Edo Meisho Hanagoyomi

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. ensoku 遠足 excursion, day trips and guidebooks of Edo .
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Edo Meisho Hanagoyomi 江戸名所花暦
Flower Calendar of Famous Places in Edo
by Oka Sanchoo 岡山鳥 Oka Sancho




- Reference -

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Edo Meisho Zue 江戸名所図会, “Guide to famous Edo sites”

is an illustrated guide describing famous places and depicting their scenery in pre-1868 Tokyo, then known as Edo. It was printed using Japanese woodblock printing techniques in 20 books divided among seven volumes. Initially published in 1834 (volumes 1–3, 10 books) and republished in 1836 (volumes 4–7, all 20 books) with slight revisions—i.e., all during the late Edo period (1603–1867), it became an immediate hit and prompted a “boom” in the publication of further meisho zue (“famous site guides”).

Edo Meisho Zue took form over a span of more than 40 years. It was conceived by Saitō Yukio Nagaaki (1737–1799) who, influenced by the proliferation of famous site guides about places in Japan’s Kansai region, decided Edo needed one, too. He is thought to have begun work around 1791 and is known to have gotten permission to publish and written a foreword, but he died before he could finish. From this point forward, Yukio’s son-in-law Saitō Yukitaka Agatamaro (1772–1818) began work, undertaking new research to add new sites and re-researching other information; but he, too, died suddenly shortly before he could complete his task.

Yukitaka’s son, Saitō Yukinari Gesshin (1804–1878), was only 15 at the time, so he was not able to take up immediately where his father had left off; nonetheless, Yukinari was determined to complete his father’s and grandfather’s labor of love. When he finally managed to bring all the research, writing, editing, and correcting to fruition in 1834, he delivered to the public an innovative and highly detailed human geography that even today serves as a valuable resource for academic and hobby historians of late–Edo-period Tokyo.

Edo Meisho Zue was illustrated by Hasegawa Settan (1778–1843). His illustrations are credited with contributing as much to the work’s fame and long popularity—people still refer to it today for walking tours of historical sites—as does the prose.


Edo Meisho Zue starts by explaining the history of Musashi Province, the settlement of Edo, and the founding of the Edo Castle, then it moves on to describe the city and its surroundings block by block, town by town, in a manner reminiscent of a walk-through of each area with stops at famous sites. The descriptions often include information about the origins of the place or site’s name and its history, as well as quotations from well-known works of literature (such as Matsuo Bashō’s haiku) that mention it.

In overall scope, Edo Meisho Zue goes beyond the confines of the Edo proper and includes descriptions and illustrations of surrounding areas as well, venturing as far away as today’s Hino to the west, Funabashi to the east, Ōmiya to the north, and Yokohama to the south.
©　More in the WIKIPEDIA !


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The Heisei Edition 平成版江戸名所図会！





Dictionary for the Zu-e 江戸名所図会事典

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Moon viewing in Edo was famous along the Asakusa river and Mitsumata.

Moon-Viewing Point, No. 82 from One Hundred Famous Views of Edo
Utagawa Hiroshige (Ando)



Scholars have identified this as a scene in one of the many brothels or inns in the settlement of Shinagawa. Through the open window appears the harvest moon rising serenely in the autumn sky. In contrast to the fullness and perfection of the view outside, the scene within is one of incompletion and indirection.
Beneath a lantern on the tatami mat lie the leftovers of a meal. At the very margins of the scene are two half-hidden figures. To the right is a geisha; the tip of a lute-like samisen and its box hint that she is about to leave. To the left, as indicated by the elaborate hairstyle, is a courtesan. The garment slipping onto the tatami suggests she is preparing for bed.
source : epoc2.cs.uow.edu.au



Channels at Mitsumata Wakarenofuchi　- みつまたわかれの淵
Utagawa Hiroshige


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. shuppansha 出版社 publishing company, book publisher .

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- #edomeishozue #edohahagoyomi -
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Issa - Tanabata

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. Kobayashi Issa 小林一茶 in Edo .


Star Festival, "seventh evening"
Festival of the Weaver Girl, Tanabata 七夕

..... referring to the double-date of the Asian lunar calendar, the 7th day of the 7th month; now celebrated 7 July in some places, on 7 August or even later in others.

Orihime (織姫, Weaving Princess), daughter of the Tentei (天帝, Sky King, or the universe itself), wove beautiful clothes by the bank of the Amanogawa (天の川, Milky Way, lit. "heavenly river").
Her father loved the cloth that she wove and so she worked very hard every day to weave it. However, Orihime was sad that because of her hard work she could never meet and fall in love with anyone. Concerned about his daughter, Tentei arranged for her to meet Hikoboshi (彦星, Cow Herder Star) (also referred to as Kengyuu (牽牛)) who lived and worked on the other side of the Amanogawa.

. WKD : Star Festival (Tanabata 七夕) - Introduction .




source :　nagareyama/tanabata
Decoration for Tanabata, Haiku Frogs made from Gingko-Nuts
Issa Soja Memorial Museum, Nagareyama 一茶双樹記念館


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tanabatadake 七夕竹 bamboo for the Tanabata festival


with wishes for good health, peace in the world, security and a happy home


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涼しさは七夕竹の夜露かな
suzushisa wa tanabata-take no yo-tsuyu kana

this coolness --
on the night of star lovers
dew on a festival bamboo
Tr. Chris Drake

This hokku was written at the beginning of the 8th month (September) in 1822, when Issa was living in his hometown. It is a poem of memory about the Tanabata Festival that took place a month before, on 7/7. The main narrative behind the festival concerns two lover stars called the Weaver Woman and the Oxherd Man destined to meet only one night a year on the night of 7/7, when the Weaver Woman is able to cross the Milky Way and visit her lover. If the night is rainy or cloudy, however, the lovers are unable to meet, and they must wait a whole year for another chance.

