took it over after his father's death in 1962.
http://findarticles.com/p/articles/mi_m0WDQ/is_2007_March_5/ai_n18647603






There is no first-class haiku in the haikus with marked characteristic /individuality.
- Iida Ryuta "About the individuality"




春分の湯にすぐ沈む白タオル
shunbun no yu ni sugu shizumu shiro-taoru

in the bath on the spring exuinox
my white towel
sinks immediately


The season of SPRING




どの家も蚕の香桑の香晴れわたり
. dono ie mo ko no ka kuwa no ka harewatari .
. . . the fragrance of silkworms and mulberries


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Iida Dakotsu
Dakotsu Iida (飯田 蛇笏)
26 April 1885 – 3 October 1962)

He was a famous Japanese haiku poet from Yamanashi, Japan. His real name was Takeji Iida (飯田 武治, Takeji Iida). He is commonly referred to as Dakotsu. He trained under Takahama Kyoshi, and was a frequent contributor to such haiku journals as Hototogisu and Unmo. He was chief editor of Unmo.

Collections of Dakotsu include Sanro shû (The Mountain Hat Collection, 1932), Reishi (The Ten-Thousand-Year Mushroom, 1940), Shinzô (The Mind’s Eye, 1947), Sekkyô (Snow Gorge, 1951), and Kakyô no kiri (Fog and My Native Land, 1956).

© More in the WIKIPEDIA !



Dakotsu Iida est né en 1885 dans le village de Sakaigawa, Yamanashi. En 1905, à Tokyo, il est devenu membre du Waseda ginsha (Club de haïku de Waseda) où il a connu Ippekirô Nakatsuka. En 1909, il a dû renoncer à ses études en littérature anglaise, à Tôkyô, pour retourner dans son village natal et prendre la direction de la ferme familiale. En 1914, il a recommencé à envoyer ses haïkus à la revue Hototogisu (Le coucou); dans la série d'essais Susumu beki haiku no michi (Le chemin propre pour les haïkistes; 1915-1917), Kyoshi Takahama a loué avec enthousiasme ses poèmes. En 1915, il a été membre du jury du concours de la revue Kirara (Mica), titre qui est devenu Unmo, autre mot pour du mica, quand il en est devenu directeur, en 1917.

Pendant la Seconde Guerre mondiale, deux de ses fils sont morts comme soldats; il en a ressenti une grande douleur qu'il a exprimée dans ses haïkus. À sa mort, en 1962, son fils Ryuta lui a succédé à la direction d'Unmo. Il aimait et haïssait son pays à la fois; il admirait cette vie errante qui lui était impossible en tant que chef de ferme et il a métamorphosé son village en une terre mystérieuse où les dieux et les esprits jouent. Il a laissé dix recueils; mentionnons: Sanro shu (Poèmes de l'ermitage; 1932), Reishi (Polypore commun; 1937) et Sekkyo (Vallée recouverte de neige; 1951).
Présentation: Ryu Yotsuya
Traduction des haïkus: Ryu Yotsuya et André Duhaime.
　©　pages.infinit.net


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The cut in the following JANUARY haiku gives it the space to create a great image. When it was first published in 1969, together with others under the general title "A bright valley" 明るい谷間. Many traditional haiku poets rejected it because of this cut in the middle of line two.
Maybe he was too early for his time. Now this haiku is well accepted.

It seems Ryuuta was talking about a small brook behind his estate called "Fox River", kitsune gawa　狐川 in Yamanashi Prefecture, Sakaikawamura 境川村, where he used to play as a little boy.　But when reading the haiku, we feel a much bigger river running rather strong and wild through a steep valley ... this is the power of the CUT in line two.

Here we have to read the haiku not in the form of five-seven-five, but according to the meaning and grammatical structure of the sentence.

This haiku also uses the kigo JANUARY two times, but that is its strong point here.


一月の川 一月の谷の中
ichigatsu no kawa
ichigatsu no tani no naka


river in January
in the middle of a valley in January

OR

January river
in a January valley

Tr. Gabi Greve


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ichigatsu/January
kawa/river
tani/valley
no naka/through


A river in January
running through
a January valley

Read more translations by
. Tr. © yahantei.jugem.jp/


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Il n'y a qu'un fleuve
Au milieu de la vallée...
Premier mois de l'année.
　©　tr. Laurent Mabesoone


январская
река по январской
долине
　© Haiku Mena


January as KIGO


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露の夜は山が隣家のごとくあり
tsuyu no yo wa yama ga tonari no gotoku ari

on a night with dew
the mountains seem like
next-door neighbours

Dakotsu


雪の日暮れはいくたびも読む文のごとし　
yuki no higure wa ikutabi mo yomu fumi no gotoshi　　

sunset in snow
is like a letter read
many times

Ryuta


. Metaphor and simile used in haiku .

Tr. Gabi Greve


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hoshizukiyo kokoro tadayou mono gotoshi

Innumerable stars
Looks like floated algae
In my mind

Tr. Etsuko Yanagibori

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Just like a blast
of cooling air
a man comes

©　Tr. by Koko Kato and David Burleigh

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三伏の月の穢に鳴く荒鵜かな
sanpuku no tsuki no e ni naku ara-u kana

they screech at the moon
on the sanpuku day ...
wild cormorants

. The sanpuku days, Ko-no-E and Taishaku Ten 　


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かたつむり甲斐も信濃も雨の中
. katatsumuri Kai mo Shinano mo ame no naka .


