How Wonderful

The Trip

Matsuo Basho reveals to his disciple Kyori that he and his neighbor Kawai Sora are planning a trip. The trip that would make Basho famous.

How wonderful!
This year, this Spring
As I journey under the sky (Sora)
I おもしろや ことしの春も 旅のそら
omoshiro ya / kotoshi no Itam mo / tabi no sora

Matsuo Basho, Spring 1689

The trip was to become Oku no Hosomichi, a nine month journey into Japan’s Northern Interior. The notes and haiku Basho wrote along the way would not be published until eight years after Basho’ death in 1694. It would in time make his name immortal.

According to a disciple of Basho, Mukai Kyori (向井 去来, 1651–1704), this haiku was written as a way of saying he was going on a trip with his neighbor Sora, whose name means “sky.” After Basho’s death in 1694, Kyori published stories about his master.

Here is one example of Kyori’s haiku. The smartweed suggest Kyori had health issues (like Basho) and the firefly emphasizes the fleeting nature of life.

草の戸に我は蓼くふほたる哉
kusa no to ni ware wa tade kuu hotaru kana

in a dreary hut of wood and grass,
feeding on smartweeds am I
a firefly!

Mukai Kyori, 向井 去来, 1651–1704

[kusa no to ni (in a thatched roof hut) ware wa (I am) tade kuu (eating smartweed) hotaru (firefly) kana (used for emphasis)] The mention of Smartweed suggest that Kyori like Basho had health issues. Smartweed can be found in wet marshland. It is an herbal medicine taken to stop bleeding from hemorrhoids.

Source of Kyori’s haiku: World Haiku Review

Presumably, Kyori had in mind this Basho’s haiku written about leaving his cottage. It begins with the same three characters 草の戸, kusa no to. Basho cottage is being taken by a family with young girls. Presumably, written on the third of March, Doll’s Day, celebrated in Japan as Hinamatsuri 雛祭り.

in my simple cottage
will come a world of change
full of dolls

草の戸も住替はる代ぞひなの家
kusa no to mo . sumi kawaru yo zo . hina no ie

Matsuo Basho, March 3, 1689

Shogun

When the Dutch “Kapitan” comes to greet the Shogun in Edo in Spring.

甲比丹も. つくばはせけり . 君が春
kapitan mo . tsu kuba wasekeri . kimi ga haru
   the Red (Dutch) Captain,
when he comes, cowering before
his Master each Spring

Tosei (Matsuo Basho), Spring 1678

Wisely

Each Spring, the Dutch made a long winding procession to pay homage to the Shogun in Edo. The procession began in Nagasaki, the only port open to Dutch trade. The first known procession was in 1627. At the front, in a carriage, carried on the shoulders of six men, was Pieter Nuyts, the designated Dutch councilor of the Indies. He was followed by some three Dutch soldiers, armed samurai, their pages, and translators.

This tradition was either yearly or every two years, or less often, up until 1790.

Wisely, one thinks, Matsuo Basho did not engage in political debate. He was born in 1644
near Ueno, Iga Province, and as a young boy served a Samaurai master in Ueno Castle. His master, Tōdō Yoshitada, gave him his first taste of poetry, but Yoshitada’s death in 1666, left the young poet on his own at the age of 22. Six years in Kyoto, where his nascent poems were published in anthologies, then, in 1672, at the age of 28, the poet moved to Edo, the seat of power of the Shogunate, and the reigning Tokugawa Ietsuna (徳川 家綱), the fourth in the line of Tokugawa shoguns who brought peace and stability to Japan.

Notes on Translation

My understanding of this haiku is certainly amateurish, but still one tries, and tries again.

kapitan mo . tsu kuba wasekeri . kimi ga haru

Kapitan mo 甲比丹, kapitan, an obvious homophone for “kapitein,” the Dutch word for captain. Mo referring to the unfamiliar red face or red hair of the Dutch visitors. After briefly trading with the Spanish and Portuguese, the Japanese limited their trade with Europeans almost exclusively to the Dutch. The Shogun excluded the Catholic Spain and Portugal for proselytizing. The English had some early trade but it did not appear to be profitable.

Tsukubu, kneels, cowers? In another post, I tried to relate Tsukaba to Mt. Tsukaba, which is north of Edo, but now I am doubtful.

If we are looking for hidden meanings, one may take the fact that the Dutch would have had to make their way past Mt. Fuji, the symbol of Japan, and the symbol of the gods. Tsu, meaning “both,” referring to the fact that Mt. Fuji was the true symbol of divine power, one the Shogun also respected, and was watched over by.

Wase はせ, somewhat unclear to me. I suspect some wordplay. Possibly relating to the wavy line of the procession. Keri, a suffix, used to indicate past tense, or realization. は (wa, or ha) may indicate “as you wish.”

Kimi, sovereign, lord or master. Take your pick.

One observes that, as in all poetry, a syllable can be grouped in one phrase or the next, depending on intonation and meaning. If we follow the standard haiku practice of 5.7.5, my grouping is correct except in the fact that we are one syllable short in the first phrase. Perhaps,m their is a nuance in the Japanese adoption of the title “captain” into Japanese. Tsu often has the meaning of “too” or “also”. I have given it the idea of “when he comes”.

