Ueda Akinari

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Ueda Akinari 上田秋成 (1734 - 1809)

Ueda Akinari or Ueda Shūsei (July 25, 1734, Osaka - August 8, 1809, Kyoto)

He is famous for his eerie ghost stories and strange fiction in Japan.



was a Japanese author, scholar, and waka poet, and perhaps the most prominent literary figure in eighteenth century Japan. He was an early writer in the yomihon genre, and his two masterpieces,
Tales of Moonlight and Rain (Ugetsu monogatari 雨月物語 ) and
Tales of Spring Rain (Harusame monogatari 春雨物語), are central to the canon of Japanese literature. Born to an Osaka prostitute and an unknown father, he was adopted in his fourth year by a wealthy merchant who reared him in comfort and provided him with a good education.


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Ugetsu Monogatari 雨月物語



Ugetsu Monogatari (Tales of Moonlight and Rain) by Ueda Akinari (1734-1809) was first published in 1776. Comprised of nine independent stories adapted from Chinese ghost stories, Ugetsu Monogatari is noted for its highly allusive and lyrical prose and is considered to be among the most important works of fiction of the eighteenth century, the middle of the Edo period (1603-1868).

Edo literary achievements are normally associated with the fiction of Ihara Saikaku (1642-1693) and drama of Chikamatsu Monzaemon (1653-1724) in the Genroku period (1688-1704) and the popular literature of Takizawa Bakin (1767-1848) in the later Bunka Bunsei period (1793-1841). Ugetsu Monogatari, then, occupies an important yet often overlooked position between these two moments in Edo literary history.

Read more about him HERE
©　WIKIPEDIA


. Reference : 上田秋成





- quote -
Defining J-horror: Early encounters with the unhuman
by Eugene Thacker
The scene: It’s night; someone is alone in a dimly lit room. There’s an eerie stillness, a creeping anxiety. Then, behind them, you notice a strange shape: a hunched-over figure, lurking in a corner. It is standing deathly still. The head is obscured by what looks like tendrils of jet-black hair. A chill runs down your spine as you suddenly realize the person isn’t alone. There’s something in the room with them, something that shouldn’t be there, something anomalous, incongruous … menacing.

Scenes like this have come to define Japanese horror or “J-horror.” The genre’s ability to evoke the supernatural has made it into a worldwide cultural phenomenon, popularized by the films of Takashi Miike and Hideo Nakata, and also by anime, manga and video games. However, while a great deal of attention has been given to modern J-horror, relatively little has been said about its precursors, especially the literary influences that so deeply inform its aesthetic.

One such influence is the book “Ugetsu Monogatari,” published in 1776 and authored by Ueda Akinari (1734-1809). Conventionally translated as “Tales of Moonlight and Rain,” this collection contains nine tales that all have the hallmarks of classic kaidan (“strange tales”).

Ueda published his book at a time in Japan when kaidan were an immensely popular form of entertainment. Get-togethers known as “hyakumonogatari kaidankai,” or “gathering for telling 100 strange tales,” were not uncommon, and at which such stories were read by candlelight, with one flame extinguished after each successive tale was told. But “Ugetsu” isn’t just fodder for an Edo Period (1603-1868) parlor game, it’s also a “literary” work, containing allusions to more than 100 texts, including Buddhist and Confucian writings, Japanese court poetry, noh dramas, Chinese ghost tales and Japanese classics such as “The Tale of Genji.”

Ueda’s collection is unique because it sets the standard for the Japanese horror story, with its emphasis on atmosphere, mood and a sense of the weird and grotesque. Stories such as “Asaji ga Yado” (“The Reed-Choked House”), “Jasei no In” (“A Serpent’s Lust”) and “Aozukin” (“The Blue Hood”) read like modern horror, containing vengeful spirits, demonic possession, vampirism and the living dead. In each tale, we see fragile and unsuspecting human characters encountering entities that can only be described as unhuman: ghosts, revenants, demons, goblins, shape-shifters, cannibals and lesser-known beasts of folklore and myth. These entities appear against the ongoing human drama of war, desire, madness, disease and faith. Throughout the nine tales, “Ugetsu” returns again and again to a central theme: human beings confronting not only their own mortality but the larger nonhuman world around them.

By today’s standards, Ueda’s stories are not “scary” — but perhaps they are not meant to be. Instead, what they seem to evoke is a strange sense of wonder and dread that has come to define supernatural horror. For example, in one story (in the most recent translation, by Anthony H. Chambers), a traveling monk is visiting a grave site to pay his respects, as night falls: “He continued tirelessly chanting the sutra. How damp with dew his sleeves must have grown! As the sun set, the night was menacing here, deep in the mountains. He was cold with his bed of stone and fallen leaves for nightclothes; his mind clear and body chilled to the bone, he began to sense something bleak and awful. The moon rose, but the thick woods allowed no light to penetrate. In the darkness, his heart grew weary and he began to doze, when a voice called unmistakably. “

In another tale, a young Confucian scholar is thinking of his friend, a samurai, who went on a journey and recently died: “The Milky Way shone faintly; the solitary moon cast its light on him alone; a watchdog’s bark reached him clearly from the distance; and the waves on the shore seemed to crash at his very feet. As the moon set behind the hills and its light faded from the sky, he thought it time to go inside and was about to shut the door behind him when he glimpsed a figure in the shadows, moving toward him with the wind.”

In scenes like these, Ueda describes the creepy allure that one feels just before encountering the supernatural. Instead of focusing on the ghosts or demons themselves, he emphasizes the pervasive mood that surrounds their strange and unnerving presence.

It is in this hallucinatory space that sudden reversals take place: the lover you are embracing turns out to be a decaying corpse; a warmly lit home is revealed to be a dilapidated ruin; and what seems to be a humdrum world of human concerns turns out to be the mere play-thing of malefic deities. In “Ugetsu,” the supernatural is always atmospheric, something palpably felt yet difficult to define.

However, it would be a mistake to simply label Ueda’s stories as “supernatural.” In the Western context, the supernatural tale often presumes a strict boundary between reality and unreality, a boundary that can be transgressed, but only in rare circumstances. By contrast, the stories in “Ugetsu” move effortlessly between the natural and supernatural, giving the sense of a porous membrane between reality and fantasy, or between the normal and the anomalous; the supernatural pervades landscapes, homes, human lives — and even bodies.

What makes “Ugetsu” so compelling today is the way that it describes human beings coming up against a world that is at once palpable and mysterious, a world filled with entities (and nonentities) that lie just beyond the horizon of our comprehension. As Ueda writes in one story, “It can be said that an inability to express even a fragment of one’s thoughts is more moving than the feelings of one skilled with words.”