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◆「母が割るかすかながらも林檎の音」
◆「ふるさとは坂八方に春の嶺」
◆「春の鳶寄りわかれては高みつつ」
◆「野に住めば流人のおもひ初つばめ」
◆「紺絣春月重く出でしかな」
◆「露の村墓域とおもふばかりなり」
◆「いきいきと三月生る雲の奧」
◆「満月に目をみひらいて花こぶし」
◆「椋鳥の千羽傾く春の嶺」
◆「山河はや冬かがやきて位に即（つ）けり」
◆「大寒の一戸もかくれなき故郷」
◆「雪の峰しづかに春ののぼりゆく」
◆「手が見えて父が落葉の山歩く」
◆「父母の亡き裏口開いて枯木山」
◆「あをあをと年越す北のうしほかな」
◆「白梅のあと紅梅の深空あり」
◆「またもとのおれにもどり夕焼中」
◆「紺絣春月重く出でしかな」
◆「呆然としてさはやかに夏の富士」

quoted from art-random


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Related words


***** Introducing Japanese Haiku Poets


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Naito Joso

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Naito Joso (Naitoo Joosoo, Naitō Jōsō)
内藤丈草


Naitō Jōsō (1662 - 1704) was one of the prinicipal disciples of Bashō, and himself also a respected haiku writer in the Genroku period of Japan. Originally, he was a samurai from Owari, but he had to leave military service due to ill health. Taking up the literary life, he became a devout disciple of Bashō, and when the Master died in 1694, Naito mourned him for a full three years, and remained his devout follower for the rest of his life.


Mountains and plains/ all are taken by the snow --/ nothing remains

No need to cling/ to things --/ floating frog.

These branches/ were the first to bud --/ falling blossoms.

A lightning bolt/ splits in two and strikes/ the mountaintop.

The sleet falls
As if coming through the bottom
Of loneliness.

More in the WIKIPEDIA

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寛文2年(1662) ～ 元禄17年 (1704.2.24)



Read more of his Japanese haiku HERE
　© PHOTO www.ese.yamanashi

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Compiled by Larry Bole, Translating Haiku

I recently came across this haiku by Naitoo Joosoo (1662-1704), a disciple of Bashoo's:

淋しさの底ぬけて降るみぞれかな
淋しさの底拔けて降る霙哉
sabishisa no soko nukete furu mizore kana

Blyth translates this as:

Sleet falling:
Fathomless, infinite
Loneliness.


About this haiku, Blyth begins his comment by saying:

'Soko nukete', literally, "the bottom falling out," is a Zen expression (applied to sudden enlightenment) very much more concrete and less sentimental than 'fathomless, infinite." [end of exerpt]

Wow! Blyth criticizes his own translation, and rightly so. I wonder why he didn't just do what Yuzuru Miura did in translating this haiku:

The sleet falls
As if coming through the bottom
Of loneliness.

Miura doesn't explain the Zen expression as Blyth did, but without knowing the connotations of "the bottom / of loneliness," or even what "the bottom / Of loneliness" is exactly, isn't it a more interesting translation than "Fathomless, infinite / Loneliness?"

I think Blyth got sidetracked in his translation by attempting to depict the state of enlightment that 'soko nukete' suggests, rather than sticking more closely to a literal rendering.

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The bottom of loneliness
falls off:
Oh, the falling sleet!

©　muse.jhu.edu


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falling through
the bottom of loneliness –
sleet

Tr. Michael Haldane



Dökülüverir
yalnızlığın dibinden –
Sulusepken kar

Çeviri: Turgay Uçeren


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Joso (Joosoo) lived as a Zen monk in a remote small hut (see below) and might have felt this endlessly falling sleet as falling right thoughthe bottom of heaven on his reed roof and onto his cold body. He felt the powerlessness, weakness and loneliness of his own body and personal situation even stronger. "through the bottom" is an expression of his humor on this bleek cold day, since there is nothing he can do but yield to his miserable situation and write poetry about it.
He died at the age of 43.


this sleet !
right through the bottom
of loneliness

OR

this sleet !
falling right through the bottom
of loneliness
Tr. Gabi Greve



More translations of this haiku
Translating Haiku Forum


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"空からみぞれがいつまでもいつまでも降り続いている。 その空の底が抜けたようなみぞれの降る様に、普段でも人気のない暮らしが一段も二段も沈むように感じられ、寂しさがどこまでも募っていく。"
という句であろう。

「底ぬけて」とは丈草のユーモアだが、修辞を超えた作者の深い悲しさを思わせる句である。俳句から浮かぶ丈草はゆったりとして物事に恬淡とした人物である。決して暗い陰を思わせる人物ではなかったと思う。
しかし、芭蕉の門人たちでこの句のような慟哭を思わせる寂しさ、悲しさを詠んだ俳人はいない。むろん、芭蕉にもこのような句はない。

底」という言葉になにか大事なものが込められている。想像だけで書けば、丈草の気持の底にはどうしようもない無力感があった気がする。「ねばりなき空にはしるや秋の雲」という句にみられる作為の否定も、老荘思想というより自分の底にある無力感をそのまま認め、そこから人生を組み立てようとする試みではなかったか。
その無力感とは病弱な身体のことだったかもしれないし、あるいは 武家を辞め出家した過去だったかもしれない。「淋しさの底ぬけてふるみぞれかな」の「底ぬけて」にはその無力感の中にそのまま身を投じるかのような響きがある。

Shomon meikakusen

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我事と鯲のにげし根芹哉　
waga koto to dojoo no nigeshi nezeri kana

The parsley roots --
Where the loach swam away,
Thinking someone's after him.


. Loach (dojoo 泥鰌) and kigo 　


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木啄や枯木をさがす花の中
kitsutsuki no kareki sagasu ya hana no naka

a woodpecker
searching for dead wood
in the blossoms
Tr. Robin D. Gill


More translated versions
. WKD : woodpecker, kitsutsuki 啄木鳥 .


