tag:blogger.com,1999:blog-27162317.post6928369139962625544..comments2023-05-02T03:50:11.195-07:00Comments on Haiku Topics, Theory and Keywords .. (WKD - TOPICS ): hut, thatched hutGabi Grevehttp://www.blogger.com/profile/16362456518166174106noreply@blogger.comBlogger16125tag:blogger.com,1999:blog-27162317.post-45499900350305509932016-10-04T22:29:15.771-07:002016-10-04T22:29:15.771-07:00Kobayashi Issa
我宿や鼠と仲のよい蛍
waga yado ya nezumi to ...Kobayashi Issa<br /><br />我宿や鼠と仲のよい蛍<br />waga yado ya nezumi to naka no yoi hotaru<br /><br />my house --<br />mice and fireflies<br />best of friends<br />.<br />This hokku is from the fourth month (May) in 1813, about six weeks after Issa had begun living in his half of his deceased father's house in his hometown. He had finally reached an agreement with his half brother and mother-in-law in the first month of 1813, and after carpenters had made a few changes to the house, he had moved in, though he continued to visit his students' houses as well. It is an old, thatched farmhouse, so it supports a community of creatures, but Issa seems quite happy with his housemates -- his new family -- though perhaps he's a little lonely. He won't marry for another year, but he's already thinking about it.<br /><br />Chris Drake<br />.Gabi Grevehttps://www.blogger.com/profile/16362456518166174106noreply@blogger.comtag:blogger.com,1999:blog-27162317.post-28949500048501167032015-04-17T13:52:12.970-07:002015-04-17T13:52:12.970-07:00In Japan, a Farmhouse Becomes a Journalist’s Elegy...In Japan, a Farmhouse Becomes a Journalist’s Elegy<br /><br /><br />By DAVINA PARDOMARCH 19, 2015<br /><br />In late 2007 I read “Minka: My Farmhouse in Japan,” a memoir by the retired Associated Press foreign correspondent John Roderick. Its story began 40 years earlier, when Mr. Roderick became the unlikely owner of an enormous rundown farmhouse, or “minka.”<br /><br />Working with a young university student named Yoshihiro Takishita, Mr. Roderick had the massive timber house transported from the Japanese Alps to the Tokyo suburb of Kamakura. It defined both their lives: for Mr. Roderick, it was the backdrop for a remarkable career as a journalist covering China in the Mao era. For Mr. Takishita, it inspired a life spent collecting and rebuilding similar houses.<br /><br />Moved by their story and the idea of a house as a vessel of memory for these two men, the journalist Andrew Blum and I contacted Roderick to inquire about making a documentary. After speaking with him at his retirement condo in Waikiki, it became clear he had a fascinating story and that he wanted to share it with us.<br /><br />continued<br />http://www.nytimes.com/2015/03/19/travel/minka-a-farmhouse-in-japan.html<br />.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-38361951049574813972015-03-22T00:04:06.663-07:002015-03-22T00:04:06.663-07:00Kobayashi Issa
ゆたかさようらの苫屋の行々し
yutakasa youra no t...Kobayashi Issa<br /><br />ゆたかさようらの苫屋の行々し<br />yutakasa youra no tomaya no gyoogyooshi<br /><br />rush shoreline huts<br />of fishers suddenly rich <br />with loud reed warblers!<br /><br />This summer hokku is from the fourth month (May) of 1822, when Issa was in and around his hometown. The hokku is one of several in his diary during this month about reed warblers, a small bird with a very strong voice that carries long distances. It winters in south Asia and returns north to Japan in late spring and summer to mate and breed. The most commonly heard cry is a series of grating, creaking, guttural mating calls by the male that is famous for keeping people living near a shore or riverbank awake at night, so Issa uses the bird's nickname, gyougyoushi, which means something like 'bombastic / exaggerating / pretentious / ostentatious bird,' a reference to the male's constant loud chatter, punctuated by series of noisy, piercing cries.