Misplaced Pages

#612387

42-745: The Museum focuses on the life of Matsuo Bashō (1644–1694) who perfected the art of haiku , the concise 5-7-5 syllable verse form now appreciated and written around the world. Many writings by Basho, and literati and artists from his time and later, are regularly displayed. Special exhibitions on related themes are also regularly mounted in the gallery. The facility includes many traditional Japanese style meeting rooms and tea rooms used for tea ceremonies and other cultural programs, including seminars on literature and haiku taikai poetry writing contests (俳句大会）, in both Japanese and English. The buildings in traditional sukiya-zukuri (数寄屋造り）tea ceremony room style were designed by architect Masao Nakamura. Information

84-571: A compilation of work by himself and other authors of the Teitoku school, The Seashell Game ( 貝おほひ , Kai Ōi ) , in 1672. In about the spring of that year he moved to Edo , to further his study of poetry. In the fashionable literary circles of Nihonbashi , Bashō's poetry was quickly recognized for its simple and natural style. In 1674 he was inducted into the inner circle of the haikai profession, receiving secret teachings from Kitamura Kigin (1624–1705). He wrote this hokku in mock tribute to

126-441: A full-time job teaching twenty disciples, who published The Best Poems of Tōsei's Twenty Disciples ( 桃青門弟独吟二十歌仙 , Tōsei-montei Dokugin-Nijukasen ) , advertising their connection to Tōsei's talent. That winter, he took the surprising step of moving across the river to Fukagawa, out of the public eye and towards a more reclusive life. His disciples built him a rustic hut and planted a Japanese banana tree ( 芭蕉 , bashō ) in

168-438: A servant to an end. No records of this time remain, but it is believed that Bashō gave up any possibility of samurai status and left home. Biographers have proposed various reasons and destinations, including the possibility of an affair between Bashō and a Shinto miko named Jutei ( 寿貞 ) , which is unlikely to be true. Bashō's own references to this time are vague; he recalled that "at one time I coveted an official post with

210-446: A teacher of poetry at his bashō hut, although privately he was already making plans for another journey. The poems from his journey were published as Nozarashi Kikō (野ざらし紀行). In early 1686, Bashō composed one of his best-remembered haiku: 古池や蛙飛びこむ水の音 furu ike ya / kawazu tobikomu / mizu no oto    an ancient pond / a frog jumps in / the splash of water [1686] This poem became instantly famous. In April,

252-540: A tenure of land", and that "there was a time when I was fascinated with the ways of homosexual love": there is no indication whether he was referring to real obsessions or fictional ones. (Biographers of the author, however, note that Bashō was involved in homosexual affairs throughout all his life and that among his lovers were several of his disciples; in Professor Gary Leupp's view, Bashō's homoerotic compositions were clearly based on his personal experiences ). He

294-440: A young age, and after integrating himself into the intellectual scene of Edo (modern Tokyo) he quickly became well known throughout Japan. He made a living as a teacher; but then renounced the social, urban life of the literary circles and was inclined to wander throughout the country, heading west, east, and far into the northern wilderness to gain inspiration for his writing. His poems were influenced by his firsthand experience of

336-461: A younger age. He shared Yoshitada's love for haikai no renga , a form of collaborative poetry composition. A sequence was opened with a verse in 5-7-5 mora format; this verse was named a hokku , and would centuries later be renamed haiku when presented as a stand-alone work. The hokku would be followed by a related 7-7 mora verse by another poet. Both Bashō and Yoshitada gave themselves haigō ( 俳号 ) , or haikai pen names ; Bashō's

378-669: Is available in English on the exhibitions and on Basho's life and his major work Oku no Hosomichi "The Narrow Road to the Deep North," his travel journal of haiku and paintings based on his trip to the area. http://yamadera-basho.jp/?p=top 38°18′34.3″N 140°26′20.3″E  /  38.309528°N 140.438972°E  / 38.309528; 140.438972 Matsuo Bash%C5%8D Matsuo Bashō ( 松尾 芭蕉 , 1644 – November 28, 1694) ; born Matsuo Kinsaku ( 松尾 金作 ), later known as Matsuo Chūemon Munefusa ( 松尾 忠右衛門 宗房 )

420-522: Is generally accepted as his poem of farewell: 旅に病んで夢は枯野をかけ廻る     tabi ni yande / yume wa kareno wo / kake meguru        falling sick on a journey / my dream goes wandering / on a withered field [1694] Rather than sticking to the formulas of kigo ( 季語 ) , which remain popular in Japan even today, Bashō aspired to reflect his real environment and emotions in his hokku . Even during his lifetime,

