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Matsuyama and Masaoka Shiki (松山と正岡子規)
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A haiku friend asked: WHO was Matsuyama?
Well, here is the answer.
Matsuyama is an old castle town on the Western side of the Island of Shikoku, where Masaoka Shiki used to live and teach haiku.
The famous novel "Botchan" by Natsume Soseki also takes place in Matsuyama. It is a town full of literature inspirations.
And the old hot spring Dogo Onsen is a great place to relax.
Gabi Greve
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俳句は季題を詠む詩である。
Haiku is poetry
that expresses itself through season words.
Masaoka Shiki 正岡子規
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Visiting Shiki’s House
The home of Masaoka Shiki in the Negishi District of Tokyo was often referred to as
"Negishi no sato no wabizumai", the simple abode of the retired poet.
. Shiki in Negishi .
His younger sister Ritsu cared for him lovingly.
律といふ子規の妹木の実降る
Ritsu to iu Shiki no imooto kinomi furu
Ritsu
the younger sister of Shiki -
nuts are falling
Miyasaka Shizuo 宮坂静生
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Now back to Matsuyama!
"Spring season
reminds me of the capital town of 150,000 goku."
Matsuyama implied in the Shiki's haiku remains as a capital of haiku.
When you walk around in the Matsuyama town, you will find, in many places, haiku monuments and haiku posts at which you can mail a brandnew haiku you have just created. Do you know why? Haiku artists noted in connection with this haiku town are Shiki Masaoka, Kyoshi Takahama, Kusatao Nakamura, Hagyo Ishida, etc. who are very famous.
Soseki Natsume who participated in the haiku parties convened by Shiki, etc. left several haikus such as
"A long day, we pass yawns and depart."
Santoka Taneda, a wandering haiku artist who demonstrated free-style haikus, became a resident of Matsuyama when he got old. In the Isoan house where he lived, you will see a haiku monument showing
"Dirty water becomes clear while flowing."
How about taking a walk in the Matsuyama town along with these haikus. The sky in Matsuyama seen by Shiki and other artists will open before you.
Matsuyama ya akiyori takaki tenshukaku
"Oh Matsuyama,
the castle tower looks higher than the autumn sky."
http://www.infocreate.co.jp/hometown/matsuyam/haiku-e.html
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Touring Haiku Monuments in Matsuyama
松山の句碑
Matsuyama is blessed with mild natural feature and climate, in addition to that, is well known for the oldest hot spring Dogo-spa.
So many of the gratest names in literature and culture visited Matsuyama from old time and a good many Tanka were composed in Manyohshu and other collection of Tanka from ancient time.
Recently, Matsuyama has produced many Haiku Originator, Kyokudoh Yanagihara ,Kyoshi Takahama,Hekigoto Kawahigashi,Kusatao Nakamura,Hakyoh Ishida and so on, under the leadership of Shiki Masaoka, Matsuyama is named "Town of Haiku".
Consequently, we can catch sight of a number of literature monuments and remains that amount to well over 480 in the city. Ehime University Library plans to make the Touring Haiku monuments to refer to "Haiku Country - Matsuyama ".
Tour of Haiku Monuments (Haiku Country - Matsuyama)
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Dogo Onsen,
in the outskirts of Matsuyama, is one of Japan's oldest spa baths, and is characterized by a heavy wooden, late 19th c. public bath house, which is almost like a castle. Inside, the baths come in several classes, the highest consisting of private rooms. The baths themselves, filled with colorless and odourless water, are rather small - even the economy class bath -, so it can get crowded.
Natsume Soseki, in his novel Botchan, has the hero swim around in it, but that seems quite a feat. Anyway, as the bath is invariably overrun by noisy tourists, it is better to head out for the Masaoka Shiki Memorial Museum in Dogo Park for a cultural experience...
