Basho's thoughts on...
• Introduction to this site
• The Human Story:
• Praise for Women
• Love and Sex in Basho
• Children and Teens
• Humanity and Friendship
• On Translating Basho
• Basho Himself
• Poetry and Music
• The Physical Body
• Food, Drink, and Fire
• Animals in Basho
• Space and Time
• Letters Year by Year
• Bilingual Basho 日本語も
• 芭蕉について日本語の論文
• Basho Renku, 芭蕉連句
• Women in Basho
• BAMHAY (Basho Amazes Me! How About You?)
• New Articles


Matsuo Basho 1644~1694

The only substantial
collection in English
of Basho's renku, tanka,
letters and spoken word
along with his haiku, travel
journals, and essays.

The only poet in old-time
literature who paid attention with praise
to ordinary women, children, and teenagers
in hundreds of poems

Hundreds upon hundreds of Basho works
(mostly renku)about women, children,
teenagers, friendship, compassion, love.

These are resources we can use to better
understand ourselves and humanity.

Interesting and heartfelt
(not scholarly and boring)
for anyone concerned with
humanity.


“An astonishing range of
social subject matter and
compassionate intuition”


"The primordial power
of the feminine emanating
from Basho's poetry"


Hopeful, life-affirming
messages from one of
the greatest minds ever.

Through his letters,
we travel through his mind
and discover Basho's
gentleness and humanity.

I plead for your help in
finding a person or group
to take over my 3000 pages of Basho material,
to edit and improve the material, to receive 100%
of royalties, to spread Basho’s wisdom worldwide
and preserve for future generations.

Quotations from Basho Prose


The days and months are
guests passing through eternity.
The years that go by
also are travelers.



The mountains in silence
nurture the spirit;
the water with movement
calms the emotions.


All the more joyful,
all the more caring


Seek not the traces
of the ancients;
seek rather the
places they sought.



Basho Spoken Word


Only this, apply your heart
to what children do


"The attachment to Oldness
is the very worst disease
a poet can have."


“The skillful have a disease;
let a three-foot child
get the poem"


"Be sick and tired
of yesterday’s self."


"This is the path of a fresh
lively taste with aliveness
in both heart and words."
.

"In poetry is a realm
which cannot be taught.
You must pass through it
yourself. Some poets have made
no effort to pass through, merely
counting things and trying
to remember them.
There was no passing
through the things."


"In verses of other poets,
there is too much making
and the heart’s
immediacy is lost.
What is made from
the heart is good;
the product of words
shall not be preferred."


"We can live without poetry,
yet without harmonizing
with the world’s feeling
and passing not through
human feeling, a person
cannot be fulfilled. Also,
without good friends,
this would be difficult."


"Poetry benefits
from the realization
of ordinary words."


"Many of my followers
write haiku equal to mine,
however in renku is the
bone marrow of this old man."


"Your following stanza
should suit the previous one as an expression
of the same heart's connection."


"Link verses the way
children play."


"Make renku
ride the Energy.
Get the timing wrong,
you ruin the rhythm."


"The physical form
first of all must be graceful
then a musical quality
makes a superior verse."

"As the years passed
by to half a century.
asleep I hovered
among morning clouds
and evening dusk,
awake I was astonished
at the voices of mountain
streams and wild birds."


“These flies sure enjoy
having an unexpected
sick person.”



Haiku of Humanity


Drunk on sake
woman wearing haori
puts in a sword


Night in spring
one hidden in mystery
temple corner


Wrapping rice cake
with one hands she tucks
hair behind ear


On Life's journey
plowing a small field
going and returning


Child of poverty
hulling rice, pauses to
look at the moon


Tone so clear
the Big Dipper resounds
her mallet


Huddling
under the futon, cold
horrible night


Jar cracks
with the ice at night
awakening



Basho Renku
Masterpieces

With her needle
in autumn she manages
to make ends meet
Daughter playing koto
reaches age seven


After the years
of grieving. . . finally
past eighteen
Day and night dreams of
Father in that battle


Now to this brothel
my body has been sold
Can I trust you
with a letter I wrote,
mirror polisher?


Only my face
by rice-seedling mud
is not soiled
Breastfeeding on my lap
what dreams do you see?



