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Chapter 1 Chapter 2
Notes Chapter 1 1. The translations of this verse and other Japanese poems quoted in this book, unless otherwise noted, are by Hakutani. 2. Donald Keene notes, “The humor in Chikuba Kyǀgin Shnj has been characterized as ‘tepid.’ The same might be said of the haikai poetry composed by Arakida Moritake (1473–1549), a Sinto priest from the Great Shrine at Ise who turned from serious to comic renga late in life, and has been customarily styled (together with Sǀkan) as a founder of haikai no renga” (Keene 13–14). 3. A certain group of poets, including Ito Shintoku (1634–98) and Ikeni- shi Gonsui (1650–1722) of the Teitoku school, and Uejima Onitsura (1661–1738), Konishi Raizan (1654–1716), and Shiinomoto Saimaro (1656–1738), of the Danrin school, each contributed to refining Basho’s style (Keene 56–57). 4. A detailed historical account of haikai poetry is given in Keene 337–57. 5. The original of “A Morning Glory” is quoted from Fujio Akimoto, Haiku Nyumon 23. 6. The original of “Were My Wife Alive” is quoted from Akimoto (200). 7. The original of “The Harvest Moon” is quoted from “Meigetsu | ya | tatami-no | ue | ni | matsu-no-kage” (Henderson 58). 8. Waley further shows with Zeami’s works that the aesthetic principle of yugen originated from Zen Buddhism. “It is obvious,” Whaley writes, “that Seami [Zeami] was deeply imbued with the teachings of Zen, in which cult Yoshimitsu may have been his master” (Nǀ Plays of Japan 21–22). 9. See Max Loehr, The Great Paintings of China 216. -
A Second-Class Art by Kuwabara Takeo Translated by Mark Jewel
Modern Haiku: A Second-Class Art by Kuwabara Takeo Translated by Mark Jewel Haiku by leading modern poets appear in the pages of our postwar magazines just as they did in magazines before the war. But until recently I hardly ever bothered to read them, in the same way that I never paid much attention to the little block illustrations the magazines carry. I have already had occasion to observe elsewhere that one reason for the insipidness of post-Meiji Japanese fiction is a lack of intellectual and social self-awareness on the part of our novelists, and that the most likely model for this casual approach to the creative process is haikai poetry (see the February issue of Humanity [Ningen] and the September issue of New Currents of Thought [Shincho]).1 Whenever I make this point at one of the lectures I am invited to give, I am always taken to task afterward-at least with respect to haiku-giving me fresh cause to appreciate just how deeply rooted the influence of haikai has become. It seems to me that if we are going to devote serious attention to the problems facing Japanese culture, there is a need to reassess the spirit of haikai as it has come down to us from the time of Bashō. Despite having come to this conclusion, however, I have not had the time to undertake the task myself. Or it would probably be more honest to say that I have not been interested in doing so. Then, not long ago, my daughter came home from elementary school and asked me to explain the meaning of two haiku she had studied in Japanese class: yuki nokoru a single peak -
Chamberlain's “Bashō and the Japanese Poetical Epigram.”（Leonard）
Chamberlain's “Bashō and the Japanese Poetical Epigram.”（Leonard） Chamberlain's “Bashō and the Japanese Poetical Epigram.” Julian LEONARD Introduction Despite the current popularity of haiku, and the status it enjoys within world literature, the early translators of Japanese literature did not see it as a pre-eminent literary form or as quintessentially representative of the indigenous culture. Basil Hall Chamberlain (1850-1935), who was one of the foremost of the early British Japanologists, was typical in this respect. Chamberlain had established his academic reputation with translations of the Japanese classics. His translation of the Kojiki was published by the Asiatic Society of Japan (ASJ) in 1878 and this was followed in 1880 by Classical Poetry of the Japanese, published by Truebner as part of their series of Oriental literature. However, this anthology of classical literature did not include any mention of haiku. Instead, it included only selections from the Manyōshū and Kokinshū, as well as four Noh plays, which Chamberlain referred to as Lyric Dramas. The omission of haiku (then most commonly referred to as hokku or haikai) can be put down to two factors: one was that haiku was generally seen by the Japanese themselves as having a lower literary status than tanka or kanbun (Yamashita 124); the other was its extreme brevity, consisting of only 17 syllables. George Aston (1840-1920) another eminent British Japanologist and member of the ASJ put the matter in a nutshell as early as 1877 in his A Grammar of the Japanese Written Language. In this work Aston offered a brief description of haikai uta (haiku) together with three examples of verse, but he was highly skeptical of the genre’s literary worth. -