<br /><br />A rush hut is a rough hut either thatched with rushes or covered and walled with rush mats. The huts here could be either the small houses of some very poor fishers (of either gender) or their working huts beside the water. Since most fishers worked in groups, I assume this is a small fishing village. Issa seems to sympathize with these fishers who live on the edge of poverty and are wealthy only in terms of the many warblers now crying loudly from perches on reeds near the fishers' huts, taking away even the fishers' summer sleep.<br /><br />The hokku also seems to allude to a famous waka, no. 363 in the Shin-kokinshu anthology, by Fujiwara no Teika (1162 – 1241):<br /><br />no blossoms miwataseba<br />or colored leaves hana mo momiji mo <br />in sight -- nakarikeri<br />fall evening, rush ura no tomaya no <br />huts on the shore aki no yuugure<br /><br />Teika suggests that the simple, minimalistic beauty of a shore in late autumn exceeds even that of cherry blossoms or bright fall foliage, while Issa, by alluding to the poem, seems to imply something rather different: that the people living in the rough huts work hard and have no time for viewing natural beauty and that they suffer even more after the sun goes down and the choruses of the reed warblers grow stronger.<br /><br />Chris DrakeAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-31490293356915532532014-12-17T21:25:21.822-08:002014-12-17T21:25:21.822-08:00abaraya あばら屋 . 荒ら屋
あばらやの戸のかすがいよなめくじり
abaraya no ...<b>abaraya あばら屋 . 荒ら屋<br /></b><br /><br />あばらやの戸のかすがいよなめくじり<br />abaraya no to no kasugai yo namekujiri<br /><br />the clamp on the door<br />of my tumbledown home -<br />a slug<br /><br />. Nozawa Boncho 野沢凡兆 . (1640 - 1714)<br />.<br />more about kasugai <br />Gabi Greve - Darumapediahttp://edoflourishing.blogspot.jp/2014/12/kasugai-clamp-cleat.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-88612767957751893212014-10-03T18:55:04.408-07:002014-10-03T18:55:04.408-07:00Kobayashi Issa
下戸庵が疵也こんな蘭の花
geko io ga kizu nari ...Kobayashi Issa<br /><br />下戸庵が疵也こんな蘭の花<br />geko io ga kizu nari konna ran no hana<br /><br />the nondrinker's hut<br />is an eyesore...<br />blooming orchids<br /><br />Tr. David Lanoue<br /><br />::::::::::::::::::::::::::<br /><br />perfect chrysanthemums -- <br />what a shame our host<br />can't drink with us <br /><br />This hokku about friendship is from the 16th day of the ninth month (November 3) of 1819, when, according to Year of My Life, Issa went to a chrysanthemum-viewing party not far from his hometown about a week after the traditional Chrysanthemum Festival on 9/9. The hokku is also found in the ninth-month section of Issa's diary for that year. It needs to be distinguished from a separate version of the hokku in the transcription of Issa's diary made by his student Baijin, who writes ran (orchids) instead of kiku (chrysanthemums). This is strange, since Issa's own versions of the hokku have 'chrysanthemums,' and none of Issa's other hokku about orchids deals with drinking sake. Chrysanthemums, on the other hand, are traditionally believed to go well with sake, and some forms of sake have chrysanthemum leaves soaking in or floating on them. Moreover, in Year of My Life this hokku is the last of a group of five hokku about chrysanthemums. Baijin's version with orchids in it may be the result of a transcription error, so I use the version found in Issa's own writings, which also matches the image of drinking sake.