Perhaps this is why “Ugetsu” has been such an influence on J-horror. Though the genre today is filled with all the debris of 21st-century culture — photos, videos, computers, phones and crowded cities — it still depicts human beings embedded in a strange world. It’s one that not only surrounds us but, in many ways, engulfs us, too.
- source : Japan Times November 2016 -

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He also wrote under the pseudonyms Wayaku Tarō, Senshi Kijin, and Ueda Muchō.

Akinari eventually attended the Kaitokudō School in Osaka, where literary historians believe he studied the Japanese classics and began writing haiku.

He also turned to writing and publishing collections of poetry in both the waka and haiku forms, but these never approached the success he had achieved with Tales of Moonlight and Rain.

During Akinari's last years, according to Young, “he was noted for being a sulking, self-scorning old man, bitterly sarcastic toward the world and its people, and feeling that the masses were full of lies and immorality.”

Read more HERE
eNotes.com


ooo ooo ooo ooo ooo ooo ooo ooo ooo ooo ooo


For Love of Ghosts



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桜さくら散って佳人の夢に入る
sakura sakura chirite kajin no yume ni iru

Cherry bossoms fall
Entering into the dreams
Of lovely women.
Tr. Blake Morgan Young



sakura, sakura!
they fall in the dreams
of sleeping beauty
Tr. Robin Gill


. . . . .

gone are the cherry blossoms
but bloom on beautiful dreamers
again they may go and return
Paraverse by Mariko Shimizu :

This suggests the come and go of cherry blossoms in our physical nature--the world-- and in our mind and dreams--the language.
I've put emphasis on the word "saru" 去る; one of its connotations is that one (thing) is gone but is to return, like four seasons or spring and cherry blossoms in this case.


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External LINKS

3 manuscripst of the Waseda University archives
source : archive.wul.waseda.ac.jp


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. Edo no takenoko 江戸の筍 bamboo shoots in Edo .
with a painting and poem

***** . yookai, yōkai 妖怪 Yokai monsters .

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***** . Authors and writers of the Edo period .

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Sakai Yamei

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SAKAI YAMEI

坂井野明 (さかい　やめい)
? - 1713
(1662-1713)

He was a ronin of the Kuroda Clan in Hakata, Kyushu.
He lived with Kyoarai in Sagamino (near Kyoto).
His Haiku Name, YAMEI, was given to him by Matsuo Basho.
Sometimes he is called Hoojin 鳳仭.

Hoo 鳳 is a phoenix, and jin means an old Chinese measure of four to seven shaku (one shaku is about one foot, ca. 30 cm).
Its Character 仭 also implies the meaning of a blade, this the pun is good in this name.


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春の野を只一呑みや雉子の聲
春の野をたゞ一のミや雉子の聲　
haru no no o tada hito nomi ya kiji no koe

in a field in spring
this is overwhelming -
the call of a pheasant

(I am trying the above rendering in English. There is a cut marker at the end of line 2.
Looking at the Chinese characters, I understand NOMI as "to be overwhelmed" のむ【呑む】, not a form of the verb NOMU 飲む, swallowing　or drinking something,. We do have hito-nomi, hitonomi ひとのみ 一飲みにする drink at a single draft.
English version by Gabi Greve


quote
The first draft of this haiku read

春風や広野にうてぬ雉子（きじ）の声
harukaze ya kooya ni utenu kiji no koe

utenu, a form of the verb uteru, meaning "to be impressed, overwhelmed".
utenu could however be mixed up with 撃てぬ, not to shoot

so the next draft was

広き野をただ一（ひと）のみや雉子（きじ）の声
hiroki no o tada hito nomi ya kiji no koe

The word UTENU has been transformed to more clear version of "tada hito-nomi ya".

But then, the first line did not read smoothly enough and in the end, this version was choosen

春の野をただ一のミや雉子の声
haru no no o tada hito nomi ya kiji no koe

source : yukineko


. . . . .


To understand HITONOMI as "in one gulp" is also possible. This leads to the following translations:


quote
Faced with such paradoxes Blyth advises "some vivacity of energy .... lest the intellect arrive and split hairs." They must be "swallowed in one gulp", like Yamei's pheasant:

In one single cry,
The pheasant has swallowed
The broad field.
(tr. Blyth)
source : ZEN AND THE ART OF HAIKU



In a single cry
the pheasant has swallowed
the fields of spring
(tr. ?


source : Translations of Yamei


hiroki no o . . . . the broad fields
tada hito-nomi ya . . . . are swallowed in one
kiji no koe . . . . pheasant’s cry
Tr. M. Haldane



Le champ immense —d'un crile faisan l'engloutit !
source : canal blog



Al inmenso campo
De un grito
El faisán lo devora
source : www.poeticas.com.ar




kiji no koe 雉の声 "voice of the pheasant"

Translating the "voice of an animal"



Now the comments of some friends on Facebook

John Tiong Chunghoo writes

My japanese friend translated this:

A field in the spring
It is overwhelming
Voice of a pheasant

"呑む nomu" means "drink (beverage)"
"repress (feelings)" "overwhelm".
So first I thought the writer was drinking sake in a field in spring (like hanami -- enjoying cherry blossom), then heard voice of a pheasant. But I guess it actually depicts the overwhelming impression that a pheasant gave by one voice. If I don't try literal translation, it would be;
"A voice of a pheasant dominated a field in the spring".
--- But I'm not so sure if I'm reading it right.

or

haru no no means spring field o is a verb hito nomi means alone drinking ya kiji no koe means the cry of a pheasant.

so the line actually means

the spring field
as i drink alone
the cry of a pheasant


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平押に五反田くもる時雨かな　
hira-oshi ni gotanda kumoru shigure kana

in one rush
the five ars of fields in clouds
and then the winter drizzle




駒買ひに出迎ふ野べの薄かな　　
koma kai ni demukae nobe no susuki kana

I go out to buy a young horse
the pampas grass by the roadside is welcoming me

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Reference : 坂井野明


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. Matsuo Basho visiting Yamei in Saga, Kyoto .






涼しさを絵にうつしけり嵯峨の竹
suzushisa o e ni utsushi keri Saga no take

Coolness.
Painted into a picture;
Bamboos of Saga.
Tr. Blyth


la fraîcheur peinte
dans une peinture ;
les bambous de Saga
Tr. Daniel Py

Matsuo Basho　松尾芭蕉
元禄7年 - 1694

Basho was staying at the home of Yamei 野明亭, a friend of Kyorai.