Leca, Radu (2015) the Backward Glance : Concepts of ‘Outside’ and ‘Other’ in the Japanese Spatial Imaginary Between 1673 and 1704
Leca, Radu (2015) The backward glance : concepts of ‘outside’ and ‘other’ in the Japanese spatial imaginary between 1673 and 1704. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/23673 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. The Backward Glance: Concepts of ‘Outside’ and ‘Other’ in the Japanese Spatial Imaginary between 1673 and 1704 Radu Leca Thesis submitted for the degree of PhD 2015 Department of the History of Art and Archaeology SOAS, University of London 1 Declaration I have read and understood regulation 17.9 of the Regulations for students of the SOAS, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. -
Inventing the New Through the Old: the Essence Of
EARLY MODERN JAPAN SPRING 2001 Inventing the New other is the Song scholar Lin Xiyi’s ᨋᏗㅺ2 annotations of the Zhuangzi, which stress that the Through the Old: entire Zhuangzi is a parable. While scholarly The Essence of Haikai opinion differs on which factor or factors played and the Zhuangzi a key role behind the phenomenon, they agree Peipei Qiu that the Danrin’s enthusiasm for the Zhuangzi lies primarily in imitating the gugen in the work.3 Asian Studies Vassar College Introduction meaning, according to Burton Watson, is words put into the mouth of historical or fictional persons to make them more compelling. The Zhuangzi scholars The latter half of the seventeenth century have also used the term to refer to the general writ- witnessed an innovative phenomenon in Japanese ing style of the text. Watson has rendered the haikai େ⺽ (comic linked verse) circles. A meaning of the term into “imported words” in his group of haikai poets who called themselves the translation of the Zhuangzi. The title of Konishi Danrin ⺣ᨋ enthusiastically drew upon the Jin’ichi’s ዊ↟৻ study on Basho and Zhuangzi’s Daoist classic Zhuangzi ⨿ሶ (The works of gugen, “Basho to gugensetsu” ⧊⭈ߣኚ⸒⺑ Master Zhuang), setting off a decade-long trend [Nihon gakushiin kiyo ᣣᧄቇ჻㒮♿ⷐ no. 18 of using the Zhuangzi in haikai composition. In (1960) 2 and 3] is translated into “Basho and assessing the causes and significance of this Chuang-tsu’s Parabolical Phraseology.” The term in phenomenon previous studies give much atten- modern Japanese and Chinese is often translated as tion to the intellectual, philosophical and reli- “fable,” “apologue,” or “parable,” but these transla- gious climates, noting two major factors that in- tions are not suitable to the present study. -
EARLY MODERN JAPAN 2010 the Death of Kobayashi Yagobei
EARLY MODERN JAPAN 2010 5 The Death of Kobayashi Yagobei since. At some point before he had reached the ©Scot Hislop, National University of Singapore pinnacle of haikai rankings, Issa wrote an account, now called Chichi no shūen nikki (父の終焉日記: Introduction A Diary of my Father’s Final Days), of his father’s illness, death, and the first seven days of the fam- It is an accident of literary history that we know ily’s mourning. anything about Kobayashi Yagobei. His death, on Chichi no shūen nikki, as it has come down to the twentieth day of the 5th month of 1801 (Kyōwa us, is a complex text. Some parts of it have been 1) in Kashiwabara village, Shinano Province,1 was discussed in English language scholarship at least 6 important to his family. But Yagobei was not John F. since Max Bickerton’s 1932 introduction to Issa Kennedy, Matsuo Bashō,2 or even Woman Wang.3 and it is often treated as a work of literature or a 7 Yagobei’s death was the quotidian demise of some- diary. This approach to Chichi no shūen nikki one of no historical importance. However his eldest owes a great deal to the work of Kokubungaku 8 son, Yatarō, became Kobayashi Issa.4 In the years (Japanese National Literature) scholars. However, following his father’s death, Issa became one of the in order to read Chichi no shūen nikki as a book two or three most famous haikai (haiku) poets of within the canon of Japanese National Literature his generation and his renown has not diminished (Kokubungaku), it must be significantly trans- formed in various ways and a large portion of it is 1 The part of Shinano Town closest to Kuro- hime train station in Nagano Prefecture. -