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His Grave at "Dragon Hill" (Tatsu ga Oka 竜が丘)
Otsu Town

Naito spend his last years here in a small hut (Butsugen an 仏幻庵) in the mountain forest belonging to the temple Gichu-Ji (Gichuu ji 義仲寺 ).
Altoghether 17 haiku poets were later burried here in this little graveyard.


　© PHOTO : city.otsu.shiga.jp


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Related words

***** Introducing Japanese Haiku Poets　

***** 10 important disciples of Basho


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Takaya Soshu

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Takaya Soshu 高屋窓秋
Takaya Sooshuu

1910-1999
明治43年2月14日 -

Born in Nagoya, but his parents moved to Kumamoto when he was three.
In 1926 he joined the haiku group Hototogisu
In 1930 he moved to Tokyo.
In 1933 he became a member of the poetry group Ashibi 馬酔木, but he left in 1935.

He studied haiku with Mizuhara Shuoshi since 1930 and became a member of the Shinko Haiku movement 新興俳句運動.

He spent some time in the war in Manschuria.

After the war, he did not write so many haiku, but kept the free spirit of a poet.




His haiku and poetry collections :

Shiroi Natsuno「白い夏野」White Summer Field
in 1936

「河」
「石の門」
「花の悲歌」
「ひかりの地」in 1970, 50 poems
「緑星」in 1983, 113 poems
「星月夜」in 1984, 140 poems


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The principal poets of Shinko Haiku are

Sanki Saito (1900 ~ 1962),
Kakio Tomizawa　（1902 - 1962),
Hosaku Shinohara (1905 ~ 1936),
Soshu Takaya (1910 ~ 1999), and
Hakusen Watanabe (1913 ~ 1969).

. Shinkoo haiku 新興俳句 .

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頭の中で白い夏野となつてゐる
atama no naka de shiroi natsuno to natte iru

The inside of my head
has become
a white summer field
Tr. Janine Beichman
(for Ooka Makoto, in his book, A Poet's Anthology)


inside my head
a white summer field
has become
trans. Haldane


I have become
a white summer field
in my head
trans. Kazuko Konagai

大岡 信 Ooka Makoto's commentary about this haiku
(translated by Beichman):

[Published in] 'Shiroi Natsuno', 1936.
The first character would be read as 'zu' if the 5-7-5 structure of haiku were observed, and some critics do so; but the author himself has said that he reads it as 'atama'. The poem's center is in the image "white summer field" and reading the first character with the Chinese reading of 'zu' would have given the first word an undesirable heaviness.

Sooshuu was a favorite disciple of Mizuhara Shuoshi. In 1932, when he composed this poem, it opened new possibilities for the young haiku poets who were trying to reconstruct the haiku by departing from objective realism and natural description. In this sense, the poem has historical significance; it was widely discussed as one of Soshu's most important early works.

Read more of the discussion here:
. Compiled by Larry Bole .


In my head
a white summer field
Tr. Eric Selland, Philip Zitowitz and Martin Lucas



. . . . .

En las manos de la madre
tiemblan las cenizas del héroe.
La línea férrea
Tr. Alfredo Lavergne

source : www.poeticas.com.ar


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一瞬の海の悲しみ流れ星
isshun no umi no kanashimi nagareboshi

one moment
of the sadness of the sea -
a shooting star


This reminds me of the tsunami of March 2011.
Gabi Greve

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ちるさくら海あをければ海へちる
chiru sakura umi aokereba umi e chiru

Falling cherry flowers fall into the sea - that sea which is blue
Tr. Susumu Takiguchi

source : World Haiku Review 2010


cherry blossoms fall
on the sea
for the sea is blue
Tr. Sato Kazuko and Patricia Donegan

source : www.haiku-hia.com


Falling cherry blossoms
as the sea is so blue
fall onto the sea
Tr. Eric Selland, Philip Zitowitz and Martin Lucas


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spring

雪嶺よさくらの園となりにけり

春くれば花の一ひら破れ山河

久遠よりかすみの鳥は眺めをり

野に出れば永きひかりを春の水

白椿雲一山に交響す

花すみれ白き春野の汚れけり

花すみれ春のひかりは純粋に

地球ごと風がまはるよ蝶飛来

きらきらと蝶が壊れて痕もなし

蝶一個死は瞬間に非凡なり

春の山斧に木山のひゞきあり

山中や密かに花のふりかゝる

山さくら春をふりくるみ空かな

春のなか白髪の村を通りけり

summer

夏の日へひそかな挽歌耕せり

星はこれ桃のゆめより生れけり

頭の中で白い夏野となつてゐる

黒ずみし太陽とあり夏祭

autumn

野より野へ広野の鳥はいつか秋

言の葉や思惟の木の実が山に満つ

おほぞらや渦巻きそめし星月夜

一瞬の海の悲しみ流れ星

夕焼けて秋草原の火なりけり

winter

ふくろうの声ふところの孤独かな

十字路のいづこにも冬兵士をり

冬の野に一本の木の音がする

miscellaneous

森すべて息する深さ緑星

緑星火砲を肩に死ぬは誰

緑星不図眺めをる湖の上

野の下に冬日のみどり芽ばえつゝ

with explanations in Japanese
source : yukineko

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高屋窓秋の俳句

ちるさくら海あをければ海へちる
河ほとり荒涼と飢ゆ日のながれ
海原の　海べの　酒は　こぼれけり
血を垂れて鳥の骨ゆくなかぞらに
月光をふめばとほくに土こたふ
降る雪が川の中にもふり昏れぬ
山鳩よみればまはりに雪がふる
人ゆきしひとすぢのみち鳥世界
石の家にぼろんとごつんと冬が来て
雪の山山は消えつつ雪ふれり
蝶ひとつ　人馬は消えて　しまひけり
頭の中で白い夏野となつている
木の家のさて木枯らしを聞きませう

source : www.weblio.jp

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Japanese Reference

高屋窓秋


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

***** Introducing Japanese Haiku Poets　


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Kaneko Tohta Wolf Haiku

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Kaneko Tohta


A wolf;
one firefly clinging to it

—Kaneko Tohta

Discussion is here
. THF - The Haiku Foundation

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狼に蛍がひとつ付いていた　　
　
ookami ni
hotaru ga hitotsu
tsuite ita

