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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
数珠かけた直衣姿や八瀬祭
juzu kaketa nahoshi sugata ya Yase matsuri
wearing rosaries
and official court robes -
Yase festival
. Yase matsuri 八瀬祭 Yase festival .
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his grave at temple Jissooji 實相寺 Jisso-Ji in Kyoto
正覚山實相寺（京都上鳥羽）
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quote
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
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板敷に光るつぶりや仏名会
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 .
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ぶらここや花を洩れ来る笑ひ声
burakoko ya hana o morekuru waraigoe
this swing -
through the blossoms I hear
laughing voices
. Swing (buranko ぶらんこ) .
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媳連て呉服祭を示しけり
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
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source : e-tanzaku.com/catalog
轡虫花も鳴かと思いけり
kutsuwamushi hana mo naka to omoi keri
giant katyd -
are the flowers chirping
I wonder 
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Japanese Reference
- 三宅嘯山 -
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Related words
***** Introducing Japanese Haiku Poets
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4/18/2011
Miyake Shozan
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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."
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