Seasoning Your Haiku by Ferris Gilli
Seasoning Your Haiku by Ferris Gilli We all know at least one definition of haiku, and most of us claim a personal definition that allows for our individual perceptions of haiku. The definition that I support posits, among other things, that haiku are traditionally very short poems about nature and/or man’s relationship with nature (often subtly revealing human nature), and typically contain a kigo. (Humans are a part of nature, no matter how unnatural and aberrant some appear. However, ideally, a haiku should not be overbalanced with human reference.) A kigo is a word or phrase in a haiku that indicates season. It lets readers know in which season the haiku is happening. Traditionally, “season” is an essential element of haiku. Conveniently for haiku poets, many, if not most kigo come from nature, so that when a nature kigo is used in a poem, two haiku elements are immediately satisfied. Some kigo come from humanity, such as holidays; some are human activities that routinely occur in certain seasons, like preserving fruit and flying a kite. Kigo do more than indicate seasons. Just as certain images and events reflect a seasonal feel, they can also reflect an emotion, mood, or time of life. For example, spring and the images and events of spring (nesting, newborn animals, plant buds, longer days, etc.) suggest hope, new beginnings, and the joy of life. For autumn and winter the images and events (longer nights, falling leaves, bare trees, departing geese, cold earth, etc.) may suggest the end of something, old age, dying, a time for rest, and so on. -
Article Full Text
Volume IX Number 1 CONTENTS Spring 2001 Articles ⺰ᢥ Inventing the New Through the Old: The Essence of Haikai and the Zhuangzi Peipei Qiu 2 At Wit’s End: Satirical Verse Contra Formative Ideologies in Bakumatsu and Meiji Japan Dean Anthony Brink 19 Book Reviews ᦠ⹏ James L. McClain and Wakita Osamu, eds. Osaka: The Merchants' Capital of Early Modern Japan Marcia Yonemoto 47 Gerald A. Figal, Civilization and Monsters : Spirits of Modernity in Meiji Japan Hosea Hirata 51 Document Translation ᢥᦠ⧷⸶ Translation of the Memorial of Imakita Sakubei to the Lord of Tosa, Yamauchi Toyochika Luke Roberts 53 EARLY MODERN JAPAN SPRING 2001 Inventing the New other is the Song scholar Lin Xiyi’s ᨋᏗㅺ2 annotations of the Zhuangzi, which stress that the Through the Old: entire Zhuangzi is a parable. While scholarly The Essence of Haikai opinion differs on which factor or factors played and the Zhuangzi a key role behind the phenomenon, they agree Peipei Qiu that the Danrin’s enthusiasm for the Zhuangzi lies primarily in imitating the gugen in the work.3 Asian Studies Vassar College Introduction meaning, according to Burton Watson, is words put into the mouth of historical or fictional persons to make them more compelling. The Zhuangzi scholars The latter half of the seventeenth century have also used the term to refer to the general writ- witnessed an innovative phenomenon in Japanese ing style of the text. Watson has rendered the haikai େ⺽ (comic linked verse) circles. A meaning of the term into “imported words” in his group of haikai poets who called themselves the translation of the Zhuangzi. -
Basho's Haiku
Introduction THE HAIKU POETRY OF MATSUO BASHO¯ stormy sea— stretching out over Sado, Heaven’s River araumi ya / sado ni yokotau / amanogawa Basho¯ was standing on the western shores of Japan looking out upon the night sea. He was pausing on his long journey to the “deep north” of Japan, and he could hear the crashing of the waves. Miles beyond lay Sado Island. Sado was known as a place of riches, where gold was being mined. But even more it was known as a place where numerous people, including the Emperor Juntoku, the Buddhist leader Nichiren, and the great medieval No¯ dramatist Zeami, had endured the enforced soli- tude of exile. The poem begins with an exclamation of the vio- lence and vastness of the water, the cutting word ya functioning somewhat like an exclamation point. Then our consciousness is brought to a focus on the melancholy island, small in the cold sweep of ocean. The island lies in contrast to the ocean that sur- rounds it, yet it harbors centuries of the emotional storm of exile. Then our consciousness is pulled up and out across the sky, as Heaven’s River (the Milky Way) reaches from horizon to horizon. As a metaphorical river, it flows in eternal tranquillity above the storms of the sea and of human life, sparkling with a scattered brightness more pure than gold. Basho¯, the island, and everything on earth seem to be alone yet together under the 1 © 2004 State University of New York Press, Albany 2 Basho¯’s Haiku stream of stars. -