. Mukai Kyorai 向井去来 .



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Takano Sujuu

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Takano Sujuu (Takano Suju)
高野素十 . (Takano Soju, Takano Sojuu)
October 4. 1893 - 1976
Takano Yoshimi

He was one of the four "S" of the Hototogisu Haiku Group.
He was also a medical doctor.

Sujuu Ki 素十忌 (すじゅうき) Memorial Day for Sujuu

WKD : Memorial Days for Autumn kigo


Born in Ibaraki prefecture, he studied in Niigata and worked in the field of legal medicine. There he met his lifelong haiku companion, Mizuhara Shuuoushi 水原 秋桜子.
In 1923 he joined the haiku group Hototogisu.

He is burried at the temple Shinno-Ji in Chiba prefecture.
千葉県君津市の神野寺


Hatsugarasu 初鴉（はつがらす） (1947)
Seppen 雪片 ( せっぺん ) (1952)


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quote
Suju Takano
by Ryu Yotsuya

The poets of Taisho Hototogisu had produced many masterpieces, by resorting to romantic imagination and to the emphatic words. But this tendency had gone to excess and haikus pursuing superficial effects became popular.

At the beginning of the Showa era (1926 ~ 1989), the haikus of the Hototogisu school took a new direction; Kyoshi Takahama, to moderate this excess, started to advocate the necessity of "shasei" (sketching). This meant return to the design of Shiki Masaoka. He insisted that haikus not based on exact observation and precise description do not touch the readers. He invented the expression "kyakkan shasei" (objective sketching) and made it the principle of writing.

Following this new direction, several poets appeared such as Shuoshi Mizuhara (1892 ~ 1981), Suju Takano, Seiho Awano (1899 ~ 1992), Seishi Yamaguchi (1901 ~ 1994), Kusatao Nakamura (1901 ~ 1983). Each poet could create a personal style adapting "kyakkan shasei".

I present here Suju Takano, who left the most remarkable poems.

An important characteristic of his haikus is the description of foreground. Often, his haikus contain only things right before the eyes. This method makes a sharp contrast with that of the Taisho Hototogisu poets who intended to describe the distant view especially.

Shuoshi Mizuhara, opposed to Suju, severely reproached his descriptions of foreground which, Shuoshi said, were no more than monotonous scientific reports. But Shuoshi's criticism does not seem just to me. If we read Suju's haikus attentively, we realize that he keeps unique understanding of the structure of space in his expressions which look like, at first sight, simple explanations of landscape.

Almost all the haikuists regard the works of Suju as results of the "kyakkan shasei". However he was not a realistic artist in the modern sense of words. He respected symbolic nuances that words, especially kigos, contain. He adopted the attitude to project images of things on the screen made of nuances of the words.

Consequently, even if there are descriptions of foreground, Suju's haikus do not throw them into sharp relief; they give an impression that the poet carried his viewpoint far away and that he saw "here" in peace.

Suju's works that use fully the symbolizing function of the Japanese language, is one of the highest peaks of the Hototogisu school.

Read more haiku here:
source : Ryu Yotsuya


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春塵や観世音寺の観世音
shunjin ya Kannonji no Kanzeon

this spring dust -
the Kannon statue at
temple Kannon-Ji
(this temple is at Dazaifu Town,
Fukuoka Pref. Kyushu)





菊の香や灯もるゝ観世音
kiku no ka ya tomoruru Kanzeon

fragrance of chrysanthemums -
faint light on the Kannon statue


Learn more about this deity, Kannon Bosatsu 観音菩薩 :
Kannon Bosatsu 観音菩薩



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冬山の石仏群の崩壊す
fuyuyama no ishibotokegun no hoo kowasu

the landslides
near the group of stone buddhas
in the winter mountains



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寒肥や花の少き枇杷の木に
kangoe ya hana no sukunaki hiba no ki ni

fertilizing in the cold -
now for the loquat tree
with the few blossoms

WKD : Farmers work in Winter


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はじめての町はじめての春夕べ　
hajimete no machi hajimete no haru yuube

first time in town
first time a night
in spring


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hane watte tentoo mushi no tobi izuru

splitting her wings
the ladybug's
flying begins

source : www.haiku-hia.com



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Japanese Reference

高野素十


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***** Introducing Japanese Haiku Poets　

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Tan Taigi

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Tan Taigi 炭太祇 (たんたいぎ)

(1709 -1771 or ?1738-1791)
宝永6年（1709年） - 明和8年8月9日（1771年9月17日）

He became famous through Masaoka Shiki, who took up his haiku.

Haiku poet of the mid-Edo-period. At the age of 40 he became a priest at the temple Daitoku-Ji 大徳寺 真珠庵 in Kyoto. Later in his life, he stayed in a hermitage called Fuya-An 不夜庵 (Hermitage with no night) in the precincts of the courtesan pleasure quarters Shimabara 島原遊郭 in 1748 and lived as a friend of Yosa Buson. He liked to socialize and drink sake and used to say

When praying to Buddha I write haiku
when praying to the Shinto gods I write haiku.

He also used the haiku names 宮商洞 and 三亭

His haiku collection 太祇句選 and 太祇句選後篇.

Because of his heavy drinking he suffered a brain hemorrhage and died in the Year Meiwa 8. He is burried at the temple Korin-ji in Kyoto.
京都綾小路通り大宮西の光林寺


©　haikuhaikai


. . . CLICK here for Photos !


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kigo for early autumn

Taigi Ki 太祗忌 (たいぎき) memorial day for Taigi
Fuya An Ki 不夜庵忌（ふやあんき）
memorial day for Fuya-An

明和（めいわ）8年8月9日没
His Death day is August 9 in the Year Meiwa 8.

other sources quote
宝永6年（1709年） - 明和8年8月9日（1771年9月17日）
September 19, 1771



さがり花咲いて太祗忌修しけり
sagaribana saite Taigi-ki shuushikeri

a tropical flower
with hanging blossoms -
memorial day of Taigi

Tansei 丹生
Tr. Gabi Greve


(sagaribana : Barringtonia racemosa, a tropical flower of Okinawa)
. . . CLICK here for Photos of the hanging blossoms !