<br /><br />The hokku is a kind of thank-you note to the host of the chrysanthemum-viewing party, Shofu-in, a haikai poet, avid gardener, and Issa's friend. In the first line he is metonymically introduced by the phrase "nondrinker's hermitage," an indirect and therefore polite reference to him. As the people at the party went around the garden looking at the flowers, they carried sake cups and drank as they walked, and later they no doubt wrote hokku about their experience and presented them to their host. Issa's hokku suggests that the chrysanthemums were perfect and that the only imperfection at the whole party was that his friend, who doesn't drink, was unable to share their special experience of viewing the flowers while sipping sake. Probably Issa's friendship with Shofu-in truly made him deeply happy, since when he edited Year of My Life he followed the above hokku with a hokku about seeing a dream in which his daughter Sato, who had recently died, was smiling. It seems possible that the sake at the party made Issa emotional and that the flowers caused him to vividly remember and think about his life with his wife Kiku (Chrysanthemum).<br /><br />Chris Drake<br />.<br /><br /><br />Gabi Greve - Issahttp://edoflourishing.blogspot.jp/2013/03/issa-cultural-keywords.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-61106007227479997612014-09-18T17:57:31.621-07:002014-09-18T17:57:31.621-07:00Kobayashi Issa
.葎家も春になりけり夜の雨
mugura ya mo haru ni...Kobayashi Issa<br /><br />.葎家も春になりけり夜の雨<br />mugura ya mo haru ni nari keri yoru no ame<br /><br />spring comes too<br />to the weed-thatched house...<br />evening rain<br />.<br />(Tr. David Lanoue)Gabi Greve - Issahttp://edoflourishing.blogspot.jp/2013/03/issa-cultural-keywords.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-64569410928750262352014-09-18T17:49:47.459-07:002014-09-18T17:49:47.459-07:00Kobayashi Issa
柴門や天道任せの田の青む
shiba no to ya tentoo...Kobayashi Issa<br /><br />柴門や天道任せの田の青む<br />shiba no to ya tentoo makase no ta no aomu<br /><br />run-down farm house --<br />trusting the sun god totally<br />his rice field now green<br /><br />This hokku is from the sixth month (July) of 1811, when Issa was wandering around in the area to the east of Edo, now known as Chiba Prefecture. Six months earlier, Issa had published an anthology in which he referred to himself as Boss of the Shinano Beggars, and he wandered around Edo and the surrounding area for the whole year. Just before he wrote this hokku he went to see a large festival devoted to preventing outbreaks of the plague and other epidemics, so he seems to have been interested in the folk religion of the area. In the hokku he shows his knowledge of local beliefs and refers to the sun in its role as a folk divinity that assures fertility and crop growth. The sun god, called both Tento and Tentou, completely disappeared from the Japanese cultural map after the country modernized and instituted scientific rice planting, and in modern textbooks about Japanese history, the only sun deity mentioned is the ancient female sun god Amaterasu, so most contemporary Japanese have never heard of Tentou, but in Issa's time Tentou was widely worshiped, especially in rural areas by farmers.<br /><br />To refer to the farming family's house (or possibly a village of houses), Issa uses "brushwood gate," a term used to refer to country huts and hermitages. In Issa's time, however, the term was mainly used as a euphemism for a small, rundown rural house, so the house seems to be that of a tenant farmer living on the edge of poverty, and a poor crop could literally result in his starvation or his migration to a town or city to do manual labor. Issa seems glad to see that the rice plant stalks have turned deep green, a sign that heads of rice will later appear as long as there is no drought, but the hokku focuses on the pure, devoted mind of the farmer. <br /><br />The most common phrase for