松山市立子規記念博物館
http://www.xs4all.nl/~daikoku/haiku/meguri/kuhi-23.htm
ooo ooo ooo ooo ooo ooo ooo ooo ooo
Shiki Masaoka, Masaoka Shiki 正岡子規
the haiku poet, was born in Matsuyama in 1867. He died on September 19,1902.
Shiki is well known in Japan for introducing a new style of haiku, a short poetic form, and for enhancing the arts.
The word Shiki can also mean "The four seasons 四季" in Japanese.
The seasons are very important in Japanese haiku, so Shiki is an appropriate name for the haiku server.
Shiki's career
Shiki's paintings
Shiki's menu
Shiki's haiku (in Kim's haiku world)
After Basho,Buson & Issa
Gudabutsuan
© http://haiku.cc.ehime-u.ac.jp/~shiki/sm/sm.html
In his youth, he was called NOBO, or NOBO SAN by his friends
升（のぼ）さん（正岡子規の幼名） / のぼさん
This was short for his real name, Noboru 升（のぼる）.
Sometimes mis-spelled Nobu-San.
Masaoka Noboru
Masaoka Tsunenori (正岡 常規)
Tokoronosuke (処之助) and later Noboru (升).
. Nobo san のぼさん
and Masaoka Shiki Memorial Days
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Memorial Hall of Masaoka Shiki,
Shiki-Do 子規堂
In the compounds of the temple Shoju-Ji
(Shoojuu ji 正宗寺(しょうじゅうじ).
haruka ni mo kishi Shikidoo no yoka no ame
I came from so far away
to the Shiki Hall -
rain on the late cherry blossoms
Tr. Gabi Greve
NHK, Haiku Okoku Member, May 2008
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ふるさとや親すこやかに鮓の味
furusato ya oya sukoyaka ni sushi no aji
my dear hometown -
my mother is well and
the taste of sushi
. Matsuyama sushi 松山鮓 and Masaoka Shiki
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quote
Masaoka Shiki: the Misunderstood Reformer, Critic and Poet
Carmen Sterba, 2011
A "Sketch from Life" was One of Shiki's Many Techniques
According to Japanese poetry expert, Ueda Makoto, "Shiki mentored numerous amateur poets; therefore, he devised the sketch-of-life technique to avoid "decorative words, ornamental language, and self-conscious imaginings." In Modern Japanese Poets, Ueda shares that Shiki believed it was vital to write from experience and saw "at least two fatal flaws" to avoid: The falsification of fact and the tendency to be overly intellectual." Some other suggestions Shiki gave were
(1) to "pay more attention to lesser-known locales" rather than famous places,
(2) to walk and observe nature, but afterwards write at home,
(3) to focus on "material and theme in a way that will reveal [your] individuality,"
(4)to read other's haiku to be informed, and
(5) to know something of the history of tanka (originally called waka).
Ueda also suggests that Basho wrote about the "beauty of external nature" and Shiki wrote haiku based on "internal, psychological reality of what is truthful (makoto)."
Shiki Admired Basho Even While He Criticized Him
Shiki's Last Years and the Importance of His Friends
source : carmen-sterba.suite101.com
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quote
Centenary of the Death of Masaoka Shiki (1867-1902)
Masaoka Shiki’s literary carrier burst into literature when the majority of authors were copying limitlessly the European and American literature of the Meiji restoration period. His poetical style was the shasei, meaning “drawing from life”. Using this informal, spoken language, he dared to enounce the importance of going back to the traditional roots of Japanese poetry, calling it a source in the process of defining modern Japanese modes of expression.
source : World Haiku Review . Susumu Takiguchi
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External LINKS about Matsuyama and Haiku
The Matsuyama Declaration, 1999
Let's Give Poetry Back to the People...
A World Poetry Revolution in the 21st Century
It has been about 100 years since the death of Shiki, who ignited the haiku reform movement. Precedents for the declaration which we propose here are Shimazaki Toson's preface to his poetry collection of about 100 years ago in which Toson stated that "The age of new poetry has finally come" and the Surrealism Manifesto of Andre Breton that appeared about 75 years ago. But it has been a long time since we have witnessed the birth of this kind of new poetic manifesto. In the world of Japanese haiku also, there has recently been a demand for reform and for an end to a prolonged state of stagnancy.