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太祇馬提灯図
早稲田大学會津八一記念博物館
富岡コレクション

Buson's bond with the poet, Tan Taigi (d. 1771), who taught him spontaneity in verse, is evident in the haiga, Taigi and Buson in a Storm, (1777), a sketch to celebrate their camaraderie on the seventh anniversary of Taigi's demise.
The latter is clinging onto a brolly blown inside out, with one clog flung asunder, while Buson clutches his half-closed one, both weathering the elements.

source : www.asianartnewspaper.com


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飲きりし旅の日数や香需散
nomikiri shi tabi no hi kazu ya koojusan

many days on the road
with nothing left any more -
my summer medicine


(Tr. Gabi Greve)
Chinese medicine and Haiku


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草の戸や畳かへたる夏祓
kusa no to ya tatami kaetaru natsu harae

reed door -
tatami mats changed for the
summer purification
(tr. Gabi Greve)

Summer Purification and Haiku




松明に雨乞行やよるの嶺
taimatsu ni amagoi-gyoo ya yoru no mine

rain rituals
in the light of torches -
mountain peaks at night
(Tr. Gabi Greve)





拝すとて烏帽子落すな司めし
haisu tote eboshi otosu na tsukasa meshi

at the audience
don't drop your official hat -
governor's promotion


tsukasameshi 司召 (つかさめし)
governor promotion (in autumn)



御僧のその手嗅（かぎ）たや御身拭
gosoo no sono tekagita ya ominugui

the smell of the hands
of the honorable priests -
cleaning the statue


O-Mi-Nugui 御身拭 cleansing of the Amida statue


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寒食や竃をめぐるあぶら虫
kanshoku ya kamado o meguru aburamushi

cool food -
cockroaches search
around the hearth

Ritual of eating cold food - kanshoku setsu


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下手乗せて馬もあそぶや藤の森
gete nosete uma mo asobu ya Fuji no mori

with an unskilled rider
even the horse can have fun -
Fujimori festival

. Fujimori Shrine Festival 藤森祭



. River Horikawa in Kyoto 堀川や .
with a haiku sweet


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寒月や我ひとり行く橋の音
kangetsu ya ware hitori yuku hashi no oto

in a free rendering this conveyes

moon in the cold -
only my own footsteps
on the bridge


Moon and his KIGO

(hashi no oto ... the sound of a bridge)
Imagine the Edo period, a lone late pedestrian in wooden clogs, which resound on the long wooden bridge.
In longhand, this haiku would read

moon in the cold -
the sound of the bridge
as I walk over it alone



冬の月が冴(ｻ)えわたっている｡その光に照らされて霜の置いた橋の上を一人行く｡下駄(ｹﾞﾀ)の音もまた冴えて耳に響いてくる｡
《季語》 寒月(冬)｡《参考》橋は長い板橋､履物は恐らく下駄であろう｡視覚と聴覚で､寒々として静まり返った冬夜の雰囲気をよく詠みとっている｡〔名句辞典〕

Geta, wooden Japanses sandals Straw sandals (zoori)



lune froide
seul je marche
le bruit du pont

source : Taigi haiku in French by Nekojita


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月と日は男の手なる夏書かな

. moon and sun
become the hands of man -
copying sutras in summer .



口切のとまり客あり峰の坊

. for the opening of the tea jar
there are visitors over night -
mountain retreat .


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Meditáció:
kövér szúnyogok
lakomája.

source : Tagi Haiku in Hungarian, www.terebess.hu



yamaji kite muko jooka ya tako no kazu

oltre il valico in fondo
una città fortificata,
e stormi di aquiloni

source : Taigi in Italian . alberto cane


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ochite naku / ko ni koe kawasu / suzume kana

Mit dem Kind, das aus
dem Nest fiel, tauscht sie Tschilpen aus,
die Spatzenmutter!


mizugame e / nezumi no ochi-shi / yosamu kana

In den Wasserkrug
ist eine Maus gefallen
kalt ist schon die Nacht!


bôfuri ya / teru hi ni kawaku / ne-nashi-mizu

Mückenlarven –
in heißer Sonne trocknend
Tümpel ohne Zufluß

source : Ekkehard May . haiku-dhg


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Japanese Reference

炭太 祇


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

***** Introducing Japanese Haiku Poets　

Memorial Days SAIJIKI

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Madoka Mayuzumi Madoka

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Mayuzumi Madoka 黛まどか

July 31, 1965 -




Twenty of Madoka's haiku appear in Ueda's book,
"Far Beyond the Field: Haiku by Japanese Women."


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quote
Haiku poet Madoka Mayuzumi

Born in Kanagawa Prefecture, Madoka Mayuzumi first received acclaim when poems she submitted won an award from publisher Kadokawa Shoten in 1994. Her haiku are notable for their romantic and urban flavor, and for bringing new elements into the tradition.

Her first book, B-men no Natsu (B-side Summer), enjoyed unprecedented sales for a haiku collection, and the devoted following it earned led to the formation of the “Hepburn” Club, the only all-female coterie in Japan. The club launched the monthly haiku magazine Gekkan Hepburn (Monthly Hepburn) in August 1996, and disbanded in March 2006 after publishing 100 issues. After being selected as "Miss Kimono", she left her job at the bank and became involved in the mass media as a television reporter.

In 1999, Mayuzumi successfully trekked the Way of St. James (Route of Santiago de Compostela), an 800-kilometer pilgrimage from Saint-Jean-Pied-de-Port (France) to Santiago de Compostela (Spain). Her haiku and essays of the journey were later serialized in the Yomiuri Shimbun, a major national newspaper in Japan, and published in the book Hoshi no Tabibito (The Pilgrim to Compostela). Between 2001 and 2002, Mayuzumi visited South Korea five times, during all four seasons, to hike the nearly 500 kilometers from Busan to Seoul. Her haiku and essays of this journey too were serialized in the Yomiuri Shimbun and published as a book.

In 2002, Mayuzumi’s fifth haiku-collection, Kyoto no Koi (Kyoto Romance), won the Kenkichi Yamamoto Literary Prize.

In December 2006, amidst many reports in the media of bullying, suicide, and other depressing news, Mayuzumi began delivering haiku e-mail newsletters to cell phone users throughout Japan in an attempt to cheer people up. This newsletter (in Japanese only) is free of charge, and one can register to receive it at http://madoka575.co.jp/mm/.

Mayuzumi is now the leader of a project called
Rediscovery and Redefining Japan,
which aims to revitalize Japan through rediscovery of local culture, traditions, and history. She is also a board member of the incorporated nonprofit organization Fellowship for Camino de Santiago Japan, a future heritage board member of the National Federation of UNESCO Associations in Japan, and a councilor of the Kanagawa Museum of Modern Literature.

From April 2010 to March 2011,
Mayuzumi will go to France as a Japan Cultural Envoy on a program sponsored by the Agency for Cultural Affairs, Government of Japan.