Single renku stanzas


Giving birth to
love in the world, she
adorns herself



Autumn wind
saying not a word
child in tears


Among women
one allowed to lead
them in chorus


Easing in
her slender forearm
for his pillow


Two death poems:


On a journey taken ill
dreams on withered fields
wander about

Clear cascade -
into the ripples fall
green pine needles




basho4humanity
@gmail.com




Plea for Affiliation

 

Plea For Affiliation

 

I pray for your help

in finding someone
individual, university,

or foundation - 
to take over my

3000 pages of material,   
to cooperate with me 

to edit the material,
to receive all royalties 

from sales, to spread

Basho’s wisdom worldwide,
and preserve for

future generations.


basho4humanity

@gmail.com

 



Home  >  Topics  >  Basho Renku, 芭蕉連句  >  K-02


Basho Renku Section 2 A

芭蕉連句全注解、2冊の連句

Legend:
Words of Basho in bold
Words of other poets not bold

 

From volume 2 of the Basho Renku Zenchuukai

Renku written between 1678 and 1681

日本語もRomanization given

For commentaries, see Section 2 B

Selection, Translations by Jeff Robbins

 

Words of Basho in bold

Words of other poets inot bold


It would be good for you to see from practice
that your following stanza suits the previous one
as an expression of the same heart’s connection.

 

ある付句に前句を添えて、同じ付心が表現

できるような訓練などをしてみるのもよい

Aru tsukeku ni maeku o soete, onaji tsuke-kokoro ga

hyōgen dekiru yō na kunren nado o shite miru no yoi.

 

 

 

To embroider
she prefers the threads
of a cascade

Otowa Falls in the wind               2: 26

to a pine goes the princess

 

縫いはくに好むとうる滝の糸
音羽嵐の松も姫君
Nuihaku ni / konomu touru / taki no ito
Otowa arashi no / matsu mo himegimi

 

 

 From the brothel

moon among the clouds
returns home                         2: 47

The form of a virgin
her white satin obi

 

揚屋より /月は雲居に / かえらるる

乙女の姿 / しろじゆすの帯

Ageya yori / tsuki wa kumoi ni / kaeraruru

Otome no sugata / shiro jusu no obi

 

 

You on top                                  2: 39
forget not the hard times
use them well

Fancy hairstyle tied up

with ornamental comb

Getting married –                       2: 39
second time without trouble
she had before

 

上方の /かたぎ 忘れぬ / 使だて
はねもと結びに / かざす さし櫛
縁付や /二度返る (??) / 事なかれ
Kami-gata no / katagi wasurenu / tsukawadate
Hanemoto musubi ni / kazasu sashi kutsu
Enzuku ya / nido kaeru ( ?? ) / koto nakare

 

Lovers speak
hesitantly as firefly
crawls out robe

Along with the Buddha

short night in a dream       2:58


むつ言 の きがね の 蛍の / はい出て

釈迦に そいねの / 夢 の 短夜

Mutsugon no / kigane no hotaru no / hai idete

Shaka ni soinu no / yume no mijikayo

 

Droplets from
the spear of Bishamon
autumn in our land

The heads of heathen
descend with the moon       2: 63 


毘沙門の / 鉾のしたたり / 国 の 秋

外道の 首 の / 落かかる 月

Bishamon no / hoko no shitatari / kuni no aki

Gedou no kubi no / ochikakaru tsuki

 

 

Blossoms return
as naked seeds 
to their roots

Bath water bottom
dragon palace spring      2: 71 

Roadhouse hooker
or Sea-God’s daughter,
which is she?
Age of the Gods unheard
love for a hundred coins

Bowing with respect
to that precious treasure,
the Pillow Book             2: 72 

 

 

花は 根に / もとの 裸で / かえる也

風 呂の 底は / 龍宮 の 春

出女の / 玉依り姫 は / 是 と かや

神代 もきかず / 百文 の 恋

霊宝の / 枕 草紙を / ふし 拝み


Hana wa ne ni / moto no hadaka de / kaeru nari

Mizu furo no soko wa / ryuujin no haru

De-onna no / tamayori hime wa / kore to ka ya

Kamiyo mo kikazu / hyakumon no koi

Reihō no / makura sōshi o / fushi ogami

 

 

Storehouses and fences
overgrown with water weeds

Seen by morning,
woman who stayed the night,
Goddess of Poverty                     2: 84

 

 

蔵も籬も / 水草生けり

今朝みれば / いてこし女は /貧乏神

Kura mo magaki mo / mikusa ikekeri

Kesa mireba / itekoshi onna wa / bimbō-gami

 

To join with a widow,
he pounds the robe of love

Man who left
cared only for money,
autumn passes               2: 91

 