In this declaration, we have concentrated on the essential universality of haiku that has been present since the days of Shiki's reform. By taking into account the circumstances in which haiku spread to the world in the past, we have made projections about its future possibilities globally. In the context of universalization of haiku we think it should be presented to the poets all over the world to work with the application of fixed-form and season words. We wish to openly welcome those poems from all over the world that possess the haiku spirit. By making use of a traditional fixed form of poetry, the Japanese have succeeded in applying a grammar unique to the Japanese language, such as kireji, and condensing the poem to 17 syllables.
We feel that in all languages, including English, French, German, Italian, Russian, Chinese, Korean, Arabic and Spanish, we can find ways to condense diction for the purpose of poetic expression. We also believe that an understanding of the value of silence will greatly contribute to the broadening of poetic space in each language. We hope that the poets of the world will share the achievements of the Japanese haiku masters with us and that they will take part in this poetic movement to resolutely pursue ways to condense their own language.
The Matsuyama Declaration of 12 September, 1999 is a statement made by the following people:
Arima Akito, Minister of Education of Japan Haga Toru, President of Kyoto University of Art and Design, Ueda Makato, Professor Emeritus of Stanford University Soh Sakon, Poet Kaneko Tohta, President of the Modern Haiku Society Jean Jacques Origas, French Oriental Language Research Institute
Read more here:
http://www.ecf.or.jp/shiki/1999/dec7.html
... ... ...
The Matsuyama Message 2000(Supplement to the Matsuyama Declaration)
http://www.ecf.or.jp/shiki/2000/message2000-e.html
Kiyose - Collection of season words in Japan
http://haiku.cc.ehime-u.ac.jp/~shiki/kukai.html
more about kigo
http://www.ecf.or.jp/shiki/1999/dec4.html
NOBO List: A Haiku International mailing list
http://haiku.cc.ehime-u.ac.jp/~sumioka/htdocs/nobo-ml.html
ooo ooo ooo ooo ooo ooo ooo ooo ooo
Matsuyama City Tourist Photo Guide
Matsuyama Tourist Information (Ehime)
Haiku and kigo used by Shiki
http://www.webmtabi.jp/200803/haiku/matsuyama_masaokashiki_index.html
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Worldwide use
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Things found on the way
Matsuyama and Daruma Dolls
By Gabi Greve
. Matsuyama Daruma Princess Dolls
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A good friend of Shiki
. Natsume Soseki (Sooseki 夏目漱石) .
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HAIKU
春や昔千五百石の城下哉
haru ya mukashi sen gohyaku man goku no jooka kana
"Spring season reminds me of the capital town of 150,000 goku."
Masaoka Shiki
http://www.infocreate.co.jp/hometown/matsuyam/haiku-e.html
Aaa. I do not know who did this translation, but it does not reflect the kire after spring, and it uses the word GOKU as if a non-Japanese reader would know what this means ...
it's spring - in olden times
the castle town of
great riches
(my first tentative rendering into English)
...
the richness of a domain in the Edo period was calculated in barrels or bags of tax rice (koku, goku) and 150.000 barrels was not that much, but Shiki was proud of his hometown.
jooka , below the castle, is short for .. jooka machi 城下町 .. , the town at the feet of a domain's caslte. Nowadays the word is often used with a lot of nostalgia for the good old times in the Edo period.
The castle of Matsuyama is right up on a large hill, overlooking the city and can bee seen from many small streets in the town.
Gabi Greve : Translating Haiku Forum
Comment by Larry Bole:
This is a haiku which is not found in the major English translations of Shiki's haiku, probably for the reason that Ad G. Blankestijn gives: "[it] is unfortunately not very beautiful in translation..."