Official site:
source: 　madoka575.co.jp

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quote from Mainichi, November 2010
PARIS --
Haiku poet Madoka Mayuzumi, who has been living in Paris since April this year as a Japanese government-designated "cultural envoy," frowns on "French haiku" despite a haiku boom here.

"French people's haiku poems often fail to follow the basics," says Mayuzumi, whose mission in France is to "foster better understanding of Japanese culture through haiku."

"In haiku, there are the 'yuki-teikei' rules for expression, in which you have to include 'kigo' (seasonal words) and use a fixed 5-7-5 syllable pattern. But French people's poems often don't have kigo or the syllable pattern," the 48-year-old points out.

Needless to say, it is not easy to write a haiku poem in a 5-7-5 format in French, and kigo that originates from Japan struggles to fit into French natural features.

By making a "haiku" without following these rules,
it becomes nothing but a "short poem."

"The French hate to be tied to rules, but in haiku, there are rules that encourage you to be free and creative," Mayuzumi explains. She devotes considerable time to explain Japan's unique culture of "rules" at gatherings of French people.

As part of her mission, Mayuzumi wants to define unified haiku rules that suit French culture. Living in Paris has made her able to see Japan more clearly. This summer, the poet went on a journey retracing the footsteps of French poet Paul-Louis Couchoud, who introduced haiku to his country a century ago.
snip
"If you hold yourself back here, you will fail to convey your messages to others. You need to speak your mind."

(By Naoki Fukuhara, Paris Bureau)
... Kanji mdn.mainichi.jp


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APRIL


湖の面のひと揺れに発つ花筏
Blossom raft, begins to move with a small wave on the water.


君が手の膝にありたる花疲
Blossom fatigue, his hands rest on his lap.


translated by Mineko Azuma
source : www.nikkansports.com/madoka


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“Kokoro: The Heart of Japan”
Public Symposium and Concert, New York

public symposium and choral concert will be held on March 6, 2012 at Merkin Concert Hall at the Kaufman Center on the first anniversary of the March 2011 Tohoku Earthquake and Tsunami. The event is being hosted by the Tokyo Foundation in collaboration with the Weatherhead East Asian Institute of Columbia University.

Madoka Mayuzumi,
one of Japan’s leading contemporary haiku poets, will introduce poems composed by the survivors themselves. She will elucidate what the haiku form reveals about their perceptions of the unprecedented disaster and the values that permeate and underlie Japan’s culture.

Mayuzumi will later be joined by a panel of Japan scholars from Columbia University—film expert Paul Anderer, professor in the Department of East Asian Languages and Cultures; Chris Hill, associate professor of Japanese literature; and Kay Shimizu, assistant professor in the Department of Political Science—as well as haiku poet and translator Hiroaki Sato and art education expert Raja Adal, assistant professor of Japanese history at Oberlin College, to discuss both the unique and universal aspects of Japanese society.

The symposium will be followed by the world premiere of "And Then, Spring," a song for the people of Fukushima—who are unlikely to be able to return home for many years—that fondly recalls the prefecture’s four seasons and natural beauty. The choral piece is a collaborative benefit project by Mayuzumi and composer and musical producer Akira Senju.
source : www.tokyofoundation.org



Haiku: The Heart of Japan in 17 Syllables
Mayuzumi, Madoka
December 13, 2010



Read her speach HERE:
source : www.tokyofoundation.or

BACKUP

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quote
Die kürzeste japanische Gedichtform
“Das Herz Japans”

Madoka Mayuzumi,
die seit den 90er Jahren die Welt des gegenwärtigen japanischen Haikus als junge Dichterin leitet und deren Werke mit zahlreichen Literaturpreisen ausgezeichnet wurden, wird dieses Jahr als Kulturbotschafterin vom Ministerium für Wissenschaft und Bildung Japans nach Europa gesandt und hält einen Vortrag über die Kunst des Haiku.

Mit insgesamt 17 Silben ist das Haiku die kürzeste Gedichtform der Welt. In dieser minimalistischen Kunstform wird die Natur oft als Metapher für die geistige Innenwelt benutzt. Sie symbolisiert dabei auch Aspekte wie Ästhetik, Naturanschauung, Philosophie, Gedanken oder Emotionen.
Im Vortrag wird die Welt des Haikus und die Gegenwart Japans im Haiku dargestellt.
source : www.tenri-kw.de


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Isabelle Prondzynski reports about a lecture in Brussels, January 2011:

On 25 January, Madoka Mayuzumi sensei gave a lecture on haiku at the
Cultural and Information Centre of the Embassy of Japan in Brussels.

Madoka sensei, an unexpectedly young poet, was accompanied by a professor from the University of Leuven, who translated for her in perfect collaboration and good spirits. I apologise that I did not note down his name.

There are some photographs of the event here :


source : Photo Album Flickr

She did not read or recite any of her own haiku, but gave a wonderful lecture to us on haiku in the overall context of Japanese culture. Ikebana, Noh plays, tea ceremony, cherry viewing, Japanese cooking -- all of them have some of the same elements that are important in haiku. Observing the seasons is ingrained in Japanese culture, and these arts also use a minimalism which creates much more than meets the eye. In haiku, there is that empty space between the lines, which speaks at least as much as in the lines themselves. The writer will say the bare minimum -- and then, the educated reader will understand what has been said and what has not been said.

A haiku must have this elusive "blank" or space which expresses meaning as much as the words contained in the haiku. In translation, she called this the "literature of silence" or of "things unsaid" (in Japanese, yohaku 余白 ) -- but the educated reader would understand what had been left unsaid. Haiku is a joint undertaking between the author and the reader.

She compared haiku with a tapestry of words -- the spaces between the threads are as important as the threads themselves.

Haiku avoids the direct expression of emotions, which it arouses in the reader or listener, and therefore transcends them.

A haiku must have kigo -- without a kigo, it is not a haiku.
She told us about the wealth of vocabulary that exists in Japanese, e.g. for the mountains in different seasons. She told us that the Japenese observe the moon very carefully, and that they love it when it is almost perfectly full even more than when it is perfectly full.

She asked us how many words exist in French for rain? Ten perhaps? In Japanese, there are about 440... just an example... this is because Japanese people have been observing nature and the seasons closely and writing about them for centuries.

She also told us that every letter written in Japanese must start with a seasonal reference (or if not, must contain an apology for its absence).

She had been asked about the rules -- why does such a short form of poetry have to have so many rules? Her answer was that _because_ the rules are fixed, poets can develop a high level of artistry within them. She compared this to the floor exercises of an Olympic gymnast.
The floor perimetre is perfectly defined, and the best gymnasts know how to use this space to the full -- not to remain only in the centre, and not to place even one toe outside it.