後家を相手に /恋衣うつ

去男 / かねにほれたる / 秋更けて

Goke o aite ni / koi koromo utsu

Saru otoko / kane ni horetaru / aki fukete

 

Old haori jacket
makes the young look old

Soundly, so soundly
the babe in remembrance
is put to sleep                     2: 101

 

古い羽織に老ぞしらるる

つくづくと記念のややを寝させ置

Furui haori ni / oi zo shiraruru

Tsukuzuku to / katami no yaya o / nesase oki

 

 

“Weak as green willow”
the wife is despised               2: 139 

‘Path of blood’
her day by day misery

in the spring rain

 She drops a tea bag
in steam from her chest         2:139 

 

 

青柳よわき / 女房あなづる

血の道気 / うらみ 幾日の / 春の雨

胸のけぶりに /さがす茶袋

Aoyagi yowaki / nyōbo anazuru

Chi no michi ki / urami ikka no / haru no ame

Mune no keburi ni / sagasu cha-bukuro

 

How many moons
shall young pines be hidden
in your belly                            2: 149a

Asking the servant girl
beside the cliff, no reply

 Spring water flows

on the shore,will you stand

against the current?               2: 149b

 

幾月の / 小松がはらや / 隠すらん

とえど岩根の / 下女はこたえず

磯清水 / 汝ながれを/ たてぬかと

Iku gatsu no / komatsu ga hara ya / kakusuran

Toedo iwane no / gejo wa kotaezu

Iso shimizu / nanji nagare o / tatenu ka to

 

Since Ki no Tsurayuki
the moon at daybreak

Eight hundred years
the light of his lantern has
survived the dew                     2: 169

 

貫之以上の在明のつき

八百年御澄の光露更けて

Tsurayuki ijō no / ariake no tsuki

Happyakunen / gochō no hikari / tsuyu fukete

 

 

Once more he is thrown
Maruyama marked black

Half of go board
all over eastern Kyoto
blossoms scatter                   2: 176

 

 

又なげられし / 丸山の色

片碁盤 /都の東 /はなちりて

Mata nagerareshi / maruyama no iro

Kata goban / miyako no higashi / hana chirite

 

The warriors’
sword exhibition
gets violent
Woman soon cry out
so they are banished

Appearance
warped by a mirror,
her resentment              2: 200

 

 

武士の / 刃祭りを / 荒にける

女はなくに /早きとていむ

様あしく / 鏡の ひづみ /たる恨み

Mononofu no / yabai matsuri o / ara ni keru

Onna wa naku ni / hayaki tote imu

Sama ashiku / kagami no hizumi / taru urami

 

 

Miracles from
offerings to the Goddess
shining on blossoms              2:210

Bird of good fortune
builds nest with hemp

 

 

花に照る / 太神宮の / 寄特也

幣に巣作る / 詫の鳥

Hana ni teru / oharaibako no / kitoku nari

Nusa ni su tsukuru / kototsuge no tori

 

 

On the stage from humble
cottage, a forlorn cry
Without virtue
loud squeal of surprise
at the scene

A dog being stabbed
that voice is so sad           2: 213

 

舞台に柴の / 庵しぼり声

とひやう仁 /うは気より世を / 驚て

犬切って其 / 声のかなしく


Butai ni shiba no / io shibori koe

Toiyō ni / uwaki yori yo o / odoroite

Inu kitte kono / koe no kanashiku

 

Where is the storm?
curtain room shivers

The woman’s shadow
seems to have returned –
awesome her traces    2: 214

 

あらしはいづく /帳の紙室

女の影 / 帰ると見えて /跡すごく

Arashi wa izuku / chou no kamimuro

Onna no kage / kaeru to miete / ato sugoku

 

The Mouse and the Ox
entrusted to the Tiger

Chaos rides
on Green to play with
the Energy        2: 217

 

子丑の番を / 寅に預けて

渾沌が / 翠にのって / 気にあそぶ

Ne ushi no ban o / tora ni azukete

Konton ga / midori ni notte / ki ni asobu

 

Link verses the way children play…
When we look, really look at Chuang-Tzu
renku should be like Chuang-Tzu

 

俳諧を子どもの遊ぶことせよ

俳諧をせば荘子をよくよくみて、

荘子のごとくあるべし

Haikai o kodomo no asobu koto se yo…

Haikai o seba Sōshi o yoku yoku mite,

Sōshi no gotoku arubeshi

 