The Star Festival was also a time for people to show off their crafts and to write waka and hokku, and special food was eaten. In Issa's time almost every house put up a cut bamboo on 7/6 and 7/7 and decorated it with long, thin papers on which poems and prayers were written, along with streamers and many other handmade decorations. The bamboos were often quite tall, suggesting that they were once believed to be trees down which gods descended to earth, and after the Star Festival the bamboos were floated away on rivers or sent into the ocean, that is, they were sent off to the other world along with the visiting gods.

The festival is the first major autumn festival, and Issa feels a bit of coolness in the air. However, the hokku seems to be less about meteorology than about the subjective human feeling of coolness. Drops of dew have formed on one festival bamboo, and presumably on others as well, and in addition to the cool air, the sight of these drops of dew on the bamboo synesthetically makes people feel a special festival coolness.

Perhaps the beads of dew sparkle in the light of a lantern, giving the tree a slightly otherworldly look, and in fact, in Japanese poetry beads (tama) of dew were often compared with souls (tama). Moreover, in Japanese love is often described in terms of wetness. An affair, for example, was and sometimes still is called a "wet thing" (nuregoto), so the dew on the bamboo probably suggests to people that the two star lovers are making full use of their single meeting of the year. Transience is also, of course, suggested by dew. After the high heat of summer, the lovers are at last able to meet on a cool night, and for the people at the festival, this fictional love no doubt gives rise to various fantasies. This refreshing human coolness after the stifling heat of summer allows people to relax and enjoy life for a while, and it is this coolness that seems to be what Issa is writing about.


Here's a nearly contemporary woodblock print by Hiroshige of Star Festival bamboos in Edo:


source :　www.adachi-hanga.com/ukiyo-e



In Issa's village a festival bamboo might have looked more like this:


source :　www.aa.alpha-net.ne.jp/starlore

Chris Drake


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涼しさは七夕雲とゆふべ哉
suzushisa wa tanabata kumo to yuube kana

such cool air!
Tanabata clouds
and evening
Tr. David Lanoue



冷水にすすり込だる天の川
hiya mizu ni susuri kondaru ama no kawa

in cold water
sipping the stars...
Milky Way
Tr. David Lanoue



庵門に流れ入けり天の川
iokado ni nagare-irikeri Amanogawa

flowing in
through my front door --
the Milky Way
Tr. David Lanoue




かぢのをとは耳を離れず星今よい
kaji no oto wa mimi wo hanarezu hoshi koyoi

the sound of oars
lingers...
good stars tonight
Tr. David Lanoue





七夕や涼しく上に湯につかる
tanabata ya suzushiku ue ni yu ni tsukaru

Tanabata Night
is cool, and to top it off
soaking in a hot tub
Tr. David Lanoue

Written in 1827.
This haiku has the prescript, "Rice Field." The hot tub is outside, under the stars.

Issa used this as the opening verse (hokku) of a linked verse series (renku) written with his friends Kijô and Kishû, with whom he was staying after his house burned down.

In his translation, Makoto Ueda reads ue ni as "then": establishing a sequential relationship between feeling the cool air and, after that, bathing. I read it as meaning "better than"; I think Issa is saying, "It's pleasantly cool this Tanabata Night, and even better than that, I'm soaking in this nice hot tub"; Dew on the Grass: The Life and Poetry of Kobayashi Issa (Leiden/Boston: Brill, 2004) 163.
source : David Lanoue

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Latest updates about Issa on facebook - CLICK to join !



. WKD : Kobayashi Issa 小林一茶 .


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asagi color

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. The Colors of Edo .
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asagi あさぎ - 浅黄 hues of light yellow, 浅葱 green and blue

- - - asagi 浅黄 #edd3a1

and the connection with leek 葱 :


CLICK for more color samples !

asagi あさぎ - 浅葱 the color of the leaves of leek, a pale green with a touch of indigo-blue.

There are quite a few traditional Japanese colors named NEGI.

moegi iro 萌葱色もえぎいろ #006e54

usu moegi 薄萌葱うすもえぎ #badcad

mizu asagi 水浅葱みずあさぎ #80aba9

sabi asagi 錆浅葱さびあさぎ #5c9291

asagi iro 浅葱色あさぎいろ #00a3af

hana asagi 花浅葱はなあさぎ #2a83a2

toki asagi 鴇浅葱ときあさぎ #b88884

The Japanese word NEGI 葱 (ねぎ) includes a lot of varieties, according to its age and place of growth.
. Negi and its colors .



How blue are green apples in Japan ?
aoringo 青林檎 "blue apples" - green apples
. Green (midori 緑) and blue (aoi 青) .



Japanese, in contrast with Westerners, grasp colors on an intuitively horizontal plane, and pay little heed to the influences of light. Colors whether intense of soft, are identified not so much on the basis of reflected light or shadow, but in terms of the meaning or feeling associated with them.
Henry Dreyfus
. WKD - The Colors of Edo .

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Traditional Colors of Japan
source : www.colordic.org

Color Sample : asagi
source : www.color-sample.com


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source :　srnm5men.seesaa.net

asagiura, asagi ura 浅葱裏 inner lining of a kimono in ASAGI colors
used for the lining of indigo-blue samurai coats and favored by the courtesans of Yoshiwara.