In Japan, she said, haijin were returning to loving the rules after a period of experimentation.


Thank you very much, Isabelle, for this report.


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source : nikkansports.com/madoka

. Reference in English

. Reference : 黛まどか


Discussion at facebook


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Mayuzumi Shu 黛執(まゆずみしゅう)
Born 1930

father of Madoka.


ume no ka no ume o dete iku tsukiyo kana

the fragrance of plum blossoms
coming from the plum tree -
full moon night



hitotsu tote michi yoisoru kareno kana

a road along
into the lamp light -
withered fields

source : cherrypoetryclub



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Related words

***** Introducing Japanese Haiku Poets　


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Tsuda Kiyoko

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Tsuda Kiyoko 津田清子(つだ きよこ)

Tsuda Seiko 津田清子 （つだ せいこ）
(two readings of her name are given, even Sayako)

1920, July 25 in Nara

She started to study tanka with Maekawa Samio 前川佐美雄 and then turned to haiku when she met Hashimoto Takako 橋本多佳子at her home in Nara. Later she studied with Yamaguchi Seishi 山口誓子.

She is a member of the group Shichiyoo 七曜 (Seven Stars).
When she was 79, she received the Dakotsu Prize 蛇笏賞.


One of her books has the title
わが愛する俳人 "Haiku Poets whom I love"




Her Haiku Collection in the Magazine
Haiku no Genzai 13 俳句の現在(13)


Other haiku collections
「礼拝」「二人称」「縦走」「葛ごろも」「七重」「無方」

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命綱たるみて海女の自在境
inochizuna tarumite ama no jizai kyoo

the lifeline
slackens .. the freedom sphere
of an ama diver

Tsuda Kiyoko (Sayako) 津田清子


. Woman divers (ama 海女 ) 　



about ondanka 温暖化 global warming

global warming -
if you need a boat
I am here to help you


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What a burdensome
life for the grasshoppers to
experience frost.


To be a mistress
is enough to tame me and
I cut a watermelon.

source : sherp.relline.ru


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海に還（かえ）す水母の傷は海が医（いや）す　

Des blessures de la méduse
Que j'ai rendue à la mer
Se guériraient par la mer.

source : HaikuFrancais.htm


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　紫陽花剪るなほ美しきものあらば剪る　　　　
　狡る休みせし吾をげんげ田に許す
　海に還す水母の傷は海が医す
　千里飛び来て白鳥の争へる
　降誕祭讃へて神を二人称
　滝壺を流れ出て水無傷なり
　栄螺にもふんどしがありほろ苦し
　無方無時無距離砂漠の夜が明けて

　<最近の句>　　Her latest haiku

いつか来るクローンの世や余り苗
　寒鴉われこそオサマ・ビン・ラディン
　満月よ月探査機に油断するな
　津田清子咲けよ咲けよと蔓珠沙華

source : yahagi4190


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From her collection 無方 MUHO
written in the Namibia Desert of Africa


太陽は四季咲の花砂の国

無方無時無距離砂漠の夜が明けて


砂漠の木自らの影省略す
sabaku no ki mizukara no kage shooryaku su

a tree in the desert
makes its own shadow
small


自らを墓標となせり砂漠の木

あめつちのいのちさみどり薺粥


砂山に遊ぶ三日月ほどの恋
sunayama ni asobu mikazuki hodo no koi

love like a three-day moon
playing in the sand dunes

love like
a three day moon playing
in the sand dunes


枇杷五つ盛られて最後まで五つ

はじめに神砂漠を創り私す

髑髏磨く砂漠の月日かな



「無季の俳句を作ろうとか有季の俳句を作ろうとか、そうじゃなくて、俳句のほうが先にあるんですよ。季語よりも。俳句のなかに季語以上の哲学があったら、それを無理におさえつけてまで季語を入れなくてもいいと思う」

"To write haiku with or without a kigo is not the problem, the haiku comes first, the philosophy behind the poem matters. There is no need to press hard and insert a kigo on purpose. "


(「炎環」2000年月号掲載)
source : piano.3.pro.tok2.com


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Japanese Reference

津田清子

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Tsuda Umeko 津田 梅子
December 31, 1864 – August 16, 1929
was an Japanese educator, feminist and pioneer in education for women in Meiji period Japan. Originally named Tsuda Mume (津田 むめ), with mume or ume referring to the Japanese plum, she went by the name Ume Tsuda while studying in the United States before changing her name to Umeko in 1902.
... By the time Tsuda returned to Japan in 1882, she had almost forgotten Japanese, which caused temporary difficulties.
... In 1900, she founded the Women's Institute for English Studies (女子英学塾, Joshi Eigaku-juku) located in Kōjimachi, Tokyo to provide equal opportunity for a liberal arts education for all women regardless of parentage.
©　More in the WIKIPEDIA !


Tsuda Umeko's Letters
to her American Host Mother 1882-1911

source : carmen-sterba.suite101.com


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

***** Introducing Japanese Haiku Poets　

Uda Kiyoko 宇多喜代子 (b. 1935)


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Kawabata Bosha

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Kawabata Bosha
Kawabata Boosha, Bousha　川端茅舎
(1897-1941) 1897年8月17日 - 1941年7月17
some sources quote ［1900 -1941］



Born on August 17 in Downtown Tokyo, he is also famous as a painter.
His family name is 川端信一 Kawabata Nobukazu. His father had a great influence on his haiku career. His grandfather and his mother worked in a hospital and as a child it was his wish to become a doctor himself.

His stepbrother was
Kawabata Ryushi 川端龍子 (Ryuushi), who later became a famous painter of traditional Japanese Paintings (Nihonga).
see below

At age 17 he started to use the haiku name of BOSHA. He later became a most beloved student of Takahama Kyoshi and worked with the Aogiri Group あをぎり句会.

But his lung tuberculosis became worse and he died at a young age in 1941. On the evening of July 16 he wrote his last haiku

石枕してわれ蝉か泣き時雨
ishi makura shite ware semi ka naki shigure

a stone for a pillow
me, just another cicada ...
so shrill, like crying
Tr. Gabi Greve



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

His argument with Kyoshi about
花鳥諷詠 真骨頂漢
Shasei .. 写生 sketching from nature
(kachoo fuuei 花鳥諷詠)

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Kawabata Bosha nails down a magic moment in the natural world with three beautiful images:

金剛の 露ひとつぶや 石の上
kongoo no tsuyu hitotsubu ya ishi no ue

A drop of dew
Sits on a rock
Like a diamond.