Wretched in the dew
my wife’s fallen hair    2: 221

Speaking of love,
in the mirror her face
still I can see

 

露にしがるむ / 妹が落髪

物いふて / 鏡に顏の / 残りみえよ

Tsuyu ni shigaramu / imo ga ochi-gami

Mono iute / kagami ni kao no / nokori mieyo

 

Engulfed by passion
to kill younger brother

Midnight sound                      2:243 

the pine wood door
he pries open

 

恋あふれたる / 弟手打ちに

音更けて / 槇の板戸を /こぢ放す

 

Ai afuretaru / ototo teuchi ni 
oto fukete / maki no itado o / koji-hanasu

 

In a daydream

boiling rice until
evening comes

No concern for others
just waiting to die      2: 253 

.

昼夢の飯たくほどにゆうぐるる

人死をまって生にたわいなし

Hiru yume no / meshi take hodo ni / yuu gururu

Jinshi o matte / shō ni tawainashi

 

Are these pines
on Love Cape, daughter’s
wedding ornament      2: 259

Her vows everlasting
divinely shining snow

 

恋崎の/ 松か娘の / 花の臺

契世にのこる / 雪の明神

Koi-zaka no / matsu ga musume no / hana no dai

Chigiri yo ni nokoru / yuki no meigami

 

 

                        From Basho Letter #1, June 20, 1681

                        芭蕉の手紙#1、六月20日、1681

 

When a following stanza completely fits the previous stanza,
we can say this is the old style or the somewhat old style


一句、前句に全体はまる事、古風、中興共可申哉。

Ikku, maeku ni zentei hamaru koto,furyuu, chuuko tomo mousu beku ya

 


Without a sense for ordinary words as precious,
you will get mixed up in an old style.

 

俗語の遣やう風流なくて、又古風にまぎれ候事

Zokugo no tsukai you fuuryu nakute,

mata koryu ni magire sōrō koto

 

A stanza elaborately constructed is useless.

 

一句細工に仕立て候事、不用そうろう事

Ikku saiku ni shitate sōrō koto, fuyō ni sōrō koto

 

A stanza may have extra sound-units, three, four, or even five or seven;    if the rhythm of the phrase coming out your mouth is natural, it is okay – however if even one sound stagnates in your mouth,                                you must scrutinize the expression.

 

文字あまり、三四字、五七字あまり候而も、句のひびき能候へばよろしく、
一字にても口にとまり候 御吟味何有事。

 

Moji amari, san yon ji, go nana ji amari sōrō shikashite mo,
ku no hibiki yoku sōrōeba yoroshiku,
Ichiji nite mo kuchi ni tamari, sōrō go ginmi arubeku koto


Engulfed by passion
to kill younger brother

Sound in the night 2: 243

the pine wood door
he pries open

 

恋あふれたる / 弟手打ちに

音更けて / 槇の板戸を / こぢ放す

Koi afuretaru / ototo teuchi ni

Oto fukete / maki no itado o / koji hanasu

 

 

 

The aged nun has
a story to tell

Filled with pity,
telling to bring inside
abandoned child               2: 261

A deer pulls the sleeve 
of someone in the village

 

老尼はなしの / 叙ありけり

哀余る / 捨て子ひろひに /遣して

Rōni hanashi no / tsuide arikeri

Ai amaru / sutego hirohi ni / tsuawashite

 

The following stanza suits the previous one
as an expression of the same heart’s connection.

 

付句に前句を添えて、同じ付心が表現できる

… tsukeku ni maeku o soete, onaji tsuke-kokoro ga hyōgen dekiru …

 

 

basho4humanity@gmail.com

 

 

 






<< Basho Renku Section 1 A (K-01 ) (K-03) Basho Renku Section 3 A >>


The Three Thirds of Basho

 

 

I plead for your help in finding a person or group to take over my 3000 pages of Basho material, to edit and improve the presentation, to receive all royalties from sales, to spread Basho’s wisdom worldwide and preserve for future generations.

 

basho4humanity@gmail.com
Basho's thoughts on...
• Introduction to this site
• The Human Story:
• Praise for Women
• Love and Sex in Basho
• Children and Teens
• Humanity and Friendship
• On Translating Basho
• Basho Himself
• Poetry and Music
• The Physical Body
• Food, Drink, and Fire
• Animals in Basho
• Space and Time
• Letters Year by Year
• Bilingual Basho 日本語も
• 芭蕉について日本語の論文
• Basho Renku, 芭蕉連句
• Women in Basho
• BAMHAY (Basho Amazes Me! How About You?)
• New Articles


Matsuo Basho 1644~1694

The only substantial
collection in English
of Basho's renku, tanka,
letters and spoken word
along with his haiku, travel
journals, and essays.