On Trying

I’ve tried, I’ve tried again,
I suppose,
I’ll try again

Bashō no yōna, New year, 2024

On Sisyphus, the Greek who would roll an immense boulder up a hill only for it to roll back down again; on Albert Einstein, who defined insanity as doing something over and over again expecting a different result; on writing the perfect haiku. Matuso Basho composed tens of thousands of haiku in his lifetime, a thousand or so were recorded.

His most famous haiku, the one that made him famous, is about a frog, a pond, and the sound of water.

古池や蛙飛こむ水のをと

Furuike ya | an old pond
kawazu tobikomu | a frog, any frog, big or small
mizu no oto | sound of water

Matsuo Basho, 1686

Funny that, it has been translated in so many ways and languages.

une petite grenouille, un vieil étang, qu’est-ce que c’est, que j’entends l’eau parle

ein Frosch, ein alter Teich, das Wasser spricht

una rana un viejo parca et el agua habla

Basho in other voices
“ein Frosch, ein alter Teich, das Wasser spricht,” but not for the snail who has no eyes or ears

Blossom Drunk

Cherry Blossoms in Edo,
Spring, 1681-2
Basho, age 37-38

In 17th century Edo, women’s fashions are changing.

Drunk on blossoms
a woman in a haori,
pointing with a sword

花に酔えり 羽織着て刀 さす女
Hana ni yoeri haori kite katana sasu onna
Hana ni ee ri haori kite katana sasu onna

Matsuo Basho, Edo, 1681-2

Translation. Hana (flower, here meaning a cherry blossom) ni (particle to indicate cause) yoeri (to become drunk) haori (a short jacket, women wear over a kimono) kite (wearing) katana (sword) sasu (pointing, stabbing) onna (woman)

Cross-Dressing

Japan was unified under the Tokugawa clan. War was over. Peace was at hand. In Spring, the population turned its attention viewing cherry blossoms and getting sloshed on sake. What one wore was a sign of a person’s status and family background. The haori, a lightweight jacket, became casual wear for samurai warriors and popular attire for up and coming townspeople. Women adopted the style along with the men as it could be worn over a kimono.

But a woman carrying a sword would be quite the site.

Onna-Bugeisha, literally, “female who practices the Art of War.” The 3rd century Empress Jingū, was one of the earliest female warriors. It is likely that Matsuo Basho was familiar with the Tale of Heike which recounts the story of Tomoe Gozen, a female samurai who fought for the Minamoto clan. Basho wrote a haiku about the Genpei War between the Minamoto and the Taira clans.

Gabi Greve and the Japanese site Yamanashi date this haiku to when he was 38 to 40, first to third year of Tenwa, 1681 – 1683. A year before, Matsuo had moved from central Edo to the rural Fukagawa District to take up residence in a simple cottage. A house warming gift of a banana plant (basho) was planted by the front door, and Matsuo had the idea of a new name.

God’s Face

1st year of Genroku,
Spring of 1688,
Basho is 45 years old
,
Mt. Yamato Katsuragi

Always seeing within
a flower at the break of dawn
— the face of God

Matsuo Basho, Oi no kibumi, Spring 1685

From the travelogue, Oi no kobumi, a trip from Edo to Iga-Ueno (Basho’s hometown), then to Mt. Yamato Kasuragi in Nara prefecture. In Spring, Bashō came to Mt. Katsuragi to see the cherry blossoms. Near the Shinto shrine for the local god, Hitokotonushi, he wrote this haiku:

猶みたし 花に明行 神の顔

nao mitashi | always seeing within
     hana ni ake yuku | a flower at the break of dawn
             kami no kao | the face of God

Matsuo Basho, Oi no kibumi, Spring 1685

The ugly god

Hitokotonushi (一言主), literally, god of one word, meaning that as long as your prayer is short, god will listen to it.

There are several stories about Hitokotonushi-nokami, the god of Mt. Katsuragi. (Dr. Gabi Greve has collected many of them.) One is this: Hitokotonushi had a very ugly face. According to legend, a long time ago, a monk prayed for help, then began building a trail from Mt. Katsuragi to Mt. Kinpu (two Shinto holy sites). Hitokotonushi, embarrassed by his ugly appearance, would only help at night.

David Bowles calls Basho’s haiku “Longing for the Divine.”

And I could use Hitokotonushi’s help.

hana ni ake yuku (花に明行) has given me some trouble translating. First I would say that Goggle Translate gives one “Hana ni myōgyō” with no explanation of myōgyō. Literally, I come up with: hana (flower), but what of ni ake yukuni (within) ake (dawn) yuku. Does not 明に mean ‘brightly’? Or perfection? And does not 行くmean ‘going to a place.’

Seeing is believing, if not completely understanding, which is the first step in the “awakening”.

Like David Bowles I am longing for inspiration.

Sakai Hōitsu, Japanese
ca. 1805
detail of image from The Met