Read a detailed discussion of this haiku here:
. Kongoo ... the Diamond and the Dew


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"川端茅舎" / Reference

More Reference about Bosha !



枯木立月光棒のごときかな

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HAIKU

春の夜や女に飲ます陀羅尼助
haru no yo ya onna ni nomasu Daranisuke

spring evening -
I give her some
traditional medicine
Tr. Gabi Greve
Daranisuke Medicine




和尚また徳利さげくる月の夜
oshoo mata tokkuri sage-kuru tsuki no yo

the priest comes again
with his sake flask hanging from his belt ...
night with a full moon


. Osho and Haiku



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蚯蚓鳴く六波羅蜜寺しんのやみ
mimizu naku Rokuharamitsu-ji shin no yami

voices of earthworms -
temple Rokuharamitsu
completely dark


The voice of earthworms ... and haiku



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La fleur du magnolia
s'est ouverte. Mon âme
et moi nous sentons mieux

Magnolia flower
was opened. My soul
and myself we are better (now)

Look at a photo to go with this haiku !


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


meimetsu no izure kanashiki hotaru kana

flickering lights
of fireflies forebode
their short lives

Look at a haiga with this haiku !


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

suishoo no nenju ni utsuru wakaba kana

Young green leaves
Mirrored in the crystal beads
Of my rosary.

Rosary and Haiku


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初春の二時打つ島の旅館かな
hatsuharu no niji utsu shima no ryokan kana

the bell rings TWO
on the New Year's day
at the island's inn
(Tr. Gabi Greve)



Deux heures dit le printemps
Elles ont sonné
Dans l'auberge de l'île

Tr. Alain KERVERN


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Titrek şavkıyla
ateş böceğine malum
kısa hayatı.

Yansıyıverdi
tesbihimin boncuğunda—
Taze yapraklar

Çeviri: Turgay Uçeren


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約束の寒の土筆を煮て下さい
yakusoku no kan no tsukushi o nite kudasai

as you promised,
please cook for me
the winter horsetail
Tr. Gabi Greve

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翡翠の影こんこんと溯り

the shadow of a kingfisher
moves up and up
up the river


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People who learned from Kawabata Bosha



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Kawabata Ryuushi, Kawabata Ryūshi
川端龍子 Kawabata Ryushi
(June 6, 1885 - April 10, 1966)



the pseudonym of a Japanese painter in the Nihonga style, active during the Taishō and Shōwa eras.
His real name was Kawabata Shotarō.

Ryūshi was a major advocate of Art for the Exhibition Place (会場芸術, kaijo geijutsu), which emphasized the public nature of art. His works therefore tended to be on a huge scale, and were intended for public display in large areas.
©　More in the WIKIPEDIA !

. Zao Gongen Painting 一天護持 - 蔵王権現 .




source :　yugyofromhere.blo
Fudo Myo-O 不動明王

. Fudo Myo-O Gallery .

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


He also painted a lot of Kappa, the Water Goblin:

. カッパとお不動さん Kappa and Fudo Myo-O .



- Exhibition
河童青春　水芭（かっぱせいしゅん　みずばしょう） Kappa seishun
河童青春　井守（かっぱせいしゅん　いもり）Kappa iimori
ミス・カッパ Miss Kappa
source :　www.ota-bunka.or.jp


. . . CLICK here for Kappa Photos !

- KAPPA - 河童 / 合羽　/ かっぱ /　カッパ - ABC-Index -


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***** Introducing Japanese Haiku Poets
Kawabata Hoosha, Kawabata Hosha

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Ogawa Haritsu

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Ogawa Haritsu
小川破笠（おがわはりつ)
Ritsuo 笠翁 ("Old Man Ritsu")

1663 - 1747
寛文3年（1663年） - 延享4年6月3日（1747年7月10日））

His real name was Ogawa Naoyuki 小川尚行.

His artist names are 金弥、平助。
Haiku Names 宗羽（宗宇）.「小川観」、夢中庵.

He was born in the province of Ise, but other sources state Edo as his birthplace.


More LINKS about Haritsu



Portrait of Basho by Haritsu
©　Waseda University



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Compiled by Larry Bole, Happy Haiku Forum

Haritsu first gained fame as a haijin. As a young man, he was a friend of both Kikaku and Ransetsu, students of Basho's, of whom Haritsu was a student too.

In Makoto Ueda's book, "Dew on the Grass," Ueda mentions a drawing by Haritsu, first quoting from the preface, written by Seibi, to an anthology compiled by Issa, titled "Three Men at Leisure:"

"...someone...brought [to Issa] Master Haritsu's work, which was a drawing accompanied by a verse. The drawing depicted Haritsu asleep with Kikaku and Ransetsu. Haritsu's verse appearing beside the drawing said that while his two friends were gone he alone still lingered in this world at the age of over eighty. ..."

Ueda goes on to explain Haritsu's drawing: "[Haritsu] used to spend a leisurely day with fellow poets Takarai Kikaku and Hattori Ransetsu...when they were young. Impoverished as they were in their youth, the three had to share a single quilt when they slept at night."

Ueda describes Haritsu's drawing: "[it] shows three haikai poets lying asleep under a quilt, with their feet turned toward a footwarmer."


I have been able to find two of Haritsu's haiku translated into English:

saku made wa matsu hito motanu tsutsuji kana

Until they bloom,
No one gives heed to them,--
Azalea flowers.
Tr. Blyth

Of Haritsu, Blyth says:
"[He] is said to hae been disowned for prodigality and to have lived on Kikaku. ..."


tsuma ni mo to ikutari omou hana mi kana

I find so many
fit to be my wife
at flower-viewing time!
Tr. Faubion Bowers

But Haritsu turned to making lacquerware at the age of 51, and it is as an artist that he is chiefly known today.

While other artists were happy to embed gold flakes or slivers of mother-of-pearl, Ogawa created wonderful effects by skillfully incorporating such objects as shells, stones and, in one remarkable box for keeping shikishi paper, even netsuke toggles into his work.
http://search.japantimes.co.jp/cgi-bin/fa20020904a1.html



Haritsu created a style of inlaying various items such as shells, pieces of porcelain, metal, stones, even netsuke toggles onto lacquerware, creating a style known as "Haritsu Marquetry."
The upper surface of the statinery box contains the signature "Ryuo"and the seal "Kan".