462-462: Is internationally renowned, and, in Japan, many of his poems are reproduced on monuments and traditional sites. Although Bashō is famous in the West for his hokku, he himself believed his best work lay in leading and participating in renku . As he himself said, "Many of my followers can write hokku as well as I can. Where I show who I really am is in linking haikai verses." Bashō was introduced to poetry at

SECTION 10

#1733116038613

504-414: Is the opening stanza of a Japanese orthodox collaborative linked poem, renga , or of its later derivative, renku ( haikai no renga ). From the time of Matsuo Bashō (1644–1694), the hokku began to appear as an independent poem, and was also incorporated in haibun (in combination with prose). In the late 19th century, Masaoka Shiki (1867–1902) renamed the standalone hokku as " haiku ", and

546-879: The One Hundred Famous Views of Edo collection, published around 1857. Critical interpretation of Bashō's poems continued into the 20th century, with notable works by Yamamoto Kenkichi, Imoto Nōichi, and Ogata Tsutomu. The 20th century also saw translations of Bashō's poems into other languages around the world. The position of Bashō in Western eyes as the haiku poet par excellence gives great influence to his poetry: Western preference for haiku over more traditional forms such as tanka or renga have rendered archetypal status to Bashō as Japanese poet and haiku as Japanese poetry . Some western scholars even believe that Bashō invented haiku. The impressionistic and concise nature of Bashō's verse greatly influenced Ezra Pound ,

588-541: The shōgun : 甲比丹もつくばはせけり君が春 kapitan mo / tsukubawasekeri / kimi ga haru    the Dutchmen, too, / kneel before His Lordship— / spring under His reign. [1678] When Nishiyama Sōin , founder and leader of the Danrin school of haikai, came to Edo from Osaka in 1675, Bashō was among the poets invited to compose with him. It was on this occasion that he gave himself the haigō of Tōsei, and by 1680 he had

630-589: The Imagists , and poets of the Beat Generation . On this question, Jaime Lorente maintains in his research work "Bashō y el metro 5-7-5" that of the 1012 hokkus analyzed by master Bashō 145 cannot fit into the 5-7-5 meter, since they are a broken meter (specifically, they present a greater number of mora [syllables]). In percentage they represent 15% of the total. Even establishing 50 poems that, presenting this 5-7-5 pattern, could be framed in another structure (due to

672-640: The Lunar New Year . Back home in Edo, Bashō sometimes became reclusive: alternating between rejecting visitors to his hut and appreciating their company. At the same time, he retained a subtle sense of humor, as reflected in his hokku : いざさらば雪見にころぶ所迄 iza saraba / yukimi ni korobu / tokoromade    now then, let's go out / to enjoy the snow ... until / I slip and fall! [1688] Bashō's private planning for another long journey, to be described in his masterwork Oku no Hosomichi , or The Narrow Road to

714-463: The Deep North , culminated on May 16, 1689 (Yayoi 27, Genroku 2), when he left Edo with his student and apprentice Kawai Sora ( 河合 曾良 ) on a journey to the Northern Provinces of Honshū . Bashō and Sora headed north to Hiraizumi , which they reached on June 29. They then walked to the western side of the island, touring Kisakata on July 30 , and began hiking back at a leisurely pace along

756-580: The Japanese public at large. He invented the term haiku (replacing hokku ) to refer to the freestanding 5–7–5 form which he considered the most artistic and desirable part of the haikai no renga . Basho was illustrated in one of Tsukioka Yoshitoshi 's ukiyo-e woodblock prints from the One Hundred Aspects of the Moon collection, c. 1885-1892. His Bunkyō hermitage was illustrated by Hiroshige in

798-459: The changing scenery and the seasons. His poems took on a less introspective and more striking tone as he observed the world around him: 馬をさへながむる雪の朝哉 uma wo sae / nagamuru yuki no / ashita kana    even a horse / arrests my eyes—on this / snowy morrow [1684] The trip took him from Edo to Mount Fuji , Ueno, and Kyoto . He met several poets who called themselves his disciples and wanted his advice; he told them to disregard

840-488: The coastline. During this 150-day journey Bashō traveled a total of 600 ri (2,400 km) through the northeastern areas of Honshū, returning to Edo in late 1691. By the time Bashō reached Ōgaki , Gifu Prefecture , he had completed the log of his journey. He edited and redacted it for three years, writing the final version in 1694 as The Narrow Road to the Interior ( 奥の細道 , Oku no Hosomichi ) . The first edition