entrusting oneself completely to Amida was "trusting and relying on you" (anata-makase), while "trusting and relying on (Amida) Buddha" (hotoke-makase) was also used. Issa uses both phrases in several hokku that have parallels with the above hokku. For example, a few hokku earlier than the above hokku in Issa's diary is this one:<br /><br />you too, cool breeze,<br />exist purely as trust<br />in Amida Buddha<br /> <br />suzukaze mo hotoke-makase no kono-mi kana<br /><br />Or, from the opposite perspective:<br /><br />in autumn wind<br />the small butterfly trusts<br />Amida utterly<br /><br />akikaze ni anata-makase no kochou kana <br /><br />The cool wind, constantly appearing and then disappearing, must have very strong trust in Amida's compassion or it couldn't believe in its own continuing existence. For the wind, belief in Amida is belief in itself. And the small butterfly can keep flying against the strong wind only because it instinctively and wholly believes that Amida flies together with it at all times. These examples may seem extreme on first reading, but they are also, Issa seems to he suggesting, about ways humans entrust themselves totally to Amida, though many humans never realize it.<br /><br /><br />Chris DrakeGabi Greve - Issahttp://edoflourishing.blogspot.jp/2013/03/issa-cultural-keywords.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-63660840517813052982014-05-28T19:34:50.746-07:002014-05-28T19:34:50.746-07:00Kobayashi Issa
庵の蚊にあはれことしも喰れけり
io no ka ni aware ...Kobayashi Issa<br /><br />庵の蚊にあはれことしも喰れけり<br />io no ka ni aware kotoshi mo kuware keri<br /><br />ah, again this year<br />in a bare room<br />bitten by mosquitoes<br /><br />This hokku is from the fourth month (May) of 1811, when Issa was staying in Edo, probably at the house of the merchant and haikai poet Matsui, at whose house he stayed for about a third of 1811. He also stayed with Seibi and other Edo poets as well as with poets and supporters in areas just east of Edo. It's unclear whether he had his own rented room somewhere in Edo, but it's likely his home consisted of rooms in other people's houses during this year, as in many previous years. Io in the first line literally means a grass hermitage or hut, but in Issa's time it was a standard euphemism used as a humble reference to one's own home or place of residence. In this hokku I take Issa to be referring to his rooms at the houses of Matsui, Seibi, and other poets and supporters. The first mosquitoes of the year have arrived, and they seem to make Issa think about his own rootless life so far. He is forty-nine, and the previous year he returned to his hometown to try to receive his half of his father's inheritance, including half his father's house. He was rejected by his half-brother, however, and it will take two more years of negotiation before he can return to the house he was born in. For the moment he must continue to live in borrowed rooms under other people's roofs. The mosquitoes keep biting and won't let Issa relax, and they seem to palpably remind him of the other factors in his life at this time that also prevent him from making himself fully at home anywhere.<br /><br />The exclamation aware (often translated ah!) in the second line expresses deep emotion or sudden understanding of a situation and can be used in relation to many kinds of feelings, from joy all the way to sorrow. In this hokku Issa does not seem to be resentful or self-pitying. Rather, he seems to be stressing the importance of accepting -- with a bit of self-referential humor -- the almost homeless life he leads as he thinks about how to create a new life for himself.<br /><br />The accepting mood in this hokku also seems to be shared by the hokku placed after it in Issa's diary:<br /><br /><br />does she have a child?