A wolf;
one firefly clung
to the wolf
http://www.kanekotohta.jp/to%20eiyaku.html


on the wolf
a firefly
attached itself
Tr. Dhugal J.Lindsay


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If you count the Japanese, it is 5 7 5 and written in "normal" language, like one sentence we use in conversation.

on the wolf
one firefly
clung / hang / stuck (verb in past tense)


Main kigo:
. WKD : Firelfy (hotaru) 　

Secondary kigo:
. WKD : Wolf (ookami) 　　


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Tohta sensei on NHK Haiku, July 5, 2009

おおかみに　蛍が一つ　付いていた
ookami ni hotaru hitotsu tsuite ita


金子兜汰：埼玉県の秩父の盆地に育った。
秩父には日本おおかみが住んでいたらしく、頼りになる神として信仰されていた。

Kaneko Tohta comments:
I was born in Chichibu. There used to be wolves in the area a long time ago. And they have been the subject of religious belief, like deities.
source : flat.kahoku.co.jp


source : dw7y-szk
The stone wolf of Mitsumine Shrine, Chichibu


Ooguchi magami matsuri 大口真神祭り
Wolf Festival at Mitake Jinja
. Magami 真神 The Wolf Deity of Japan .



Chichibu is quite a mountainous region with dense forests and teaming wildlife.

I have more details about the Mitsumine Shrine and the Wolf Cult of Chichibu:
. The Japanese Wolf ニホンオオカミ 　


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(季語／蛍） Kigo : Firefly

おおかみに蛍が一つ付いていた

兜太の最新の句集『東国抄』(花神社)から引いた。狼の体に蛍が一つ付いて光っている光景。なんだかいい光景だ。野性的で、しかもメルヘンのようでもある。昨日の兜太の句の犀と同様に、このおおかみもおそらく作者の自画像。蛍一匹が体に付いて光る像を、作者は老いたる自己の理想の像としているのだろう、きっと。

　兜太は今年８２歳。老いたる自分を、蝶や石とともに転げる犀、あるいは蛍を付けたおおかみだと意識している。つまり、野性的存在として自己をとらえようとしている。兜太のその自覚的な年のとり方、あるいは老い方は、とても刺激的。未知に向かって年をとっている感じだから。

兜太は句集の後書で「わたしはまだ過程にある」と述べているが、深々とした野性的存在を目指してたしかに兜太はまだ過程だ。(坪内稔典)

source : ikkubak

Maybe this is a self-portrait of the poet himself, who is now 82 years old. He sees himself as a butterfly, a stone, tumbling like a rhinoceros (this refers to a different haiku), or like a wolf. He sees himself as something similar to the wildlife. It reflects his way of getting older. It is a great inspiration. Toward the unknown future, with great power.

In the postscript to his haiku collection he writes:
"I am still in the process of becoming . . . ".


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Haiga by Kuniharu Shimizu

see haiku here - BLOG of Kuniharu

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そして、例に挙げられたのが金子兜太氏の最近の句だった。
　おおかみに蛍が一つ付いていた
狼も蛍も目新しい素材ではないが、この「おおかみ」と螢は実に新鮮。


綿虫の庭　　　　長谷川櫂
Watamushi no Niwa
Hasegawa Kai
source : watamusi.htm

Neither wolf nore firefly is new to haiku, but the combination of these two is quite fresh.


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Magazine of the WOLF haiku group
「狼俳句会」


source : www.kanekotohta.jp



金子兜太第十三句集『東国抄』

WOLF haiku by Tohta sensei,
on his own homepage　


おおかみが蚕飼の村を歩いていた

おおかみに目合(まぐわい)の家の人声(ひとごえ)

おおかみに蛍が一つ付いていた (this is the firefly haiku)

おおかみを龍神(りゅうがみ)と呼ぶ山の民

狼に転がり墜ちた岩の音

狼生く無時間を生きて咆吼

狼の往き来檀(まゆみ)の木のあたり

狼墜つ落下速度は測り知れぬ

狼や緑泥片岩に亡骸(なきがら)

山鳴りに唸りを合わせ狼生く

山鳴りときに狼そのものであった

月光に赤裸裸な狼と出会う

山陰(やまかげ)に狼の群れ明(あか)くある



そして、ある日、狼（ニホンオオカミ）が出現した。
秩父には狼にかかわる伝承が多く、あちこちの神社に狼の石像がひかえている。ニホンオオカミは絶滅したといわれているが、まだ生きている。少くとも わたしのなかでは、いのちの存在の原姿として生きている。

句集に加えた狼の句には、その思いを込めたつもりだった。　とにかく、わたしはまだ過程にある。

熊猫荘にて　金子兜太 Kaneko Tohta
平成十三年　（二〇〇一）　元旦 New Year Day, 2001
source : www.kanekotohta.jp


And then one day came the wolf haiku.
In Chichibu there are still many legends about wolves. In many shrines are stone images of wolves. Wolves are extinct in Japan, but they are still alive (in the memories of people). Especially inside myself, they still live in their original wild form.