882-492: The contemporary Edo style and even his own Shriveled Chestnuts , saying it contained "many verses that are not worth discussing". Bashō returned to Edo in the summer of 1685, taking time along the way to write more hokku and comment on his own life: 年暮ぬ笠きて草鞋はきながら toshi kurenu / kasa kite waraji / hakinagara    another year is gone / a traveler's shade on my head, / straw sandals at my feet [1685] When Bashō returned to Edo he happily resumed his job as

SECTION 20

#1733116038613

924-613: The effort and style of his poetry was widely appreciated; after his death, it only increased. Several of his students compiled quotations from him about his own poetry, most notably Mukai Kyorai and Hattori Dohō. During the 18th century, appreciation of Bashō's poems grew more fervent, and commentators such as Ishiko Sekisui and Moro Nanimaru went to great length to find references in his hokku to historical events, medieval books, and other poems. These commentators were often lavish in their praise of Bashō's obscure references, some of which were probably literary false cognates . In 1793 Bashō

966-460: The first of four major wanderings. Bashō traveled alone, off the beaten path, that is, on the Edo Five Routes , which in medieval Japan were regarded as immensely dangerous; and, at first Bashō expected to simply die in the middle of nowhere or be killed by bandits. However, as his trip progressed, his mood improved, and he became comfortable on the road. Bashō met many friends and grew to enjoy

1008-409: The latter term is now generally applied retrospectively to all hokku appearing independently of renku or renga , irrespective of when they were written. The term hokku continues to be used in its original sense, as the opening verse of a linked poem. Within the traditions of renga and renku, the hokku , as the opening verse of the poem, has always held a special position. It was traditional for

1050-511: The most honoured guest at the poetry-writing session to be invited to compose it and he would be expected to offer praise to his host and/or deprecate himself (often symbolically) while superficially referring to current surroundings and seasons. (The following verse fell to the host, who would then respond with a compliment to the guest, again, usually symbolically). Typically, a hokku is 17 moras (or on ) in length, composed of three metrical units of 5, 7 and 5 moras respectively. Alone among

1092-525: The placement of the particle "ya"), the figure is similar. Therefore, Lorente concludes that the teacher was close to the traditional pattern. In 1942, the Haiseiden building was constructed in Iga, Mie , to commemorate the 300th anniversary of Basho's birth. Featuring a circular roof named the "traveler's umbrella", the building was made to resemble Basho's face and clothing. Two of Bashō's poems were popularized in

1134-435: The poets of Edo gathered at the bashō hut for a haikai no renga contest on the subject of frogs that seems to have been a tribute to Bashō's hokku , which was placed at the top of the compilation. For the rest of the year, Bashō stayed in Edo, continuing to teach and hold contests. In the autumn of 1687 he journeyed to the countryside for moon watching , and made a longer trip in 1688 when he returned to Ueno to celebrate

1176-501: The principle of karumi or "lightness", a semi-Buddhist philosophy of greeting the mundane world rather than separating from it. Bashō left Edo for the last time in the summer of 1694, spending time in Ueno and Kyoto before arriving in Osaka. There, he came down with a stomach illness and surrounded by his disciples, died peacefully. Although he did not compose a formal death poem , the following

1218-460: The rice planting songs of the Interior Hearing the rice-planting songs in the fields, Bashō composed a poem that complimented the host on the elegance of his home and region—which he associated with the historical "beginnings" ( hajime ) of fūryū or poetic art—while suggesting his joy and gratitude at being able to compose linked verse or "poetry" ( fūryū ) for the "first time" ( hajime ) in

1260-586: The short story "Teddy" written by J. D. Salinger and published in 1952 by The New Yorker magazine. In 1979, the International Astronomical Union named a crater found on Mercury after him. In 2003, an international anthology film titled Winter Days adapted Basho's 1684 renku collection of the same name into a series of animations. Animators include Kihachirō Kawamoto , Yuri Norstein , and Isao Takahata . Hokku Hokku ( 発句 , lit. "starting verse" )

1302-544: The traditional hokku is often disregarded, but the hokku is still typically required to include a kigo (seasonal word or phrase), and to reflect the poet's current environment. Bashō composed the following hokku in 1689 during his journey through Oku ( the Interior ), while writing renku in the house of a station master in Sukagawa at the entrance to Michinoku, in present-day Fukushima : ふうりゅうの初やおくの田植うた fūryū no / hajime ya oku no / taue-uta beginnings of poetry—