The only poet in old-time
literature who paid attention with praise
to ordinary women, children, and teenagers
in hundreds of poems

Hundreds upon hundreds of Basho works
(mostly renku)about women, children,
teenagers, friendship, compassion, love.

These are resources we can use to better
understand ourselves and humanity.

Interesting and heartfelt
(not scholarly and boring)
for anyone concerned with
humanity.


“An astonishing range of
social subject matter and
compassionate intuition”


"The primordial power
of the feminine emanating
from Basho's poetry"


Hopeful, life-affirming
messages from one of
the greatest minds ever.

Through his letters,
we travel through his mind
and discover Basho's
gentleness and humanity.

I plead for your help in
finding a person or group
to take over my 3000 pages of Basho material,
to edit and improve the material, to receive 100%
of royalties, to spread Basho’s wisdom worldwide
and preserve for future generations.

Quotations from Basho Prose


The days and months are
guests passing through eternity.
The years that go by
also are travelers.



The mountains in silence
nurture the spirit;
the water with movement
calms the emotions.


All the more joyful,
all the more caring


Seek not the traces
of the ancients;
seek rather the
places they sought.



Basho Spoken Word


Only this, apply your heart
to what children do


"The attachment to Oldness
is the very worst disease
a poet can have."


“The skillful have a disease;
let a three-foot child
get the poem"


"Be sick and tired
of yesterday’s self."


"This is the path of a fresh
lively taste with aliveness
in both heart and words."
.

"In poetry is a realm
which cannot be taught.
You must pass through it
yourself. Some poets have made
no effort to pass through, merely
counting things and trying
to remember them.
There was no passing
through the things."


"In verses of other poets,
there is too much making
and the heart’s
immediacy is lost.
What is made from
the heart is good;
the product of words
shall not be preferred."


"We can live without poetry,
yet without harmonizing
with the world’s feeling
and passing not through
human feeling, a person
cannot be fulfilled. Also,
without good friends,
this would be difficult."


"Poetry benefits
from the realization
of ordinary words."


"Many of my followers
write haiku equal to mine,
however in renku is the
bone marrow of this old man."


"Your following stanza
should suit the previous one as an expression
of the same heart's connection."


"Link verses the way
children play."


"Make renku
ride the Energy.
Get the timing wrong,
you ruin the rhythm."


"The physical form
first of all must be graceful
then a musical quality
makes a superior verse."

"As the years passed
by to half a century.
asleep I hovered
among morning clouds
and evening dusk,
awake I was astonished
at the voices of mountain
streams and wild birds."


“These flies sure enjoy
having an unexpected
sick person.”



Haiku of Humanity


Drunk on sake
woman wearing haori
puts in a sword


Night in spring
one hidden in mystery
temple corner


Wrapping rice cake
with one hands she tucks
hair behind ear


On Life's journey
plowing a small field
going and returning


Child of poverty
hulling rice, pauses to
look at the moon


Tone so clear
the Big Dipper resounds
her mallet


Huddling
under the futon, cold
horrible night


Jar cracks
with the ice at night
awakening



Basho Renku
Masterpieces

With her needle
in autumn she manages
to make ends meet
Daughter playing koto
reaches age seven


After the years
of grieving. . . finally
past eighteen
Day and night dreams of
Father in that battle


Now to this brothel
my body has been sold
Can I trust you
with a letter I wrote,
mirror polisher?


Only my face
by rice-seedling mud
is not soiled
Breastfeeding on my lap
what dreams do you see?



Single renku stanzas


Giving birth to
love in the world, she
adorns herself



Autumn wind
saying not a word
child in tears


Among women
one allowed to lead
them in chorus


Easing in
her slender forearm
for his pillow


Two death poems:


On a journey taken ill
dreams on withered fields
wander about

Clear cascade -
into the ripples fall
green pine needles




basho4humanity
@gmail.com




Plea for Affiliation

 

Plea For Affiliation

 

I pray for your help

in finding someone
individual, university,

or foundation - 
to take over my

3000 pages of material,   
to cooperate with me 

to edit the material,
to receive all royalties 

from sales, to spread

Basho’s wisdom worldwide,
and preserve for

future generations.


basho4humanity

@gmail.com