source : vino2007
Chichibu, Mitsumine Shrine


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これは、金子兜太第十三句集『東国抄』の中の狼を詠んだ作品群の一部分です。もう日本では絶滅したと言われている狼が、現世の向こう側からやってくるのを生き生きとした直観で捉えています。ゲーテが、植物に深く興味を持ち、そこに考え出されたのが原植物なら、こちらはいかなる狼よりも狼らしい、始原の狼である原狼です。一つ一つの作品の中から、秩父連山の嵐気や狼のらんらんとした目の輝きが鋭く伝わってきます。それは産土である秩父と狼を愛してやまない兜太の眼差しでもあります。

金子兜太著『俳句専念』の狼に関する文章のなかに、万物の霊長を自覚した人間という生きものが、生を謳歌しその分死を怖れて、時間が作られ増長していった、ともいえる。いまでは、人間は、自分で作った時間に振り回されている。それによって、死を早めてさえいる。わたしは、この時間意識を越えて、「狼の生の空間」を自分のなかに獲得したい、と願うようになったのです。「生そのものである生」の獲得。その限りない「自在さ」、とあります。変幻自在な、生そのものの空間を兜太は「いのちの空間」と呼んでいます。それは時間をも包含してしまった空間であります。森羅万象のいのちは一つであるという認識。そして、その中から出てきた「人間という生きもの」という客観的な人類の把握、無時間という時間意識。この視座に立つアニミズムの俳句こそ、二十一世紀の活路となるのではないかと考えます。生きものの感覚を見事に捉え、「私はつねに過程にある」と薄氷の上をバリバリ進んでゆく荒武者のように、つねに若々しい前進を続けている兜太の作品の中に、現代の人間が失いかけている優しさや烈しさを感じます。
snip

曼珠沙華どれも腹出し秩父の子　　　　　　　　　　『少年』

古来狼をカミと仰ぎ、日本のお臍のような地、秩父の山霊に育まれたかわいい子どもたちの顔が見えてくるようです。あっけらかんとした熱いエネルギーに溢れています。
しかし読み返すほどに、何かを叫びながら駆けてゆく映像となってまいります。「秩父の子」から、理不尽に閉ざされた山国の人々の暗部の激発であった秩父困民党のことが、頭をよぎります。歴史の大きな流れに逆らうことの難しさ、流されていかざるを得なかった人たちの悲しみを曼珠沙華の妖しいまでの赤に感じます。
http://haiku-tree.blogspot.com/2010/10/blog-post_4353.html


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おおかみが蚕飼の村を歩いていた
ookami ga kogai no mura o aruite ita

a wolf
walked in a village
of silkworm farmers




おおかみを龍神(りゅうがみ)と呼ぶ山の民
ookami o ryuugami to yobu yama no tami

the mountainfolk
call the wolf
a "dragon god"

(Here I use a different line order than the original to keep the "natural" feeling of the language.)


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(All English summaries by Gabi Greve.)


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Related words

. Kaneko Tohta 金子兜太 　



***** Introducing Japanese Haiku Poets　


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Ueshima Onitsura

[ . BACK to WORLDKIGO TOP . ]
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Uejima Onitsura (1660-1738)
上島鬼貫 （うえしま おにつら） Ueshima Onitsura

Born May 2, 1660 in Hyogo Prefecture.
(Other date: April 4, 1661)
Died August 2, 1738

He was the third son of a ricewine maker in Itami town, Hyogo prefecture. Already at age 8 he became famous for his ability to compose haiku. At age 25, he left his hometown for Osaka.


© PHOTO Itami Town Hyogo
Onitsura, painted by Buson


Around 1650, two masters arose who elevated haikai and gave it a new popularity. They were Matsuo Bashō (1644–1694) and Onitsura (1661–1738). Hokku was only the first verse of haikai, but its position as the opening verse made it the most important, setting the tone for the whole composition.

Even though hokku sometimes appeared individually, they were understood to always be in the context of haikai, if only theoretically. Bashō and Onitsura were thus writers of haikai of which hokku was only a part, though the most important part.
Wikipedia




Selected Hokku Poems of Onitsura / his handwriting External LINK



Memorial Stone at Unagidani, Nagahori Dori, Osaka

後の月入りて貌よし星の空
nochi no tsuki irite kao yoshi hoshi no sora


© PHOTO Unagidani
http://www.unagidani.com/history/oni/02_a.phtml


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Onitsura Ki 鬼貫忌 (おにつらき)　Memorial Day for Onitsura
kigo for early autumn

. WKD : Memorial Days of Famous People .

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Haiku should be simple, but yet resonate with the universe and the reader.

Onitsura put it this way:

"A nightingale, when it stops singing,
is nothing more than a small green bird".


He also stated

"Without MAKOTO, there would be no haikai".
まことの外に俳諧なし

(Haikai in his day was a form of humorous, playful verse and found pride in overstatements, gross exaggerations and obvious falsehoods for the sake of entertainment.
Onitsura brought it to a level of truthfulness and sincerity.)

quoting Onitsura:
"A good poet" is someone who can make a verse interesting.
"A master" is someone whose verse does not sound interesting but has a flavor deep inside.
A still higher stage is when a poet has reached the utmost of the art and his poem presents neither color nor fragrance.
Only at that stage can one be credited as having achieved the quintessence of haikai.

Onitsura's phrase,
" the makoto of snow, the moon and the cherry blossoms,"
therefore, can be translated as. "the sincerity of art."
Onitsura's Makoto and the Daoist Concept of the Natural
Peipei Qiu
source : www.jstor.org


. Makoto and Haiku .


quote
- The Complete Works Of Chuang Tzu - Zhuangzi
Tzu-ch’i said,
"When my son and I go wandering,
we wander through Heaven and earth. He and I seek our delight in Heaven and our food from the earth.
He and I do not engage in any undertakings, do not engage in any plots, do not engage in any peculiarities.
He and I ride on the sincerity of Heaven and earth and do not allow things to set us at odds with it.
He and I stroll and saunter in unity, but never do we try to do what is appropriate to the occasion.
source : Translated by Burton Watson



Onitsura was also fond of the sixth patriarch of Zen,
Hui Neng, Dajian Huineng 大鑒惠能, Daikan Enoo 慧能（えのう)
(638–713)

菩提本無樹，-　Bodhi is fundamentally without any tree;
明鏡亦非臺。-　The bright mirror is also not a stand.
本來無一物，-　Fundamentally there is not a single thing —
何處惹塵埃。-　Where could any dust be attracted?

