From Nozarashi kikô
Jokyo, year 1, Autumn, 1684,
Matsuo Basho, age 41

Beating a cotton bow
comforting like a lute,
deep in the bamboo.

綿弓や琵琶になぐさむ竹の奥
watayumi ya biwa ni nagusamu take no oku

Matsuo Basho, Nozarashi kikô, Autumn 1684

Deep in a Bamboo Grove

By the late fall of 1684, Tokugawa Yoshimune (徳川 吉宗), the great grandson of Tokugawa Ieyasu (徳川家康), the founder of the Tokugawa shogunate , would become the eighth shōgun. Matsuo Basho lived in Edo, the capital of the shogunate, but by now he had removed himself from the city, across the river, to a little cottage in the quiet Fukagawa District.

Basho has finally taken on the nom de plume, Basho, (formerly Tosei, the unripe peach); he is a little gray around the temples, in the prime of his life, at the top of his career, embarking on the first of his travels — Nozarashi kikô, 野ざらし紀行 (Travelogue of Weather-Beaten Bones).

Basho writes:

“Entering Yamato province, at a place called ‘Amid the Bamboo Groves’ (Take no uchi) at a city called Katsuragi … Because this was my companion Chiri’s birthplace, we rested several days in a house deep within a bamboo grove.”

The 12th century poet/monk Saigyo spent three years in Yamato province. Basho visited his memorial on this trip. Basho made this trip the year after his mother’s death, and a stop included his hometown.

[The above English translation quote comes from the website of Dr. Gabi Greve, Daruma Museum, Japan. Another site in Japanese, Yamanashi, contains a discussion of the travelogue, but does not mention Chiri. In the prior entry, Basho writes of returning to Iga Ueno (his hometown) for the first time in nine years. For the peaceful bamboo grove, Basho likely had in mind the poem of the Tang dynasty poet Wang Wei.]

Basho, a Recluse

The life of a recluse often played on the mind of Matsuo Basho. The 12th century monk/poet Saigyo likely inspired Basho to leave Edo with its flashy art district, Nihonbashi, and move south, across the Sumida River, to the distant and remote Fukagawa District. There he lived alone, or sometimes taking in guests, composing, becoming Matsuo Basho. Basho because of the banana tree growing beside his cottage, weathering the storm, good for nothing but providing shade from the sun.

The symbol of bamboo is a pervasive one in Japanese, as well as Chinese, literature. Common and ordinary, bamboo could represent the people bowing to the will of the emperor. More often, bamboo represented the anonymity of being lost in a crowd. Thus, we have the story of the Seven Sages of the Bamboo Grove. Chinese scholars, poets, and musicians of the Three Kingdom Period who retreated to a bamboo grove to be far from the watchful eye of the imperial court.

Poets of the Tang dynasty, like Wang Wei, would play upon this theme of retreat, of solace, of peace. Basho would often tell his disciples, “Learn about pines from the pine, and about bamboo from the bamboo.” This means the poet must immerse himself, of herself, in Nature to understand its mysteries, its beauty.

Notes on Translation

The retreat belonged to Kiemon Aburaya, a village headman in Katsuragi (Nara prefecture), near Mt. Yamato. The poet Saigyo is associated with this area. The haiku is likely a poem of greeting to Keimon, Basho’s host.

watayumi (the process of beating raw cotton into cotton using a bow made of bamboo) ya (exclamation) biwa (biwa, the Chinese lute) ni (in) nagusamu (comforting one’s worries) take (bamboo) no oku (deep within, the original meaning of this character 奥 referred to somewhere far removed and out of sight.)

Summer, 1689. The Mogami River tumbles into a mountain valley in northern Yamagata Prefecture. There one finds peaceful Obanazawa, 尾花沢, meaning Marsh of Irises. Matsuo Basho, and his companion Sora, are staying with Seifu, a well-to-do safflower merchant and haiku poet.

涼しさを我宿にしてねまる也
suzushisa o waga yado ni shite nemaru nari

making coolness
my lodging
for a while, I may rest

這出よかひやが下のひきの声
Haideyo kaiya ga shita no hiki no koe

Crawl and creep
From under this shed
You loud mouth frog

Note. Hai, the first character in this haiku has several meanings. Creep and crawl is the intended meaning, but as homophone, it means to bow reverentially. Another meaning is “to give up.” Kaiya, the shed where the silkworms are kept. Kiki. A Bullfrog. Frogs and toads eat caterpillars. Kaiya, also a Japanese feminine name meaning “Forgiveness.”

まゆはきを俤にして紅粉の花
mayuhaki o omokage ni shite beni no hana

recalling to mind
an eyebrow brush
benihana (Safflower blossoms)

Oku no Hosomichi, Obanazawa, Summer 1684, Matsuo Basho

Note. Mayu, まゆ the first two characters, means eyebrow. Its homophone, 繭 a silkworm cocoon. Beni no hana, 紅粉の花, literally red powder flower. Safflowers produce yellow and red dyes which range from light yellow through pink, rose and crimson. For this reason, they are popular in cosmetics.

Basho’s annotation from the travelogue, Oku no Hosomichi:

“I visited Seifu in Obanazawa. He is a rich merchant of a truly poetic turn of mind. He has a deep understanding of the hardships of being on the road, for he himself had often traveled to the capital city. He invited me to stay at his place as long as I wished, trying to make me comfortable in every way he could.”

尾花沢にて清風と云者を尋ぬ。かれは富るものなれども、志いやしからず。都にも折々かよひてさすがに旅の情をも知たれば、日比とゞめて、長途のいたはり、さま％＼にもてなし侍る。

Basho added this haiku by Sora:

蠶飼する人は古代のすがた哉
kogai suru hito wa kodai no sugata kana

those tending silkworms keep their ancient appearances

Sora

Note. Kogai, 蠶飼. Silkworms are the larval form of the silk moth. The caterpillar spins a cocoon out of silk fibers for its metamorphosis into a moth. Silkworms have been domesticated since at least 3500 BC.