According to Blankestijn, there is a haiku stone with this haiku on it just outside the JR Matsuyama station. For an interesting discussion by Blankestijn of this haiku and Matsuyama Castle, go here
http://www.xs4all.nl/~daikoku/haiku/meguri/kuhi-22.htm
it's spring!
when this was a castle town
it was a prosperous one!
(Tr. Larry Bole)
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Inspired by the Matsuyama haiku of Shiki:
One should know that legend has it that the island of Manhattan was said to have been "purchased" from the Native Americans living there (or simply passing through) for approximately $24 worth of trinkets and beads.
(New York)
dreary autumn day...
I'd give the whole city back
for trinkets and beads
Larry Bole
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Masaoka Shiki
17 September 1867 – 19 September 1902
Details in the WIKIPEDIA
More Haiku by Masaoka Shiki
Discussed in the Translating Haiku Forum
Now, To Be! Shiki’s Haiku Moments for Us Today
今、生きる！子規の世界
edited by Masako Hirai (Hirai Masako 平井雅子).
Gyouga-Manroku 仰臥漫録 Gyooga Manroku, Gyōga manroku, GYÔKA-MANROKU
(Stray Notes While Lying on My Back).
http://www.modernhaiku.org/bookreviews/Shiki2004.html
.
http://www.simplyhaiku.com/SHv5n1/features/Hirai.html
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"teizen 庭前" Front Garden
鶏頭の十四五本もありぬべし
keitoo no juushigohon mo arinubeshi
Cockscombs;
There should be
Fourteen or fifteen.
tr. Blyth
My comment
In a recent documentary about the life of Shiki, I saw the cockscombs in his garden, a flower he liked very much. When he could not move around any more, his sitster, who cared for him lovingly, planted the flowers a bit closer to the veranda. Later, when he had to be in bed all the time, she re-planted them again so that he could still see them when he uplifted his upper body, holding on to a crutch under his arm. Counting the blossoms was one of his daily joys in his sickbed.
When he became completely bedridden, she replanted many flowers, including the hechima gourds, directly on the veranda in pots, so he could see them while lying on his back in bed.
Gabi Greve, January 2010
Read more about the translations of this haiku
. Cockscomb and Shiki
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松杉や枯野の中の不動堂
matsu sugi ya kareno no naka no Fudōdō
pine and cypress:
in a withered field,
a shrine to Fudō
すゝしさや神と佛の隣同士
suzushisa ya kami to hotoke no tonaridoshi
in the coolness
gods and Buddhas
dwell as neighbors
Read many more here:
Poetry of Shiki, translated by Janine Beichman
Shiki about Basho, Issa and Chiyo-Ni
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春風や城あらはるゝ松の上
harukaze ya shiro arawaruru matsu no ue
spring breeze -
the castle shows
above the pines
Here he talks about his beloved Matsuyama castle.
春の霜糸遊となって燃えにけり
haru no shimo itoyuu to natte moenikeri
spring frost
becomes a heat shimmer and
burns to its end
Masaoka Shiki
Tr. Gabi Greve
haru no shimo ?shiyuu to natte moenikeri
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. ooyudachi kuru rashi Yufu no kakikumori
Mount Yufudake in Oita, Kyushu
akaki ringo aoki ringo ya taku no ue
haiku about apples
ankoo ni ichizen meshi no andon kana
haiku about the anglerfish
ine no hana Dookanyama no biyori kana
Haiku about Ota Dokan and Mount Dokan in Edo
akikaze ya kakoi mo nashi ni Koofukuji
Temple Kofuji-ji in Nara
o-shiro kara miru ya tanemaku sanjuu ri
kigo about sowing seeds in spring
ji ni ochishi aoi fumiyuku matsuri kana
at the Aoi festival in Kyoto
fune to kishi to hanashite iru hinaga kana
discussion of anthropomorphism and haiku
rengyoo ni ikkanbari no tsukue kana
Ikkanbari laquer ware, Matsuyama
Shimabara ya fue mo ookawa mo fuyu no oto
fuyu no oto 冬の音 sound of winter
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Shiki has written many haiku including the name of a temple or shrine during his travels in Japan.