Biblio:Basho-27S-Haiku.Pdf
Published by State University of New York Press, Albany © 2004 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207 Production by Kelli Williams Marketing by Michael Campochiaro Library of Congress Cataloging in Publication Data Matsuo Basho¯, 1644–1694. [Poems. English. Selections] Basho¯’s haiku : selected poems by Matsuo Basho¯ / translated by David Landis Barnhill. p. cm. Includes bibliographical references and index. ISBN 0-7914-6165-3 — 0-7914-6166-1 1. Haiku—Translations into English. 2. Japanese poetry—Edo period, 1600–1868—Translations into English. I. Barnhill, David Landis. II. Title. PL794.4.A227 2004 891.6’132—dc22 2004005954 10 9 8 7 6 5 4 3 2 1 Basho¯’s Haiku Selected Poems by Matsuo Basho¯ Matsuo Basho¯ Translated by, annotated, and with an Introduction by David Landis Barnhill STATE UNIVERSITY OF NEW YORK PRESS for Phyllis Jean Schuit spruce fir trail up through endless mist into White Pass sky Contents Preface ix Selected Chronology of the Life of Matsuo Basho¯ xi Introduction: The Haiku Poetry of Matsuo Basho¯ 1 Translation of the Hokku 19 Notes 155 Major Nature Images in Basho¯’s Hokku 269 Glossary 279 Bibliography 283 Index to Basho¯’s Hokku in Translation 287 Index to Basho¯’s Hokku in Japanese 311 Index of Names 329 vii Preface “You know, Basho¯ is almost too appealing.” I remember this remark, made quietly, offhand, during a graduate seminar on haiku poetry. -
English Translations of Hokku from Matsuo Basho's Oku No Hosomichi
xi The Beat of Different Drummers: English Translations of Hokku from Matsuo Basho's Oku no hosomichi Mark Jewel (Waseda University) Haiku is without question Japan's most successful literary export. Indeed, along with judo in the field of sports and, more recently, anime and video games, haiku is one of only a handful of Japanese cultural products that can be said to have acquired an international following of any significant size. Haiku in English boasts a history in translation of over one hundred years, and an active "haiku community" of original poets that dates back at least as far as the first regularly published magazines of English haiku in the 1960s. As one indication of just how popular English haiku has become in the past quarter century, it may suffice to point out that more than ten single volume anthologies of haiku in English have been published since the first such anthology- Cor van den Heuval's The Haiku Anthology (Garden City, N.Y.: Anchor Books)--came out in 1974. 1 Small wonder it may seem, the~ that the poetic travel diary Oku no hosomichi, by Matsuo Bash6 (1654-1694), which contains fifty ofBashO's hokku, has been translated into English more frequently than any other major work of Japanese literature, with no fewer than eight complete published versions. 2 Part of the purpose of this paper is to suggest that, in fact, eight different versions cannot be called an overabundance in this case. But before turning to an examination of some of the hokku from Okuno hosomichi to help justify this assertion, I think it will be helpful to review the changing fortunes of haiku in English over the past hundred years, for the current high regard in which BashO's poetry is held by both translators and English-language haiku poets by no means reflects its reputation among the first serious foreign students of Japanese literature. -
Tin £415 14-4^
Tin £415 14-4^ Jr THE LIFE AND WORK OF KOBAYASHI ISSA. Patrick McElligott. Ph.D. Japanese. ProQuest Number: 11010599 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11010599 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Patrick McElligott. "The Life and Work of Kobayashi Issa., Abstract. This thesis consists of three chapters. Chapter one is a detailed account of the life of Kobayashi Issa. It is divided into the following sections; 1. Background and Early Childhood. 2. Early Years in Edo. 3. His First Return to Kashiwabara. ,4. His Jiourney into Western Japan. 5. The Death of His Father. 6 . Life im and Around Edo. 1801-1813. 7. Life as a Poet in Shinano. 8 . Family Life in Kashiwabara.. 9* Conclusion. Haiku verses and prose pieces are introduced in this chapter for the purpose of illustrating statements made concerning his life. The second chapter traces the development of Issa*s style of haiku. It is divided into five sections which correspond to the.Japanese year periods in which Issa lived.