Senryu from the Edo period

まかりこしさんと浅黄へ名を付ける

女には御縁つたなき浅黄裏

asagiura, asagi-ura 浅黄裏
Apart from the color, this word refers to
A name for low-ranking, unrefined Samurai coming to the city from the countryside.
yaboten 野暮天 boorishness; coarseness; stupidity
When these Samurai begun to wear asagi-colored Kimono, the real Edokko stopped using this color.
These Samurai became the topic of Rakugo stories and other 洒落本 books

浅黄裏行状記　“Asagiura gyōjōki – inakazamurai no yūtō”



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source :　cultural-assets.fujinaka-kousan.co

asaji jikiri choo moyoo chooken 浅葱地桐蝶模様長絹

chooken 長絹 a type of haori coat
with patterns of paulownia and butterflies


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紫陽花や帷子時の薄浅黄
ajisai ya katabira doki no usu-asagi

these hydrangeas -
time for a linen kimono
in light blue


MORE - katabira 帷子 light kimono
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .




海苔汁の手際見せけり浅黄椀
nori jiru no tegiwa misekeri asagi wan

he is so skillfull
at serving seaweed soup -
in this laquer bowl
Tr. Gabi Greve




asagiwan 浅葱椀 　"blue laquer bowl"
asagiwan 浅黄椀  "yellow laquer bowl" with the kanji used by Basho.

The bowls are covered with black laquer and then decorated with golden flower and bird design or other patterns.

Written in 1684 貞亨元年.
He visited his disciple Kasuya Chiri 粕谷千里, who lived in Asakusa, Edo, a place famous for its nori even today.

. Matsuo Basho 松尾芭蕉 - pots and plates -.

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. Yosa Buson 与謝蕪村 in Edo .

襟巻の浅黄にのこる寒さかな
erimaki no asagi ni nokoru samusa kana

lingering
in the light blue of the scarf
winter's cold

This captures the chill of an early spring day through the color of the woman's scarf. It makes one wonder if the color is not indicative of the woman's age, looks, and even character.
Tr. and comment - Makoto Ueda

Erimaki long and wide mufflers were often worn by ill people and the elderly.



nokoru samusa is a kigo for early spring.

. erimaki 襟巻 muffler, scarf .
- kigo for winter -

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おとなしや蝶も浅黄の出で立ちは
otonashi ya chou mo asagi no idetachi wa

how reserved
blue-green clothes
even on you, butterfly
Tr. Chris Drake

This hokku is from the 3rd month (April) of 1821, three months after Issa's infant son Ishitaro (Rock Man) died of suffocation on his mother's back as she worked. Both Issa and his wife seem to have been deeply affected by the death, and about three weeks after this hokku was written, his wife had a serious attack of gout.

The color of the butterfly is a medium blue-green that's a little darker than aqua and a little brighter than teal (see the links below). In contemporary Japanese the color is often taken to refer to pale blue, but this is a modern innovation. In Issa's time it was, as its name (literally "light onion-stalk color") suggests, a light shade of the bluish green of onion stalks. To Issa this blue-green seems quiet and reserved, so he must be comparing the color with the orange, yellow and other bright colors of more out-front butterflies. In addition to this comparison, Issa may be invoking the cultural connotations of this blue-green. For centuries it had been the color of cloaks worn by bureaucrats of the rather low fifth and sixth ranks in the hierarchy at the imperial court.

Thus the color came to signify something second-rate or not outstanding.
It was also used as a term of derision for country samurai who came to Edo and daily put their ignorance of urban culture on display, and the color is still widely used by, for example, ordinary Shinto priests. The fact that the first character of 'light onion stalk color' is written with the character 浅, asa-, 'shallow, superficial, slight, light,' also gave rise to expressions that criticized people for those qualities: for example,

to talk light onion stalk color, asagi ni iu, meant 'to speak glibly,' and
to do light onion stalk color, asagi ni suru, meant 'to do something half-heartedly or sloppily; to deliberately carry a palanquin slowly in order to charge riders more money.'

Issa seems to be drawing on this cluster of meanings and is perhaps bantering with the butterfly, asking it if it is really as reserved and slight/superficial as its color suggests. He may in this way be encouraging the butterfly not to be satisfied with being second-rate and easily overlooked and to use its quiet color as a way of being in the world that is quite active and shows humans how to live.

This hokku is part of a three-verse series of hokku about butterflies in Issa's diaries. Three verses aren't very many, so the three hokku may not be intended as a series, but, as so often in Issa's diaries, it's quite possible that the three are intended to reverberate together. This compositional habit of Issa, which is clearer in his haibun works, in some ways make his various hokku series in his diaries the precursors of more formal hokku series written by 20th-century haiku poets. I give all three hokku here so readers can decide for themselves.
Here's the previous hokku in Issa's diary, the first of the three:

蝶折々頭痛をなめて呉れる也
chou ori-ori zutsuu o namete kureru nari

sometimes butterflies
give me the gift of
ignoring my troubles


The first line has seven syllables, perhaps to indicate how butterflies always seem to visit him at the right time. Their intermittent playful flitting and their unpredictable flight paths at unthinkable angles and speeds show they aren't concerned about Issa's "headaches" (probably here meaning his troubles), yet their grace and lack of concern allow Issa, too, to forget his troubles for a time.
Then the second hokku:

世の中を浅き心やアサギてふ
yo no naka o asaki kokoro ya asagi-chou

blue-green butterfly
you don't take
this world seriously

In this hokku the name of the butterfly (in the third line) is given in phonetic kana script, presumably to avoid repeating the character in asaki 浅き, 'shallow, frivolous, superficial.' I take this phonetic rendering to be Issa's way of suggesting that he means 'shallow' to have two senses here: 1) the butterfly constantly flits around the world in a superficial manner and 2) the butterfly knows enough to avoid being attached to the transient, constantly changing things of this world. In this context, the second hokku may be an oblique address to the butterfly acknowledging its right to wear quiet, reserved clothes but also praising its active detachment based on its apparent instinctive knowledge of the real processes making up the visible world.
Of course the Daoist thinker Zhuangzi's famous dream of being a butterfly, a dream that left him unable to deny that he might be a butterfly dreaming he was Zhuangzi, was known in Japan and is probably in the background of these hokku.