©　More in the WIKIPEDIA !

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quote
. . . Aso has pointed out that Onitsura, one of the outstanding haiku poets of the seventeenth century, has pertinent observations to make to poets. For aside from the necessity of rejecting the claims coming from without the area of art, the poet must also be sincere in his own artistic practice:

“At the center of Onitsura’s haiku theory is his statement about truth. Everywhere in his writing he uses the word makoto. This term is used in various ways and its meaning is not fixed. However, he uses this term in the sense of sincerity. In his writing a Soliloquy, he said, “When one composes a verse and exerts his attention only to rhetoric or phraseology, the sincerity is diminished.””

“The fact that no artistic effort in the form or no decorative expression in the context [should be present] is Onitsura’s ideal, which is the way of sincerity.”

And as has been previously pointed out the poet can become single-mindedly devoted to his experience only as he abandons the needs of the self and submits humbly to his vision.


The Japanese haiku, its essential nature, history, and possibilities in English, with selected examples
Kenneth Yasuda
source : books.google.co.jp


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Japanese Reference


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Compiled by Larry Bole

The Art Gallery of Greater Victoria's 2007 Calendar features, for the month of May, a woodcut print by Tanigami Koonan (active 1920s-1930s) which is called "Roses", and a haiku by Onitsura:


Konan Tanigami, Roses

me wa yoko ni hana wa tate nari haru no hana

Eyes, back and forth,
nose, up and down--
the flowers of spring!

Onitsura , adapted from a translation by Harold Henderson.

Henderson's original translation:

Eyes, side-to-side;
nose, up and down.
Spring flowers!


Blyth says about Onitsura:

"Onitsura composed the first real haiku.
They show his genius; they show pure nature; the best express his unintellectualized experience; they are 'a sort of thought in sense.' His verses are simple and easy, melodious and poetical. Contemporary with Basho, he was independent of him, and the chief difference between the two men was in their power of making disciples. ... The poetry of Onitsura has something in common with that of Robert Frost."

However, Henderson says:

"It is a pity that many of Onitsura's poems fail to give a clear picture and are rather too philosophical. In other words, they become more like epigrams than normal haiku should. ...

"Onitsura looked at life with a whimsical humor all his own, and his guiding principle seems to have been that what one gets one has to pay for--but it's worth it! ...

"Onitsura published his first book of poems when he was nineteen, and wrote constantly from that time on, though only about seven hundred of his verses have been preserved. ...

"At the age of seventy-three Onitsura retired from the world, shaved his head, and entered the priesthood. From that time until his death five years later he wrote no more poems, his last haiku being composed at the time he took the tonsure. It is an act of renunciation:

kare kiku ya mukashi fuushichi tamuke-gusa

Chrysanthemums, all here,
that long ago were seventeen--
my offering here!

Here 'seventeen' refers not only to the number of syllables in a haiku, but also has a conventional meaning of 'young and lovely,' like our 'sweet sixteen'; flowers are used before most Buddhist altars."

Yet Yoel Hoffman gives the following as Onitsura's death poem (date written unspecified):

yume kaese karasu no samasu kiri no tsuki

Give my dream back,
raven! The moon you woke me to
is misted over.


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Tomb of Onitsura at Unagidani, Osaka


Haiga and poems by Onitsura
the greenleaf gallery UK

kono aki wa hiza ni ko no nai tsukimi kana

This autumn
I’ll be looking at the moon
With no child on my knee.

A selection of his haiku poetry
the greenleaf gallery UK

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HAIKU

One day a monk asked Onitsura about the essence of haiku. Here is his answer :

teizen ni shiroku saitaru tsubaki kana

in the front garden
the camellia tree blossoms
all in white . . .
Tr. Gabi Greve - camellia tree

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tama-arare yotaka wa tsuki ni kaerumeri

hailstones –
in moonlight, the nighthawks
come home
Tr. Michael Haldane

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nani yue ni nagamijika aru tsurara zoya

Why
Are some icicles long,
Some short?
Tr. Blyth

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骸骨のうへを粧ひて花見かな
gaikotsu no ue o yosoite hanami kana

Skelette
mit Schminke auf den Knochen -
Kirschblütenschau


skeletons
all prettily made up -
cherry blossom viewing
Tr. Gabi Greve



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gyoozui no sute dokoro nashi mushi no koe

There is not a place
to throw the used bath water--
insect noises!

. . . originally

There is no place
to throw the used bath water.
Insect cries!

Tr. Harold Henderson


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A human father
Drove away a crow
For the children
Of the sparrows.

