Miyake Shozan


Miyake Shozan 三宅嘯山 Miyake Shoozan
Shōzan Miyake

(1718 - 1801)
享保3.3.25 (1718.4.25) - 享和1.4.18 (1801.5.30)

Haiku poet and sholar of Confucianism.
He was born in Kyoto, his name was Yoshitaka 芳隆, his pen name Koremoto之元, Rittei 葎亭 and others.

He studied Haiku with Mochizuki Soo-oku 望月宋屋 (Sooku) (1688 - 1766)
He was friends with Tan Taigi 炭太祇 and Buson 与謝蕪村.
One of the 12 poets of the magazine 平安二十歌仙 (1769).

Later in his life he became a senior of the haiku poets from Kyoto.

His works 俳諧古選 (1763),
俳諧新選 (1773), 俳諧独喰
Anthology of Chinese Poems 嘯山詩集

juzu kaketa nahoshi sugata ya Yase matsuri

wearing rosaries
and official court robes -
Yase festival

. Yase matsuri 八瀬祭 Yase festival .


his grave at temple Jissooji 實相寺 Jisso-Ji in Kyoto


In Buson’s day, a lot of serious-minded haikai poets were closely associated with the sinophile intellectuals that helped give rise to the idealization of bunjin, particularly those poets who wrote kanshi. Among his fellow poets and friends, Miyake Shozan (1718-1081) and Kuroyanagi Shoha (1727-71) exerted great influences on him in broadening and deepening his knowledge of Chinese literature.

Shozan was known for publishing kanshi anthologies, and one of his most important works was his 1763 Haikai Selected Old Verses, an influential Basho Revival collection of verses that was modeled on one of the most greatest Chinese verse anthologies, Tang Selected Poems. Buson’s frequent use of imagery alluding to Chinese literature was in part due to Shozan’s influence.

Ripples from a Splash:
A Collection of Haiku Essays with
Award-Winning Haiku by Chen-ou Liu
source : simplyhaiku.theartofhaiku.com


itajiki ni hikaru tsuburi ya Butsumyoo e

all these shaven heads
shining on the floor panels -
Butsumyo Ceremony

. butsumyooe 仏名会
Chanting of the Buddhas' Names .


burakoko ya hana o morekuru waraigoe

this swing -
through the blossoms I hear
laughing voices

. Swing (buranko ぶらんこ) .


yome tsurete Kureha sai o shimeshi keri

I brought my daughter-in-law
to the Kureha festival
to show her

yome is also used by men talking about their wifes. So maybe he brought his wife to the shrine to pray that she makes better robes for him.

. Kureha sai 呉服祭 Kureha festival .
Kureha Shrine, Osaka


source : e-tanzaku.com/catalog

kutsuwamushi hana mo naka to omoi keri

giant katyd -
are the flowers chirping
I wonder


Japanese Reference

- 三宅嘯山 -

Related words

***** Introducing Japanese Haiku Poets 


1 comment:

Gabi Greve said...

Larry Bole on facebook

[The following information is taken from "A History of Haiku: Vol. One," by R. H. Blyth (The Hokuseido Press, Japan, Third Printing, 1968), and "Haikai Poet Yosa Buson and the Basho Revival," by Cheryl Crowley (Brill, Leiden - Boston, 2007)]

Blyth states that Shozan was a doctor; Crowley, that he was "a pawnbroker by trade."

Blyth describes Shozan's haiku thusly: "His verses are mostly too dry, honest and matter-of-fact, like his character."

Blyth translates three of Shozan's haiku:

meigetsu ya mizu no shitataru kawarabuki

The bright autumn moon;
The tiled roofs
Look wet.

oshi naku ya yuuzuki kakaru tera no mon

Mandarin ducks crying,
The evening moon shines down
On the temple gate.

kyaku satte naderu hibachi ya hitorigoto

The visitor gone,
Stroking the edge of the brazier,
And talking to myself.

Of this last haiku, Blyth says: "This is a good example of the apparent triviality of haiku."

Crowley, noting that Shozan, in addition to being a haiku poet, was also a 'kanshi' (Chinese-style poetry written in Chinese) poet, points out that: "Interestingly, his haikai verses do not reflect overt Chinese influence. certainly not to the extent that many of Buson's do. Here are two examples:

kuragari no karei ni yosamu no hikari kana

faint darkness
a flounder glints
in the light of the lingering chill

Oobaku no ren no karabi ya fuyukodachi

at the Oobaku temple
scrolls hang, withered
wintry woods

"Even the second verse, which alludes to the Oobaku sect of Zen---an important source of Chinese learning in the early modern period---uses the words 'Oobaku' and 'ren' as decorative and distancing. In other words, Shozan's haikai verses are not 'kanshi' written in Japanese. Despite his familiarity with Chinese literature in other contexts, in Shozan's haikai China is a source of romance and exoticism."