In the Edo Period people commonly used 'light yellow' to mean 'blue-green.' Whew!

Chris Drake

. WKD : Kobayashi Issa 小林一茶 in Edo .




. The Butterfly Dream and Chuang-Tsu (Chuang Tzu 荘子) .





asagi madara アサギマダラ, 浅葱斑 The Chestnut Tiger
Parantica sita
©　More in the WIKIPEDIA !


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天と地の境は浅葱雪の果
ten to chi no sakai wa asagi yuki no hate

the border between
heaven and earth is pale blue -
as far as the snow reaches
Tr. Gabi Greve

Ishijima Gake 石嶌岳

. WKD - Blue Colors of the Sky .

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けふ秋や朝浴暮浴山浅葱 松根東洋城
さざなみに馴染む鹿の子浅葱の瞳 佐川広治
ほほづき市髪の手絡は水浅葱 今泉貞鳳
便りせむ安房は浅葱の朝がすみ 大屋達治 龍宮
冬水の行方浅葱の扉なす空 安東次男 裏山
夏河は洲の白水の浅葱かな 川崎展宏
夏芝居撒き手拭は水浅葱 長谷川かな女 花寂び
天と地の境は浅葱雪の果 石嶌岳
山はまだいろの浅葱や初ざくら 森澄雄
朝顔の浅葱普羅忌のくもり空 文挟夫佐恵 黄 瀬
業平の祭浅葱に晴れたる日 後藤夜半 底紅
神官の浅葱の袴掃初め 木村登志子

秋の蛾の魔力と思う浅葱色 瀬尾教子
音羽屋の浅葱小袖も二月かな 作田 幸子
高原の老鷲の唄みづ浅葱 伊藤敬子
鵜飼待つ空のさざ波水浅葱 平賀扶人
source : HAIKUreikuDB


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- BACKUP - Medicine

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BACKUP - original is here


. Medicine in Edo .

and the illness of Matsuo Basho







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under construction - April 2013


Medicine in Edo

and the illness of Matsuo Basho

In the times before the advent of modern western medicine, Asia relied heavily on the use of traditional remedies, medical plants and minerals and then prayers to the various deities !

. Chinese Medicine 漢方 .
medicine from China, kanpoo, kanpooyaku 漢方薬



Later many young doctors went to Nagasaki to study
. Dutch learning 蘭學 / 蘭学　rangaku .
science from
oranda　オランダ /　阿蘭陀　Holland


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. Yakushi Nyorai, the Buddha of Medicine 薬師如来 .
The Buddha of Healing

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A well-known doctor, inventor and scientist :
"the spirit of Tokugawa genius"
. Hiraga Gennai 平賀源内 .
(1728 - 80)




Hanaoka Seishū 華岡 青洲
(October 23, 1760 – November 21, 1835)
Hanaoka Seishu was a Japanese surgeon of the Edo period with a knowledge of Chinese herbal medicine, as well as Western surgical techniques he had learned through Rangaku (literally "Dutch learning", and by extension "Western learning").
Hanaoka is said to have been the first to perform surgery using general anesthesia.
©　More in the WIKIPEDIA !

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ban ishi 番医師 doctor for each Han


chootei i 朝廷医　doctor for the Imperial Court

isha 医者 doctor

kan i 官医 doctor for government officials
for the Shogun and his entourage
He was allowed to come to the Kikyo hall 桔梗の間 in Edo castle to attend to his duties.


machi ishi, machi-ishi 町医師 doctor of the town
doctor for the townspeople

oku ishi 奥医師 doctor for the harem (Oku) of the Shogun in Edo

te ishi, te isha 手医師 / 手医者

yabu isha, yabuisha 　藪医者　quack doctor


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- www.yamamoto-museum.com


. Smallpox and the color RED .

為朝と疱瘡神
Minamoto no Tametomo and the God of Smallpox


. Red Amulets to protect Children .


Imo no Kami 痘瘡の神 the deity of smallpox

月に名を包みかねてや痘瘡の神
tsuki ni na o tsutsumi kanete ya imo no kami

the name of the moon
wrapped in a double meaning -
God of Smallpox
Tr. Gabi Greve

Matsuo Basho, written in 1689, on the 15th day of the 8th lunar month.
元禄2年8月15日. Oku no Hosomichi, in Tsuruga, near Yu no O Tooge 湯尾峠 Yunoo Toge pass.


shrine for the God of Smallpox at the Pass


At the tea house of the pass, near the shrine, they sold amulets against smallpox.
This was also the full moon night (IMO meigetsu) when people eat taro potatoes (sato IMO).
So this is a pun with the sound IMO, since the kanji for smallpox 疱瘡 is usually read HOOSOO, but can be read IMO.

. Matsuo Basho and the Kami deities of Japan .


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江戸時代の医者
source : www.gakken.co.jp

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. Matsuo Basho 松尾芭蕉 - Archives of the WKD .


町医師や屋敷方より駒迎へ
machi ishi ya yashiki gata yori koma mukae

. WKD : koma mukae 駒迎え "picking up the horses" .
aki no komabiki 秋の駒牽 selecting horses in autumn
observance kigo for mid-autumn

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薬飲むさらでも霜の枕かな
kusuri nomu sarademo shimo no makura kana

I drink some medicine
but there is still frost
on my pillow

Written abound the 22nd (25th) day of the 11th lunar month, 1687.
During his travelings, Basho was ill at the home of his disciple Kitoo 起倒 / 欄木起倒 Atsuta.
Basho had a chronic illness of his stomach and Kito went out to buy some medicine for him.
This hokku shows the feeling of loneliness and desperation of Basho when traveling alone and depending on the kindness of others.

shimo no makura is another expression for the pillow of a traveller, like the "kusamakura" grass pillow.