Onitsura

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source :　shoshun.blog.fc2.com

涼風や虚空にみちて松の声
suzukaze ya kokuu ni michite matsu no koe

this cool breeze -
the empty sky fills
with the sound of pines
Tr. Gabi Greve

matsu no koe, lit. "the voice of the pines"

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恋のない身にも嬉しや衣更

Though I have no lover,
I too rejoice:
The change of clothes.

even though i have no lover
i rejoice
in my change of clothes
http://www.meltingintoair.net/oldnews.php


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springende forel-
ver beneden zich ziet hij
witte wolken drijven

http://www.een.nu/twintig.htm



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Global warming in his time ?

soyori tomo seide aki tatsu koto kaino

Da ist kein Anzeichen von Herbstwind!
Ist es tatsächlich risshû?

http://www.teeweg.de/de/kisetsu/august.html



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Print: Tsuchiya Koitsu 1870-1949


によつぽりと秋の空なる富士の山
nyoppori to aki no sora naru Fuji no yama

towering alone
against the autumn sky -
mount Fuji
Tr. greenleaves


In the blue sky of autumn
Outstands the white solemn peak
of Mr. Fuji
Tr. Sasaki

Hôrinzen-ji Temple of the Sôtô-shu Zen Sect
( Popularly called "Hôrin-ji) Osaka
Tombstone of Ueshima Onitsura

MORE
source : general_sasaki

nyoppori にょっぽり, nyokkiri にょっきり


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Some Japanese Haiku 《鬼貫の句》

〈春〉
・曙や麦の葉末の春の霜
・月なくて昼は霞むや昆陽の池
・鳥はまだ口もほどけず初桜
・一鍬や折敷にのせしすみれ草
・桃の木へ雀吐き出す鬼瓦
・谷水や石も歌詠む山桜
・咲くからに見るからに花の散るからに

〈夏〉
　・恋のない身にも嬉しや衣更

・空に鳴くや水田の底のほととぎす
・夕暮れは鮎の腹見る川瀬かな
・飛び鮎の底に雲ゆく流れかな
・水無月の汗を離るるほとけかな
・冬は又夏がましじゃといいにけり
・あの山も今日の暑さの行方かな

〈秋〉
・朝も秋ゆうべも秋の暑さかな
・秋風の吹き渡りけり人の顔
・行水の捨て所なき虫の声
・古城や茨くろなるきりぎりす
・おもしろさ急には見えぬ薄かな
・にょっぽりと秋の空なる不二の山
・風もなき秋の彼岸の綿帽子
・この秋は膝に子のない月見かな

〈冬〉
・古寺に皮むく棕櫚の寒げなり（世の中をすてよすてよと捨てさせてあとからひろう坊主どもかな）

〈雑〉
・淀川に姿重たや水車
bunkazai.hustle.ne


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Reference

***** Introducing Japanese Haiku Poets


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Hitomi Enkichi Tomei

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Hitomi Enkichi Tomei 人見 圓吉 東明

1883 -1974
1883年（明治16年）1月16日 - 1974年（昭和49年）2月4日）



. . . . .


Tomei was born in Okayama prefecture.
(Other sources state his place of birth as Tokyo).
He later went to Waseda University in Tokyo, where he studied literature and became a poet himself, but also lectured about poetry.
He also worked for the Yomiuri newspaper 讀賣新聞.

Some of his poet friends were
河井酔茗、三木露風、野口雨情、相馬御風、三富朽葉、山村暮鳥, 加藤介春
Kawai Suimei, Miki Rofuu , Noguchi Ujoo, Soma Gyofuu, Mitomi Kyuuyoo, Yamamura Bochoo, Kato Kaishun.
They founded the "Society of free poetry" 自由詩社.

He promoted poetry in normal spoken language and edited the magazine
自然と印象 (Nature and Impression)

Many criticized his poetry as vulgar and an affront to public morality, thus his activities were forbidden. 風俗紊乱

He left the literary circles in 1920 and became founding member and teacher at Showa Joshi Daigaku.

Enkichi died at age 91.
His eldest son is Hitomi Kusuro 人見楠郎


Showa Joshi Daigaku 昭和女子大学
Showa Women's University
http://swu.ac.jp/


Japan Women's School of Higher Education
(日本女子高等学院, Nihon Joshi Kōtō Gakuin), the predecessor of this university, was established by poet Enkichi Hitomi (pseudonym: Tōmei Hitomi), who gathered together his intelligentsia friends ...

Showa Women's University Hitomi Memorial Hall
(昭和女子大学人見記念講堂,
Shōwa Joshi Daigaku Hitomi Kinen Kōdō)
©　More in the WIKIPEDIA !

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Taisho Bungaku 編年体大正文学全集　1912
Taisho Literature Collection

with poems by Hitomi
人見東明「夜の舞踏」 yoru no butoo
dance at night

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quote
Kindai Bunko
近代文庫
Die Sondersammlung Kindai Bunko der Universitätbibliothek der Shōwa Joshi Daigaku basiert auf der Sammeltätigkeit von Hitomi Enkichi (1883–1974; Künstlername Hitomi Tōmei), dem Gründer der Nihon Joshi Kōtō Gakkō (heute Shōwa Joshi Daigaku), und umfaßt rund 67.000 Bücher, 4.300 Zeitschriften und 100 Zeitungen unter besonderer Berücksichtigung moderner japanischer Literatur und Dichtung vom Beginn der Meiji-Zeit bis zur Mitte der 1950er Jahre. Die Sammlung bietet auf den Gebieten moderne Geistesgeschichte, Geisteswissenschaften und Kultur ein breites Spektrum. Vor allem im Bereich der Dichtung und des Liedgutes (Sprechgedichte, Militärlieder etc.) ist sie gut sortierte.


Josei Bunko
女性文庫
Die Sondersammlung Josei Bunko der Universitätbibliothek der Shōwa Joshi Daigaku wurde zur Erinnerung an Hitomi Midori (1887–1961), die Ehefrau des Gründers der Shōwa Joshi Daigaku, Hitomi Enkichi (1883–1974; Künstlername Hitomi Tōmei), in erster Linie durch Spenden von früheren Kommilitonen und Mitstreiterinnen ein Jahr nach ihrem Tod ins Leben gerufen.