罌粟さくや尋ねあてたる智月庵
右京左京中は畑なり秋の風
般若寺の釣鐘細し秋の風
無住寺に荒れたきままの野分哉
摘草や三寸程の天王寺
MORE are here
source : haiku/siki
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WASHOKU
Food, Haiku and Masaoka Shiki
Shinshuu no samusa o omou sobayu kana
Soba Buckwheat noodles and Haiku
omoshiro ya mate no iru ana iranu ana
Seafood and Haiku
haru oshimu yado ya Nihon no toofujiru
Tofu and Haiku
omoshiro ya tsuki ni sanshoo no kawa hageba
Sanshoo mountain pepper and Haiku
hio yasete tsuki no shizuku to tokenu beshi
Hio, saffron cod
yama wa kaze no hiyatsuku himuro kana
Ice cellars in Japan
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fuku Daruma kowaki ni burari Shiki no machi
. a lucky Daruma
under my arm - walking leisurely
in the town of Shiki
source : mineotose
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Related words
***** WKD : Santoka and Sake 山頭火と酒
Introducing Japanese Haiku Poets
Fudo Myo-O, a Japanese Deity
Fudōdō
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Matsuyama, die Haiku-Stadt
Back to the Worldkigo Index
Masaokah
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Posts
5 comments:
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Shiki's 140th Anniversary HPR Conference 2007:
Matsuyama, Japan
.
writing too much ...
From Janine Beichman's book, "Masaoka Shiki" (Kodansha, first paperback edition, 1986, p. 51):
Looking back in 1902, Shiki wrote that by 1893 he had come to understand how to write poems depicting real scenes, but had not yet discovered the importance of selection:
"I mistakenly thought that any real scene could be made into a poem."
Consequently, he went on, he had written too much.
http://groups.yahoo.com/group/simply_haiku/message/21411
Japan Times
A Japanese poet who found his true nature through nature itself
By ROGER PULVERS
On Sept. 21 on this page, in commemoration of the 75th anniversary of the death of the poet, scientist and religious thinker Kenji Miyazawa (1896-1933), I turned to him for inspired insight into the Japanese view of nature.
Miyazawa threw himself into the natural world, seeing himself as a minuscule part of it and delighting in its most dramatic appearances.
Another poet, an early contemporary of Miyazawa, Shiki Masaoka (1867-1902), created a world, in his haiku and tanka, of a highly sharpened sentiment. Among his more than 20,000 poems, a great many depict the individual — often himself — in a natural setting. The result is a revelation about both the observer and the observed world.
In Nov. 2004, I wrote here about Shiki — the convention with this poet is to use his given name — as a pioneer of modernity in Japanese letters. Here I would like to take a look at him as someone who opened our eyes to the absolute and vital importance of nature to our understanding of ourselves.
Our feeling for nature starts early, and is part of our own physicality. A little child takes one step The green grass Under her sole
Here we can see that a single step on the young grass brings a child in direct contact with something else that is also growing. Another kind of joy is experienced when we return to our hometown after a long absence: Where did all these cousins come from In my hometown The peach tree is flowering
In Japan, peach blossom is a harbinger of spring. Depending of course on the region, the plum flowers in February; the peach in March; and the cherry in April. Shiki has gone home to meet his cousins who have been born in his absence.
Some of his haiku are classical in theme and composition. Continuing with the theme of spring, this classic image is somehow portentous: A crow has stopped On the earthen wall In the spring rain
Finally spring ends . . .
A fleur-de-lis
All the whiter
For the end of spring
Shiki, who went off to the Sino-Japanese War (1894-95) as a war correspondent and developed a serious case of tuberculosis, spent his last years in and out of a sickbed. Autumn for him implies decay: An autumn fly is resting In my sickroom On my warm window
It is still warm, perhaps even an Indian summer, but both the fly and the patient seem to be living longer than their alloted spans.