Yamadera Basho Memorial Museum - Misplaced Pages Continue

1344-467: The verses of a poem, the hokku includes a kireji or "cutting-word" that appears at the end of one of its three metrical units. Like all of the other stanzas, a Japanese hokku is traditionally written in a single vertical line. Paralleling the development of haiku in English , poets writing renku in English nowadays seldom adhere to a 5-7-5 syllable format for the hokku , or other chōku ('long verses'), of their poem. The salutative requirement of

1386-417: The winter of 1682 his hut burned down, and shortly afterwards, in early 1683, his mother died. He then traveled to Yamura , to stay with a friend. In the winter of 1683 his disciples gave him a second hut in Edo, but his spirits did not improve. In 1684 his disciple Takarai Kikaku published a compilation of him and other poets, Shriveled Chestnuts ( 虚栗 , Minashiguri ) . Later that year he left Edo on

1428-466: The world around him, often encapsulating the feeling of a scene in a few simple elements. Matsuo Bashō was born in 1644, near Ueno , in Iga Province . The Matsuo family was of samurai descent, and his father was probably a musokunin ( 無足人 ) , a class of landowning peasants granted certain privileges of samurai. Little is known of his childhood. The Matsuo were a major ninja family, and Bashō

1470-517: The yard, giving Bashō a new haigō and his first permanent home. He appreciated the plant very much, but was not happy to see Fukagawa's native miscanthus grass growing alongside it: ばしょう植ゑてまづ憎む荻の二葉哉 bashō uete / mazu nikumu ogi no / futaba kana    by my new banana plant / the first sign of something I loathe— / a miscanthus bud! [1680] Despite his success, Bashō grew dissatisfied and lonely. He began to practice Zen meditation , but it seems not to have calmed his mind. In

1512-417: Was Sōbō ( 宗房 ) , which was simply the on'yomi (Sino-Japanese reading) of his adult name, "Munefusa ( 宗房 ) ." In 1662, the first extant poem by Bashō was published. In 1726, two of Bashō's hokku were printed in a compilation. In 1665, Bashō and Yoshitada together with some acquaintances composed a hyakuin, or one-hundred-verse renku . In 1666, Yoshitada's sudden death brought Bashō's peaceful life as

1554-514: Was deified by the Shinto bureaucracy, and for a time criticizing his poetry was literally blasphemous. In the late 19th century, this period of unanimous passion for Bashō's poems came to an end. Masaoka Shiki , arguably Bashō's most famous critic, tore down the long-standing orthodoxy with his bold and candid objections to Bashō's style. However, Shiki was also instrumental in making Bashō's poetry accessible in English, and to leading intellectuals and

1596-437: Was not alone; he took in his nephew Toin and a female friend Jutei, who were both recovering from illness. He had many great visitors. Bashō wrote to a friend that "disturbed by others, I have no peace of mind". Until late August 1693, he continued to make a living from teaching and appearances at haikai parties. Then he shut the gate to his bashō hut and refused to see anybody for a month. Finally, he relented after adopting

1638-551: Was published posthumously in 1702. It was an immediate commercial success and many other itinerant poets followed the path of his journey. It is often considered his finest achievement, featuring hokku such as: 荒海や佐渡によこたふ天の川 araumi ya / Sado ni yokotau / amanogawa    the rough sea / stretching out towards Sado / the Milky Way [1689] On his return to Edo in the winter of 1691, Bashō lived in his third bashō hut, again provided by his disciples. This time, he

1680-500: Was the most famous Japanese poet of the Edo period . During his lifetime, Bashō was recognized for his works in the collaborative haikai no renga form; today, after centuries of commentary, he is recognized as the greatest master of haiku (then called hokku ). He is also well known for his travel essays beginning with Records of a Weather-Exposed Skeleton (1684), written after his journey west to Kyoto and Nara . Matsuo Bashō's poetry

1722-494: Was trained in ninjutsu. In his late teens, Bashō became a servant to Tōdō Yoshitada ( 藤堂 良忠 ) most likely in some humble capacity, and probably not promoted to full samurai class. It is claimed he served as cook or a kitchen worker in some near-contemporaneous accounts, but there is no conclusive proof. A later hypothesis is that he was chosen to serve as page ( koshō  [ ja ] ) to Yoshitada, with alternative documentary evidence suggesting he started serving at

Yamadera Basho Memorial Museum - Misplaced Pages Continue

1764-414: Was uncertain whether to become a full-time poet; by his own account, "the alternatives battled in my mind and made my life restless". His indecision may have been influenced by the then still relatively low status of renga and haikai no renga as more social activities than serious artistic endeavors. In any case, his poems continued to be published in anthologies in 1667, 1669, and 1671, and he published

#612387