. Oi no Kobumi 笈の小文 .

. makura - the pillow of Matsuo Basho .

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水無月は腹病やみの暑さかな
minazuki wa fukubyoo yami no atsusa kana

the sixth lunar month
is a time for stomach illness
with its great heat . . .

or

the sixth lunar month
with its great heat
is a time for stomach illness . . .

another version was

昼はなほ腹病煩の暑さかな
hiru wa nao fukubyoo yami no atsusa kana

midday with its great heat is a time for stomach illness . . .


written in 1693, sixth lunar month - 元禄4年6月 (now July/August)
This hokku has the cut marker KANA at the end of line 3.

It seems Basho is not contrasting the great heat with a great fever but is really suffering from some kind of chronic stomach illness.



. minazuki 水無月 (みなづき) sixth lunar month .
lit. "month without water", the great heat before the typhoons of autumn arrive.
now from about July 7 to August 7
kigo for late summer

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source :　basyo.okunohosomichi.net

薬欄にいづれの花を草枕
yakuran ni izure no hana o kusamakura

from your medicine garden
which flower should I take
to stuff in my pillow?

Written on the 8th day of the 7th lunar month at the home of a doctor in Echigo Takada, Hosokawa Shun-an 細川春庵, haiku name Toosetsu 棟雪 Tosetsu, who had planted a lot of medicinal herbs in his estate.
One can imagine Basho and the doctor walking along the garden path, looking at all the herbs and Shun-an explaining their curing effect.
This is a greeting hokku to his host.
The season is autumn, but no special kigo is mentioned.


Oku no Hosomichi　奥の細道 - - - Station 33 - Echigo 越後路 - - -
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .




花薬欄 is also a koan in Zen Buddhism, used by Master Unmon 雲門, Hekigan Roku Nr. 39 碧巌録.
source :　www.rinnou.net


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煩へば餅をも喰はず桃の花
. wazuraeba mochi o mo kuwazu momo no hana .
I am so ill ...



旅に病んで夢は枯野をかけ廻る
. tabi ni yande yume wa kareno o kakemeguru .
ill on the road
the Death Hokku of Matsuo Basho

. Matsuo Basho 松尾芭蕉 - Archives of the WKD .


芭蕉の持病について
source : www.bashouan.com/pn


more TBA
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. - - - Welcome to Edo　江戸 ! .



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Dokuraku Bo Poet

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Dokurakuboo, Dokurakubou 獨楽坊 Dokuraku Bo


. WKD : Kobayashi Issa 小林一茶 in Edo .





寝所見る程は卯の花明りかな
nedoko miru hodo wa unohana akari kana

enough light
from deutzia blossoms
to see he's sleeping
Tr. Chris Drake


The first version of this hokku was written in the 4th month (May) of 1819, the year recorded in Year of My Life, though in the final draft of that haibun work the last line, "moonlit night," has been replaced by "light [from deutzia blossoms]." The hokku before this hokku in Year of My Life has a third-night crescent moon in it, so Issa may have felt it would be redundant to mention the moon again, since the hokku in that work form series and reverberate with each other. Thus the moon in the hokku above is probably also a faint crescent moon, as mentioned in the previous hokku.

The hokku above seems to be about a haikai poet who went by the haikai name of
Dokurakubou (獨楽坊), Monk Who Enjoys Being Alone (or: Monk Who Is Spontaneously Happy), and also by the name Chidou, (知洞) Chido, Knower of Caves.
He was Issa's friend and student for many years and head priest at the old Shingon Buddhist temple of Baishooji (梅松寺) in Rokugawa in Obuse, a town not far from Issa's hometown. Issa writes the monk-poet's name before the hokku, indicating that the hokku is about the monk.

If it were about Dokurakubo's living quarters, Issa would probably have used the name of the temple, which he often visited. In the hokku it is an early summer night, and there is a slender moon in the sky, but when Issa reaches the temple, there doesn't seem to be anyone there. Issa seems to go around to the head monk's bedroom, which probably opens toward the back of the living quarters building, and when he nears the bedroom the sliding doors between the room and the low porch are still open, and inside he is able to barely make out, in the dim light of the moon that is reflected softly by the white deutzia flowers just outside, the shape of the monk already asleep. Since the light is so faint, perhaps it is an otherworldly moment.

Here is the same hokku as it appears in Year of My Life, together with the previous and following hokku:

boofura no tenjou shitari mika no tsuki

a larva flies, now
mosquito, up to heaven --
thin crescent moon


Dokurakubou --

enough light
from deutzia blossoms
to see he's sleeping



nori no yama ya hebi mo ukiyo o sutegoromo

dharma-filled temple --
a snake, too, has left behind
its worldly robes


The first and last hokku deal directly with transformation -- a larva becoming a mosquito ascending and somehow communing with the crescent moon and a snake shedding its skin in the precincts of Baishoji Temple, so it's likely the middle hokku is also about transformation -- perhaps evoking the way the head monk has reached a higher spiritual level and just sleeps when he feels like sleeping, even though the night has just begun and his visitor hasn't arrived yet. Or perhaps in the faint moonlight the monk seems to Issa almost transhuman, as if he were hovering as he sleeps and apparently about to ascend to a new level of being.

These three hokku stand out and not only reverberate together but clearly mark the end of one section of Year of My Life, and thus they may also refer back (the first hokku rather directly) to the beginning of the section, in which Issa says some people claim to have heard heavenly music every eighth day starting at New Year's, and he wonders whether such heavenly music really exists or not. He is agnostic at the beginning of the section, but perhaps the last three verses of the section are Issa's positive reply to his earlier question to himself: perhaps they are meant as examples of at least semi-heavenly visual "music" which he was fortunate enough to see.