<br />a beggar on the bridge, too<br />calls out to fireflies<br /><br />ko arite ya hashi no kojiki mo yobu hotaru<br /><br />A beggar sitting on or near a bridge at the end of a long day of begging now forgets about asking for coins and calls out like a child to the fireflies passing by, asking them to come closer and stay a while. Although Issa may feel like a beggar, he also realizes the rooms he stays in at night are usually a good deal better than those of the beggar in the hokku, who may live under the bridge. Issa clearly admires the way the beggar (either she or he) remains optimistic and open to the world. <br /><br />Chris Drake<br />Gabi Greve - Issahttp://edoflourishing.blogspot.jp/2013/02/kobayashi-issa.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-18541812390034477542014-05-18T01:12:58.162-07:002014-05-18T01:12:58.162-07:00Kobayashi Issa
雪ちるやきのふは見へぬ明家札
yuki chiru ya kinoo...Kobayashi Issa<br /><br />雪ちるやきのふは見へぬ明家札<br />yuki chiru ya kinoo wa mienu akiya fuda<br /><br />falling snow--<br />yesterday it wasn't there<br />"Empty House" sign<br />.<br />(Tr. David Lanoue)Gabi Grevehttps://www.blogger.com/profile/16362456518166174106noreply@blogger.comtag:blogger.com,1999:blog-27162317.post-59146565947168871642014-02-02T13:12:19.642-08:002014-02-02T13:12:19.642-08:00Kobayashi Issa
草庵にほぼつり合ぬぼたん哉
sooan ni hobo tsuria...Kobayashi Issa<br /><br />草庵にほぼつり合ぬぼたん哉<br />sooan ni hobo tsuriawanu botan kana<br /><br />these peonies<br />almost a total mismatch<br />with my plain house<br /><br /><br />猫の狂ひが相応のぼたん哉<br />neko no kurui ga soooo no botan kana<br /><br />these peonies<br />twist and turn as often<br />as a crazy cat<br /><br />These two closely related hokku are found in this order in Issa's diary for the summer (no months given) of 1824, the year after his wife's death and around the time he remarried, this time with a woman with whom he had little compatibility. The woman, the daughter of a samurai, almost immediately divorced Issa. <br /><br />These two hokku may be indirect references to his new wife, since they are both about incompatibility, and peonies, originally imported from China in the late ancient period, had an exotic beauty that was often associated with women in Issa's age. <br /><br />In any case, Issa now seems to feel it was a mistake to grow these large, bright, lush bush flowers near his old farm-style thatched house, since their color and wildly curving petal-edges don't go with his weather-beaten, utilitarian, and wifeless(?) house. <br /><br />Since there is no personal pronoun in the hokku, it's also possible to read Issa as talking about thatched farmhouses in general and thereby suggesting a reason for not planting them in his yard, but since "grass-thatched hut" is a humble word, it seems likely that Issa is referring to his own thatched house here. The meter of the second hokku is a fairly unusual 7-5-5 -- a meter often used in Kabuki and puppet drama. Perhaps Issa is trying to perform a couple of the flamboyant bends and curves of a peony petal with his meter. <br /> <br />Chris Drake <br />.Gabi Greve - Issahttp://edoflourishing.blogspot.jp/2013/03/issa-cultural-keywords.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-72767190203450729342013-09-21T21:53:19.746-07:002013-09-21T21:53:19.746-07:00Kobayashi Issa
我庵の一里手前の砧哉