/www.suntory.com/culture-sports/



Haritsu is also famous for
"producing lacquer that imitated other materials."
Ritsuo was a student of Ogata Korin in lacquerwork.
www.japanese-arts.net/lacquerwork/



Haritsu's lacquerware box at the Met is described as a "box for writing implements with mice chewing fan." It is made out of "lacquered wood, inlaid pottery & pewter."
"Three mice devour a fan that once opened to reveal a classic poem on beautifully decorated paper."


The lid of the box shows a partially-opened folding paper fan with writing on it, placed diagonally, with the top of the fan at the upper left of the box lid, and the hinge of the fan at the lower right. At the bottom of the lid is a white mouse in profile, with a beady red eye showing, and a long, sinuous tale. Above and to the left of this mouse, is a black mouse also with a long, sinuous tale, seen from above, angling diagonally from left to right, and apparently chewing on the fan. In the middle of the fan, appearing through a hole already chewed in the fan, is the white head of a third mouse.

How much of our poetry will survive the ravages of time: the floods, the fires, the mice
(or nowadays even electronic mishaps or outright future deletion)?

folding fan with a poem:
the three nibbling mice
savor every word

Larry Bole

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Box for an ink stone,
suzuribako 硯箱［すずりばこ］

24.5㎝　x17.0㎝　x 6.3㎝
with various types of inlay of wood, ivory, precious metals


©　city.hikone.shiga.jp Museum



External LINK
Laquer Box by Haritsu





. inkstone, 翡翠硯（すずり） suzuri .
and suzuribako boxes


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***** Introducing Japanese Haiku Poets　

　

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Arthur Binard

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Arthur Binard アーサビナード

Born July 2, 1967




quote
Arthur Binard was born in Michigan in 1967. He studied English Literature at Colgate University. An interest in the ideogram led him to Japan where he now writes poetry and prose, in both English and Japanese. In 2001 he was awarded the Nakahara Chuya Prize for Tsuriagetewa, a book of his poems in Japanese. The collection was published in English in 2002 under the title Catch and Release.

He received the Kodansha Essay Award for Nihongo Pokori-Pokori, and the Japan Picturebook Prize for Home is Here ― Ben Shahn’s Lucky Dragon. His most recent collection of poems, Sayuno Anzen (Look Both Ways), won the Yamamoto Kenkichi Literature Prize in 2008.

Read the full interview here :
source: 　www.mofa.go.jp/dispatches

His haiku name is

pedaru　ペダル

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バスを待つ十人十色の白い息
basu o matsu juunin juushoku no shiroi iki

waiting for the bus -
ten people, ten colors
of white breath

This is a scene from the cold winter of Aomori. When different people have to wait, you can see the different breath from a strong man, a little boy, an old lady and all the others waiting at the bus stop.

source : flat.kahoku.co.jp


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Japanese Reference

アーサー・ビナード - Wikipedia


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***** Introducing Japanese Haiku Poets　


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Hoshino Tsubaki and Tatsuko

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Hoshino Tsubaki 星野 椿
ほしの つばき
1930 -

Born in Tokyo. Daughter of Hoshino Tatsuko 星野立子 (1903 -1984).
Her Grandfather was Takahama Kyoshi 高浜虚子.
Her Son is Hoshino Takashi 星野高士.

With her son Takashi, she runs the Memorial Hall of Kyoshi in Kamakura.
鎌倉虚子立子記念館　
http://www.geocities.jp/kamakurakyositatsuko/index.htm





I saw Tsubaki Sensei on TV in June 2009, energetic as I remember her from my time in Kamakura.
She proclaimed :
"Back to the heart of a beginner"


I saw Tsubaki sensei again on TV in June 2010.
She is now 80 years and still acitve. She leads a golf group, the members go golfing during the daytime and have a kukai haiku meeting in the evening.



Tsubaki, the Camellia


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Modern masterpieces by Japanese haiku poets
by Susumu Takiguchi

hototogisu/naku kata no mado/akete oku

I leave the window open
where a cuckoo is singing


One of the most influential haiku poets living in Japan today, Tsubaki is a quintessential neoclassical haijin. Hototogisu, a cuckoo, is also the name of the school and the celebrated haiku magazine her grandfather, Kyoshi, founded, as well as one of the most frequently used kigo seasonal words. The bird is almost a symbol of the haiku life.

yuu-Fuji ni/eda sashi-nobete/kaeri-bana

a branch stretching
toward the evening Mt. Fuji,
a bloom out of season

Reverence for the most sacred mountain in Japan is also a form of reverence for Japan itself, its past, its culture and values. Cherry blossom are also revered. Put the unseasonable bloom in winter against the view of the mountain in the evening sun, the sense of reverence is so much more heightened. The branch is a metaphor of the author herself and of the sentiment of all Japanese people. This haiku epitomizes the essence of neoclassical haiku, or even haiku itself, of the self-contained people of a self-contained nation.


Kamakura wa/ nami no oto yori/ake yasushi

in Kamakura
dawn breaks from the sound of waves,
getting earlier and earlier

Kamakura is where Kyoshi lived and worked most of his life after leaving his hometown, Matsuyama. Tsubaki and her son, Takashi, have founded a haiku museum there in honor of Kyoshi and of Tsubaki's mother, Tatsuko. The museum has become a center of haiku studies and composition. As the haiku indicates, residents of this coastal town are always conscious of the sea.
Kyoshi founded a new haiku magazine, Tamamo, and gave it to Tatsuko to run.
Now it is run by Tsubaki Hoshino and Takashi.
by Susumu Takiguchi, January 2006, Daily Yomiuri



WKD : Kamakura, Kyoshi and the Hoshino Family


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蛍火のもつれつつ闇深まりし　　　　
hotarubi no moretsutsu yami fukamarishi

darkness
grows darker and darker
with the sparkles of fireflies　　　　　

NHK BS「俳句王国」H.21.6.20
http://www.nhk.or.jp/haiku/html/haiku21-6-20.htm

While the poet was looking for fireflies, the darkness slowly became even darker. In Japanese, the TSUTSU gives this haiku its special life.

(free translation, Gabi Greve)


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Hoshino Tatsuko 星野立子
(1903 -1984)



. Reference about Tatsuko .


寒しとはこの世のことよ墓拝む
samushi to wa kono yo no koto yo haka ogamu

cold that is
what this world is about -
I pray at his grave

Her father was Takatama Kyoshi.


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鉛筆で書く音静かチューリップ　　
enpitsu de kaku oto shizuka chuurippu

the quiet sound
of writing with a pencil -
tulips




Haiku about pencils


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the first swallow -
a Chindonya band
just for today

On the occasion of the great Haiku Meeting in Komuro

. Chindonya ちんどん屋 street musician .


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***** Introducing Japanese Haiku Poets

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