Chris Drake


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source :　www.nagano-tabi.net


Baishooji 梅松寺 Baisho-Ji - Baishô Temple in Obuse
長野県上高井郡小布施町

The temple was founded by Saint Seyama 瀬山上人 in the Muromachi period.
Issa visited here first in 1809, to meet his friend Saint Chidoo 知洞上人

In the temple compound are stone memorials with these hokku by Issa



source :　p.twpl.jp/show/orig

侍に蝿を追せる御馬哉
武士に蝿を追する御馬哉
samurai ni hae o owasuru o-uma kana

the samurai is ordered
to shoo the flies . . .
Sir Horse

This is a humorous role reversal, as the samurai is commanded to chase off Sir Horse's flies. Shinji Ogawa notes that suru after owa ("to chase") in this context "functions just like the 'make' in the phrase 'make someone do something'."
Perhaps the horse belongs to the samurai's superior, the daimyo?
Tr. and Comment : David Lanoue






真丸に芝青ませて夕涼み
manmaru ni shiba aomasete yuusuzumi

making grass green
in a perfect circle...
evening cool
Tr. David Lanoue



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Edo Haikai - INFO

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Edo Haikai 江戸俳諧　Haiku and Hokku



source : enjoy-history.boso.net

Edo no Haikai 江戸の俳諧　＜芭蕉と蕉風＞　




source : www.kakimori.jp
芭蕉と江戸の俳諧



Haiku students of Matsuo Basho:

Bokuseki　卜尺
Fukaku　不角
Ikeda Rigyuu 池田利牛 Rigyu
Kikaku, Enomoto Kikaku (1661-1707) Takarai Kikaku
Koizumi Kooku 小泉孤屋
Kusakabe Kyohaku 草壁挙白
Murata Toorin 村田桃隣 Torin
Ogawa Haritsu 小川破笠
Ooshuu 奥州 Oshu
Ranran　嵐蘭
Ransetsu, Hattori Ransetsu (1654-1707)
Senbo せんぼ　？
Shisan 子冊 ?
Shiyoo　子葉
Sora, Kawai Sora 河合曾良 (1649 - 1710)
Sooha　宗波
Sugiyama Sanpu 杉山杉風 (Sampu) （1647 - 1732）

. Shoomon 蕉門 Shomon, the disciples of Matsuo Basho .


For details check here
. WKD : Introducing Japanese Haiku Poets .






Genroku Haikai 元禄俳諧

. Genroku Bunka 元禄文化 Genroku Culture and Haikai .
The time from September 1688 - March 1704


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Kefukigusa 毛吹草 "Blownfur Grass" , "Fur-blown Grass"
Haiku Critique Magazine of the Edo period, first published in 1645 in seven volumes, later in 1647 three more volumes were added.
The first three volumes dealt with haikai themes and poets, the following volumes with other seasonal specialities from all over Japan.

Written by Matsue Shigeyori 松江重頼, a haikai poet from Kyoto.
(1602 - 1680)


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. Yosa Buson 与謝蕪村 .
(1715-1783)



. Kobayashi Issa 小林一茶 .
(1763 - 1828)


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富士の風や扇にのせて江戸土産
Fuji no kaze ya oogi ni nosete Edo miyage

the wind from mount Fuji as a souvenir from Edo

. EDO - Matsuo Basho 松尾芭蕉 - Archives of the WKD .
(1644 - 1694)


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江戸の俳諧説話　
伊藤 龍平


Haikai no keifu : sono warai 俳諧の系譜 : その笑い - Suzuki, Tōzō, 1911-1992.
Haikai sasetsu 俳諧瑣說
Shōmon haironshū 蕉門俳論集
Haikai shogakushō 誹諧初学抄 - Saitō, Tokugen, 1559-1647.
Haikaishi no sho mondai 俳諧史の諸問題 / 中村俊定著
Shoki haikai no tenkai 初期俳諧の展開 - Inui, Hiroyuki, 1932-2000.
Haikai hyōshaku 俳諧評釈 - Yanagita, Kunio, 1875-1962.
Haikai ishiguruma 俳諧石車 - Ihara, Saikaku, 1642-1693.
Monomiguruma : haikai 物見車 : 誹諧 - Nishimura, Chōaishi, 17th cent.
Danrin haironshū 談林俳論集
Kigin haironshū 季吟俳論集
- - - - -and many more
source : searchworks.stanford.edu



under construction
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. EDO haikai - latest updates .


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Kobayashi Issa

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Welcome to Kobayashi Issa in Edo !

Read the main introduction here:

. WKD : Kobayashi Issa 小林一茶 - Introduction .



Issa (1763 - 1828)



. Cultural keywords and kigo used by Issa - ABC-LIST .


- Read the regular comments by
. - Chris Drake - .

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江戸江戸とえどへ出れば秋の暮　
edo edo to edo e izureba aki no kure

when heading to Edo
Edo, Edo!
autumn dusk　

The normally exciting prospect of visiting the Shogun's great capital is overshadowed by a sense of the year's (and life's) approaching end.

.

時鳥花のお江戸を一呑に
hototogisu hana no o-edo o hito nomi ni

oh cuckoo--
swallow blossom-filled Edo
in a gulp!

.

江戸の雨何石呑んだ時鳥
Edo no ame nangoku nonda hototogisu

rain in Edo -
how much of it did you swallow
little cuockoo ?

.

掃溜の江戸へ江戸へと時鳥
hakidame no edo e edo e to hototogisu

"I'm off to that rubbish heap
Edo! Edo!"
the cuckoo

.