Hitomi Enkichi und Hitomi Midori hatten 1920 zusammen mit einigen Mitstreitern die Nihon Joshi Kōtō Gakuin (später Shōwa Joshi Daigaku) gegründet und sich zeitlebens mit der Frauenfrage, Geschlechter- und Erziehungsproblemen auseinandergesetzt. Die Sammlung umfaßt rund 9.500 japanische Bücher, 3.000 westlichsprachige Bücher, 165 japanische Zeitschriften, 19 westlichsprachige Zeitschriften und fünf Mikrofilmtitel unter besonderer Berücksichtigung von frauen- bzw. geschlechterspezifischen Themen. Neben Bibliographien deckt die Sammlung in bezug auf die Frauenfrage und Geschlechterstudien die Bereiche Religion, Geschichte, Erziehung, Gesellschaft, Arbeit, Kultur, Sprache sowie Sitte und Brauchtum ab.
Die Sondersammlung ist seit 1991 durch den Katalog Shōwa Joshi Daigaku josei bunko mokuroku bibliographisch erschlossen und wird kontinuierlich ergänzt.
source : tksosa.dijtokyo.org


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さりげなく --- 人見東明 sarigenaku

　　　　　　　　　　さりげなく汽車の窓より見てとほる
　　　　　　　　　　四月はじめの朝あけの舞子の浜のしほらしさ。

　　　　　　　　　　ぎらりぎらりと浮く波の紋（もん）と斑（ふ）との閃きは
　　　　　　　　　　匂い油か見残した鴎（かもめ）の夢のつらなりか。

　　　　　　　　　　淡路島さへ朝もやに透いて見える心快（ここちよ）さ
　　　　　　　　　　夢の小唄かまぼろしの舟の揺れひびき。

　　　　　　　　　　さりげなく汽車の窓より見てとほる
　　　　　　　　　　四月はじめの朝あけの舞子の浜のなつかしさ。

　　　　　　　　　　青の凪（なぎ）吹くささやかなれんじ窓をそとあけて
　　　　　　　　　　別墅（べっしょ）住まいの小女のそのたしなみの朝化粧。

　　　　　　　　　　プラットフォムにさまよへる
　　　　　　　　　　西洋夫人の靴の音さへつつましく。

　　　　　　　　　　さりげなく汽車の窓よりみてとほる
　　　　　　　　　　四月はじめの朝あけの舞子の浜のここち快（よ）さ。
　　　　　　　　　　　　　　　　　　　　　　　　　　　　　---　さりげなく　---

待合室のしばし machiaichitsu no shibashi

　　　　　　　　　　　　　　　もの云いたげな光は空に
　　　　　　　　　　　　　　　楽しき群は来たり美しき群の去る待合室の
　　　　　　　　　　　　　　　秋の日の空しばし。

　　　　　　　　　　　　　　　絵葉書にペンを走らせつつ思うことなきとき
　　　　　　　　　　　　　　　朗らかな光は壁にまどろみ。

　　　　　　　　　　　　　　　ベンチに寄る異国の夫人と隣りて
　　　　　　　　　　　　　　　わが頬はあたたかし。

　　　　　　　　　　　　　　　いくたびか汽笛は鳴り
　　　　　　　　　　　　　　　いくたびかとどろく待合室のしばし
　　　　　　　　　　　　　　　出発前（たつまえ）のしばし。

source : TAD/poems_4


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Reference

. 人見東明 .

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BACK TO TOP

Introducing Japanese Haiku Poets　


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Takebe Socho

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Takebe Socho 建部巣兆
Takebe Soochoo (1761-1814)

He was one of the leading haiku poets of Edo during his time, together with Suzuki Michihiko 鈴木道彦 and Natsume Seibi 夏目成美.

He was a famous resident of the Senju 千住 district.
. Edo - Senju 千住 Senju district .

. 18 big spenders of Edo (juuhachi daitsuu)
daitsuuya juuhachi 大通屋十八


He used the haiku names 黄雀、東甫、秋香庵、小蓑庵、菜翁.

He was the son of the painter Yamamoto 山本龍斎 from Edobashi, Edo.
He studied painting also with Kasha Shirao 加舎白雄(かや しらお).
Socho later lived in Shuukoo an 秋香庵（しゅうこうあん）(Autumn fragrance hermitage).
He called himself a "Yamato painter" 倭絵師.

He was later influenced by ukiyo-e style paintings and used a lot of colors in his paintings.





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The journal of Socho
H Mack Horton, 2000, Stanford University Press




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Portrait of Matsuo Basho
建部巣兆筆の「芭蕉像」



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Takebe Socho and the Haiku-Painting Tradition
Stephen Addiss



A Brief History of Haiga
The form of poem-painting called haiga has been a medium of visual expression almost since the emergence of haiku poetry. We have no direct evidence of haiga’s first occurrence, but because a great number of haiku represent visual images, and also considering that poems and images in Japan were created with the same brush and ink, it must have been a natural step to add paintings to haiku. However, they are two very distinct forms of expression, with different capabilities and potentials, leading to a number of interesting questions. How did Japanese masters reconcile or play upon these differences? Most important, how did the addition of visual images reinforce, add to, or change the meanings of the poems?

Stephen Addiss, 2003



Reference



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江ノ島や傘さしかけし夏肴
Enoshima ya kasa sashikakeshi natsu sakana

Enoshima island !
all wear a parasol
as a speciality of summer



sakana 肴 - all kinds of specialities
. WASHOKU - Seafood in Summer 　


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”雪明り明るき閨は又寒し”
©　緑陰漫筆 / 江戸俳画紀行 :（磯部勝著）

どこぞでは婆々にやならんたけり猫
dokozo de wa baba ni ya naran takerineko

Somewhere
it may become a hag--
the raging cat
Tr. Fumiko Y. Yamamoto

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Japanese Reference

建部巣兆


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Related words

***** Introducing Japanese Haiku Poets　


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