The fly reappears often:
Autumn fly
The swatters are full
Of holes
The notion that something can be full of holes, i.e. emptiness, is the kind of Zen image that Shiki savors. It is these holes, no doubt there due to previous blows, that save this long-lived fly. The persimmon tree is similarly a symbol of autumn in Japanese traditional poetry; this one tells of Shiki's time confined to his room: I read through 3,000 haiku Ate two persimmons
Eventually, however, his thoughts turn to darker things:
The gods are leaving me
The spirits are leaving me
As autumn gives in to winter
I mentioned decay; and surely the natural process of decay and dying away is a main theme in traditional poetry, which is deeply inspired by Buddhism. Winter brings to Shiki's mind his own approaching fate:
The tolling of the bell
Comes to me in a ring
On long nights
The "ring" here is the echo of the tolling as the sound leaves the temple and circles the neighborhood. Is the path in the next haiku one that he must take?
The path drops off
Just outside the front gate
Into a wintry cluster of trees
Does the dawning of the first day of the year bring any hope?
The morning sun on New Year's Day
Is dazzling, blinding
So low in the sky . . . and so close
On this day, people generally make a pilgrimage to a shrine, but . . .
Not many souls
Are seen
On New Year's Day
While Kenji Miyazawa sees nature as a vessel that encompasses all creatures and everything that they see, for Shiki (who likewise died young of TB), nature is a mirror: You can see yourself reflected in it, but it is not a part of you. Both celebrate nature, but Shiki laments its losses. For Kenji, there is no true loss, because all life is recycled, reborn in another form.
Yet, even though Shiki is bedridden, he does not give up . . .
I stretch my neck
To catch glimpses
Of the bush clover in my garden
Bush clover is one of Japan's seven traditional plants of autumn. We see that there is still a life force in Shiki. He is striving to gain strength and joy from those glimpses. He wants to live, and to celebrate the bright aspects of life. In May in Japan, households hoist a carp pennant celebrating there being young boys in the family.
Five daughters then finally a boy
And the first carp pennant
Is hoisted into the air!
Shiki loved baseball, which had been introduced into Japan in 1872, when he was age 5. But there is sadness when something's season has passed . . . T
he white lines of the baseball diamond
Are enclosed
By thick tall weeds
And sometimes, nature is no friend of its recordists . . .
All my blank sheets of paper
Are taken by the wind
Of a summer storm
Well, at least he hadn't written anything on them yet, so perhaps the season was telling him to just watch and not record.
Here is a tanka of winter; inside is sickness, but outside we see an image of everyday life and activity.
Confined the winter
To my sickbed I wipe the frost
From the sliding door glass
To see tabi socks
drying on the line
After Shiki came home from China, he returned to his native town of Matsuyama in the southern island of Shikoku, staying there with the novelist Soseki Natsume. It was at this time, I believe, that he realized how grave his illness was.
Looking down
On the castle at Matsuyama
The cold is piercing
Shiki Masaoka was Japan's greatest poetic iconoclast. His haiku and tanka reveal a man whose humanity was profoundly involved in all the nuanced transformations of his country's nature. There is a joie de vivre in him, mixed inextricably with reverence for things that decay and fall: the special kind of Japanese morbidity that harbors vitality.
When autumn arrives, he eats rice cakes, a symbol of the new year that he may or may not see . . .
Every day in my sickbed
Munching on rice cakes
I'm in heaven
(All translations in this article are by Roger Pulvers.)
The Japan Times
(C) All rights reserved
隣住む貧士に餅を分ちけり
tonari sumu hinshi ni mochi o wakachi-keri
with the poor man
who lives next door
I share some mochi
Masaoka Shiki 正岡子規
病状の匂袋や浅き春
byoojoo no nioibukuro ya asaki haru
the fragrance bag
on my sick bed -
early spring
Masaoka Shiki 正岡子規
Tr. Gabi Greve
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