江戸衆や庵の犬にも御年玉
edo shuu ya io no inu ni mo o-toshidama

people of Edo
even for the hut's dog
a New Year's gift

...


藤棚の隅から見ゆるお江戸哉
fuji tana no sumi kara miyuru o-edo kana



from a wisteria trellis
nook I see...
Great Edo

...

かはとりも土蔵住居のお江戸哉
kawahori mo dozoo sumai no o-edo kana

the bats, too
live in a storehouse...
Great Edo!



春風にお江戸の春も柳かな
haru kaze ni o-edo no haru mo yanagi kana

with the spring breeze
spring reaches Edo...
the willows!



大江戸の隅の小すみの桜哉
ooedo no sumi no kosumi no sakura kana

in one of great Edo's
little nooks ...
cherry blossoms



もまれてや江戸のきのこは赤くなる
momarete ya edo no kinoko wa akaku naru

squezed and rubbed ...
Edo's mushrooms
turn red


Edo-zakura　江戸桜　Edo Cherry Blossoms
. edo sakura hana mo zeni dake hikaru kana .


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棒杭に江戸を詠る蛙哉
boogui ni Edo o nagamuru kawazu kana

on a stake
a frog gazes long
sings of Edo
Tr. Chris Drake

This is a spring hokku, but it was written just after New Year's in the 1st month (February) of 1825, probably before many frogs were singing in the snow country where Issa lived. Issa's note says "Mimeguri Shrine," a reference to a Shinto shrine near the Sumida River in northeast Edo, the largest city in Japan in Issa's time. The hokku must be a hokku of memory, since Issa was far from Edo in his hometown when he recorded it in his diary. A woodblock print of the Mimeguri Shrine from Issa's time shows a row of stakes along the river's edge, protecting the base of the high embankment on the east side of the Sumida River. There are also high tethering poles along the bank used by small ferry boats when they stop at a riverside landing to unload or pick up visitors to the shrine.

Issa's use of Sino-Japanese characters follows normal Edo-period usage, which is different from contemporary Japanese usage. The verb nagamu (in the hokku it's in its attributive form nagamuru) means to gaze, to look into the distance, to look non-specifically, as in meditation or deep thought. In the Edo period it was often written with the character 詠 , used by Issa here and in many other of his hokku, and it sometimes had the suggestion of singing as well as gazing. The character 眺 , "to gaze," was more common as a verb of looking, but only the character 詠, whose main readings were utau and yomu, "to sing; recite, chant, compose a poem," could also, through its semantics as a visual character, suggest a double meaning: "gazing/staring abstractedly while singing (or writing/composing a poem)." This double meaning may well be what Issa is suggesting in this hokku.

A frog seems to be gazing meditatively, panoramically watching Edo across the river and to the southwest from a stake on the city's periphery while thinking deeply about choosing the best sounds for its songs about the city, which it sings for its frog audience. To me the plural "frogs" is also powerful, as if Issa were imagining a group of commoner voices singing from their humble waterline perspective about the proud humans in the stylish big city in the near distance. However, a single frog can better evoke the ageing Issa, who has lost his first wife and four children and then, the year before, has been divorced by his second wife and now, alone, seems to be looking back on his early life in Edo. In those days he was an idealistic young man who studied and followed one of the main Edo styles of haikai and often evoked city life, though from the periphery, since he always felt himself to be a bit of an emotional outsider in Edo. The frog is not Issa, but since this is a hokku of imagination and memory, there may well be some overlap between the frog's songs and Issa's own hokku and renku.

The custom of reading the character 詠 as nagamuru goes back at least to the late medieval period, because the famous Wagoku-hen (倭玉篇) dictionary of the middle Muromachi Period gives these readings: 詠 .....ウタウ　ナガメ　ナガムル (utau, nagame, nagamuru). Many, many examples of this usage can be found in the literature and other written genres of the Edo Period, and Issa's usage is in no way unusual or strange.　

Chris Drake

. Mimeguri Jinja 三囲神社 / 三圍神社 Mimeguri Shrine .

. MORE - Issa and the kawazu FROG .


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江戸江戸とえどへ出れば秋の暮　
edo edo to edo e izureba aki no kure

Edo! Edo!
when I'm here it's just edo --
autumn twilight

- Tr. and Comment by Chris Drake -



江戸の蚊の気が強いぞよ強いぞよ
edo no ka no ki ga tsuyoi zo yo tsuyoi zo yo

those mosquitoes of Edo
they really are strong ...
they are strong ...
Tr. Gabi Greve

(I have the feeling he is talking about the male inhabitants of the city . . .)


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本町や夷の飯の横がすみ
Honchoo ya Ebisu no meshi no yoko-gasumi

Old Quarter--
food for the God of Wealth
in mist

On the 20th day of Tenth Month (old calendar), a festival was held in honor of Ebisu, god of wealth. In the haiku, food offerings to the god meet a bank of mist.
The "Old Quarter" Honchoo was in the Nihonbashi section of Edo, today's Tokyo.
Tr. and comment by David Lanoue

. Ebisu and related KIGO 　


. Honjo 本所　 and Motomachi 本町 in Edo .



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浅草の鶏にも蒔ん歳暮米
Asakusa no tori ni mo makan seibo mai

for Asakusa's chickens, too
a end-of-year gift...
scattering rice
Tr. Lanoue


. WKD : Issa in Asakusa .


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江戸状や親の外へも衣配
edo joo ya oya no hoka e mo kinu kubari

in a package from Edo
new clothes...and I'm not
his dad!
Tr. David Lanoue


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梅さくや先あら玉の御制札
ume sake ya mazu aratama no o-seisatsu

plum trees will bloom
but first the new year's
edicts


A subtly anti-government haiku. Literally, Issa suggests that "before the plum blossoms of spring can bloom, we will be subjected to the government's new year's edict signs posted everywhere."
Tr. and Comment : David Lanoue




制札 seisatsu, goseisatsu, koosatsu 高札
fure, o-furegaki, o-fure お触書
Wooden plaques with the edicts of the government, placed at crossroads along the city streets. Many people could not read and someone read them for all.