waga io no ichi ri tema...Kobayashi Issa<br /><br />我庵の一里手前の砧哉<br />waga io no ichi ri temae no kinuta kana<br /><br />my hut, two miles<br />from where you're pounding<br />cloth<br /><br />In Japan and Korea, fulling-blocks were used to pound fabric and bedding. The fabric was laid over a flat stone, covered with paper, and pounded, making a distinctive sound. This particular fulling-block is one ri away: 2.44 miles or 3.93 kilometers. In my earlier translation, I use the phrase, "fulling-block," an arcane term that means nothing to most English readers. "Pounding cloth" is a translation solution provided by Makoto Ueda, whose example I gratefully follow; Matsuo Bashô (Tokyo: Kodansha, 1982) 53. <br /><br />David LanoueGabi Greve - Issahttp://edoflourishing.blogspot.jp/2013/02/kobayashi-issa.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-55994824269488776002013-09-09T14:03:11.312-07:002013-09-09T14:03:11.312-07:00秋の田のかりほの庵の苫をあらみ
わが衣手は露にぬれつつ
Aki no ta no kario no...秋の田のかりほの庵の苫をあらみ<br />わが衣手は露にぬれつつ<br /><br />Aki no ta no kario no io no toma o arami<br />waga koromode wa tsuyu ni nure tsutsu<br /><br />Emperor Tenji<br /><br />in the autumn field<br />a hut, a makeshift hut<br />of rough thatched straw,<br />the sleeves of my robe<br />are damp with dew<br /><br />.anonymoushttp://100poems-100poets.blogspot.jp/2012/03/aki-autumn-1-arami-roughcoarse-because.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-43417294080949229312013-06-09T22:54:35.274-07:002013-06-09T22:54:35.274-07:00Written at Sukagawa, when Basho stayed with Sagara...Written at Sukagawa, when Basho stayed with Sagara Tokyu<br /><br />関守の宿を水鶏にとはふもの <br />sekimori no yado o kuina ni toou mono<br /><br />the home of the barrier guard<br />I will ask to the<br />water rail, yes<br /><br />Tr. Gabi Greve <br />MORE about SukagawaGabi Greve - Basho archiveshttp://matsuobasho-wkd.blogspot.jp/2012/11/oku-station-11-sukagawa.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-33662119406170733242013-05-03T22:11:17.964-07:002013-05-03T22:11:17.964-07:00Matsuo Basho
葎さへ若葉はやさし破れ家
(むぐらさへわかばはやさしやぶれいへ)
mug...Matsuo Basho<br /><br />葎さへ若葉はやさし破れ家<br />(むぐらさへわかばはやさしやぶれいへ)<br />mugura sae wakaba wa yasashi yabure ie<br /><br />even the creepers:<br />their new leaves lovely<br />at the dilapidated house<br />trans. Barnhill<br /><br />Spring: new leaves on creepers. 1689.<br />Someone is away serving the Shogun in Edo.<br />- - -<br /><br />even bedstraw<br />has tender new leaves<br />a dilapidated house<br />trans. Reichhold<br /><br />1689--spring.<br />Shikin (1673-1735), a warrior of the Oogaki Clan, asked Basho to write a haiku on the painting of a ruined house. At this time, Basho was preparing to sell his home, and nothing looks more dilapidated than a house one wants to sell.<br /><br />MORE abuot mugura cleavers<br /><br /><br />Gabi Greve - Basho archiveshttp://worldkigodatabase.blogspot.jp/2010/04/cleavers-mugura.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-29634460706996174882012-12-19T20:51:38.793-08:002012-12-19T20:51:38.793-08:00なに喰うて小家は秋の柳かな
nani kūte / ko ie wa aki no / yan...なに喰うて小家は秋の柳かな <br /><br /> nani kūte / ko ie wa aki no / yanagi kage<br /><br />Matsuo Basho<br /><br />this small houseGabi Greve - Basho archiveshttp://matsuobasho-wkd.blogspot.jp/2012/06/cultural-keywords.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-84528444651112594262012-12-01T20:02:35.500-08:002012-12-01T20:02:35.500-08:00Matsuo Basho
粟稗にとぼしくもあらず草の庵
(あはひえにとぼしくもあらずくさのいお...Matsuo Basho <br /><br />粟稗にとぼしくもあらず草の庵 <br />(あはひえにとぼしくもあらずくさのいお) <br />wa hie ni / toboshiku mo ara zu / kusa no io<br /><br /><br />芭蕉葉を柱に懸けん庵の月 (ばせうはをはしらにかけんいほのつき) <br />bashō ba o / hashira ni kaken / io no tsuki<br /><br /><br />初雪や幸ひ庵にまかりある <br />(はつゆきやさいわひあんにまかりある) <br />hatsu yuki ya / saiwai an ni / makariaru<br /><br /><br />西行の庵もあらん花の庭 (さいぎやうのいほりのあらんはなのには) <br />Saigyō no / iori mo ara n / hana no niwa <br /><br /><br />世の中は稲刈るころか草の庵 (よのなかはいねかるころかくさのいほ) <br />yo no naka wa / ine karu koro ka / kusa no io <br />.<br />Gabi Greve - Basho archiveshttp://matsuobasho-wkd.blogspot.jp/2012/06/cultural-keywords.htmlnoreply@blogger.com