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. Kameido choo 亀戸町 Kemeido, Kame-Ido "Turtle Well" .

心の字に水も流れて梅の花
shin no ji ni mizu mo nagarete ume no hana

Heart Pond at Kameido Tenjin Shrine and plum blossoms


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Meguro 目黒

目黒へはこちへこちへと小てふ哉
. meguro e wa kochi e kochi e to kochoo kana .

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夕涼や草臥に出る上野山
yuusuzu ya kutabire ni deru Ueno yama

evening cool--
weariness sets in
on Ueno Hill
Tr. David Lanoue



露三粒上野の蝉の鳴出しぬ
tsuyu mi tsubu ueno no semi no nakidashinu


. Ueno (上野) .
a district in Tokyo's Taitō Ward, now best known as the home of Ueno Station and Ueno Park.


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深川や桃の中より汐干狩
Fukagawa ya momo no naka yori shiohigari

Fukagawa !
through the peach blossoms
people are gathering shells
Tr. Gabi Greve


深川や蠣がら山の秋の月
Fukagawa ya kakigara yama no aki no tsuki

深川や舟も一組とし忘
Fukagawa ya fune mo hito-gumi toshiwasure


. Issa in Fukagawa - Edo .
Fukagawa is famous for the Basho-An　芭蕉庵, dwelling of Matsuo Basho.


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Onari suji 御成り筋 road for the Shogun, in Edo and other parts of the country
. kare-giku ya kari no nosabaru onari-suji .



外堀の割るる音あり冬の月
. sotobori no waruru oto ari fuyu no tsuki .
Sotobori 外堀　 outer moat of Edo castle



陽炎によしある人の素足哉
. kageroo ni yoshi aru hito no suashi kana .
a woman praying at Ooji Inari Jinja 王子稲荷神社 Oji Inari Shrine


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Yuki no Edogawa 雪の江戸川　 - Evening Snow at Edo River


Kawase Hasui 川瀬巴水 (1883-1957）


これきりと見えてどっさり春の霜
kore kiri to miete dossari haru no shimo

it seems as if
this will be the end of it　-
severe frost in spring


The Edo River (江戸川, Edogawa)
is a river in the Kantō region of Japan. It splits from the Tone River at the northernmost tip of Narita City, crosses through Nagareyama and Matsudo, and empties into Tokyo Bay at Ichikawa. The Edo forms the borders between Tokyo, Chiba, and Saitama prefectures. Its length is 59.5 km.

The course of the Edo River was previously the main course of the Tone River. It was diverted from the Tone in 1654 by the Tokugawa shogunate to protect the city of Edo from flooding. The Edo was used to transport large amounts of cargo from Chōshi and other cities on the Pacific Ocean coast inland to the capital. Before industralization the river was also used to cultivate lotus roots.

Edogawa (江戸川区, Edogawa-ku) is one of the 23 special wards of Tokyo, Japan. It takes its name from the river that runs from north to south along the eastern edge of the ward. In English, it uses the name Edogawa City.
©　More in the WIKIPEDIA !


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Koumemura 小梅村 "Little-Plum village" near Edo on the Sumida River.
. kuwa no e ni uguisu naku koume mura . 　　


Sumidagawa 隅田川　River Sumidagawa

かつしかや煤の捨場も角田川 - Katsushika 葛飾
. katsushika ya susu no suteba mo sumida-gawa .


. Ryoogokubashi 両国橋　Ryogoku Bridge - Ryoogoku, Ryōgoku　両国 .

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. Senju 千住 Senju district .

早立は千住留りか帰る雁
haya tatsu wa senju-domari ka kaeru kari

rising early
will you stop at Senju town?
departing geese

Shinji Ogawa points out that kaeru in this context can be translated as "return" or "leave." Since this is a spring haiku, the wild geese are leaving Japan (i.e., returning to northern lands).
He adds, "Senju is a town located in today's Arakawa-ku; in Issa's day it was the first post town for travelers from Edo to the northern provinces."
Tr. and comment - David Lanoue


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- - - - - A waka by Issa -　和歌　

kaki-mono mo nokorazu boo ni furusato no
hito no shimijimi nikuki tsura kana

Paper-eating bookworms
those people in my hometown
treating all the documents
as if they were nothing --
I can't stand seeing their faces

Read the discussion here:
. Chris Drake .
Translating Haiku Forum, March 2013



MORE hokku by Issa about
. furusato ふるさと　故郷、古里 my hometown, my home village .




. Honganji 本願寺 Temple Hongan-Ji, Hongwanji .
Issa visiting these temples of Amida and Saint Shinran in Kyoto and Edo.



. kasen 1827 linked verse .
for the New Year 1827
with Issa, Baiji and Rancho (Ranchou)


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June 15, 2013



This is in memory of Kobayashi Issa Birthday 小林 一茶、
宝暦13年5月5日（1763年6月15日）- 文政10年11月19日（1828年1月5日））


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. Ora ga Haru　おらが春　Year of My Life .

. ISSA and Genji Monogatari 源氏物語 The Tale of Genji .


. His son Ishitaroo、Ishitarō, 石太郎 Ishitaro .
Born in 1820, but died one year later.
and third son Konzaburo

. Chinese Poetry Influence on Issa .



. Cultural keywords and kigo used by Issa - ABC-LIST .


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Latest updates about Issa on facebook - CLICK to join !



. WKD : Kobayashi Issa 小林一茶 .


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